The Trope of Esther

Rembrandt_EstherOn Purim (this Saturday and Sunday) I will be chanting Chapters 7 and 8 of Megillat Esther at a synagogue in Long Island. These are momentous chapters; Esther reveals to King Ahasuerus that Haman intends to destroy her people; at the king’s command, Haman is hanged on the very gallows that he prepared for Mordechai; then Esther entreats the king to reverse all Haman’s letters ordering the destruction of the Jews; the king orders letters to be written in his name, sealed with his ring, and sent out all over the land from India to Ethiopia; his order is executed; Mordechai goes forth in royal apparel; and all the Jews are joyous.

Purim is often known for its costumes and noisemakers, wine, food, and music–and rightly so. But underneath that, something serious is going on: the reading and hearing of the entire Scroll of Esther, at both the evening and the morning services. Every Jew (male and female, young and old) is required to hear the reading of Esther; the catch is that you can’t hear much, because of the noisemakers and general brouhaha. Every time Haman’s name is uttered, people are supposed to drown it out. The noise extends beyond the name. But that makes it all the more exciting to discover the text and melodies. They cry and rejoice below the festivities.

The Hebrew sacred texts have six distinct trope sets (codified by the tenth century, and probably much older), all with the same basic principles and symbols but distinct melodic phrases. These are: Torah trope, Haftarah trope, High Holiday trope, Esther trope, Festival trope (for the Song of Songs, Ruth, and Ecclesiastes), and Lamentations trope. Trope–the melodic system underlying the art of cantillation–brings out the structure, meaning, and beauty of the text.

I will give a brief sense of Esther trope through Chapter 8, verses 5 and 6. Verse 5 is in regular Esther trope; because of the sentence complexity, it is especially ornate. Verse 6 makes a diversion into Lamentations trope; it has a simple melody and a plaintive feel. (The Esther text has  many melodic diversions–some into Lamentations trope and some into special melodies.)

Biblical verses typically divide into two parts; from there, they subdivide into still smaller phrases. The first division is indicated by the trope called “etnachta,” which looks like a caret and comes with a pause. Further subdivisions and connections are marked by other melodies.

Here’s the Hebrew-English text of 8:5-6 as it appears in the Open Siddur Project (except that I have bolded and colored the word in each verse that contains the etnachta: “be’einav” in verse 5 and “et-ammi” in verse 6). This has both vowel and trope marks; the actual scroll has neither (the reader must learn the trope patterns beforehand).

הַ5 וַ֠תֹּאמֶר אִם־עַל־הַמֶּ֨לֶךְ ט֜וֹב וְאִם־מָצָ֧אתִי חֵ֣ן לְפָנָ֗יו וְכָשֵׁ֤ר הַדָּבָר֙ לִפְנֵ֣י הַמֶּ֔לֶךְ וְטוֹבָ֥ה אֲנִ֖י בְּעֵינָ֑יו יִכָּתֵ֞ב לְהָשִׁ֣יב אֶת־הַסְּפָרִ֗ים מַחֲשֶׁ֜בֶת הָמָ֤ן בֶּֽן־הַמְּדָ֙תָא֙ הָאֲגָגִ֔י אֲשֶׁ֣ר כָּתַ֗ב לְאַבֵּד֙ אֶת־הַיְּהוּדִ֔ים אֲשֶׁ֖ר בְּכָל־מְדִינ֥וֹת הַמֶּֽלֶךְ׃ 6 כִּ֠י אֵיכָכָ֤ה אוּכַל֙ וְֽרָאִ֔יתִי בָּרָעָ֖ה אֲשֶׁר־יִמְצָ֣א אֶת־עַמִּ֑י וְאֵֽיכָכָ֤ה אוּכַל֙ וְֽרָאִ֔יתִי בְּאָבְדַ֖ן מוֹלַדְתִּֽי׃

In the JPS translation, Esther 8:5 reads, “And [she] said, If it please the king, and if I have favour in his sight, and the thing seem right before the king, and I be pleasing in his eyes, let it be written to reverse the letters devised by Haman the son of Hammedatha the Agagite, which he wrote to destroy the Jews which are in all the king’s provinces.”

The long subordinate clause occupies the first part of the verse–and the main clause, the second. The etnachta, dividing the two parts, occurs at the phrase “in his eyes.” There are more subdivisions from there. Here is my recording of the verse; here’s verse 6. (I posted recordings of verses 5 and 6 only, to give a sense of the trope.)

