Like so much else in the world, we were disappointed that the Covid-19 pandemic kept us from celebrating Issue 20 of Glassworks in person as per usual with a reading at the Rowan University Art Gallery. However, I was so proud of my interns for pushing me to curate a virtual reading including inviting authors to read their own work. Between the author submissions and the editors, we recorded about half of the pieces published in Issue 20 and shared the videos on social media.

You can also access them all on our website - please enjoy!
http://www.rowanglassworks.org/video.html

Today's post is a reblog from a former classmate of mine, Kristin, with whom I studied creative writing and literature at Roosevelt University during graduate school. She is a fellow English teacher, and her words spoke volumes to me earlier this week. I find it particularly interesting that even though I teach in New Jersey and Philadelphia, and Kristin teaches in Nairobi, Kenya, our experiences are much the same. I think the rest of the post speaks for itself. You can find Kristin's full blog here: http://wordslikenets.blogspot.com

Sometimes there's something that you want to say. And then you remember that you have a blog. And then you feel passionately ashamed for how you ignore your blog. But then you think about all those months when you didn't have something to say, and it seems impossible for you to have written any more blog posts than you have. And then you come to terms with your writing self and realize that people will still love you (although they may not forgive you for continuing in this personal-reflection-only-thinly-disguised-by-the-second-person). You decide that you have an "occasional" blog, which not only means that you are allowed to post only "occasionally" but that you are allowed to wait until you have an occasion, a reason, something to say. Like now.

I teach an online college English class. As a part of this course, students read Langston Hughes’ poem “Harlem.” The students are then asked to answer this question: Sometimes this poem is entitled "Dream Deferred."  Which title do you think is more appropriate and why?

A majority of students invariably choose the title “Dream Deferred” over the title “Harlem.” This is partly because this is an introduction to literature course and many of my students are more interested in completing the assignment to get the gen-ed credit than they are in actually thinking deeply about poetry. Within about five seconds, they see the connection between the deferred dream of the title and the similes of the poem (indeed, the first line of the poem even asks “What happens to a dream deferred?”). This strange geographical reference would take more work to parse. What was an obvious cultural reference to Hughes' contemporaries mystifies, and many students seem willing to give up on whatever isn’t immediately understandable (sigh). However, there are also a set of students who do think carefully about their answers, even googling “Harlem” to figure out the connection, and yet still end up writing something like this:

            “Dream Deferred” is better because it’s more universal and can apply to everyone.

I have to admit that this answer drives me crazy (and not just for the logical conundrum of something being "more universal"). And yet, I understand why the student--even the thinking student--might write it. A poem that more people can relate to must of course be a more powerful poem. And a poem with a more general title will be a poem that more people can relate to, right?

Not exactly. I'm reminded of Emily Dickinson, who writes about poetry as “spreading wide my narrow hands.” Can’t you just see her in her white dress, alone in her room, with her arms flung wide? Her experience was narrow (like everyone’s, limited as she was to being just one person), and yet, based on her enduring popularity alone, her poetry also spreads wide. Not because she focused on the universal but because she embraced her narrow life so fully.

I want to bark this truth into my students' faces like an over-eager golden retriever, and I often have to give my own collar a good yank in order not to scare anyone. With good writing it is specificity, not generality, that creates emotion and connection. It is the very fact that something specific is happening to someone that is not you that allows you to feel most fully what you ought.

The fact is Hughes’ poem is so much more powerful because it isn’t about all deferred dreams everywhere. The power comes from experiencing Hughes' ideas and emotions, not from eclipsing them with our own. The goal in poetry and fiction isn’t to relate an experience as universal (mostly that bit is built in and doesn’t need a lot of attention) but as real. It’s not two sides of a scale--increase specificity and decrease universality. It’s more like a tree--the more effort you put in to stretching out each branch, to growing in each leaf, the more people can find shade underneath. 

After a much needed 6-ish week break, I'm stepping back into the classroom tomorrow to meet a group of incoming freshman and to attempt in 5 weeks to prepare them for the rigors of college-level reading and writing. This week's Huffington Post article on teaching is so clear a reminder of the struggles of this occupation. Because the bottom line is, you can only do so much in the short time you're given. And it's not a 9-5 job; it's an every-spare-moment job. And some students just aren't ready for the material you need to throw at them.

Just a snippet of Peter Greene's brilliant metaphor:

I'm very pleased to announce the publication of Issue 8 of Glassworks Magazine. Working with the student editors on this through Rowan University's Master of Arts in Writing program was a joy, and what a beautiful issue we've put together.

