wisdom and students

As described in an earlier post (“teenagers’ questions”), students prepared for their December exams by studying the intersection of self-perception and wisdom in the literature we read during the first semester. These two responses rose to the surface, and I have not edited them for this posting.  The essays impress and encourage me.

Exam Essay

As both Shakespeare’s Macbeth and Sophocles’ Oedipus Rex progressed, both plays’ main characters became more aware of themselves and how their life impacted those around them. Each reacted differently to this awareness, causing them to have different answers to President Anwar El Sadat’s question, “This is the image I have had of myself… Now, as the landscape of my life unfolds before my eyes, can I claim that this image… has been realized?” (1)

At the beginning of Oedipus Rex, Oedipus has no idea of his origins or what he has truly done. His self-perception changed dramatically throughout the play as he began to understand what he really had done. He first saw himself as a great king who ruled over Thebes: “Her [the Sphinx’s] riddle wasn’t the sort / just anyone who happened by could solve: / prophetic skill was needed. But the kind / you learned from birds or gods failed you. It took / Oedipus, the know-nothing, to silence her. / I needed no help from the birds. / I used my wits to find the answer. / I solved it—the same man for whom you plot / disgrace and exile, so you can / maneuver close to Kreon’s throne” (472-80). He believed he had saved Thebes and was their great ruler. This is how he perceived himself until his true colors were revealed. As the play progresses on, Oedipus found out that he was not a great of a leader, as he once believed. He took responsibility of his actions and did not try to see him as someone that he wasn’t: “And once I’ve brought such disgrace on myself, / how could I look calmly on my people?” (1570-1) These thoughts continued on as the play neared the end with him finally giving himself the punishment he believes his new self deserves: “Expel me quickly to some place / where no living person will find me” (1629-30).

Macbeth had a different approach to assessing his contemptible deeds in Shakespeare’s play. After his realization of his murderous act, he believed it would be best for him to try to forget what he had done and what he had become: “To know my deed, ‘twere best not to know myself” (2.2 76). He did not want to become what his actions proved him to be and thought it would be best to pretend nothing happened. Macbeth perceived himself as a great ruler who could do no wrong and wanted to continue to believe that. As the play continues on, Macbeth became less and less aware of whom he was and what his purpose was: “Life’s but a walking shadow, a poor player / That struts and frets his hour upon the stage / And then is heard no more: it is a tale / Told by an idiot, full of sound and fury, / Signifying nothing” (5.5 17-27). At that point he did not understand what he had become or who he was anymore. Life seemed to have no use to him anymore, but he never admitted what he had done was not worth getting to the position he ended in. Even at his death, he still tried to hold onto his past self, not believing what he had become: “I bear a charmed life which must not yield / To one of woman born” (5.8 12-13). Macbeth’s perception of himself may have changed throughout the play, but he tried to see himself still as a great king until the end.

The difference between these two characters was their realizations of who they were. Oedipus began as a great leader who was admired for his wisdom and strength at the beginning of Oedipus Rex: “Oedipus, we need now the great power / men everywhere know you possess” (48-9). Everyone in Thebes looked up to him and his great power. Once he realizes what he had done in the past, he understood the consequences of what he had done and how he had to take responsibility for it: “He [Oedipus], children, saw nothing, knew nothing. / He fathered you where his own life began, / where his own seed grew. Though I can’t / see you, I can weep for you” (1682-85). Oedipus never stopped loving the people he ruled and was brave enough to leave them because he believed it was the best for them. Macbeth came to the realization of his actions in his own mind: “Methought I heard a voice cry, ‘Sleep no more: / Macbeth does murder sleep’, the innocent sleep” (2.238-9). He continued to be haunted by himself throughout the play, but never truly understood the consequences of his actions. Macbeth continued to believe the ends justified the means of his actions, thinking he was helping everyone around him: “To be thus is nothing, / But to be safely thus” (3.1 49-50). He differs from Oedipus in the way he responded to the realization of what he had done with his life. While Oedipus took responsibility of his previous actions, Macbeth continued to be in denial and believed he was still in the right for what he had done.

