A Letter From the Woman You Are Becoming

Reading Time: 5 minutes

From Future Amy, To the Amy Who Is Almost There

Dear you.

Dear brave, brilliant, bone-tired, still-standing, still-kind, still-carrying-the-lantern you.

I am writing from the other side of everything you are in the middle of right now, from the place you cannot quite see yet because you are still in the thick of the becoming, still in the part of the story that feels more like enduring than arriving,

and I want to tell you what is here.

I want to tell you what is waiting.

First, the practical things, because I know you, I know you need to know the practical things before you can let yourself feel the rest of it.

You are okay.

Financially, professionally, in all the ways that kept you awake at two in the morning doing the mathematics of whether you would make it through another April,

you are okay.

More than okay.

You found the room that was shaped like you. I know you have been looking for it for a very long time. I know there were years you stopped believing it existed,

but it exists.

It exists, and you are in it, and it feels exactly the way you imagined it would feel on the nights you let yourself imagine.

It feels like breathing. It feels like a morning that belongs to you. It feels like walking into a room and the room saying“There you are. We have been waiting. Come in, come in, stay as long as you like.

The doctorate is done.

I want to tell you that because I know how it weighs on you, the unfinished thing, the work that is so important and so yours.

It is done.

And it is extraordinary.

Not because a committee said so, though they did, but because it is true. Because you wrote it in your own voice, the voice that took years to trust, the voice that is scholarly and embodied and refuses to pretend that knowing happens outside of a body, outside of a life, outside of nineteen years of labour and love and parking lot mornings.

You wrote the truest thing.

Alonetude is in the world now. People are reading it. The ones who work in the in-between spaces, the ones on the contracts, the ones performing well in the parking lots of institutions that need their labour and withhold their belonging,

they are reading your words, and they are feeling less alone, and that is the work, that is the real work, that is what nineteen years was always building toward, even when it felt like it was building toward nothing.

Now let me tell you about the things that are not practical.

Let me tell you about a Tuesday morning.

An ordinary Tuesday. Not a milestone Tuesday. Not an achievement Tuesday.

Just a Tuesday when you woke up and lay still for a moment, the way you learned to do in Loreto,

and the first thing you felt was not the tightening.

The first thing you felt was yourself.

Present. Whole. Quietly, ordinarily, unremarkably glad to be alive on a Tuesday morning with the light coming through the window and nowhere to be for another hour and a cup of something warm in your future and the work you love waiting for you like a friend rather than a demand.

You lay in it, and you thought oh. So this is what they meant.

This is what rest was building toward. This is what the shore was practicing you for. This is the life on the other side of the performance of a life.

It is quieter than you expected. It is more ordinary than you expected.

It is so much better than anything you expected.

I want to tell you about your body.

Your shoulders come down.

I know that sounds like such a small thing. It is not a small thing. Your shoulders coming down is physical evidence that a woman is no longer waiting to find out whether she is still employed.

Your shoulders coming down is what safety feels like in the body.

You are safe. I need you to hear that all the way down.

You are safe.

The students found you.

The ones who needed you specifically. The ones who were on the contracts. The ones performing fine in the parking lots. The ones who read alonetude and recognized themselves in it and needed someone who had mapped the territory and come back to say I know this place, I know how to navigate this, here is what helped, here is how you find the shore inside yourself when there is no Loreto within reach.

You became that person.

I want to tell you about the writing.

You became a poet.

And you did not even know it.

I know that surprises you. But the line between scholar and poet turned out to be much thinner than you thought, and one morning you stopped trying to categorize yourself and just wrote what the truth required,

and what the truth required, Amy, was both.

It was always both. You were always both.

Tom knows.

I want to say that because I know you worry about whether the people who love you really see the whole of it.

Tom knows.

Not because you performed it less but because you finally let yourself be known the way you always knew how to know others, fully, carefully, without looking away.

And he stayed. Of course, he stayed. He has always been staying.

You are loved. You are chosen. You are someone’s permanent.

I want to tell you what I know now that I wish you knew then, in the middle of it, in the parking lot mornings, in the two a.m. turnings:

None of it was wasted.

Not one morning. Not one contract. Not one raised bar. Not one carefully worded rejection in professional language with warmth in the room.

None of it was wasted because it all became the work.

I want to leave you with something small.

A Tuesday morning. A cup of something warm. Your shoulders are coming down. The work you love is waiting like a friend.

A smooth stone in your pocket.

The knowledge, finally unshakeable, lived in the body, permanent as the shore,

that you were always good enough.

Come forward.

I am here. I am you. I am waiting for Tuesday morning, the open window, and the work that finally looks like what you always knew it was.

Come forward.

You have already done the hardest part.

All that is left now is the living of it.

And the living of it, Amy, the living of it is so very, very beautiful.

De tu yo futuro, que te ha estado esperando con los brazos abiertos y el corazón lleno. Ya casi llegas. Sigue caminando.

From your future self, who has been waiting for you with open arms and a full heart. You are almost here. Keep walking.

Future Amy
Writer. Scholar. Poet. Whole.
Keeper of smooth stones.
Woman who came through.
Still here. Still kind. Still luminous.
Aquí estoy.


Translation Note: Spanish phrases in this letter were assisted by Google Translate (translate.google.com). The Spanish is woven in as an act of reclamation, a return to a language of the body and the self that exists beyond institutional English.

A Letter From the Little One

Reading Time: 4 minutes

From Five-Year-Old Amy, To the Amy She Became

Dear big Amy,

I am writing you a letter because I have something important to say and I want to make sure you hear it properly.

I am five. I know how to write some letters, but not all of them yet, so I am going to say this as carefully as I can.

I see you.

I see you being so tired and still getting up anyway, and I want you to know I think that is very brave. I get tired too sometimes, and it is hard to keep going when you are tired, and I am only five, and you have been going for so much longer than me, so I think you are the bravest person I know.

I want to tell you some things about us that I am not sure you remember anymore.

We are kind.

I know you know that, but I do not think you believe it the way I believe it, which is all the way, without any buts after it, just kind, just completely and simply kind, the way the sun is warm, not because it is trying to be but because that is what it is.

That is us. That is what we are.

I want you to stop saying it like it might not be true. It is true. I know it is true because I am five and I have not yet learned to be unsure about it, and I need you to borrow some of my sureness until you find yours again.

I also want to tell you that I used to collect things.

Rocks mostly. The smooth ones. I would put them in my pockets until my pockets were very full and heavy, and Mama would say Amy, why are your pockets full of rocks and I could never explain it properly, but the reason was that I loved them.

I loved that they were smooth. I loved that something had made them smooth by being patient with them for a very long time.

I think you are like a rock, big Amy. I think a lot of things have been pushing against you for a very long time, and I think it has hurt, but I also think you are getting smooth. I think you are getting to the most beautiful part.

I would put you in my pocket. I would carry you everywhere.

I need to ask you something, and I need you to answer honestly because I am five and I do not understand things that are not honest yet.

Did you forget that you were allowed to play?

I am asking because when I watch you, I do not see much play, and play is very important. I know that because I do it every day, and it makes everything better, even the hard days, even the days when things are not fair, and things are not fair sometimes, even when you are five,

But even on those days, I still find something to play with.

A stone. A puddle. A word I like the sound of.

Promise me you will find something to play with. Even a small thing. Even just a word.

I did not know when I was five what the world would do to you.

I did not know about the rooms that would not claim you. I did not know about the bars that kept moving. I did not know about the contracts and the waiting and the smile over the closing door.

But I want to say this:

If I had known, I would have held your hand.

I would have put my small hand in your big hand and not let go.

I would have sat with you in the parking lot mornings. I would have sat with you at two in the morning when the grief was at its largest. I would have sat with you in every room that made you feel like a visitor in your own life.

And I would have said, in my five-year-old voice that did not know yet to be quiet in certain rooms:

This is not right. You belong here. You belong everywhere. You are Amy, and Amy belongs everywhere she goes.

