Old School in Hungary: Part 4

IMG_1010

“If they go to Kamchatka, I will be happy,” one student told me after class. “But they will never go.” He was referring to Robert Frost (the character)’s advice to George Kellogg, who won the audience with him: “Go to Kamchatka.” He was also complaining that nothing seems to be happening in the novel. “I’ve been waiting for some action,” another said. “But it is all in vain.”

This provided the opening for a discussion of action itself. What is action? I asked the class. A student defined it as something that has consequences. Does action have to be physical? I asked. No, several replied; thoughts and words can be actions. (Another time we will consider to what extent actions must be intentional, and to what extent thoughts can be considered actions, or part of actions.)

So the novel does have action, I explained, but it also has inaction, and this is important to notice. What has not happened yet that is waiting to happen?

A student who had made one of the original comments answered, “He hasn’t won a writing contest yet. Is he going to win the third one?” I wouldn’t answer that question, but I asked what else hadn’t happened yet, in relation to that. We talked about how the narrator’s character’s writing hasn’t taken off yet; he puts so much pressure on himself that he can’t write, he doesn’t like his own ideas, he’s holding something back.

Then we could look at his reaction to The Fountainhead, which he reads four times; the students were disturbed that he likes it so much, that he gets so caught up in the idea of selfishness that he even sees his grandfather and grandfather’s wife as pathetic bores who are trying to keep him down.

I began to feel their kindness as a form of aggression. Patty was pitilessly solicitous. I couldn’t touch a book without getting grilled about the sufficiency of light and the comfort of the chair. Was I warm enough? Did I need a pillow for my back? How about one of the five thousand Cokes they’d stored up in anticipation of my visit? Grandjohn kept telling me how lucky I was to have my mother’s eyes, and how proud of me she would have been. Sometimes I had to go to the bathroom and scream silently, rocking from side to side like a gorilla, my head thrown back, my teeth bared.

Everyone could recognize this kind of situation. But his attitude? In many students eyes, reprehensible. How could he not see his grandfather’s wife’s kindness and good intentions?–but I asked them if they could see any hints that this was not going to be the narrator’s final attitude. A student pointed out “I began to feel” as a temporary state; others picked up on other things. We could then consider why he works himself into a fever of (supposed) confidence over a story he hasn’t written yet, and why he collapses in French class. And then–humiliation upon humiliation–Big Jeff wins the contest. Think what you will of Big Jeff’s story–some students found it preposterous–but he wrote it.

That was one section. In the other, on Monday, I was giving them some background on Nietzsche and Rand; we read excerpts from Thus Spoke Zarathustra and The Fountainhead. But some students would not let me get away with telling them that Nietzsche said that “God is dead.” What does that mean? they wanted to know. Does this mean that God was alive before? How, according to Nietzsche, did humans kill God? Was Nietzsche an atheist, or was he creating a new religion of his own? All of these are important questions, and I had never been pelted with them in this way before, so I tried to offer answers, realizing that the more important thing here was the wrestling with these questions, the insistence on making sense of them. Then a few students got onto a seeming tangent about animals. Do animals go to heaven, according to Christianity? I said there was no clear answer on this issue. If they do go to heaven, a student asked, does that include all the animals over the course of evolution? I imagine so, I said, but I really don’t know! How do you expect me to know these things?

“Teachers are supposed to be smart,” a student quipped.

“Yes, and smart people admit that they don’t know everything.” (Ha! I got them there.) So we turned our attention to the text–and from here it made sense that the narrator would get caught up in The Fountainhead, as distant as Rand supposedly is from Nietzsche, as much as she liked to think of herself as indebted to no one.

At least at this stage, liking the book is immaterial here. Or rather, the dislikes are as important as the likings, as a way of opening up the book. This is partly a surprise for me. I knew that disliking was important, but I didn’t know how much it could fuel a discussion, and what kinds of understandings it could bring out. Some lessons are so lively I can barely keep up, and others are sleepier, but we’re now in the middle of the book, following it where it goes.

The book won’t go to Kamchatka, not on the surface, anyway (I’ll give just that one spoiler). But I think some students will be surprised by where it goes.

 

This is the third in a series of posts about teaching Tobias Wolff’s novel Old School to ninth-graders at the Varga Katalin Gimnázium. To view all the posts, go here.

I added a sentence to this piece after posting it.

Old School in Hungary: Part 3

IMG_0935 The third chapter of Tobias Wolff’s Old School, “Frost,” has the following exchange between the narrator and Purcell (p. 44):

Frost. I don’t even know why I bothered submitting anything, given how he writes. I mean, he’s still using rhyme.

Yeah, so?

Rhyme is bullshit. Rhyme says that everything works out in the end. All harmony and order. When I see a rhyme in a poem, I know I’m being lied to. Go ahead, laugh! It’s true–rhyme’s a completely bankrupt device. It’s just wishful thinking. Nostalgia.

The situation was this: At the beginning of the third chapter, we learn that George Kellogg, the excessively benevolent editor of the Troubadour, has won the first contest and will thus get to meet with Robert Frost. Purcell dismisses the whole enterprise.

