I’m usually more giddy than blue at the end of a term. I like my students, even the slackers and con artists, and I love talking about poetry for a living, but I also like addressing a new set of problems with a new group every time the season turns. And you just need a break occasionally from the practice of intense alertness that discussion-based teaching requires, even if “rest” constitutes a stack of papers and facing some looming research deadline. But as this winter term closes, students keep moving me through office-hours confessions, poetry conversion testimonies, and spasms of insight and art. Over my shoulder, a three-course term that had seemed only moderately successful suddenly looks blossomy.
Introduction to Poetry can be difficult to teach—the students have wildly different academic backgrounds, aptitudes, attitudes, goals. While my section is full of amazing people, I make some strategic mistakes in assignments and the magic chemistry thing never quite happens. Yet when some students choose to write a portfolio of poems in traditional forms instead of a third essay, the results floor me.
Introductory Poetry Workshop: I have to find a totally new way to prep this course to differentiate it from the Poetic Forms course I’ll be doing in our four-week May term, and again, I make some syllabus miscalculations and things don’t go as brilliantly as I’d hoped. And then they keep coming in, saying thank you, telling me how sorry they are the course is over. They show me the drafts they’re working on and suddenly the work looks a lot better.
My upper-level seminar on poetry and place is one of those rare classes you love unreservedly from beginning to end. I’m actually glad to see them three times a week instead of two (not my preferred schedule, ever). The students are wacky in a variety of ways, offering me their weird nicknames, Springsteen fetishes, and sundry odd takes on various assignments, like an electronica composition instead of a response paper. Some of their presentations and class comments are uproariously funny, and always smart and interesting; I’m working through ideas along with them and learning a great deal from their essays, questions, and frequent skepticism. Occasionally they snow me—pulling the conversation along strange tangents to distract me from discovering they haven’t done the reading—but I don’t even mind.
The last session’s on Good Friday and one of them takes charge, arranges for the seminar to meet in the basement room of Blue Sky Bakery. My 9th grader is off school so she sits in the corner with a pastry and a copy of The Catcher in the Rye. I see her scowl a couple of times and ask her later what that was about. “That dark-haired girl was texting the whole time and I wanted to slap her. Don’t you know what’s going on when someone has a sweater on her lap or her purse set down in front of her?” Uh, now I do. “And they all kept staring at me.” “No one was staring at you!” “Yes, they were. That one guy came over for a napkin and he just, liked, glared right at me. The hot guy, not the short hot guy, the one who’s tall-nerdy-hot.” So many ways not to answer that remark.
Maybe I’ll finish grading, read the course evaluations, find they’re snarky after all, and march into May term unsentimentally, a ruthless gleam in my eye. This soft-focus lens is nice for the moment, though. And I’m really excited about some of the experiments I’m planning to inflict on these spring term students.
mapping the nest
A selfish poet
I make photographs and poems to please myself (and share them to please you).
pages from an unbound book
a poetry blog & online home to the work of José Angel Araguz
book blogger & reviewer
Poetry, haiku, tanka, and micropoetry
Art. Disability. Writing.
Place, Poems, Practice
Poetry and what-not
(because compost happens)
The work wants to be made
Writing from both sides of the brain
"This work is unlike any other, in its range of rich, conjuring imagery and its dexterity, its smart voice. Carroll-Hackett doesn’t spare us—but doesn’t save us—she draws a blueprint of power and class with her unflinching pivot: matter-of-fact and tender." —Jan Beatty