I want you to know that I am proud of you.

I am proud of you for staying kind when unkindness would have been so much easier.

I am proud of you for keeping your ethics even when the cost was very high.

I am proud of you for loving your students the way you love them, all the way, without holding anything back for self-protection, which is a very five-year-old way to love people, and I think it is the best way, even when it hurts.

I am proud of you for crying in the shower. I know that sounds funny, but I am proud of it because it means you let yourself feel, which is a hard thing to keep doing when the world keeps suggesting you should feel less.

I am proud of you for going to the shore.

I am proud of you for writing the poems.

I am proud of you for still being you.

I need to tell you one more thing, and then I have to go because it is almost dinner and we are having something good tonight, and I do not want to miss it.

You are my favourite person.

Not because you are perfect. I know you are not perfect. I am five, and I am not perfect yet, and I think that is okay. I think not perfect is actually more interesting than perfect would be.

You are my favourite person because you are the only one who knows what it feels like to be us, to love this hard and work this hard and care this much and keep going anyway.

Nobody else knows that. Only you.

And I think that is the most extraordinary thing I have ever heard of.

I love you, big Amy.

I loved you before you knew what you would become.

I loved you in the pure, uncomplicated, five-year-old way that does not require you to prove anything, to produce anything, to perform anything.

I loved you just because you were you.

I still do. I always will.

Now go outside. Find a smooth stone. Put it in your pocket.

Remember that something the patient made made it beautiful.

Con todo el amor que sabe dar una niña de cinco años, que es todo el amor que existe.

With all the love a five-year-old knows how to give, which is all the love there is.

Little Amy
Age 5
Keeper of smooth stones
Your very first believer


Translation Note: Spanish phrases in this letter were assisted by Google Translate (translate.google.com). The Spanish is woven in as an act of reclamation, a return to a language of the body and the self that exists beyond institutional English.

A Note to the Broader Precariat

Reading Time: 3 minutesThe precariat I document in this project is shaped by my specific location. I offer this as one situated, theorized account, with the explicit hope that it invites other accounts, from other bodies, in other contexts.

Reading Time: 3 minutes

Title: Many Bodies, Same Ground

On the limits of any one account, and the invitation that follows from those limits.


Weathered stone discs arranged in a group beneath a tree, resting on pine needles and dry earth in afternoon light.
Photo Credit: Amy Tucker, April 2026

The precariat I document in this project is shaped by my specific location: white, settler, Canadian, English-speaking, working within a particular institutional culture at a particular historical moment. I know that. I want to say it plainly here, in a post of its own, because it matters to the meaning of everything else.

Title: Fractured Ground

A dark crystalline rock fragment resting on a wooden surface, its fractured edges catching the light.
Photo Credit: Amy Tucker, April 2026

Precarious academic labour looks different across national contexts, languages, gender, race, and the institutional cultures of different countries and systems. A contract instructor in Mexico navigates different structures, different protections or their absence, different relationships between labour, identity, and institutional belonging, than a contract instructor in Canada. A sessional lecturer in the United Kingdom faces different union landscapes, different visa conditions, different histories of what the university is and who it serves. A contingent faculty member in the United States works within a different legal framework, a different geography of precarity, than someone in a Brazilian federal university or a South African college under austerity. The structural conditions are related, but they are far from identical, and collapsing them into a single story would do harm to each one.

Title: What Endures

A large weathered rock formation standing at the shore under an open sky, its surface layered and worn by time.
Photo Credit: Amy Tucker, April 2026

What is shared across these contexts is real and significant: the insecurity, the chronic self-monitoring, the way worth becomes tied to the next contract, the exhaustion of performing enthusiasm for an institution that holds you at arm’s length, the particular loneliness of caring deeply about work that the system treats as interchangeable. These are patterns that cross borders. This project names them from one body, in one country, in one language.

Your account is the one this one cannot give. I hope you write it.

What is different across these contexts is equally real and equally significant. I offer this project as one situated, documented, theorized account, grounded in the specificity of where I stood and what I carried. It is the beginning of an argument, and beginnings require continuation. The next study needs more voices, more bodies, more contexts, in other languages and other institutional landscapes, with methodologies capable of holding that breadth without flattening it.

If you are reading this and you recognize something here, I am glad the account reached you. If you are reading this and thinking: but it was different for me, my country, my language, my body, then I want you to know that difference is exactly what this project is calling for. Your account is the one this one cannot give. I hope you write it.

Title: Carried Here

A pale flat stone with golden and cream tones resting in dark sand, smooth-edged and quietly present.
Photo Credit: Amy Tucker, April 2026

Title: Still Standing

A stone cairn balanced carefully in the night outside a lit building, stones stacked in quiet equilibrium.
Photo Credit: Amy Tucker, April 2026

The stones hold each other. That is enough to begin.


Does your experience of precarity look different from this account: a different country, language, body, or institution? I’d welcome your response in the comments below.

To the Woman I Was Before I Knew

Reading Time: 5 minutes

A Love Letter Backwards in Time

I have been thinking about you.

The you that walked in the first time, folder tucked under your arm, lesson plan you had revised three times the night before because you wanted it to be right, because right mattered to you in that particular, cellular, uncompromising way it has always mattered to you,

the you that stood at the front of that room for the first time and felt the gravity of it, the privilege of it, the enormous ordinary miracle of a room full of people who had arrived willing to think differently than they had thought before.

I have been thinking about her. About you. About what I want to say now that I know what you did not know then.

You were so ready.

That is the first thing I want to tell you.

You were so ready and you did not know it. From the student’s side of the room, from the side that would later write you letters, send you emails years later that began with I have been thinking about something you said in class and I wanted you to know,

you were luminous.

I want to warn you about some things.

The bar will move.

I want you to know this from the beginning, before the first time it moves, before you exhaust yourself reaching for it and find it has shifted just beyond your hands.

The bar is not a measure of you. The bar is a mechanism. It is the system’s way of keeping you reaching, hungry, slightly off-balance, slightly too invested in the next thing to stop and ask why the last thing was not enough.

Reach for the bar because the reaching makes you better. Reach for the bar for yourself.

Do not reach for the bar for them.

Know the difference between a place that is developing you and a place that is extracting you.

The students are real.

This I want you to hold as the true north of the whole nineteen years, the thing that does not shift, the thing the system cannot touch or take or use without your permission.

When everything else feels uncertain, go back to the students.

You are going to be so tired.

I want to say this without softening it because you deserve honesty more than comfort.

You are going to be tired in a way that goes all the way down, tired in the bone, tired in the place that decides whether to keep going,

and you are going to keep going because you do not know how not to.

But I am going to tell you this:

Give so much. Give everything. And also, in the small moments, in the shore of yourself that belongs to no one else,

give something to you.

Give yourself the belief you give so freely to others. Give yourself the patience you give the struggling student.

You deserve your own generosity. You deserved it from the beginning.

You are going to find out that you did not belong there.

Not because of anything that was wrong with you. Because of everything that was right with you, and the particular cruelty of a room that needed you but was not built for you.

This is going to hurt in a way you are not prepared for.

You are going to spend years thinking the problem is you, turning yourself over looking for the missing piece.

There is no missing piece.

You were always the right shape. The room was the wrong shape.

When you finally understand this, it is going to feel like grief and also like freedom, grief and freedom arriving together the way they always do when something true finally breaks the surface.

I want to tell you about the shore.

You are going to go to a shore. Far from the institution.

You are going to sit with the sea which will ask nothing of you,

and you are going to cry the way you needed to cry for years, the real kind, the kind without an audience,

and when you are empty you are going to find underneath the empty the most important thing you have found in nineteen years.

Yourself.

Still there. Still whole. Still luminous under all the exhaustion and the performance and the careful management of being a person the institution kept evaluating.

I want to tell you about the poems.