Verse 6 (still Esther speaking) is simpler in structure; through its Lamentations trope and clear parallelism, it contrasts with verse 5. It translates, “For how can I endure to see the evil that shall come unto my people? or how can I endure to see the destruction of my kindred?” The verse’s symmetry holds sadness.

In Esther trope, the etnachta sounds different from the sof pasuk trope, the melody at the very end of the verse. In Lamentations trope, the two are nearly identical. You can hear this difference in verses 5 and 6. Lamentations trope feels in some ways like swinging on a swing, all alone, in the courtyard of a crumbled city; you feel the repetition and rhythm, but everything is bare.

These two verses hold complexity and simplicity; they combine art and soul into a cry. It is this combination that defines Esther for me; with all her cunning, she lives and speaks for her people and their survival. Her plea rolls the story to its conclusion.

There is much more to say about cantillation–but the discussion gets more technical (and beautiful) from here. Of course there is much more to say about Megillat Esther too. The best book I know  on trope is Joshua Jacobson’s 965-page Chanting the Hebrew Bible: The Complete Guide to the Art of Cantillation. I recommend it to anyone interested in the subject. Of course the best book to read on Esther is the Scroll itself. In that spirit, happy Purim and almost-spring!

 

Image credit: Rembrandt, Ahasuerus and Haman at the Feast of Esther (1660)

Note: I made some edits and additions to this piece after posting it.

Public Privacy

heart-on-a-platterWe have been worn thin by publicity, especially in the internet era. Private life, as it was once known and protected, has ceased to exist, except for those who protect it defiantly. On the one hand, this “openness” brings people out of isolation; they can now speak of their experiences in ways they could not before. I remember when it was considered shameful to bring up family problems or divorce; children often felt that they could not tell anyone what was happening at home. (That still might be the case—but there’s more of a sense that it’s good to speak up.) Also, people went through personal tragedy without knowing that others had been through similar things. Today it is easier in some ways to find support, and this is good.

But the spillage of personal life carries dangers. It has become the new norm to put your heart on webcam, as it were—so if you wish to be more reserved, you are on your own. Also, the boundaries are unclear and can vary widely from situation to situation. A normal disclosure in one context could easily be “too much information” in another; with no ill intention, people can intrude on each other with their words, or can appear rude and standoffish for holding back. This confusion of boundaries can hurt friendships, working relationships, and family bonds.

This “public privacy” cripples discourse as well. (Hannah Arendt, writing more than half a century ago, describes this as the submersion of the private and public spheres in the social sphere.) Newspaper op-eds, radio shows, and other media and formats are now filled with intensely personal stories, which you are not supposed to challenge. If you try to do so—and few dare—you risk being written off as heartless. It’s personal, after all.

Moreover, to share your private life is to shed your guilt—or so goes the belief. In his essay “How Publicity Makes People Real” (in Moral Imagination), David Bromwich discusses how this “broadcast intimacy”—through which people seek some kind of public expiation—prompts people to disclose things to the masses that they would not tell their own families. The success of this process, he writes, “depends on the puzzling fact that the irrevocable passage from depth to surface can be experienced as a relief.”

I was stunned by a recent New York Times piece by Amy Krouse Rosenthal, “You May Want to Marry My Husband.” The author writes from the deathbed, it seems; she says, “I need to say this (and say it right) while I have a) your attention, and b) a pulse.” She explains that she was diagnosed in 2015 with ovarian cancer and had to give up her plans and projects. She proceeds to describe her wonderful husband, Jason, and to express hope that the right reader will find him and start a new life with him once she (Rosenthal) is gone.

The problem lies not with publishing a farewell to her husband, or writing about cancer and impending death. All of this can be done with grace (and even privacy). Rather, this excruciating context makes it difficult for anyone to question her gesture of offering her husband up. That gesture, as I see it, should not be protected from criticism; any thoughtful and civil response should have a place.

I find her gesture troubling, not only in itself but in combination with a detail in the piece. She mentions that in her most recent memoir (written before her diagnosis), she invited her readers to suggest matching tattoos (that they would actually get). She thought this would be a great way for reader and author to bond. She ended up taking a suggestion from a 62-year-old librarian; the two went to get tattoos together.

I responded with the following comment:

You write: “In my most recent memoir (written entirely before my diagnosis), I invited readers to send in suggestions for matching tattoos, the idea being that author and reader would be bonded by ink.”

That, to me, goes against the bond between reader and text, a bond that can strengthen, weaken, release, or otherwise change over time. The reader does not have to be on display; he or she can think, dispute, laugh and cry in private. The author, likewise, needs no permanent token of the reader’s devotion; to write and publish something is to trust that readers will arrive.