Oedipus would answer President Anwar El Sadat’s question much differently than Macbeth. Both would say how they realized what their life looked like, but Oedipus’s answer would be much more truthful. He understands what his actions were much more than Macbeth did and handled the consequences of them. Macbeth continued to fight and tried to prove to himself that he was right and should be in power. This difference in their answers makes Oedipus the much wiser man in comparison to Macbeth. He behaves in a much more composed fashion when looking upon what he has done and overall understands his purpose and who he is much more than Macbeth does.

Macbeth and Oedipus

            In Shakespeare’s “Macbeth” and Sophocles’s “Oedipus Rex”, both main characters find themselves in a horrible position; Macbeth realizes that his kingship will end, and Oedipus realizes that he is the source of the plague upon his kingdom. The difference between these two men shines here, because of their next actions. Oedipus redeems himself by banishing himself, but Macbeth continues his onslaught. Thus, Oedipus is wiser than Macbeth, because Oedipus rectifies his horrible deeds while Macbeth does not. However, they both end with a guilty conscience.

In “Macbeth”, Macbeth realizes mistakes, and how difficult it would be to rectify his actions at this point. However, he continues his onslaught at the expense of his nation. Even before this point of no return, Macbeth contemplates turning around: “We will proceed no further in this business. / He [Duncan] had honored me of late, and I have brought / Golden opinions from all sorts of people / Which would be worn now in their newest gloss / Not cast aside so soon” (1.7.31-5). Macbeth sees his horrible future, and wants to prevent it entirely by not going through with the plan of murdering the king. The fact that Macbeth went through with the plan anyway shows his lack of wisdom, because even though he saw how horrible his life would become, he continued with the plan. Later in the play, Macbeth performs many atrocious actions, such as the murdering of Macduff’s family: “The castle of Macduff I will surprise; / Seize upon Fife; give to th’edge o’th’sword / His wife, his babes, and all unfortunate should / That trace him in his line. No boasting like a fool; / This deed I’ll do before this purpose cool …” (4.1.149-53). Macbeth performs horrible actions; he murders Macduff’s wife and children, just so he could keep his position as king. After this, it would be nearly impossible for Macbeth to return to the position he was before, because he has performed too many horrible deeds. Towards the end of the play, Macbeth realizes he is trapped: “They have tied me to a stake. I cannot fly, / But bearlike, I must fight the course. What’s he / That was not born of woman? Such a one / Am I to fear, or none.” (5.8.12-3). Macbeth here realizes that he is beyond the point of no return, and instead of backing down and accepting defeat, he continues his onslaught in an attempt to stay King. Macbeth, although given many opportunities to back down and rectify his actions, refuses to do so. This only broadens the horrible landscape that is Macbeth’s life, and even though Macbeth sees it, he does nothing to stop it.

In “Oedipus Rex”, Oedipus realizes that he is the evildoer in his kingdom, and redeems himself by curing the plague by means of banishing himself. Leading up to this moment, Oedipus says to his people, “I do pity you, children. Don’t think I’m unaware. / I know what need brings you: this sickness / ravages all of you. Yet, sick as you are, / not one of you suffers a sickness like mine” (69-71). Oedipus professes his love for his people. Oedipus keeps this in mind even when he realizes he is the source of the plague, and does the right thing in the end for his people. Just before Oedipus is confronted by Tiresias, a messenger of the Oracle at Delphi, Tiresias explains who the killer of the past king is: “You think he’s [the killer you hunt] an immigrant, / but he will prove himself a Theban native, / though he’ll find no joy in that news. / A blind man who still has eyes, a beggar who’s now rich, he’ll jab / his stick, feeling the road to foreign lands” (540-53). This foreshadows Oedipus’s fault, as Oedipus fits the description given by the oracle. This is the first instance of which Oedipus is given clues as to whom the killer is. Even though he does not believe he is the disease at first, he still does the right thing later on. When Oedipus finally realizes who he really is, he says: “Expel me quickly to some place / where no living person will find me” (1629-30). Oedipus does the right thing when finding out he is the source of the plague by banishing himself. Oedipus realizes and sees all of the wrongs of his life in one great picture, and accepts them and redeems himself by curing the sickness at his expense.