You are going to write poems.

Not as scholarship, not as methodology, but because you are going to discover in the long quiet aftermath of all that noise,

that you are a writer.

That you always were.

I love you.

I love the woman who revised the lesson plan three times. I love the woman who could not walk past the struggling student. I love the woman who agonised at two in the morning over whether she had said exactly the right thing in exactly the right way to the person who most needed to hear it.

I love the woman who kept the actual record, who knew in her deepest self that she was good, that the work was good, that what happened in those rooms was extraordinary even when no one was calling it that.

I love the woman who is standing now on the other side of knowing, worn smooth by it, clarified by it, more herself for it than she has ever been,

still kind, still ethical, still in love with the work and the students and the lantern she carries into every room,

and finally, finally, in love with herself.

You made it through.

I wanted you to know from the beginning that you make it through.

Para la mujer que era antes de saber. Te vi siempre. Eras suficiente desde el principio. Con todo mi amor, desde el otro lado.

For the woman I was before I knew. I always saw you. You were enough from the beginning. With all my love, from the other side.

A smooth weathered piece of wood half-buried in white snow, its grain worn clean and visible, alone in a white field.

Still Here, Worn to Its Truest Shape
Photo Credit: Amy Tucker, 2026

Artist Statement: I photographed this piece of wood because of what had happened to it. Water, time, winter, something had stripped away everything that wasn’t essential, and what was left was the grain, the core, the particular shape that was always there. I thought: that is the woman who is still walking into those rooms. Not diminished. Clarified. This photograph belongs with this letter because both of them are addressed to the woman before the smoothing began, and both of them tell her: what comes through it is worth it.


Translation Note: Spanish phrases in this poem were assisted by Google Translate (translate.google.com). The Spanish is woven in as an act of reclamation, a return to a language of the body and the self that exists beyond institutional English.

They Used My Labour and Called It Privilege

Reading Time: 4 minutes

The Structural Poem

Let me tell you how it works.

Not the version in the handbook. Not the version in the mission statement with its careful language about community and excellence and the transformative power of education.

The actual version. The one that runs underneath like a current you cannot see from the surface but that pulls at your legs if you stand in it long enough.

Here is how it works.

They find someone brilliant. Someone who loves the work with the particular love that makes a person do more than is required, give more than is contracted, stay later than anyone is watching,

and they hire her temporarily.

Not because the work is temporary. The work is permanent. The courses run every semester. The students keep arriving. The curriculum does not pause to acknowledge that the person delivering it is not sure if she will be delivering it next year.

They hire her temporarily because temporary is cheaper. Because temporary does not require the benefits, the security, the institutional commitment that permanent requires.

Because temporary keeps her grateful.

And a grateful worker is a compliant one.

This is not a conspiracy.

I want to say that clearly because the moment you name the structure someone will say you sound paranoid, you sound bitter, no one sat in a room and decided to do this to you.

They are right. No one sat in a room.

That is precisely the point. That is what makes it structural rather than personal. The harm does not require intention. The harm requires only a system that has decided certain kinds of labour are infinitely extractable from certain kinds of people who can be kept just insecure enough to keep extracting from.

The system does not hate her. The system does not see her.

That is not comfort. That is the definition of the problem.

She was called lucky.

She was told she was lucky to have the work, lucky to teach the courses she loved, lucky to be in the room, lucky that the institution kept finding a way to bring her back.

Lucky.

As though her nineteen years of expertise were a gift the institution was generously receiving rather than a resource it was systematically mining.

She felt the gratitude. She performed it beautifully. She understood, without anyone telling her, that the gratitude was part of the contract, the unwritten part, the part that kept the system functioning smoothly, that kept her from asking the questions the system could not comfortably answer.

Questions like: If I am not qualified enough to hire permanently, why am I qualified enough to carry the curriculum?

Questions like: At what point does temporary become a word that means we will take everything you have and give you nothing you can build a life on?

She did not ask these questions out loud.

She asked them in the parking lot. She asked them at two in the morning. She asked them in the shower where the sound covered the asking.

They called it flexibility.

Her flexibility meant: no pension contributions she could count on. No sick leave that did not cost her the income she could not afford to lose. No ability to take a mortgage on a contract that expired in April.

The institution called this flexibility.

She called it something else.

She called it the transfer of institutional risk onto the bodies of the people least able to carry it.

And here is the part that makes the grief complicated:

She loved it.

She genuinely, helplessly, permanently loved the work.

Her love was the subsidy.

Her love and the love of every brilliant, committed, devoted person working on a contract in every institution that has learned that passion is a resource you do not have to compensate fairly because it will show up anyway.

I am not bitter.

I want to say that and I want it to be true and mostly it is.

I am clear.

There is a difference between bitterness and clarity.

Bitterness is personal. Clarity is structural. Clarity names the system. Clarity holds the institution accountable without requiring a villain.

I want the structure changed.

I want a world where the next woman, as brilliant and devoted and careful as she has been, does not spend nineteen years as temporary.

She is still in the system.

But she is in it differently now.

She is in it with her eyes open. She is in it with the clear naming of what is happening and why and whose interests it serves.

She is in it with this poem, which is not bitterness but testimony.

Not grievance but record.

They used my labour and called it privilege.

They used my love and called it flexibility.

They used my devotion and called it inspiring.

They used my silence and called it professionalism.

I am no longer silent.

Not because I am angry, though I have earned the anger.

Because silence was the last thing they needed from me that I was still giving freely.

And I am done giving freely to a system that calculated the price of everything I offered and decided it did not have to pay it.

Aquí estoy. Con los ojos abiertos. Ya no en silencio.

Here I am. With open eyes. No longer silent.


Translation Note: Spanish phrases in this poem were assisted by Google Translate (translate.google.com). The Spanish is woven in as an act of reclamation, a return to a language of the body and the self that exists beyond institutional English.

The Contract

Reading Time: 4 minutes

They gave me a contract the way you give someone an umbrella after the rain has already started,

a document, a date, a number of months carefully chosen to end just before anything could be called permanent.

I signed it.

Of course, I signed it. I signed it the first time with something close to joy, the particular joy of a person who has worked very hard and been seen working very hard and is finally, finally being let in.

I did not read the expiry date as a warning. I read it as a beginning.

That is the thing about the first contract. It feels like a door opening. It takes years to understand that it was never a door. It was a revolving one, and you were always going to end up back outside.

The second contract came and I signed it with slightly less joy and slightly more relief, which is a different thing, relief being what joy becomes when it has learned to be grateful just to still be here.

I was still here. That felt like something. I made it mean something.

Here is what no one tells you about living in one-year increments.

You cannot plan a garden.

That sounds small. It is not small.

A garden requires the belief that you will be there for the harvest, that the thing you put in the ground today will be yours to tend through all its seasons, that the roots go down into soil that belongs to you long enough to matter.

I could not plan a garden.

I could not plan the way people plan when they know they are staying.

I planned the way people plan when they are guests. Carefully. Lightly. Always aware of where the door was.

Every spring it came.

The email, or the meeting, or sometimes just the silence that lasted a beat too long before someone said we are planning to have you back.

Planning to.

Two words doing the quiet work of keeping a person just uncertain enough to be manageable.

Do you know what it does to a body, the annual uncertainty?

It does not break you all at once. That would almost be easier. A clean break, a clear moment, a before and after you could point to.

It is slower than that.

It is the way the shoulders never quite come down. The way sleep becomes a negotiation in the months before renewal. The way you cannot fully celebrate the good semester because somewhere in the back of every good thing is the question of whether there will be a next one.

And the cruelest part, the part that I am still sitting with,

is that they needed me.

Not abstractly. Not in the way institutions need warm bodies to fill rooms.

They needed me specifically. My expertise. My courses. My relationships with the students. My willingness to sit on the committees, cover the gaps, do the invisible work that kept things running while they searched, endlessly searched, for the person they actually wanted in the position I was already doing.

