Category Archives: beauty

Seeing the Stars from a Submarine

In a section of his most recent book, Through the Year with Jimmy Carter, President Carter writes about the symbol of light.  He begins by explaining the importance of the stars to him and his navy crew aboard a submarine.  I was struck by the paradox of navigating by stars while deep under water, before my brain realized the solution:  the submarine must surface to see the stars.

This paradox reminds me of how I sometimes feel as a classroom teacher, looking for dependable guidance while submerged in daily activities. (Not to mention coming up for air.)  At regular intervals, I must surface to use the sextant, if I want to remain safely on course.  President Carter describes the navigational details for people, like me, who need reminding.  He finds three stars, and measures their altitude.  From these measurements, he ascertains his ship’s position on the map.

This description makes me wonder by what three stars I measure my course, and the course of the various groups of students with whom I work each year. Enter Robert Evans, whose recent article in Independent School magazine—shown to me by a generous colleague—describes concrete ways in which teachers can move their professional exchanges from congenial to collegial.  Among his suggested vehicles for such exchanges is the time-tested Critical Friends Groups (CFG).  In other schools, I have participated in such professional in-school groups and found them productive.

President Carter’s chapter about light helps me imagine a particular kind of CFG—one centered on the participants’ three guiding stars.  How does each group member find his or her three stars?  What are those stars?  And how, in terms of students’ daily experiences and accumulated learning, do the adults ascertain their position on the map?  I think of this professional proposal as a Constellation of Colleagues.  We often encounter published frameworks, grids and tables of principles, outcomes and designs.  As helpful as these have been for me and for students over the years, I think it could be fun and productive to explore a natural version, which grows from the participants’ finding, describing and using their own three stars.  When you look to the sky for guidance, what do you use?  Ideally, individuals’ three stars align with the school’s official stars.  Where they do not, people have an opportunity for meaningful discussion.  One advantage to this Constellation of Colleagues idea is that it can cut across traditional disciplines.  People of various backgrounds, interests and training can gather to share basic values.  They can even, as a final creative project, draw and name their group’s constellation.

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literature: super-collider

In the first of my #twittertuesdays @bllbrwn423–a weekly series on tweeking writing–I quote from a novel called The Book Thief.  Liesel, the young female protagonist, finds the first of many gifts in a discarded, deflated soccer ball.

leap

Today’s New York Times reports that teams of scientists have observed a “striking bump” in the data from their colliding particles.  The “suspicious bumps” have become “striking bumps.”  This sub-atomic categorical movement, this small gift, has produced a “tantalizing hint” of the existence of the Higgs Boson, which some call the God particle.

This recent scientific news story intrigues me for all kinds of reasons.  For example, what is the elusive sub-atomic particle at the base of effective, enduring teaching and learning?  Today, however, it intrigues me because I see students in literature study as teams of interpreters.  When particular matter collides in a novel like Frankenstein, for example, how do these students make sense of the resulting material, or the material results?  When Mary Shelley designs her experiment to collide creator and creature, how do these teams of young minds interpret the results?

For example, does Victor Frankenstein’s world of pains transform him from “an Intelligence” into “a Soul”?  Students wrote answers to this question, based on a letter from John Keats to his brother George, as practice for their recent semester examination.  On the exam itself, they agreed or disagreed with the proposition that, unlike Beowulf, Mary Shelley’s novel blurs the lines between protagonist and the “monster.”     Having stated their position, they  explained their claim’s effect on an understanding of the term “monster.”

As a last thought, I cannot help but observe that much of Mary Shelley’s fanciful story orbits around Geneva, home to the noteworthy super-collider that is producing “striking bumps” and “tantalizing hints”–small gifts all, the first of many.

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to articulate sweet sounds

“. . . Better go down upon your marrow bones
And scrub a kitchen pavement, or break stones
Like an old pauper in all kinds of weather;
For to articulate sweet sounds together
Is to work harder than all these and yet
Be thought an idler by the noisy set
Of bankers, schoolmasters, and clergymen
The martyrs call the world.”

from W. B. Yeats’s “Adam’s Curse”

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Transtromer, the Transformer

I could not help the fun pun, in honor of the newest Nobel Laureate in Literature, Tomas Transtromer of Sweden.  Eighty years old, with limited speaking and moving abilities due to a stroke twenty years ago, he still produces poetry.

The seniors and I, on “Fun Friday,” explored his life and several of his poems–as much as one can in forty minutes.  I was struck by his response to a New York questioner, as reported in this past Friday’s New York Times.  To the query about how his work as a psychologist has affected his poems, he wondered why few people ask the mirror question:  “How does your poetry influence your work?”

What does this oversight suggest about the questioners’ view of art?  The newest literary laureate implies that making art can affect internal transformation.  Over and again, people–both those with and without developed poetic sensibility–have said that poems tilt the angle of our lens.  They catch the light just right, helping us see not only the Golden Gate Bridge in front of us, but also the moon and city skyline behind us.  By transforming our vision, the poems change us, too.  Hence, “Transtromer, the Transformer.”

On a final note (musical echo intended), here is the first stanza of Transtromer’s “Schubertiana,” from the collection called Truth Barriers, translated by Robert Bly and published by Sierra Books (San Francisco, 1980).  The students and I have been recently studying Keats’s “Ode on a Grecian Urn.”  I told them that the last line of Transtromer’s stanza helps me think about Keats’s idea that “Beauty is truth, truth beauty, that is all / Ye know on earth, and all ye need to know.”  The piano player in Transtromer’s poem understands this, I imagine:

Schubertiana

I

Outside New York, a high place where with one glance

you take in the houses where eight million human

beings live.

The giant city over there is a long flimmery drift,

a spiral galaxy seen from the side.

Inside the galaxy, coffee cups are being pushed across

the desk, department store windows beg, a whirl of

shoes that leave no trace behind.

Fire escapes climbing up, elevator doors that silently

close, behind triple-locked doors a steady swell

of voices.

Slumped-over bodies doze in subway cars, catacombs in

motion.

I know also–statistics to the side–that at this instant

in some room down there Schubert is being played,

and for that person the notes are more real than

all the rest.

_________

So, beauty is truth.  What is more real is more true.  Those notes mean something to the lone piano player.  That resonance is beautiful, Keats might say.  Epistemology has always intrigued me.  What do we really know?  Wendell Berry, in his collection called Leavings, writes, ” . . . a million leaves / alive in the wind, and what do we know?”  What do we “need to know”?  Good questions for people inside or outside of schools.  Especially helpful questions in today’s rapidly revving engines of the “information” age.

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