Both Oedipus and Macbeth have wronged themselves and others around them in their respective plays, and have reaped the consequences of guilt. For instance, after Macbeth has slain Duncan, he says: Methought I heard a voice cry, ‘sleep no more: / Macbeth does murder sleep ‘, the innocent sleep, / Sleep that knits up the raveled sleeve of care, / The death of each day’s life, sore labour’s bath, / Balm of hurt minds, great nature’s second course, / Chief nourisher in life’s feast” (2.2.38-43). Macbeth is torturing himself by what he has done. Macbeth only furthers his guilt by not rectifying this guilt of his; if only he had come clean and stepped down would this guilt be relieved of him. In Oedipus Rex, Oedipus says: “And once I’ve brought such disgrace on myself, / how could I look calmy on my people?” (1570-1). Oedipus here is also experiencing guilt for what he has done, as he cannot look at his people like the strong ruler he once was. Oedipus feels this guilt, but stops it by rectifying his actions and redeeming himself for them. In the end, they both suffer for their actions; Macbeth dies and Oedipus becomes a lonely wanderer. However, Oedipus is wiser than Macbeth, because he came clean in the end while Macbeth did not. This wisdom was beneficial for Oedipus because though he did not escape with vision or wealth, he did escape with his life. Macbeth, on the other hand, suffered the consequence of a tragic death.

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flying kites and writing essays

This morning my wife told me about the upcoming exhibit of Seamus Heaney materials at Emory University.  A kite will fly above the spiral staircase near the exhibit because the last poem in his last published book (Human Chain) features a kite.  The poem reminds me  of students who are learning to write for themselves, from themselves.  On their behalf, I have copied Heaney’s poem below.

A KITE FOR AIBHIN

After “L’Aquilone” by Giovanni Pascoli (1855-1912)

Air from another life and time and place,

Pale blue heavenly air is supporting

A white wing beating high against the breeze,

And yes, it is a kite! As when one afternoon

All of us there trooped out

Among the briar hedges and stripped thorn,

I take my stand again, halt opposite

Anahorish Hill to scan the blue,

Back in that field to launch our long-tailed comet.

And now it hovers, tugs, veers, dives askew,

Lifts itself, goes with the wind until

It rises to loud cheers from us below.

Rises, and my hand is like a spindle

Unspooling, the kite a thin-stemmed flower

climbing and carrying, carrying farther, higher

The longing in the breast and planted feet

And gazing face and heart of the kite flier

Until string breaks and–separate, elate–

The kite takes off, itself alone, a windfall.

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teenagers examine A Doll’s House

In the previous post, I said that young people’s abilities to think and write richly give me hope.   Below, I have posted two such responses to their exam question about Ibsen’s A Doll’s House.  A young woman and young man wrote these, both sophomores in high school.  See if you can tell who wrote which.

#1

In A Doll’s House, a play by Ibsen, Nora is ultimately responsible for her decisions, but other people such as Torvald, Mrs. Linde, and her father influence her self-perception perhaps more than she does herself. Torvald Helmer, Nora’s husband, plays a very large part in swaying Nora’s self-perception. Reaffirming his care for her, Torvald tells Nora that he going to help and protect her: “How warm and cosy our home is, Nora. Here is shelter for you; here I will protect you like a hunted dove that I have saved from a hawk’s claws; I will bring peace to your beating heart.” This statement that Torvald tells Nora, along with many others of similar message, provides Nora with a mask of protection. Although Torvald seems to genuinely mean what he is saying, it is giving Nora a false sense of self-perception that she is happy with Torvald and sheltered by him. This sense of security lies on the surface of Nora’s feelings and self-perception and if she were to dig deeper into herself, that superficial mask would no longer be there.  Not only does Torvald influence Nora’s self-perception but others do as well. Mrs. Linde affects how Nora thinks of herself by putting Nora below her and making her seem less important: “You are still very like a child in many things, and I am older than you in many ways and have a little more experience.” As a result of telling Nora things like this repeatedly, Mrs. Linde affects Nora’s self-perception by leading her to believe that she really is less important than others such as Mrs. Linde, and lacks many skills and experience. This shows that by persistently telling someone something, it will begin to affect how they think about themselves as they will begin to believe what you are saying is true about themselves. Admitting and realizing that others have effected how she thought of herself and lived her life, Nora expresses her suffering to Torvald: “I mean that I was simply transferred from papa’s hands into yours. You arranged everything according to your own taste, and so I got the same tastes as you or else I pretended to, I am really not quite sure which—I think sometimes the one and sometimes the other. When I look back on it, it seems to me as if I had been living here like a poor woman—just form hand to mouth. I have existed merely to perform tricks for you, Torvald. But you would have it so. You and papa have committed a great sin against me. It is your fault that I have made nothing of my life.” Nora, expressing her awareness of the impact of others on her own self-perception, shows that because of her father and Torvald she has been living an act. Nora says that she has “existed merely to perform tricks for you, Tovald” which shows that she thought of herself as being okay with simply living for others but now has come to the realization that this is not what she wants. She also conveys that this has been going on forever because of her father, which shows that others influencing her self-perception is not a new concept. Through Torvald, Mrs. Linde, and her father, Nora has formed a superficial self-perception of herself which, although seeming like it may have been correct, when she digs deeper she realizes is not fine and that it is not how she wants to think about herself. “I must stand quite alone, if I am to understand myself and everything about me.”