They used my labour to hold the place for someone else’s permanence.

I was the placeholder. For nineteen years, I was the placeholder.

And they were kind about it. That is the part that makes it complicated. They were genuinely kind. They appreciated me. They said so. They meant it.

Appreciation and belonging are not the same thing. I know that now.

I am tearing up the contract now.

Not in anger. In grief. In the quiet grief of a woman who finally understands what she was signing all those years,

and who is ready, for the first time, to sign something different.

Something that says I belong to my own future.

Something that says my labour is not available for indefinite borrowing.

Something that says I am not a placeholder. I am not pending. I am not provisional.

Something that has no expiry date because it is written in the only ink that does not fade:

the knowledge of her own worth, which was never, not for a single year of all those years, in question.

Aquí estoy. Ya no esperando renovación. Soy permanente en mí misma.

Here I am. No longer waiting for renewal. I am permanent within myself.

A snake plant with its stems intricately braided together, growing in a black pot on a greenhouse shelf, constrained into an elaborate pattern while still alive.

Woven into Something Not of Your Own Choosing
Photo Credit: Amy Tucker, 2026

Artist Statement: I found this plant in a greenhouse, a living thing that had been trained, woven, braided into a shape someone else chose for it. Still growing. Still green. Still entirely itself beneath the pattern that had been imposed upon it. I photographed it because the contract works the same way: take something living and weave it into increments, into one-year shapes, into a form that serves the institution’s aesthetics while the root keeps reaching down regardless. The braid is not the plant. The contract is not the person. Both are still alive underneath.


Translation Note: Spanish phrases in this poem were assisted by Google Translate (translate.google.com). The Spanish is woven in as an act of reclamation, a return to a language of the body and the self that exists beyond institutional English.

Still: A Door at King’s College and the Geography of Academic Precarity

Reading Time: 6 minutes

I stood in the corridor of the Foundation Year Program at the University of King’s College in Halifax and read a door. Two posters were taped to its panels, framing the nameplate of Dr. Maria Euchner, Senior Fellow in the Humanities and Associate Director, FYP (Academic). The poster on the left said, in heavy black type: First-Year Fellows Don’t Make a Living Wage. The poster on the right said: Overworked. Underpaid. Disposable. Above the word “Overworked,” a hand had written “STILL” in blue marker, underlined twice.

I have spent years thinking about precarity in higher education. I have written about it as my doctoral committee at Royal Roads University helped me sharpen my argument. I have lived it as a contract academic at Thompson Rivers University for nearly two decades. I thought I understood the architecture. Standing in front of that door, I felt the weight of the word Still. That single adverb, written by hand, did more theoretical work than most of the literature I have cited.

Title: Still, Dr. Euchner’s Door, Foundation Year Program, University of King’s College, Halifax

A door at King's College with two union posters reading First-Year Fellows Don't Make a Living Wage and STILL Overworked. Underpaid. Disposable.
Photo Credit: Amy Tucker, 2026

What the Door Said

The posters were produced by the University of King’s College Teaching Association (UKCTA), the union representing Faculty Fellows and Senior Fellows in the Foundation Year Program. Faculty Fellows are appointed to three-year non-renewable contracts. Senior Fellows are appointed to two-year non-renewable contracts. According to a position posting for the role, the starting salary for a Faculty Fellow in the Humanities was $52,343 to $56,627 as of July 1, 2022, with future scales tied to bargaining (University of King’s College, 2026). The duties listed include four to eight hours of tutorials per week, eight hours of lecture attendance, weekly office hours, bi-weekly essay grading, and an average reading load of sixty pages per day, four days per week.

Set this beside the most recent calculation from the Canadian Centre for Policy Alternatives (CCPA) Nova Scotia office. Saulnier and Williams (2024) calculated the 2024 living wage for Halifax at $28.30 per hour, the highest rate in Atlantic Canada. The CCPA methodology assumes a household with two adults, each working thirty-five hours per week to support two children, which translates into roughly $51,506 in annual earnings per adult before taxes. The arithmetic is uncomfortable. A first-year Faculty Fellow at the 2022 salary floor of $52,343, working a load that almost certainly exceeds thirty-five hours per week once preparation, marking, reading, and committee work are honestly counted, is hovering at the line. The poster is correct. When the actual hours are accounted for, the line is behind them.

A tentative agreement was reached and ratified in early April 2026, after conciliation talks broke down and a strike appeared imminent (Chiasson, 2026; Taylor, 2026). The strike was averted. The structural questions on that door remain.

The Word That Did the Work

The word “Still” was what stopped me. The literature on contingent and contract academic labour returns again and again to the same pattern: a campaign, a report, a brief moment of public attention, and then quiet. The poster on the right side of Dr. Euchner’s door was familiar; this poster had been up before. The handwritten Still in blue marker suggested that the same poster, or one very much like it, had been put up before. The fight had been waged. The conditions had shifted too little for the poster to come down.

Time itself becomes a feature of precarity. In my dissertation at Royal Roads, Through Our Eyes: A Photovoice Study of Interconnected Precarity, Belonging, and Possibility in Higher Education, I argue that contract faculty and international students are bound together by parallel vulnerabilities. I call this interconnected precarity. The institutional logic that recruits international students for tuition revenue and discards them at graduation is the same logic that hires Faculty Fellows for teaching capacity and discards them at the end of the contract. The pattern is rhythmic. The bodies rotate through. The titles remain. The students change, the Fellows change, and yet the work and the conditions of the work persist. Still.

The Titles and the Trap

I have been developing a concept in a separate manuscript, recently advanced to conditional acceptance at Group and Organization Management, that I call malperformative inclusion. It names a particular institutional move: an organization performs the gestures of inclusion through titles, ceremonies, publicity, and acknowledgement programs, while the underlying structures continue to exclude. The performance is inclusion in form only. It is inclusion that performs the function of exclusion under another name (Tucker, in press).

The phrase Faculty Fellow is a prestigious one. It carries the resonance of Oxford and Cambridge collegiate traditions, of community, of belonging. It signals scholarly seriousness. It tells parents, applicants, and donors that the people teaching the foundational program are valued members of an intellectual community. The reality, laid out in plain language on paper taped to a door, is that the Fellowship is a non-renewable contract, that the salary in the first year falls at or below the regional living wage, and that the position will end on a fixed date with no path to continuation. The title performs inclusion. The contract performs disposability. This is what I mean by malperformative inclusion. The door named it more economically than my chapter does.

A Door Is a Photograph Is a Method

I look at this door, and I see a photovoice frame. Photovoice is a participatory research methodology developed by Wang and Burris (1997) in which participants use photographs to document conditions of life that conventional reporting cannot reach. The image becomes a means of testimony. It carries information that paragraphs cannot, because the image asserts: this is here, this is now, this is real.

The Faculty Fellows had no need of a researcher to come and document their conditions. They produced their own photovoice frame. They printed the words. They taped them to a door at the height of an adult reader. They wrote Still by hand. The hand-lettered word is the methodological signature. It says: a person did this. A person stood in this hallway and amended the original poster because, despite its accuracy, it was no longer accurate enough. Conditions remained unchanged. The poster required updating. Still.

The Faculty Fellows at King’s are doing the same work with paper and tape. The door is the camera. The corridor is the gallery. The asterisk citing Living Wage Canada is the methodological footnote. I find this beautiful and devastating in equal measure.

What I Take With Me

I take three things from this door into my own work and into my dissertation defence in the coming weeks.

The first is that precarity is rarely solved by a single agreement. The strike was averted at King’s College. I am genuinely glad. I also know, from my work with the Federation of Post-Secondary Educators of British Columbia (FPSE) and from my role as Chair of the Non-Regular Faculty Committee, that aversion is a pause, and resolution requires more. Three-year and two-year non-renewable contracts will continue to shape the working lives of the people who teach the foundational humanities program at one of Canada’s oldest universities. The poster will need to be taken down by the institution; the workers alone cannot remove it.