I find privacy missing from this piece overall–not because you write about a personal experience (which many writers do, even those who tend toward privacy), but because you seem to try here, as before, to bond with a reader in the flesh.

Not all bonds have to be in the flesh; not all have to be known, seen, etched, or advertised.

That said, I recognize the pain and grief that you are facing.

At this point there are 1,124 comments. The overwhelming majority speak of being in tears over the piece, finding it the most beautiful thing they have every read, etc. There are only a few outliers—and some of them got snappy comments in response. Some people even said that only a heartless person would read the piece without crying.

My point here is not that Rosenthal did something wrong. There is more than one view of the matter. Many took her piece as an act of love and courage; there’s much here that the readers cannot see or know. Nor is the problem (as I see it) with her piece in particular. The problem is more general: Such excruciating revelations call for only one kind of response. You are supposed to join in the chorus of sympathy or be a brute.

Because pieces like this are so common, because it has become the norm to put not only oneself but one’s loved ones “out there,” public discussion has lost some of its verve, diversity, and questioning. (Of course many other factors have affected discussion as well.)

Personal stories are essential; they have beauty, they can help both the teller and the hearer, and they can transcend the particular situation. But there are stories and stories; a story should not be protected and praised because it’s personal, and people should not be afraid of questioning and criticizing a story’s content, premises, or style.

There is reason to be wary of genres and platforms that encourage unanimous mass responses. Literature at its best, no matter what its content or form, helps us speak and think on our own.

In Praise of Lingering

fort-tryon-6Our culture extols “moving on”–that is, putting the past behind you, dropping all negative influences from your life, and steamrolling your way into satisfaction. Yet neither lingering nor “moving on” is inherently good or bad; both can participate in virtue, and both can be taken to extremes. Of course it isn’t helpful to hold on to an old grudge or wait for someone who has willfully left your life. But there is a place for memory and waiting; maybe it’s just a little place–a rock out in the woods–but still a place, and worth a pause.

In a stunning interview with Joe Fassler (in The Atlantic), George Saunders, whose novel Lincoln in the Bardo came out this week, speaks about the unsettlement of fiction–with particular attention to Anton Chekhov’s story “Gooseberries.” Saunders understood Chekhov for the first time when hearing Tobias Wolff read three of his stories aloud:

I was a first-year grad student at Syracuse when I went to see Tobias Wolff, who was our teacher, do a reading at the Syracuse Stage. He was feeling under the weather that night, so instead of reading from his work he said he was going to read Chekhov. He read three Chekhov short stories known as the “About Love” trilogy, and “Gooseberries” is the middle component. It was a huge day for me because I’d never really understood Chekhov at all. I’d certainly never understood him to be funny. But when Toby was reading him, he captured this beautiful range of feelings: beautiful, lyrical sections and laugh-out-loud-funny things.

It reminds me a little of what I heard yesterday in the third movement of Gustav Mahler’s Symphony No. 1 (I went to an open rehearsal at the New York Philharmonic). It is described as parody–and indeed there’s a great deal of that–but there’s also something soulful, something that doesn’t let you put it aside. Here’s a video of Iván Fischer and the Budapest Festival Orchestra performing it. You might end up listening to it again and again.

Chekhov’s “Gooseberries” seems to be saying one thing about happiness–and then, as Saunders points out, it takes a turn, but not just one. Even the digressions, even the passing details, have something to do with happiness. One tone turns into another. The story within a story lets us think, for a while, that we know what the story is, only to find out later that we do not.

In a very different (and ferocious) way, this happens in Saunders’s story “Winky,” which he does not bring up in the interview. I don’t want to spoil it for those who haven’t read it–but it starts out with a cult approach to happiness, in which, to attain “Inner Peace,” the willing must identify the human obstacles in their life, erect protective barriers against them, and confront them with this new state of things:

“First, we’ll identify your personal Gene. Second, we’ll help you mentally install a metaphorical Screen over your symbolic oatmeal. Finally, we’ll show you how to Confront your personal Gene and make it clear to him or her that your oatmeal is henceforth off-limits.”

This is so ridiculous (yet recognizable) that we know it will break down somehow. But what makes this story stand out (not only among stories, but in my life) is the poetry of the breakdown. I am left with a little ache; instead of feeling vindicated, of being reassured that this stuff is as stupid as it sounds, I am brought into something more important, where I am not entirely justified or right. I can’t just walk away; I have to stop for a little bit.