#2

In Ibsen’s A Doll’s House, the main character, Nora, is pushed to walk out on her family and leave her children behind due to her own warped self-perception. However, Nora is not the one who shapes her own beliefs and ideas. Instead, outside sources such as Torvald and Krogstad direct and control Nora’s self-perception. Torvald has a particularly large amount of power over Nora’s actions, being her husband. When Nora finally realizes that she has not been in control of herself, she says to Torvald, “You arranged everything according to your own taste, and so I got the same tastes as you or else I pretended to”. Torvald nearly entirely controlled her actions, how she dressed, what she said, and everything else about her public appearance and demeanor. This escalated to the point, where Nora was more like Torvald’s doll than an actual human being, at least on the outside. Krogstad, however, influenced Nora in a very different way from Torvald, indirectly. Krogstad never forced Nora to do anything or directly controlled her actions like Torvald did. Instead Krogstad caused Nora to constantly dread and worry herself over the debt that she owed him. Nora was ashamed of this debt and told no one except her friend Christine about it saying, “Speak low. Suppose Torvald were to hear! He mustn’t on any account—no one in the world must Know, Christine, except you”. Nora could not pay the debt off by herself and also could not tell Torvald, due to the fear she had of him finding out. As such, Krogstad had arguably more control over Nora than Torvald. While Torvald controlled how she acted in public, Krogstad controlled her thoughts in private. When Nora finally came to understand her situation, she realized that she could not escape the control of either of these two men by doing anything but leaving and starting over completely.

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teenagers’ questions. mining & minding their answers

Sophomores were asked these questions on their recent semester exam.  See how you would do.  I love reading their answers.  We adults have plenty of reason for hope, given the depth of their responses.

PARAGRAPH RESPONSE (A Doll’s House)

In her recent analysis of the novel, Frankenstein, a high school senior wrote the following: “If people are called something for so long, they will eventually turn into that very thing.”  In other words, people start believing definitions that are frequently applied to them by others.

Using Torvald and at least one other character besides Nora, explain how much or how little of Nora’s self-perception (the way she sees herself) comes from other people’s views of her.  How do the sources of her self-perception help explain the story’s outcome?

ESSAY RESPONSE (Oedipus Rex and Macbeth)

In the preface to his autobiography, former Egyptian President Anwar El Sadat writes the following : “This is the image I have had of myself . . . Now, as the landscape of my life unfolds before my eyes, can I claim that this image . . . has been realized?” (1)*

Near the end of their respective plays, how would Oedipus and Macbeth answer President Sadat’s question?  What do these answers suggest about who is the wiser man?

*In Search of Identity, An Autobiography (NY: Harper & Row, 1977)

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she’s a C student: naming the creature in FRANKENSTEIN