The second is that scholarly personal narrative is appropriate and, at times, necessary for this kind of moment. I write in this voice because the door is in the first person. The hand that wrote Still is a worker’s hand, personal and deliberate, distinct from any institution’s. Theory should answer in kind.

The third is that the Foundation Year Program’s foundation rests on the labour of people paid at or below the living wage of the city in which they live. The undergraduate students who arrive for their first year of university, often on student loans and family sacrifice, are taught by scholars whose own household economies are governed by precarity. Interconnected precarity is concrete, immediate, and present. It is the floor and the ceiling of the same building.

I left the corridor. I carried a photograph of a door. I carry it still.

References

Chiasson, N. (2026, April 8). Strike looming for some staff at Kings College in Halifax. Country 103.5 / Acadia Broadcasting. https://hotcountry1035.ca/2026/04/08/strike-set-for-some-staff-at-kings-college-in-halifax/

Saulnier, C., & Williams, R. (2024). 2024 living wages for Newfoundland and Labrador, Nova Scotia and Prince Edward Island. Canadian Centre for Policy Alternatives, Nova Scotia. https://www.policyalternatives.ca

Taylor, E. (2026, April 9). Strike avoided at University of King’s College after deal reached. Country 103.5 / Acadia Broadcasting. https://hotcountry1035.ca/2026/04/09/strike-avoided-at-university-of-kings-college-after-deal-reached/

Tucker, A. (in press). Malperformative inclusion as institutional practice [Commentary]. Group and Organization Management.

Tucker, A. (in progress). Through our eyes: A photovoice study of interconnected precarity, belonging, and possibility in higher education [Doctoral dissertation, Royal Roads University].

University of King’s College. (2026). Faculty fellowship in the humanities [Position posting]. https://ukings.ca/campus-community/employment/faculty-fellowship/

University of King’s College Teaching Association. (2026, April 9). Statement on tentative agreement. UKCTA.

Wang, C., & Burris, M. A. (1997). Photovoice: Concept, methodology, and use for participatory needs assessment. Health Education and Behaviour, 24(3), 369-387. https://doi.org/10.1177/109019819702400309

What I Have Been Learning About Myself

Reading Time: 8 minutes

There are seasons in a life when the questions we are asking quietly change without our noticing. For most of my adult years, I had been asking what I should do next. What to study, what to publish, what to train for, who to become. These were useful questions, and they shaped a productive life. What I am only now beginning to see is that they all rested on an assumption I had never examined. The assumption was that I already knew who I was, and that the work was simply to decide where to take her.

That assumption has quietly fallen apart this year, and the falling apart has turned out to be a kind of gift.

Title: The Ground Beneath

The Ground Beneath
Photo Credit @Amy Tucker April 2026

I am sixty years old. I have spent most of my life in the academy, teaching, researching, writing, and contributing across a career largely defined by what I produced. I have been a triathlete for years, and I will represent Canada at the World Championships in September in Aquabike and Sprint events. I have finished my dissertation. I have kept a wellness column for the Kamloops Chronicle. I have loved a man for seven years. I have built a home, a body, and a body of work. I have, by most measures, been doing well.

And yet, quietly and persistently, something in me has been asking for more honesty. No more accomplishments. More honesty. More attention to who is actually living this life from the inside.

Title: Small Acts of Finding

Small Acts of Finding
Photo Credit @Amy Tucker April 2026

I am, at my core, an introvert, and I am only recently beginning to give that fact the weight it deserves. I draw my energy from solitude, from quiet rooms, from unhurried time with my own thoughts. I prefer to be alone, and for most of my life, I felt a quiet shame about that preference, as if it were a failure of sociability rather than a feature of how I am made. What I am finally letting myself say out loud is that I feel most at peace when I am alone, because I am free from judgment, free from navigating someone else’s expectations, free from worrying that I have said the wrong thing, misread the room, taken up too much space, or taken up too little. I feel at ease with myself. I cause no accidental harm to anyone. I am simply here, in my own company, without the low constant hum of relational vigilance that has followed me through so many rooms in my life.

Title: Watching from the Inside

Watching from the Inside
Photo Credit @Amy Tucker April 2026

For much of my career, my work taught me to be extroverted. Teaching demanded it. Meetings demanded it. Conferences and committees and advising and leading all demanded it. I learned to do it, and for a long time, I believed I had genuinely become it. What I am realizing now is that extroversion was a performance I could sustain because I am attuned, capable, and quick in a room, but it was never the truth of my energy. It was a skill I had built at high cost. Every extroverted day drained me in ways my extroverted colleagues seemed to recover from easily. I went home depleted. I ate to fill the hollow. I slept poorly. I found it impossible to understand why other people found the same rooms energizing when I found them exhausting. I thought there was something wrong with me. What was actually wrong was that I was living inside a professional identity that asked the opposite of what my temperament needed, day after day, for decades, and I had no framework for naming the cost.

Title: The Performance of Looking Up

The Performance of Looking Up
Photo Credit @Amy Tucker April 2026

I am naming it now. The solitude I crave is purposeful. It is a love of people, from the right distance. It is a form of connection chosen freely. It is the way my temperament refuels itself, and it is also the space in which I am finally able to be with myself without the exhausting weight of being watched, evaluated, or needed. I have come to believe that my preference for being alone deserves to be honoured rather than apologized for, and that the extroversion I performed for so many years was one of the quieter costs of a working life that was never quite designed for someone built like me.

Title: Rooms I Have Learned to Leave

Rooms I Have Learned to Leave
Photo Credit @Amy Tucker April 2026

The deeper looking began, as it often does, with a list. I sat down and wrote out the limiting beliefs I could feel operating underneath my days. There were nine of them by the time I finished. I named them carefully, and I tried to be honest about the ones I was most tempted to skip. The one that had the deepest roots was the belief that my worth was tied to what I produced. Around that belief, I could see that an identity had formed over many years. I had become the one who holds it all together. The woman who could be counted on, who showed up, who carried, who managed, who kept going. That identity had worked well for me. It had also cost me things I am only beginning to add up.

Title: What Has Grown in the Waiting

What Has Grown in the Waiting
Photo Credit @Amy Tucker April 2026

I decided to sit with that belief and identity honestly and trace them through the different domains of my life.

In my relationships, I have found that I most often show care through doing, giving, and supporting others in tangible ways. The care itself is genuine. It is an expression of something real in me. What I noticed when I looked closely was that this way of expressing care has quietly become a form of currency. Being valued and being useful have become almost the same thing in my interior world. I feel more comfortable offering than receiving. I find it easier to be the person who shows up with a meal, a piece of advice, a note of encouragement, than to be the person who lets someone else show up for me. The cost has been that my relationships have often been anchored in contribution rather than in mutual presence. The polished version of me has gone outward. The unfinished version has stayed private, sometimes even from myself. I am beginning to ask what it would feel like to be valued simply for being present, without producing anything at all. The answer is still ahead of me. The question itself is still new.

Title: What We Carry Forward

What We Carry Forward
Photo Credit @Amy Tucker April 2026

In my work, I found that the belief has been both an engine and a weight. It has driven me to achieve and to contribute, and the life that has resulted is one I am genuinely proud of. It has also made rest into something I could only access if I had earned it first. Even moments of stillness have come with conditions. Rest had to be justified by what came before it or what would come after it. The possibility of simply resting, because a human body and mind need rest, has been almost entirely unavailable to me. The belief, I now see, is closely tied to decades of moving through environments that made my place feel conditional. Those environments were real, and the belief was accurate in them. What I am learning is that the environments have changed, and that the belief has quietly persisted past the conditions that produced it. It is doing work that is no longer required.