Near the end of the interview, Saunders says, “Fiction can allow us a really brief residence in the land of true ambiguity, where we really don’t know what the hell to think.” He adds that it’s impossible to dwell there forever–but even a few minutes can do tremendous good.

To boot, insistent, dogmatic “moving on” can do great harm. If we not only march forward in brazen confidence, but also look down on those who linger and question, then we stigmatize conscience itself. I have seen this happen a lot, not only on the political front, but in everyday contexts: people say, “move on, move on,” implying that those who pause, even briefly, are doing something wrong or, worse, standing in the way of progress.

Lingering is not inherently good either; all depends on its form and meaning. But just a little bit, a hint of “maybe I was wrong,” could offset some of the cruelty in the world and open up the imagination.

 
Photo credit: I took this picture a few days ago in beloved Fort Tryon Park.

Note: I made a few minor edits to this piece after posting it.

Cura te ipsum

self-portrait-with-the-idol-jpglargeWe hear the sayings “Physician, heal thyself” (from Luke 4:23) or “Physician, Physician, Heal thine own limp!” from Genesis Rabbah 23:4. Self-help is not an industry; it’s part of life. No matter what our age (beyond, say, age 3), profession, or situation, we not only solve many of our own problems, but figure out some of the solutions. In doing so, we may draw on all sorts of advice or wisdom from the near or distant past, but we decide how to apply it.

The self-help industry, then, is misnamed. It isn’t about self-help at all; at its worst, it is about selling you a product that supposedly will help you. To sell it, the creator or marketer tries to convince you that it’s better than anything else out there and that it addresses the problem in a novel way. This involves ignoring or dismissing (or simply not knowing) past wisdom.

Let me backtrack: I see two kinds of books that aim to help you find your way through life. One kind is a book of knowledge or wisdom; it draws on what has been known and said and does not promise you any big or swift answers. It leaves you to arrive at your own conclusions. The other kind excludes previous wisdom for the sake of appearing new or original. Here the point is not to give you perspective but rather to put forth a particular idea, program, product, or plan.

This explains, in part, why some self-help literature, and the journalism surrounding it, pays little or no attention to philosophy, literature, or even classic psychology. Oblivion blows a blizzard over what has been said before. In her New York Magazine article “Forgiveness Is Not a Binary State,” Cari Romm writes,

Forgiveness, clearly, is a highly personal choice, speeding healing for some and precluding healing for others. But what does it even mean to forgive, anyway?

It’s something we haven’t been asking ourselves for very long — it wasn’t until 1989 that psychologists even started to really study forgiveness — but psychologist Harriet Lerner believes we’ve been too hasty to rush into an answer. In her new book Why Won’t You Apologize?: Healing Big Betrayals and Everyday Hurts, Lerner argues that we’re flying blind: Academic research and conventional wisdom alike emphasize the positive effects of forgiveness without having reached any clear consensus as to what the act of forgiving really looks like.

Wait a second–who says we haven’t been asking ourselves about the nature of forgiveness for very long? Just look up “forgiveness” in the Stanford Encyclopedia of Philosophy, and you will see a long and detailed entry, with reference to works through the centuries. But there’s much more, even in the psychological literature. Jung wrote extensively on confession (and the accompanying forgiveness); other scholars around the turn of the twentieth century began examining the psychology of religion, which included concepts of forgiveness. (See, for instance, Edwin J. Starbuck, “Contributions to  the Psychology of Religion,”The American Journal of Psychology, vol. 9, No. 1 [Oct., 1897], pp. 70-124.) It is true that psychologists have been studying forgiveness more intensively than before, but the topic is by no means new.

I have not yet read Harriet Lerner’s book Why Won’t You Apologize? in full, but it seems to dispense too readily with forgiveness. On p. 54, she writes: “Some cultural groups place a high premium on apologies and forgiveness. Others do not.” In other words, she seems to suggest that its value is relative. In an interview with Forbes, she says, “We do need to find ways to protect ourselves from the burden of carrying anger and resentment that isn’t serving us, and to grab some peace of mind. We can achieve this with or without forgiveness.” This ignores one of the main virtues of forgiveness: it helps reestablish some form of relationship, even a silent one, between the two people (and even between them and others). Sure, we can “grab some peace of mind” elsewhere. But isn’t there more at stake?

Her book (which I will read) is not the point here, though. I take issue more directly with Romm’s article and with the widespread practice, especially in so-called self-help literature, of exaggerating the newness of an idea. When it comes to books of wisdom, I trust and respect those that acknowledge what has come before, even if they proceed to question, criticize, or overturn it.