letter sweater CMore than once I have heard teachers say something like “she’s a C student.”  Having taught in NY, OK, CA and now GA, I have heard such comments in each school.  Although I have tried, I never have understood precisely what my colleagues mean.  Traditionally, students take a variety of courses.  Couple this tradition with the knowledge that we all have affinities for certain subjects: she loves Biology, and he always look forward to History class.  Is she a “C student” just in Art or Math, but not in Biology?  How about him?  More importantly, once a teacher imbibes the thought that “she is a C student,” how does that belief affect the “C student”?
In the paragraph below,  a high school senior  addresses the power of naming.   Through this brief writing about Mary Shelley’s Frankenstein, she argues that when someone consistently receives  a judgment about herself, she starts believing that label.  Student readers, when thoughtfully engaged, have plenty to teach us about how to teach them.  We have to keep our minds and hearts open to such possibilities. (n.b. I have left this writing as is–without editing, except in one case of bracketed letters.  The student wrote this during class as an email, in response to a particular question about the story’s driving forces.)
______________________________
Based on my reading of Volume 2, I believe that the most paramount concern that governs the direction of the novel is the questionable judgements by which physical differences are termed monstrous. Many times, society unjustly characterizes people’s qualities as “evil.” The monster in the novel “Frankenstein” was not necessarily created bad, but over time, after society socially exiled and evaded him, he turned into what they deemed him to be. One can only stay good for so long when everybody else is telling him that he is bad. “They are kind–they are
the most excellent creatures in the world; but, unfortunately, they are prejudiced against me. I have good dispositions; my life has been hitherto harmless, and, in some degree, beneficial; but a fatal prejudice clouds their eyes, and where they ou[gh]t to see a feeling and kind friend, they behold only a detestable monster” (102). Society’s preconceived notions of good and evil turn innocent people into monsters because they do not give them a fair chance to prove their innocence. If people are called something for so long, they will eventually turn into
that very thing. For example, the monster eventually turned evil and “the mildness of my nature had fled, and all within me was turned to gall and bitterness” (107). The monster could not control himself anymore after being repeatedly shunned and ridiculed by society. He gave up trying to be a noble and good person because no matter what he did, society always found a way to exclude and punish him. Society unfairly judged his differences as evil just because he did not look, speak, and act like everybody else did. As the monster became more and more excluded from society, he developed more and more negative qualities. This made people think that he was evil all along when in actuality, it was just their harsh judgements that turned him against mankind. The monster said “All men hate the wretched; how then must I be hated, who am miserable beyond all living things!”(72). After being told so many times that he was “the wretched” because of his differences, such as his appearance, he began to believe it himself and accepted the hatred.  Overall, it is societies prejudice towards those who are different than the norm that turn the monster evil and shape the majority of the direction of the novel.
photo credit: http://thumbs1.ebaystatic.com/d/l225/m/mBiAbwoDO_MevlOekwpd1dw.jpg

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learning in time the most valued ideas

Most valuable ideas occur to me, whenI have time to recognize and consider them.  Typically, this happens on early-morning weekend walks.  I wonder how current school cultures do, or refreshed cultures might, enrich each community-wichitalearner’s day with more time to reflect.  This blog used to be called “Learning in Time” because I believe that’s how learning happens best.  Although I have changed the name of the blog, I still hold close its founding idea.

 

I wonder where  you see such time in your educational experience?

At the same time, I wonder where, in your educational vision, you imagine it?

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bibs, diapers and pacifiers: Macbeth’s apparitions

armed head Nov 2013The tenth graders and I had fun last week with the opening of Act Four in Macbeth.  We had been bearing down on (finding, recording and analyzing) various passages from Act Three, and it was time to move our sedentary bodies and creative minds.  We had not yet read any of Act Four.  When the students filed in, they saw, on two desks in the front of the room: a stack of blank white paper, several pairs of scissors, some tape, and colored markers.  On the whiteboard, they saw our characters  for Scene One: 3 witches, 1 Hecate, 3 apparitions, 8 kings and Banquo.  After everybody’s name went under one of the lists, they had twenty minutes to make a prop identifying them as a distinct individual within their group.  I played–i.e., let the laptop play–period music to accompany their constructions (Sting singing songs of John Dowland and others).

In such moments, I often recall the problem-solving scene from Apollo 13.

Also, our fun time last week reminds me that students understand more concepts than I sometimes realize or acknowledge.  For example, in Act Four Scene One, the second apparition, which advises Macbeth he need fear none of woman born, emerges as a “bloody child.”  The students could create props that capture the “bloody” part of this vision, but how to handle the “child” part?  Three students, each from a different section, produced three different solutions: a bib, a diaper and a pacifier.  In other words, they understand what a symbol is.  I do not need to explain the concept to them; they naturally chose an object that is itself and that represents something.  They KNOW what symbols are.  I see that they do, and I am glad that our activity reminds me of this knowledge they carry with them into class.

