Montalvo and the Big S

It’s easy to forget, because we do it all the time and it’s normal for us, so it was nice of Joshua to drop around and remind me.

He was one of many people who—obviously—I was supposed to remember, and that was clear when he sat down and peered nervously at me; in situations like this, what choice do you have?

“I’m sorry, but I don’t remember you,” I finally said. And he went on to tell me that I had intruded myself on a group of his fellow high-school students who were being coached on their poems for the Poetry Out Loud contest last year.

Here’s my version: I had held back as much as I could, since some of the kids were struggling even to understand their poems, some were consistently mispronouncing words, most were speaking either too quickly or too softly or…something. And the coach? She was murmuring—sorry, make that cooing—the gentlest words of encouragement on them.

And that’s nice, because discouragement? Who needs it? Isn’t being a Latino kid reciting English poetry enough of a challenge?

But there was this thing: if one of these kids was going to go to Washington, DC, to face native speakers from the fifty states, shouldn’t they have a decent shot of it? So there I was, writing and wincing in the corner, and then my father, Jack, dead these two decades, cleared his throat up there in heaven and fixed his gaze down though the clouds at me. His eye is as the eagle….

So I had gently taken over the group, after assuring the coach that she was doing an excellent job, and that I had little, nothing really, to say.

Now for Montalvo’s version:

“Man, you fuckin’ blew those kids outta the water. They didn’t know what the fuh had hit ‘em. Most of those kids didn’t even know what they were saying! You blasted them off the planet, man.”

Well, Montalvo is a youth who measures poetic success with the grade of “PANTIES OFF, LADIES” at the top, so my own performance?

“Jockstraps off, team!”

This, however, was after Montalvo had settled down a bit, because I had made my umpteenth parental blunder by answering truthfully to his question: “did you like my poem?”

When am I gonna learn?

“No,” I told him, and look, you don’t have to be adolescent to hear that as less a word than a slamming door.

The problem? The stuff that seems so obvious to everybody else around me, as they read their poems to each other, I just don’t get. So Montalvo read the poem to me, and then asked: what was it about? My answer, of course, was completely wrong.

“How can you not understand my poetry,” he demanded, “it’s perfectly clear,” and then proceeded to recite the poem again. It’s sort of the equivalent of all the tourists encountering non-English speaking people. What do they do? Raise their voices!

The problem—as I, and only I, see it—is that a lot of the poets are sort of commentators on their emotional fields, as it were. Think talking heads given a news analysis from the wars of feeling. Want an example? Well, I’ve just moved up and looked at one poem, and came upon this:

Our unspoken reason has led me

To understand the world we live in.

OK—looks like poetry, but is it?

So I’ve been telling Montalvo, don’t, please, report in. Instead, break out your verbal paint box, set your brush to work and set my eye and soul ablaze with the colors of metaphors, similes, images, adjectives, verbs that stab the eye. And I had suggested that he might do one short poem, but using an extended metaphor. And since of course—of course!—I hadn’t explained what I wanted, much less shown him an example of one, he had failed. Oh, and then I had panned the result.

There is sadism in teaching. Or rather, there is a time for plain words and honesty. There’s also a lot of bad teachers blaming their students for the bad teaching. So it was time to apologize, and then ask—since the Calvary had come over the hill—if he had read Sonnet 18, by the big S.

“Look, would you just assume that I haven’t read all this stuff,” he snapped, “because it makes me feel like a fuckin’ retard to have to say that I haven’t.”

Right. And so upset is he that he wants me to read it, not him. Is he afraid of encountering a word he doesn’t know?

So I start in:

Shall I compare thee to a summer's day?


Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,


And summer's lease hath all too short a date:


Sometime too hot the eye of heaven shines,


And often is his gold complexion dimmed,


And every fair from fair sometime declines,


By chance, or nature's changing course untrimmed:


But thy eternal summer shall not fade,


Nor lose possession of that fair thou ow'st,


Nor shall death brag thou wander'st in his shade,


When in eternal lines to time thou grow'st,
   

   So long as men can breathe, or eyes can see,
   

   So long lives this, and this gives life to thee.

So we tackle it, and, the first question?

“Since when can you drop all the ‘e’s’’

“Since forever, I tell him, “though, in fact, nobody in the last hundred years or so has done it.”

“Can I?”

Time to throw a bone!

Well, if he’s going to write a sonnet, why shouldn’t he drop some ‘e’s just to give it a nice archaic effect? That done, we go line by line, until we arrive at the moment I just love:

“Motherfucker,” he breathes.