Romm’s larger argument in the article (and Lerner’s, which she cites) is that people mistakenly see forgiveness as binary: Either you forgive someone entirely, or you’re caught up in bitterness. But this simply isn’t true; there have been subtle discussions of forgiveness over the centuries.

Forgiveness involves coming to see another person, an injury, and one’s own anger in a much larger perspective–and, from there, restoring some kind of relationship, even an unspoken one. (I think of Raymond Carver’s story “A Small, Good Thing.”) Such forgiveness is not always possible or desirable, but there are reasons why people long for it and seek it out. This is no pathological inclination, unless human connection is now deemed a disease. In that case, empty the libraries and close down the theatres. Declare language defunct.

Image credit: Paul Gaughin, Self-Portrait with the Idol (1893), courtesy of WikiArt.

Note: I made some minor edits and additions to this piece after posting it.

The Benefits of Complex Mindsets

hesse-steppenwolfIn a 2015 commentary in Education Week, Carol Dweck acknowledges that she and her colleagues may have oversimplified “growth mindset” and ignored the mixtures of mindset in all of  us:

My colleagues and I are taking a growth-mindset stance toward our message to educators. Maybe we originally put too much emphasis on sheer effort. Maybe we made the development of a growth mindset sound too easy. Maybe we talked too much about people having one mindset or the other, rather than portraying people as mixtures. We are on a growth-mindset journey, too.

I commend her for this acknowledgment and would take it a step further. I suggest that the concept of “growth mindset” is inherently limiting: that while we benefit from the awareness that we can improve, we actually employ, in all our work, a mixture of fixity and growth. Growth mindset does not exist as a discrete phenomenon, nor would we be better off if it did.

Before explaining this, let me clarify that I am not dismissing the importance of openness to improvement in oneself and others. When we see humans as fixed, we are likelier to demean or overpraise them. So-and-so is “so amazing” or utterly beyond hope. I know what it’s like to have someone latch onto something I said in a difficult moment, and remind me of it again and again over the years, as though that utterance encapsulated me. I also know what it means to expect myself to perform brilliantly–not just well, but brilliantly–and to disparage myself when I did not.

But as soon as I look beyond those extreme examples, I see a more complex picture. In particular, I see how a degree of “fixity,” mixed with “growth” and other attitudes, could help a person accomplish good things. Moreover, there is some fixity inherent in any growth.

First, from elementary school onward, we decide where to direct our efforts. Yes, we all have to do our schoolwork, but beyond that, when faced with many possibilities, which ones do we select? Some–not all–of our decisions will take our abilities into account. If I must choose between gymnastics and a musical instrument, and if I love both but am much better at one, I will probably choose that one.

Now, I might choose to continue pursuing both, or to fight my limitations and pursue the less “natural” course–but even there, I will take my abilities into account. No matter what the ultimate choice, it involves a degree of “fixed mindset”: the acknowledgment that we have more ease with certain pursuits than with others. (This does not mean that, in choosing them, we avoid challenge; to the contrary, we may open ourselves to higher levels of challenge.)

Second, even within a chosen field we employ “fixed mindset” when choosing direction. Suppose I am working on a poem, and it is not coming out right. I could try and try to improve it, or I could scrap it and start a new one. Both choices have a place. Sometimes a poem has some promising elements but needs work; sometimes it is flawed from the start. The ability to say “this is going nowhere”  actually allows me to try something else. Something similar could be said for a scientific theory or pedagogical approach. Giving up is not always wrong; it can allow for an opening.

Third, as I have mentioned before, a “fixed mindset” may come from a sharp vision of excellence. When we see ourselves falling short of it, we may question our work and withdraw for a while. Within measure, this can actually do good. I see where I am, and I see where I want to be; the gulf tempts me to give up. I think of giving up, wrestle a bit with the temptation, go to sleep, wake up, and continue onward. Everything is informed by the vision and the questioning. If I had not thought of giving up, if I had not struggled a little  with the temptation, my continuation would have less meaning.

My point here is not to glorify “fixed mindset” (God forbid) but to suggest that we work with a mixture of growth and fixity and other things. The challenge is to find the right mixture. I remember a novel I loved as a teenager:  Hermann Hesse’s Steppenwolf. Here  the saxophonist Pablo is rearranging the pieces of Harry Haller’s (the protagonist and narrator’s) personality:

With the sure and silent touch of his clever fingers he took hold of my pieces, all the old men and young men and children and women, cheerful and sad, strong and weak, nimble and clumsy, and swiftly arranged them on his board for a game. At once they formed themselves into groups and families, games and battles, friendships and enmities, making a small world. For a while he let this lively and yet orderly world go through its evolutions before my enraptured eyes in play and strife, making treaties and fighting battles, wooing, marrying, and multiplying. It was indeed a crowded stage, a moving breathless drama.