In my outlook on the world, the belief has shaped how I walk into rooms. Rooms have sometimes felt like assessments. Opportunities have felt like tests. New relationships have felt like introductions I needed to pass. I also hold, in the same heart, a real belief in possibility and in care and in the ordinary goodness of people. Both perspectives live in me at once. What I have begun to notice is that when the limiting belief is loud, I walk past the rooms where I am already welcome. My attention is given entirely to the rooms that are asking me to prove something, and the rooms of welcome stand quietly beside me, unrecognized. I am learning to notice them. I am learning to stay in them longer before reaching for the next thing.

What I am coming to understand is that my beliefs were the interpretations I absorbed along the way about what life required of me. Some of them were accurate. Some of them were distortions. The belief that my worth was tied to what I produced was a distortion. It took something real about who I am, which is a person who genuinely cares about contribution, and it quietly twisted that care into a demand. The care itself is beautiful. The demand attached to it is where the suffering has lived.

Alongside this work, I have been naming my values with a precision I have never given them before. I value care and compassion. I value justice and fairness. I value integrity. I value meaningful contributions. I value growth and self-understanding. I value relationality. I value authenticity. I value resilience and perseverance. I value creativity and expression. These go beyond a list I recite. They are the grain of the wood. They describe a woman oriented toward meaning, depth, and human flourishing. They also ask a great deal of me, and I have been holding them for a long time without quite allowing myself to rest inside them.

Title: The Grain of the Wood

The Grain of the Wood
Photo Credit @Amy Tucker April 2026

What I want to say, as a closing thought, is that I am writing this as someone still on the way. I am writing it from inside the work. The woman I am becoming is still arranging herself, and she has some distance to travel. She will still be recognizably me. She will still be an introvert who finds her home in solitude. She will still carry the same values she has always carried. But she will move through the world more lightly, with less self-punishment, and with more room to simply exist as the particular person she was made to be. That is the work I am doing this year. That is what all of this has finally been for.

If you are reading this and you are in the middle of your own becoming, I want you to know that your unfinished work is welcome here. You are welcome to speak before you arrive. Figuring it out can come later. You are allowed to be where you are, and to say so out loud, and to trust that the saying itself is part of how you get to wherever you are going.

That is the work. That is all it has ever been.

Finding Myself: A Reflection

Reading Time: 11 minutes

There comes a point in a long life of reflection when the question quietly changes. For most of my adult years, I had been asking what I should do next. What should I study. What should I publish. What should I train for? What should I become? These were useful questions, and they shaped a productive life. But they were all questions about direction, and they rested on an assumption I had never quite examined. The assumption was that I already knew who I was, and that the work was simply to figure out where I was taking her. In recent months, that assumption has quietly fallen apart. I have come to realize that I am still in the process of knowing who I am, and that much of what I thought was my identity was actually a set of adaptations I had made to the environments I moved through over a long career. The question shifted, almost without my noticing, from what I should do next to who was asking. That question is harder. It is also, I think, the question that matters most in the second half of a life.

Title: A Moment of Reflection

Warm sunset sky over park trees with mountains in the distance
Photo Credit: Amy Tucker, April 2026

The look began with the frameworks. I had read about personality for years without quite using the material on myself, and I finally decided to sit with it honestly. I took the inventories. I read the profiles slowly. I let the descriptions have their chance to reflect something back. The Myers-Briggs Type Indicator (Briggs Myers & Myers, 1980) profile that emerged was INFJ, which describes a person oriented toward depth, meaning, attunement, and the interior life. The True Colours system (Lowry, 1978) placed me as Orange and Blue with Green close behind, and with Gold noticeably absent from my top colours. Reading these descriptions was a curious experience. Some of what they said landed with an almost physical recognition. Some of it made me pause. Some of it I wanted to push back against. I want to write about that honestly, because I think the habit of accepting every flattering description as the truth about ourselves is one of the subtle ways we keep ourselves hidden.

Title: New Growth

Green shoots emerging from soil
Photo Credit: Amy Tucker, April 2026

There was more agreement than I expected. The description of the INFJ as someone with a rich inner world that she rarely shares at its full depth, and whose composed external presentation often fails to match the complexity of her interior, was accurate enough that I sat down while reading it. That description named the girl I was at nine years old, already learning to arrange her face before entering a room, and it named the woman I have been for most of the years since. The description of a temperamental drive toward meaning-making was equally accurate. The dissertation, the wellness column, the blog, the book I am shaping, and much of the work I have done across a long career are all evidence of this pattern. I have been turning what I have lived through into contributions for as long as I have been alive. The True Colours reading of Orange and Blue and Green as roughly equal in me was also true, and the agreement there was harder to bear, because it named a tension I have lived with without having the language to describe it. My Orange wants to be in my body, training, running, and moving. My Blue wants to be with people, writing to them, caring for them. My Green wants to sit quietly with books and ideas. Each is legitimately me. Each asks for real time and energy. The tension between them has been part of my daily experience for as long as I can remember.

And yet, even as I was nodding, I was also pushing back. The frameworks describe a tendency toward perfectionism and a disproportionate sense of shame for small lapses, and they often frame these as essential features of the type. I disagree. I believe these are injuries rather than essential features. They are what happens when a sensitive, ethically attuned person absorbs standards of performance that were never meant to be internalized, and when she spends decades in environments that reward the internalization. The ethical rigour itself may be temperamental. The punishing internal critic attached to it is, I have come to believe, a learned response to environments that conflated high standards and self-punishment. That distinction matters more than almost any other insight I have arrived at this year, because one of those patterns is something I will live with to the end of my days, and the other is something I can set down. A framework that collapses the two into a single feature of the type deprives me of the distinction. I would rather hold the framework lightly, honour what it reflects accurately, and reserve the right to disagree when it tries to turn my adaptations into my essence.

What the frameworks were unable to reach, I am finding, is the layer underneath them. Temperament explains the shape of how I move through the world. Values explain what I am oriented toward. Neither of them describes the specific beliefs I have been operating from, the quiet instructions that have been running underneath my days for so long that I had stopped noticing them. Those beliefs are what actually organize a life. A framework can point in their general direction, but only the slow, unglamorous work of looking at my own days can bring them into focus. This is the work I have been doing recently, in a lesson on limiting beliefs, and it has been the most clarifying thing I have done in a long time.

Title: Deep Roots

Rhubarb plant with broad leaves growing in a garden bed
Photo Credit: Amy Tucker, April 2026

When I made my list of beliefs and looked at them honestly, one rose quietly above the others as the belief with the deepest roots. It was the belief that my worth was tied to what I produced. Of all the beliefs I named, this one ran beneath almost everything else. It shaped what I thought about rest. It shaped how I approached relationships. It shaped my relationship with my work. It shaped how I perceived value itself. I have no memory of a version of myself unfamiliar with this belief. It felt, in a way, like bedrock. Around it had grown an identity, which I could see clearly once I looked. I had become, over many years, the one who holds it all together. That identity was the public-facing expression of the deeper belief. If my worth was tied to what I produced, then the identity that made the belief workable was the identity of a woman who could be counted on to produce, to lead, to carry, to manage, to hold the centre of things when others were unable to. The belief was the instruction. The identity was the role that followed.

The exercise I was asked to do was to examine this belief and identity across three domains of my life, to see how they had shaped the texture of my days. I sat with the first domain, my relationships with others, and asked myself how the belief and identity were showing up there. What I noticed was that I most often show care through doing, through giving, through supporting others in tangible ways. The care itself is real. It is an expression of something genuine in me. What the belief has done, quietly, is turn that care into a form of currency. I feel more comfortable offering than receiving. I find it far easier to be the person who shows up with a meal, a piece of advice, a note of encouragement, than to be the person who lets someone else show up for me. I noticed that I overextend myself, particularly when I sense that someone else is struggling, and that I take on more than is mine to hold. I read the room quickly, identify what is needed, and step into the role of the one who provides it. This has been rewarded often enough in my life that I have come to rely on it. What the belief costs me, in a relationship, is the depth of connection that becomes possible only when I am willing to be received rather than only to provide. Equating being valued with being useful leaves very little room for the simple experience of being loved when I am producing nothing. The question that arose from sitting with this domain was what it might feel like to be valued simply for being present, rather than for what I provide. The answer remains ahead of me. The question itself is new.