That, along with “what a Niggah!” is Montalvo’s Presidential Freedom Medal / Purple Heart / Nobel Prize (you choose) tag line. And what poet is not going to be attracted to the idea of, ‘my words, baby, are gonna blast you into eternity? Panties off!’?

So then it’s time to look and see: what has Shakespeare done? How did he use the metaphor through all fourteen lines of the sonnet? How did he extend it, morph it, tweak it? And isn’t it interesting that the poem works, paradoxically, by at once diminishing the summer day, which can be too hot, the winds too rough, the sun clouded, and anyway, it’s all too fleeting? Yet somehow Shakespeare still suggests all this and makes you feel both the wonder of the summer’s day, and that the object is even more wonderful.

A Niggah indeed.

Well, he’s just called now, since it’s raining torrentially and he’s not coming today; he’s on a motorcycle now, and doesn’t want to get the computer wet. This, I tell him, is a good plan, so we agree, he’ll stay at home, where he doesn’t want to be, instead of at the café, where he does. I go back to writing this, and then remember Joshua—the high school kid who remembered me though I didn’t remember him.

“You really helped us a lot,” he said, and went on to tell me that he’s in the university now, studying computer science, but he wants to get back involved with Poetry Out Loud, because that had been the coolest moment of his high school years. Then he looked at me, and I remembered that feeling that day: the kids had looked at me with all the trust and admiration with which my cats had looked at me, in those terrible moments when they had been asking me to help them to their death. When those moments happen, or when Montalvo breathes in that he’s understood a sonnet by Shakespeare?

That’s when I remember…

…teachers make a difference.  

Coming Soon—A Puerto Rican Sonnet!

“I’ve been reading up on sonnets, and I’ve decided I like the Shakespearean sonnet better than the Italian,” said Montalvo, who, until he had the misfortune of bumping into me, had happily whiled his time away with free verse. Here’s one example:

Magic Trick

Your memory

Can’t be forgotten…

Those eyes

Will always be

Remembered…

And my feelings

Will never

Die.

Montalvo has this thing—he thinks that any reader who sees a poem of a page and a half, with lines of ten or twelve syllables, will immediately have a mind freeze—too long, too complicated, too much work. So, his strategy? Short poems, short lines: get in, get to the point, get out.

“It sounds almost like a haiku,” said Mary Anne, a painter and professor, who had joined us for coffee, and had just heard one of Montalvo’s poems. So then it’s time to point out that even in a severely restricted form, a poem can have depth, can provoke thought. Challenged, I came up with the only example I could:

The wren


Earns his living


Noiselessly.

His response?

“What’s a wren?”

It’s both the best thing and the hardest thing of working with him—because so much of what I assume everyone will know? Well, people don’t.

“No pierda,” I tell him. We’re going over one of his poems.

“Hunh?”

“I really think you mean ‘no pierda’ instead of ‘no pierde.’”

Well, he’s unconvinced, and why shouldn’t he be? I learned Spanish, after all, in my 30’s. So he does what any kid would do: ask his buddy Carly. I wait for him to come back with the answer.

“It turns out that both are correct, but that I probably mean ‘no pierda,’” he reports.

“So what did they tell you?”

It was, I’m sorry to say, the usual half-baked explanation: better than “because it kinda sounds better,” but not by much.

“Has anybody told you about the subjunctive?”

“Sub—what?”

So we did the subjunctive: first in Spanish, then in English. That’s when he tells me the words that are daggers to the heart.  

“It’s totally cool that you’re teaching me stuff, ‘cause that’s what parents do. Nobody’s taught me anything since I was sixteen. My mom taught me how to do laundry. And now I hate doing laundry….”

16 to 21, his current age: five years.

And what have I taught him? Well, there’s the simple stuff—when to use “your” versus “you’re.” Yes, because this boy, a product of the State of Florida Department of Education? He slid through 12 years of English classes without learning what a contraction was.

Or there was the Saxon genitive—which most people simply call “apostrophes,” but if you can call it the Saxon genitive, well, why not? Right, so I stepped back in the classroom and did a little drilling:

“The house of Montalvo?”

“Montalvo’s house!”

And speaking of the Saxons, what did he say when I told him that—generally speaking—words of Anglo-Saxon origin tended to have more force than words derived from Latin?

“Marc?”

Well, then it was time to get down to some good examples:

“Defecation,” I tell him.

“Ummm, Latin?”

“Shit,” I say.

“Anglo-Saxon!”

“Intercourse,” I say.