Then he swiftly sweeps the pieces into a heap and starts over with a new formation.

Although somewhat quaint, the image of Pablo and the pieces evokes a wisdom that I miss: the wisdom that we are made of many elements, that we carry vast combinations, and that, instead of pushing ourselves into one “mindset” or another, we can make the most of the mixture.

 

Note: Please see my two previous posts on this topic: “The Fixed Mindset of ‘Growth Mindset’” and “Are Mindsets Really Packageable?

The Fixed Mindset of “Growth Mindset”

growth_mindset_poster_0Jesse Singal strikes again. In his most recent article, he explains that the “growth mindset” theory (and raging fad) has “staggeringly little evidence” to support it. The actual research underlying it appears incomplete and flawed.

Carol Dweck coined, investigated, and popularized the theory of “growth mindset”: namely, that those who value improvement and persistence tend to be the ones who ultimately excel, while those with “fixed mindset,” who expect themselves to succeed right away, tend to quit at the first sign of failure. Schools have seized on this, telling teachers not to praise students for their talent or even their accomplishments, but rather for their growth. Supposedly, if students start thinking in terms of growth, they will set themselves on a path of continued improvement.

There is some obvious truth to this. You don’t do a student (or anyone) a favor by continually saying “you’re so smart” or “you play beautifully.” On the other hand, if you force yourself into growth-mindset lingo (“You’ve grown so much since your last recital; your staccato is much more precise than before”), you don’t help anyone either. This kind of dogmatism becomes a fixed mindset of its own.

In addition, if you devote school resources to the cultivation of “growth mindset,” you may take away from other things, such as literature, mathematics, music, and so on. In addition, attempts to incorporate “growth mindset” in the curriculum can lead to rigid and limited interpretations of the subject at hand.

For example, the 2016 study “Even Einstein Struggled” (conducted by researchers at Teachers College and the University of Washington) compared ninth- and tenth-grade students who read “struggle stories” of scientists with students who read “achievement stories.” It found that those who read struggle stories, especially low-performing students, saw a greater increase in their grades (which were based on “classwork, homework, quizzes, projects, and tests”) than those who read achievement stories. In addition, it found that students who read the struggle stories felt more connected to the scientists than students who read the achievement stories.

But the researchers do not consider the possibility that a “struggle story” may be intellectually interesting or illuminating. Students may connect with it not just because they can “relate” to struggle, but because they want to see how a scientist actually solved a problem. In other words, the “struggle” may be less important here than the actual problem and the scientist’s way of tackling it.

The Wright brothers are a case in point. In his illuminating (and wonderfully unfaddish) book How We Reason, Philip Johnson-Laird argues that it was not simply persistence that eventually brought the Wright brothers to success, but their particular way of reasoning through errors. In other words, “grit” and “growth mindset” may be symptoms rather than causes of such persistence and eventual success.

Another problem with the “growth mindset” is that it gets awfully silly awfully fast. You start seeing posters with “growth mindset praises.” A mantra arises that you should never call a person smart. NYC Educator comments:

I don’t freely call people smart. I really say that to very few kids. But if I say it, it means I’ve noticed something very special in them. Kids who think fast, who come back immediately, who aren’t afraid to say directly what’s on their mind, and who have clever, creative or impressive things on said minds really impress me. I have to tell them how smart they are. I never know whether or not anyone else has told them, whether anyone else has even noticed, and I think they need to know.

I don’t tell students they are smart, but I have told them when I thought they did something especially well (another “growth mindset” no-no). I wouldn’t do that all the time; that would give my praise too much weight. But I wouldn’t abandon it either.

I think of the times when someone has recognized my work–for its quality, not its growth. Some of these praises were pivotal in my life; they helped me see that my work could affect people. I didn’t stop working because of that. Yet I also needed people who could point out flaws. Over time, I became able to do much of this for myself–recognize when I was (or wasn’t) doing something well, and identify what I could do better.

Also, there are things I simply am not good at (like improv comedy). Sure, I can “grow” in them, but is the slow crawl toward mediocrity worth my while? It may actually help me, in some circumstances, to utter the forbidden phrase “I’m just not good at this.”