The second domain was my work. Sitting with the belief and the identity here was more complicated, because my work has been both a source of profound meaning and a place where this belief has done much of its quiet damage. The belief has driven me to achieve, produce, lead, and contribute meaningfully across teaching, research, and service. The life that has resulted is one I am genuinely proud of. I want to honour those accomplishments fully by pretending the belief was only harmful. It was also, in its way, generative. What the belief has cost me, though, is the possibility of simply resting. Rest, under this belief, has always come with conditions. It had to be earned through prior productivity. It had to be justified by future productivity. It had to be framed as recovery, never as its own good. The possibility of simply resting, because a human body and mind need rest, without any reference to output at all, has been genuinely unavailable to me for most of my working life. The belief is closely tied, I realize, to experiences of precarity and to the need to demonstrate credibility within institutional systems that treated people, and me, inequitably. I have spent much of my career in environments where my place was precarious, and where visible effort was the price of remaining. The belief was accurate, far from paranoid. It was a memory. It was an accurate reading of the environments I was actually living in. What I am beginning to understand now is that those environments have changed, and that the belief has quietly persisted past the conditions that produced it. I am beginning to consider how my work might feel if it were grounded in purpose rather than proof. That is a different relationship with my work than I have ever had. I am still making my way toward it. The imagining of it is itself a change.

Title: The Work of Wisdom

Owl carved into a wooden box
Photo Credit: Amy Tucker, April 2026

The third domain was my outlook on the world more broadly. Here I noticed, with some discomfort, that I can sometimes see environments as places where value must be demonstrated, where recognition is tied to performance, and where effort is required to secure belonging. Rooms can feel like assessments. Opportunities can feel like tests. New relationships can feel like introductions I need to pass. This is only part of my outlook. I also hold a parallel belief in possibility, in care, and in transformation. The two perspectives coexist, and I move between them depending on the day and the room. What the limiting belief does, when it is running strongly, is narrow my view. It makes the world feel more demanding and evaluative than it may actually be. It obscures the rooms where I am already welcome, the people asking nothing of me by way of proof, the ordinary moments in which my presence alone is enough. When the belief is loud, I walk past those rooms without noticing them, because my attention is given entirely to the rooms that are asking me to perform. I am exploring the possibility that the world can also be a place where I am already enough, without continually having to demonstrate it. That exploration is slow, and it is something more demanding than positive thinking. It is the gradual reorientation of perception, room by room, over a long period of time.

Title: Environments That Demand

Pay parking sign on a pole with a mountain town view below
Photo Credit: Amy Tucker, April 2026

Sitting with this belief and this identity across these three domains taught me something that the personality frameworks, useful as they are, were unable to reach on their own. The frameworks describe my temperament. They suggest my natural orientation. They hint at where my strengths and my difficulties may lie. But they leave unaddressed what specific beliefs I have absorbed, or how those beliefs are shaping the particulars of my daily life. That work is mine alone. It requires a different kind of looking. It also requires a different kind of patience, because the beliefs have been in place for so long that they no longer feel like beliefs. They feel like facts about the world. The work is to see them again as beliefs, which is to say, as interpretations I absorbed along the way and can, with time, revise.

What I am discovering is that the relationship between temperament, values, and beliefs is more complex than I had assumed, and that each layer requires a different kind of attention. My temperament gave me certain capacities, including my attunement, my depth, and my meaning-making. My values gave those capacities a direction, orienting me toward care, integrity, meaningful contribution, authenticity, and the other commitments I hold. My beliefs, on the other hand, were the interpretations I absorbed along the way about what my temperament and my values required of me. Some of those beliefs were accurate. Some of them were distortions. The belief that my worth was tied to what I produced was a distortion. It took something real about my temperament and my values: I am a person who genuinely cares about contribution, and it quietly twisted that care into a demand. The care itself is beautiful. The demand that has lived alongside it is where the suffering has been.

What I am discovering, slowly, is that I am neither fully the woman the frameworks describe nor the woman I have been performing for most of my life. I am somewhere between the two, and I am still arranging myself. I am an INFJ, insofar as that means anything useful. I am Orange and Blue and Green, with Gold mostly absent. I am a woman with nine clear values. I am also someone carrying specific limiting beliefs that I am now, for the first time, examining openly and naming out loud. The woman underneath all of these descriptions is someone I am only beginning to meet. She is ordinary and recognizable. She is recognizable. She is the kind of person who has always existed in human history, and who has always struggled with the same patterns I struggle with, and who has always found her way through the same honest work I am now doing. What makes her mine is simply that she is the particular version of this pattern that has shown up in my life, and that she is the one I am now responsible for tending.

There is an emerging belief underneath the older one, quieter, still learning to speak. I am worthy of connection, rest, and belonging without needing to prove it. I am practising this sentence, alongside the belief I have carried, as a companion to it rather than a replacement. Both are present. One is old and tired. One is new and tentative. I am letting them both exist, and I am trusting that over time, the newer voice will grow stronger, simply by being allowed to speak.

Title: Simple and Whole

Wooden bowls on a granite countertop
Photo Credit: Amy Tucker, April 2026

What I would say to anyone who is in a similar season is something quiet. Take the frameworks seriously enough to let them reflect something back, and lightly enough to keep the right to disagree with them. Take your values seriously enough to name them honestly, perhaps in writing, where you can see them all at once. And take your beliefs seriously enough to examine them in the specific domains of your daily life, where they actually do their work. The frameworks will give you vocabulary. The values will give you direction. The belief that work will give you traction. All three are needed. None of them is sufficient on its own. The woman you are becoming will still be recognizably you. She will carry the same temperament she was born with. She will honour the same values she has claimed. But she will move through the world more lightly, with less self-punishment, and with more room to simply exist as the particular person she was made to be. That is the work. That is what all of this is finally for.

References

Briggs Myers, I., & Myers, P. B. (1980). Gifts differing: Understanding personality type. Davies-Black Publishing.

Lowry, D. (1978). True Colours. True Colours International.

Public Healing

Reading Time: 9 minutes

Why I Am Writing This

I have been thinking lately about what it means to heal in public. Rather than performing healing, which is something else entirely, but to simply allow the work of becoming to be visible while it is happening. For most of my life, I believed that healing was a private matter. Something you did quietly, in the space between appointments, in the early mornings before anyone was watching. You arrived at the outcome first, and then, if you chose to, you spoke about what you had survived. You spoke from the other side of it. You kept the unfinished parts hidden.

I have begun to question that assumption. And the reason I am writing this, honestly, is that I have begun to suspect the old belief was costing me something. It was keeping me silent in seasons when speaking might have helped me. It was asking me to wait until I had figured things out before I was allowed to say anything, and I am no longer convinced that figuring things out ever fully happens. I am writing this because I want to examine, out loud, what it means to live and write and create from inside the work rather than after it.

Title: Sweet Indulgence
Photo Credit: Amy Tucker, April 2026

Why Public Healing Is Different

What I am learning, slowly and with considerable discomfort, is that healing in public is a different kind of work than healing in private. It asks more of you and asks for something different. In private, healing can happen in whatever order your body and mind require. You can be messy. You can circle back. You can unravel a belief on a Tuesday and rebuild it on a Thursday and change your mind again by the weekend. No one is watching, so no one has expectations. The work belongs entirely to you.

Public healing is something else entirely. When you write about what you are learning while you are still learning it, you hand the reader something unfinished. You say, in effect, I am still inside it, finding out. I am inside it with you. The ground shifts under my feet as well. That is a vulnerable offer to make, and for a long time, I thought it was also an irresponsible one. I thought people needed the finished version. The lessons learned, the wisdom arrived at, the neat closing paragraph that tied everything together and assured the reader that the writer had figured it out.