He’s so excited, he virtually shouts out that four-letter word, and then goes off to give the news to Carly: “hey, you know where words like ‘shit’ and ‘fuck’ come from?”

He’s bright, you see—he catches on quickly. He’s had everything but a structure (which is why I watched, and attached, the video below). Last week he wrote a villanelle. This week, it’s a sonnet.

Who knows where this is ending up?

Falling for JiJi

Confession: I have spent a large part of the day trying to make the penguin JiJi go across my computer screen.

I justify this by telling you a secret: unlike a newspaper, which can pile up the bad news until Mt. Everest looks like a sugar cube, a blog cannot. So this evening—no rants about the Catholic Church (give it UP, Marc); no more tales of the byzantine, tropical political schemes (PLEEEEEZE!); no more jeremiads of any kind. Today is a good news day!

And the good news is that some guy in Southern California has got it figured out: most education is based on words, on language. But most students? Well, a significant portion of kids are learning English as a foreign language. Then there are those who simply learn visually, not verbally. As well, there are kids with various learning difficulties, one of which is dyslexia.

That was the case with Matthew Peterson, who suffers from dyslexia, as did, apparently, Einstein. And it was Einstein who said that words played no part in his math or scientific thinking.

Think back to your school—what was happening in the classroom? Well, the teacher was up front, talking and writing on the chalkboard. He or she was teaching, but were the kids learning?

No—according to the video below. Seventy percent of American kids are below grade level in math. So why not throw everything upside-down? Why not get rid of words? Why not advance a little technologically beyond chalk? Why not have the kids play games, instead of giving them homework? And why not have the games be interactive, so that kids get feedback and learn?

“I don’t teach, I observe learning,” I used to say to my students. Or how about this: “I don’t teach, I create the environment to learn.” And that’s why, in those days when I was working at Wal-Mart, I spent a lot of time learning PowerPoint. Because even something as rudimentary as PowerPoint can be powerful.

“Oh, baby, you are zeee BEST,” said a sultry little animation that I borrowed from the Internet; that was when the student got the right answer. The wrong answer? A bomb went off, or a 16-ton weight got dropped on a kitten, or the computer made a disgusted sound.

The games were nowhere as cool as JiJi, I have to say—but they were cool enough, and the students liked them. But the 600,000 kids in 35 states who are involved with JiJi? The numbers are impressive—in some cases the improvement is double or even triple the rate for the control group.

I’d believe it, because there’s something wonderfully addictive about JiJi. Unfortunately, the company won’t sell the games to individuals, but only to schools, since they believe that the presence of a teacher is important.

Damn—I’m already totally in love with JiJi!

Hmm, if I ran up to the local public school and bought the damn thing, do you think they’d let me play?   

Of Course I Had To Do It….

I couldn’t resist, and if got away with it, it’s only because of the extreme generosity of Penélope.

She was the coach, sitting behind a table and listening and commenting on the poems being recited by the high school students who are participating in a program called Poetry Out Loud. So Penélope—a long, willowy woman—was making rather general comments, and seemed a bit at sea. At one point I stopped to listen to To Helen, by Edgar Allan Poe. You’ll remember it, of course:

To Helen

BY EDGAR ALLAN POE

Helen, thy beauty is to me

   Like those Nicéan barks of yore,

That gently, o'er a perfumed sea,

   The weary, way-worn wanderer bore

   To his own native shore.

On desperate seas long wont to roam,

   Thy hyacinth hair, thy classic face,

Thy Naiad airs have brought me home

   To the glory that was Greece,      

   And the grandeur that was Rome.

Lo! in yon brilliant window-niche

   How statue-like I see thee stand,

The agate lamp within thy hand!

   Ah, Psyche, from the regions which

   Are Holy-Land!

Penélope had nothing particularly to say, and asked if anyone had anything to say.

Guess who did!

“Grandeur,” I’m telling the girl—probably 16, and almost certainly suffering Asperger syndrome. She had been saying it “grander.” Then I went on pretending I was writing. Penélope went on to urge the students only to make gestures that were “organic.”

Marc’s red cape!

Look, students want to know how to do things, which means that the comments have to be specific, practical, and lead to different results—one hopes better. And anyway, what is organic, and how do I know if a gesture is organic or not? At this point I had made several comments, and Penélope asked me if I had any comments.

“Could I stand up and fall flat on my face?” I asked.

“I’m not really good with poetry,” I said. “And a lot of this stuff I don’t know, so I’m winging it. But let’s do this—you recite a stanza, and I’ll recite the stanza, and we’ll see how they differ, and which is better, if any.”