Like many ideas in education, growth mindset theory expresses a partial truth. It is neither revolution nor royalty; it deserves neither chants nor a crown. On the other hand, the “takeaway” is not that we should get rid of all vestiges of growth mindset. Take away its dogma and buzzwords, but give it a modest place among other principles.

Image credit: HR Zone.

Note: After posting this piece, I made a few minor edits to it and added two sentences to the end. Also, I was not joking about “growth mindset” chants; see the video.

Update: After making the latest edits, I saw a new post by Jesse Singal. I respond to it in a new post here.

Forms of Not Listening

youre_not_listeningIn my previous post, I discussed the intense activity of listening–but what are the dangers and losses of not listening? Before addressing this question, one must identify the various kinds of “not listening.”

There’s “not listening” where you willfully plug your ears. There’s also the kind to which I am prone: where your mind wanders, and you lose track of what the person is saying. Often a person’s word will trigger a thought, which in turn triggers another thought; before I know it, I have gone far away in my mind. Usually I catch myself quickly, but sometimes not.

There is also the kind where the words go “in one ear and  out the other”–that is, where you make no attempt to assemble or remember them.

But the kind I will focus on today is perhaps more insidious than the others: where you decide, in advance, that you know what the person is going to say, what the piece is going to sound like, etc. When you listen, you hear what you have already set out to hear; you exclude what does not fit. This includes listening to silence; you cut it to your own prefabricated interpretation and ignore the range of possibilities.

Anyone is capable of this kind of error; what’s more, we often commit it unawares. It is all too easy to fit a person’s words (or lack of words) into our existing models. This is the essence of prejudice; we sum others up and shut out what doesn’t fit our summations. Or, if we are listening to a piece of music, we shut out its uniqueness, or the particularities of the performance; it becomes “just another” Romantic work or what have you.

The danger lies not only in the reduction of others, but in the accompanying hubris. The person who listens badly in this particular way assumes that he or she is right and does not need to hear anything more.

Now, some of this is inevitable; we have to filter the sounds and speech that come at us. We can’t take it all in; sometimes we have to make quick sense of it and proceed from there. Also, to listen to something well, one must shut out other things; the very act of selection requires not listening to everything. Still, one can recognize the incompleteness of the gesture, the existence of something more.

Listening to silence, or near-silence, challenges everything in us; we rush to make sense of “nothing.” We are terrified of the expanse of “nothing”–the possibility that it could mean thousands of things. I think of–and question–the ending of Lawrence Durrell’s Justine (the first novel in The Alexandria Quartet):

Soon it will be evening and the clear night sky will be dusted thickly with summer stars. I shall be here, as always, smoking by the water. I have decided to leave Clea’s last letter unanswered. I no longer wish to coerce anyone, to make promises, to think of life in terms of compacts, resolutions, covenants. It will be up to Clea to interpret my silence according to her own needs and desires, to come to me if she has need or not, as the case may be. Does not everything depend on our interpretation of the silence around us?

This passage has puzzled me for years. Yes, everything depends on our interpretation of the silence around us–but is it correct to interpret it according to our own “needs and desires”? Is it right to expect others to do so? The narrator hints at something beyond these words: that a reply would be false at this time, and that time itself has a role to play. But that differs from interpreting the silence according to one’s needs and desires. The narrator’s own expression has flaws (which propel us into the second book of the Quartet).

To listen to silence is to know that one does not know what it is. To box up silence is to presume oneself above it, folding the flaps and tying the strings. Pride consists in packaging the infinite.

Image credit: “you’re not listening”  by Jesslee Cuizon.

Note: I made minor edits to this piece after posting it.

An Update-Ish Sort of Post

I try not to make this blog too update-y, but once in a while an update or two is in order. Here are a few bundled together in one post.

The other day I bit the bullet and set up a Facebook author page. One disagreeable thing about Facebook is that it’s set up for people to judge you by how many “likes” you have. Oh, sure, now they’ve added various emoticons, so that you can personalize your “liking.” But the effect is the same. It’s one big jostle for popularity. But I wanted a place for updates, separate from the blog. So there you have it, likes or no likes. (The three likes I did receive are worth thousands as far as I am concerned.)

Next, I have announced this already (and deleted the former announcement): my TEDx talk “Take Away the Takeaway” is up on YouTube. I have been getting great responses by email. Ironically, one of the first commenters on YouTube wrote (within an hour or so of the posting), “Not many views for a 6 million subscriber channel…” Someone pointed out that it had just been posted, and he replied, “obviously, but still after 3+ hours only 100 views.” Is this supposed to pass for discourse? What irks me is not what he said–which was just silly–but the structure that sets people up to think and speak that way.