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Modern Macbeths: appearance, reality and tyranny

As the tenth grade students are finishing MACBETH, this reminder appeared on the radio today. I have attached a question for them, to suggest the value of an artist’s view.  If it (the murderous act–large or small) were done, then ’twere well it were done quickly; otherwise, our  conscience would force us to consider the human consequences.  Pay no attention to that man behind the curtain, says the wizard of OZ.  Hamlet instructs the players that drama holds, as ’twere, a mirror up to nature, so that we have a better chance of seeing what we are actually doing to ourselves and others.  Indeed, the plays of Shakespeare and other artists, help us, make us pay attention.  

bllbrwn423's avatarENG10H World Literature

kristallnacht“Today is the anniversary of Kristallnacht, the night in 1938 when German Nazis coordinated a nationwide attack on Jewish homes, businesses, and synagogues. The attack was inspired by the murder of a German diplomat by a Jew in Paris. When Hitler heard the news, he got the idea to stage a mass uprising in response. He and Joseph Goebbels contacted storm troopers around the country and told them to attack Jewish buildings, but to make the attacks look like spontaneous demonstrations. The police were told not to interfere with the demonstrators, but instead to arrest the Jewish victims. Firefighters were told only to put out fires in any adjacent Aryan properties. Everyone cooperated.

“In all, more than 1,000 synagogues were burned or destroyed. Rioters looted about 7,500 Jewish businesses and vandalized Jewish hospitals, homes, schools, and cemeteries. Many of the attackers were neighbors of the victims. The Nazis…

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what does wisdom look like?

I recently asked this question of my high school sophomore classes, since they are about to start studying Sophocles’ Oedipus Rex.  While considering my own answer, I read the following paragraph on a senior’s metaphor quiz.  Her paragraph shapes my thinking about the wisdom question.  In this section of the metaphor quiz, seniors were asked to find and explain an  insight from one of the poems in our text.  Below, you see the quiz question and this student’s–unedited–response.  From my perspective, her sentences are part of what wisdom looks like.

 

Part Two

“It is difficult to get the news from poems, yet men die miserably every day for lack of what is found there.” 

To paraphrase the above statement from American poet, William Carlos Williams, poems provide valuable insights—i.e., ones that reduce suffering.  They show us something that is hard to find elsewhere, especially in news stories.  Find one poem from last week’s reading (104-111) that offers such an insight.  Within that poem, explain one metaphor that embodies this insight.  In your explanation, be sure to identify the metaphor’s literal and figurative terms.

 

Part Two:

I found an example of this valuable insight that a poem can provide in Craig Raine’s A Martian Sends a Postcard Home. Raine states “Only the young are allowed to suffer openly. Adults go to a punishment room with water but nothing to eat. They lock the door and suffer the noises alone. No one is exempt and everyone’s pain has a different smell” (25-30). The figurative term used is the punishment room. Although adults do not have a physical punishment room to retreat to, Raine is trying to highlight that most adults do not express their pain often. If an adult had temper tantrum as often and to the extent some children do, it would not be socially acceptable. Often times, adults keep their pain and anger bottled up. The insight given in this poem is that everyone suffers. Although not everyone looks to be suffering on the surface, it is important to be mindful that everyone has a story.

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faces, names, voices

Most public high school classes have relatively large numbers of students, which challenges a teacher’s ability to learn names in the opening days.  Independent school classes typically have fewer students.  Even so, I find it hard, at each new year, to match names with faces.

Last year, for example, I had several sets of twins in my classes–identical twins.  In one case, two brothers looked exactly alike–from my untrained, unpracticed, unaccustomed eye.  Literally all year, I tried to master the distinction.  Through this struggle, I eventually discovered that I could tell them apart from their writing–i.e., from their authorial voices.  Though these twin faces frustrated me, I could hear the differences in boys’ sentences.

This year, partly because I have more students than last year–though still only half of what my public school colleagues face–I worry about how quickly I will remember names.  We are forging ahead with writing right away, so that I can get to know the individuals as writers and thinkers.  Eventually the face recognition will happen;  it does every year.  In the meantime, if I think of each of them as hummingbirds, I want to keep quiet and still enough to feel the wind from their wings as they approach.

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