Visit our website here: http://rowanglassworks.org

and

View the full issue online here: http://issuu.com/glassworksmagazine

Yes! I'm thrilled to see this article in The Atlantic about Why Teaching Poetry Is So Important. On a whim a few weeks ago, I threw some complex poems at my Writer's Mind class, a course for upperclassmen majoring in writing. The focus of the course isn't necessarily literature, but on how the mind of a writer functions, the rhetorical choices a writers makes and the elements and tools available to him or her. The class focuses on the process of writing, on being aware of and overcoming writer's block, and learning to articulate why certain decisions have been made in writing and revising. The kind of writing we practice is really up to the instructor, which makes this an exciting class to teach.

I wanted my students to practice writing about themselves, in particular, writing about the darker parts of themselves they generally don't share. The theory behind this is that if they can write about those dark, secret things, they can write about anything without fear or hesitation. At the last minute, I realized there could be no better way to approach this than through poetry. So in the 30 minutes before class, I threw out my initial plan and printed out copies of Sylvia Plath, Charles Bukowski, Billy Collins, and Sharon Olds, and hoped my students would be open to poetry. The results have exceeded my expectations.

After two class periods thoughtfully discussing not only the meaning and emotion behind these poems, but also the imagery, sounds, structure, and symbolism, my students wrote their own "shadow poems". They are blowing me away. We are workshopping them anonymously as a whole class, and while it is taking far longer than I planned, the conversations are insightful and exciting. Several students have asked if we can just keep doing this for the rest of the semester. The poems are intense, the feedback is constructive, and the revisions are promising. I am getting to know my students more deeply through this community building activity, and the techniques we are practicing will spill over into their other writing as well. While only a handful of the students in the class consider themselves creative writers, and even less poets (there are several education majors in the group) they are opening up and growing as writers and as people in new ways because of poetry.

As Andrew Simmons describes in his article:
"Poetry enables teachers to teach their students how to write, read, and understand any text. Poetry can give students a healthy outlet for surging emotions. Reading original poetry aloud in class can foster trust and empathy in the classroom community, while also emphasizing speaking and listening skills that are often neglected... Teachers should produce literature lovers as well as keen critics, striking a balance between teaching writing, grammar, and analytical strategies and then also helping students to see that literature should be mystifying. It should resist easy interpretation and beg for return visits. Poetry serves this purpose perfectly."

The proof is right in front of me in this group of students. I couldn't agree more.
Check out the full article here: Why Teaching Poetry Is So Important

This article, and this quote in particular, perfectly sums up why I believe what I teach, writing and literature, provides students some of the most important skills they will gain in college.

"If you really think about learning, there are some master disciplines which unlock all the others.  They are philosophy, history, mathematics, language (reading/writing), and science (mainly mastery of the scientific method).  These disciplines form the core of learning and comprise the engine of its expression.  The student who gains proficiency in these areas will maintain, for virtually the rest of his/her life, the capacity to learn new things and to organize those new things within the context of the older things.  The learning that takes place in these areas does not really expire.  It does not become dated.  It is a fund that maintains its value.  The same is not necessarily true of knowledge gained in professional programs."

read the full article here: "This College Professor has a Message for Liberal Arts Majors," The Federlist

Best commercial ever? Definitely one of the best speeches ever. Thank you Dead Poets Society.

"We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race and the human race is filled with passion. And medicine, law, business, engineering, these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for. To quote from Whitman, 'O me! O life!... of the questions of these recurring; of the endless trains of the faithless--of cities filled with the foolish; what good amid these, O me, O life?' Answer. That you are here, that life exists, and identity; that the powerful play goes on and you may contribute a verse.

That the powerful play goes on and you may contribute a verse.
That the powerful play goes on and you may contribute a verse.

What will your verse be?"

To continue my diatribe on why literature matters (and by diatribe, I mean my string of quotes and articles suggesting such) a new study suggests that reading literary fiction as opposed to popular/genre fiction or popular nonfiction leads to greater emotional intelligence.

Somehow, I don't find this shocking at all. Makes perfect sense.

See the full article at the NY Times Blog: "I Know How You're Feeling, I Read Chekov"

More and more I come across articles online praising the humanities, the arts, and English majors in particular. As the public education system has been increasingly devaluing these areas, the greater public seems to be recognizing the need for more critical thinkers in the workforce, and more importantly, recognizing that this kind of thinking starts with the humanities and the arts.

This is a long article with many good things to say, but this excerpt is my favorite:

"Given the ragged magnificence of the world, who would wish to live only once? The English major lives many times through the astounding transportive magic of words and the welcoming power of his receptive imagination. The economics major? In all probability he lives but once. If the English major has enough energy and openness of heart, he lives not once but hundreds of times."

Read the full article from The Chronicle of Higher Education: The Ideal English Major