As a teacher, I continually emphasized the difference between popularity and quality. I encouraged students to consider views on their own merits, to withhold snap judgments about a text, and to hear each other out. But much of our culture pushes in the opposite direction.

in-the-heightsWait–this was supposed to be an update-ish post. My other two updates have to do with my former school. On February 4 and 5, a huge cast at Columbia Secondary School will be performing In the Heights. Year after year, the performances have been beautiful and rousing; this one promises to stand on its own. Here’s the show synopsis from the Rodgers and Hammerstein website:

IN THE HEIGHTS tells the universal story of a vibrant community in New York’s Washington Heights neighborhood – a place where the coffee from the corner bodega is light and sweet, the windows are always open and the breeze carries the rhythm of three generations of music. It’s a community on the brink of change, full of hopes, dreams and pressures, where the biggest struggles can be deciding which traditions you take with you, and which ones you leave behind. IN THE HEIGHTS is the winner of the 2008 Tony Awards for Best Musical, Best Score, Best Choreography and Best Orchestrations.

Finally, the fourth issue of CONTRARIWISE is now in production and will appear this spring! The editors have done a superb job of taking over all the responsibilities, shaping the fourth issue, and seeing the journal into the future. I have been uninvolved, except to answer a question once in a great while,  but have been eagerly awaiting the new volume.

Speaking of Columbia Secondary School, I will be returning in early March (and possibly a second time) to lead a philosophy roundtable. More on that as the date approaches. For now, that’s it for the updates.

The Wobbly Words of Morning

morning-snow-1This morning I went walking in Fort Tryon Park and saw a long ribbon of snow. It seems to have fallen off the top of the bench but stayed intact, even sagging.

I thought, as I walked, about how, when you wake up from dreams, the words don’t fall into place immediately. They wobble for a little while. I wondered whether that might be part of the role of dreams: to detach us, even momentarily, from the utilitarian function of words. If, for a few minutes each morning, we lack ready-made phrases, maybe we can think about things in a different way. I was thinking about a book I had just finished rereading. Eleven years had passed between the first reading and now. As I walked up the hill (before this photo–this was on the way down), it occurred to me that I did not have to say anything about the book. I could keep my thoughts to myself until I wanted to say something. In the meantime, the world would do just fine without my review.

Day after day, we are urged to cast our instant reactions in words and numbers. To withhold an opinion is to risk offending the automated deities. morning-snow-2But look beyond all that clatter and chatter, and there is the possibility of silence. I don’t mean that silence is always better. Each of us makes distinct choices about when and when not to speak. The point is that one can choose.

So I walked past these benches and this near-infinite tree, whose branches stretch into smaller branches, which stretch into brushes of twigs. I heard my boots crunching in the snow. Up here, I was all alone. But there were ski tracks, dog tracks, footprints from earlier, maybe from yesterday. In my mind, these turned into sounds of gliding, crunching, and frisking.

The sun came up, the snow fell in ribbons, and phrases shone on the ground. I returned home and revised my twelfth chapter.

Something to Sit Up For

gazing-catsI know a few people who write both poetry and nonfiction (more or less concurrently), and while they involve different kinds of imagination, they still have a good deal in common. In both, you are looking and listening not only for the right words, but the right combination of sounds, the right allusions, the right departures from the known and expected.

Recently I have been writing much more nonfiction than poetry, but the poems still come now and then, and some of them hold up over time. This one (an unrhymed sonnet from 2009 or so) is one of my favorites. It appears on the dedication page of Republic of Noise; Stella Schindler quotes it in full at the beginning of her review in Humanum. Reading it now, I still hear something like the offbeat clanging of a bell (in the preposition “for,” which occurs at the end of three consecutive phrases with two enjambments). But of course my ear is slanted. (So is the picture I took yesterday morning of the cats and sunrise.)

The Speech

From far away I heard you speak today,
the way we hear bells in a slant of sun,
knowing they ring at five—the calendar
itself makes words, the very rays make chords.

A teacher must have rushed there after school,
arrived breathless, flopped in a seat, arranged
her coat and hair, leaned into heed, and found
a rampart in the very listening.

Something to sit up for, something to hold
one’s head up for, a time to put aside
one’s foibles for, even a distant time,
this came my way today, a reckoning.
I grasped that there was loneliness in gold
and gold in air, and debt in everything.