Title: The River Remembers
Photo Credit: Amy Tucker, April 2026

Why the Unfinished Version Is the One That Helps

But the truth is that I have never been helped by that kind of writing. Rarely, if ever. The writing that has actually reached me in my life, the writing that has sat down beside me in hard seasons and said, “You are with company,” has almost always been writing from inside the process rather than from after it. It was unpolished. It made no claim to know more than it did. It simply told the truth, as honestly as the writer could, from wherever they actually were at the time.

That is the kind of writing I am trying to do now. I write a wellness column for the Kamloops Chronicle. I keep a blog. I share book reviews, reflections, and pieces of my art. Each of these is a small act of showing up in public with something unfinished, and each one asks something slightly different of me. The column reaches readers I will never meet, people pouring a morning coffee or picking up the paper on a Saturday, and I have to trust that something honest said in plain language might find one of them in a moment they needed it. The blog is a different kind of space, more interior, where the work can be messier, and the thinking can take longer to arrive. The book reviews are a chance to place myself in conversation with other writers and say here is what this book opened in me, which is itself a small act of showing my own interior. The art is the quietest of the four, and sometimes the most revealing, because an image can say what a sentence cannot yet articulate.

Title: Welcoming Wellness – Kamloops Chronicle
Photo Credit: Amy Tucker, April 2026

Why I Share From The Middle Of Things

I share these things without having arrived at some wise vantage point from which to teach others. I share them because I am in the middle of my own unfolding, and I have decided, with some reluctance, that I choose to speak now rather than wait for the other side of it. The other side may exist differently than I once imagined, to imagine. I think this is the terrain. I think we are all, in our own ways, walking through something, and the question is when and how to speak, honestly when we do.

Title: Warm Light
Photo Credit: Amy Tucker, April 2026

Why It Is Hard

What makes public healing hard, for me, is that it requires giving up a particular kind of control. I have spent decades curating how I am perceived. I am a careful person. I think about my words before I write them. I consider how something will land before I say it out loud. That is partly professional training and partly something deeper, something about having learned, early, that being understood required effort and that language was how I earned the right to be heard. To write from inside my own unfinished work is to relinquish some of that curation. It is to accept that a reader might meet me mid-sentence, mid-thought, mid-belief, and form an opinion about me based on who I am still becoming. That is uncomfortable. It is also, I am beginning to think, honest in a way that the curated version never quite was.

Title: One Step at a Time
Photo Credit: Amy Tucker, April 2026

Why I Want to Be Careful About What This Is

There is a version of public healing that I want to be careful about, because it differs from what I mean. This is nothing like the kind of sharing that performs rawness as a strategy. This is also nothing like the kind of vulnerability that is actually a request of the reader. There is a great deal of writing online now that looks like healing and is actually something else underneath, and I choose to add nothing to it. What I am describing is quieter than that. It is writing that requires no response. It is writing that asks the reader for neither rescue nor admiration. It is writing that simply places a true thing in the world and then lets the reader decide what to do with it. It is a book review that says, “Here is what this book changed in me,” without pretending the change is complete. It is a column that names something most of us feel but rarely say out loud. It is a piece of art that leaves itself open.

Title: Present Tense
Photo Credit: Amy Tucker, April 2026

Why It Matters

I think public healing, done well, is a form of service, though I hesitate to use that word because it can sound grand. What I mean is smaller. I mean that when one person tells the truth about what they are carrying, other people who are carrying similar things feel less alone. That is all. It carries no grand redemption. It fixes no one. It just removes one small layer of the isolation that tends to grow up around unfinished things, and that removal, multiplied across many readers and many writers and many honest small acts of saying what is true, is how cultures of healing actually get built. Through something other than experts arriving with answers. Through ordinary people, in ordinary voices, saying here is what I am learning, and here is what remains unknown to me.

Title: Unfinished and Perfect
Photo Credit: Amy Tucker, April 2026

Why I Still Feel the Pull Toward Disclaimers

I remain somewhat uncomfortable with this. I notice, as I write, that there is a part of me that wants to stop and add disclaimers. That wants to assure you, the reader, that I have done the proper work, that I have the proper credentials, that this reflection is grounded in the proper literature and will keep you on sound ground. That part of me is the part that still believes my worth must be demonstrated before I am allowed to speak. I am choosing to set her aside today. She may have a point, exactly, but because her instincts belong to an older version of my life, and the writing I am trying to do now asks for a different kind of trust.

Title: First Light
Photo Credit: Amy Tucker, April 2026

Why It Is Actually for Me

What I am coming to understand is that public healing is, at its core, about the self rather than the public. It is about me giving myself permission to exist in the middle of the process. It is about me deciding that my unfinished self is allowed to be seen. Other people may benefit from the writing, and I hope they do, but the first beneficiary is always the writer, because the act of saying a thing out loud, in front of witnesses, changes the thing. It becomes more real. It can no longer be tucked away and forgotten. Once you have written a belief down publicly and named what it cost you, going back to pretending you had no knowledge becomes impossible. The public piece of public healing is, in that sense, less about teaching others and more about refusing to let yourself off the hook.

Title: Still Believing
Photo Credit: Amy Tucker, April 2026

Why the Column, the Blog, the Reviews, the Art

The column does that for me. The blog does that for me. The book reviews do that for me, in a quieter way, because to say honestly what a book has opened in you is to acknowledge that you were mid-process when you picked it up. The art does it most of all. A painting tells only truth. A drawing refuses compromise. Whatever I am when I sit down to make something visual arrives on the page, willing or otherwise, and there have been many times when I have seen something in my own work that I had kept at a distance from feeling. That is what it means to make things and to share them. You end up meeting yourself, in front of witnesses, and the witnesses become part of how you come to know who you are.

Title: Words Made Solid
Photo Credit: Amy Tucker, April 2026

Why I Am Writing Inside Uncertainty

I have yet to discover how this chapter ends. I have yet to discover which of the beliefs I am examining will fully loosen their grip and which will remain with me, quieter but still present, for the rest of my days. I have yet to learn which of the identities I have carried will be set down entirely and which will be revised into something more spacious. I am writing inside uncertainty. That is what public healing is, I think. It is writing inside uncertainty, and trusting that the writing itself is part of the becoming, rather than a report delivered from safer ground, after the fact.

Title: The Colour of Making
Photo Credit: Amy Tucker, April 2026

Why This Is for You Too

If you are reading this and you are in the middle of your own becoming, I want you to know that your unfinished work is welcome here. You are welcome to speak before you arrive. You are allowed to speak before it is figured out. You are allowed to be where you are, and to say so out loud, and to trust that the saying itself is part of how you get to wherever you are going.

That is the work. That is all it has ever been.

Title: Desert Fire
Photo Credit: Amy Tucker, April 2026

Artist Statement

These works were made in the middle of things, mid-process, before everything settled, but inside the unfolding. Each piece carries the marks of where I actually was when I made it: the desert painting, with its blazing sky and reaching cacti, is about endurance and the beauty of surviving heat. The painted rocks are small acts of faith placed in the world, each word chosen because it was something I needed to hold. The unicorn figurines were rescued and repainted partially, because they were beyond full restoration, but their horns were worth saving, a reminder that the beliefs of childhood can be refined rather than abandoned. The photographs are witness pieces: a river I walked beside, a dog that looked up at me with complete presence, a pair of mismatched shoes I wore without realizing what they said about the day I was having. The salt lamp, the blue paint water, the newspaper page - these are the textures of a life that makes things while also living other things. I work at the kitchen table rather than in a studio or in my living room, between the sentences of other writing. These pieces are what happen when you allow yourself to make without waiting for the right conditions. They are the art of the unfinished person, which is the only kind I know how to be.