So we were off—and my first question was, “who’s Helen?”

The student didn’t know.

OK, so I explained, even hauling out the tired line of, “the face that launched a thousand ships.” Then we got into the question of the “t”—would it be an American “t” which is almost a “d,” or would it be a good English “t?”

We did similar work of “barks of yore”—the “ks” was getting swallowed. Oh, and what about lengthening and relishing that alliterative “weary, way-ward wanderer?”

And so we spent twenty minutes or so, digging in, discussing meanings, discussing what words are important, what words less so.

“If every word is important, then none of them are important,” I said. At this point Penélope had sat down.

“I’m learning so much from seeing you coach,” she told me.

Right, so the next student was going to do Ella Wheeler Wilcox. I won’t burden you with all of it, but here—in all its dreadful familiarity—are the first lines:

Laugh, and the world laughs with you,

Weep, and you weep alone,

For the brave old earth must borrow its mirth—

But has trouble enough of its own.

It was time to come clean.

“Look,” I said, “you’ve gotta know: this poem is not considered out of the top drawer. In fact, most people this it’s pretty awful.”

News to the student!

“So you’re gonna have to make a decision. On the one hand, you have to own this poem, to say in your voice ‘I know what you think of this poem, I know you think it’s trash, but guess what? I believe it, and you’re going to, too!”

So we played with that, stepping forward, locking eyes with the audience, using a stronger, firmer tone of voice.

“The other alternative is to play it straight, but to try to bring out some meaning in the poem that we’ve been missing.”

Finally, I asked the student if he had analyzed the rhyme scheme of the poem.

He looked blank.

“You mean like ABBA?”

“That’s part of it,” I said. “But is this poem in iambic pentameter? What are the five—think it’s five—types of meter?”

The student’s lip quivered.

“We don’t get that stuff in our school,” said one of the other students. “We’re in 10^th grade, and we’re still studying adjectives.”

Hunh?

“You know, ‘the car is red’—which word in that sentence is an adjective?’ That’s what the teacher does every year….”

“It is NOT your fault,” I tell the kid. “It’s a sin that no teacher has taught you this….”

There were surprises—why would any student choose Emerson, so I asked, midway through working with the student on the poem:

The lords of life, the lords of life,—

I saw them pass,

In their own guise,

Like and unlike,

Portly and grim,—

Use and Surprise,

Surface and Dream,

Succession swift and spectral Wrong,

Temperament without a tongue,

And the inventor of the game

Omnipresent without name;—

Some to see, some to be guessed,

They marched from east to west:

Little man, least of all,

Among the legs of his guardians tall,

Walked about with puzzled look.

Him by the hand dear Nature took,

Dearest Nature, strong and kind,

Whispered, ‘Darling, never mind!

To-morrow they will wear another face,

The founder thou; these are thy race!’   

“It’s about the death of his child,” said the student.

“Whoa!” I said. “Let’s go back. I confess, I had no idea—and I don’t much like Emerson, though my grandmother did.” So how to put more emotion in, without being a ham?

Another surprise:

 All Hallows’ Eve

By Dorothea Tanning

Be perfect, make it otherwise.

Yesterday is torn in shreds.

Lightning’s thousand sulfur eyes

Rip apart the breathing beds.

Hear bones crack and pulverize.

Doom creeps in on rubber treads.

Countless overwrought housewives,

Minds unraveling like threads,

Try lipstick shades to tranquilize

Fears of age and general dreads.

Sit tight, be perfect, swat the spies,

Don’t take faucets for fountainheads.

Drink tasty antidotes. Otherwise

You and the werewolf: newlyweds.

I was learning, too—what was the story behind the poem? The poet, it turned out, had been physically abused as a newlywed. What was the tone? Irony? Anger? Despair? And what about that last word, that whole last line? We played with different ways of saying “werewolf,” and then, of course, how you’d say the word “newlyweds.” We spat it out, we sighed it, we shrugged it off.   

It was a mixture of technique and interpretation, and so we played around—could you whisper and still be heard in the back of the room? What was the softest you could speak, and still be audible?

There’s something that happens when teaching, when you step into the river and let it carry you where it may. One kid, thin, shy, and quite possibly gay—looked at me with the eyes of an animal in pain, an animal who knows and trusts—you will pull out the splinter, the pain will be gone. It’s an experience like none other—a kid putting his soul for however long in your hands.

Teaching. It’s something I never much wanted to do…

…but really glad I did.