First I asked the students to explain what Purcell was saying. They did it, point by point. Then I asked what they thought of it. In the first section, one student burst out, “That’s what I think.” A few others seemed to concur. They gave reasons: to rhyme, you have to invent something; rhyme sounds pretty, whereas the world often isn’t; rhyme imitates other rhymes and rhymers. Then I asked whether anyone saw or heard rhyme in a different way. Hands shot up. One student said that good rhyme is hard, so you can admire it. Another said that we are drawn to harmony. Another said that rhyme makes a poem memorable. Another suggested that Purcell was speaking out of jealousy. Then we started talking about how rhyme can draw associations between things.

The other section was more subdued but just as perceptive. Most of them rejected Purcell’s complaint from the start. One student pointed out that you can rhyme with the word “chaos,” in which case you aren’t creating harmony at all. Another said that we rhyme all the time, that rhyme is part of our everyday language. Others talked about how rhyme makes you think.

This set us up well for the next lesson, where we discussed the rest of the chapter. When I arrived, I saw students discussing the novel in the hallway.

At the start of the lesson, I played a muffled recording of Frost reading “Mending Wall,” which they had read with me. In the first section, no one seemed to know what was going on until the very end, when one student cried out in Hungarian, “Emlékszem!” (“I remember it!”). In the other section, they recognized it right away. We then talked about the passage in Old School where the headmaster introduces Frost, and the one where the narrator’s understanding of “Mending Wall” changes as he listens to Frost reading it aloud. (This is a fictional Frost, but I can imagine Frost reading like this.)

Then the teacher Mr. Ramsey’s challenge: Aren’t those poetic forms–rhyme, stanzas, etc.–outmoded? Shouldn’t poetry reflect modern consciousness? And Frost’s response (of which this quote, from p. 53, is just a fraction):

I am thinking of Achilles’ grief, he said. That famous, terrible, grief. Let me tell you boys something. Such grief can only be told in form. Form is everything. Without it you’ve got nothing but a stubbed-toe cry—sincere, maybe, for what that’s worth, but with no depth or carry. No echo. You may have a grievance but you do not have grief, and grievances are for petitions, not poetry.

We talked about the difference between grief and grievance, poetry and petition–and everything seemed to be settling unsettlingly into place. Then in the last minute, I asked, “What advice did Frost give George when they finally met?”

“Go to Kamchatka!” they cried out. “Or Brazil!”

And what do you think this advice means?

In one of the sections, students called out: “Go see the world!” “Step out of your comfort zone!”

But a student in the other section heard it differently. He thought Frost was subtly getting back at George for (as he interpreted it) making fun of him. That left me in thought as we headed on to our next stops in the day.

 

This is the third in a series of posts about teaching Tobias Wolff’s novel Old School to ninth-graders at the Varga Katalin Gimnázium. To view all the posts, go here.

Old School in Hungary: Part 2

IMG_0933

I don’t want to say anything yet about today’s discussion of part of the third chapter, “Frost”–in particular, George’s poem, Frost’s take on it, and Purcell’s attitude toward rhyme–because the other section will be discussing this tomorrow.

On Monday, in class, we (both sections) read and discussed the second chapter, “On Fire,” and talked about many things: the class picture of the boys who had died, decades ago, in a fire supposedly caused by smoking; why the narrator was drawn to smoking, and why he finally stopped smoking at school; what it might say about him that he could imagine the consequences of his smoking; why Big Jeff, who started the current fire with a failed rocket experiment, does not get in trouble; why Purcell wishes (or claims to wish) that Big Jeff had been expelled; and why the narrator decides to submit not his fireman poem, but rather his elk poem, to the competition. At the end, we considered how the chapter wove together past, present, and future.

The discussions went gracefully–thoughtful comments, a good rhythm, enough time to slow down with certain passages. But today something took off. It surprised me. I hadn’t expected such a lively and moving discussion of rhyme itself. But more about that another time, after a little more time has gone by.

This is the second in a series of posts about teaching Tobias Wolff’s novel Old School to ninth-graders at the Varga Katalin Gimnázium. To view all the posts, go here.

Old School in Hungary: Part 1

Old_School_coverWhy would I choose to teach Tobias Wolff’s novel Old School to 33 ninth-graders (in two sections) here in Szolnok? The first answer is that I saw a chance to do so, a chance that might not come back any time soon. If I didn’t take this chance, there’s no telling that they would ever read the novel, and I knew it would be worthwhile for them, even though (and especially because) they wouldn’t understand everything right away. It would not be forgotten.

We had our first lesson last week. Before we opened the book, I showed them pictures of Nixon and Kennedy. I asked them, on the basis of the pictures, who they would vote for. They selected Kennedy (unanimously, I think), mostly because he was the more familiar of the two. I asked them which of the two they could more easily imagine at Varga, our school. Again Kennedy. Why? He seemed like one of them, just older and part of the past and a different country and culture. Maybe this, too, had to do with the familiarity, the way his lore had entered their lives.

Then we opened up and read the beginning.

Robert Frost made his visit in November of 1960, just a week after the general election. It tells you something about our school that the prospect of his arrival cooked up more interest than the contest between Nixon and Kennedy, which for most of us was no contest at all.

They were hooked, or at least interested. It wasn’t just that the prelude helped them understand the opening sentence. Rather, they understood what came later: the narrator’s discussion of class, an unmentioned topic at a boys’ elite boarding school that professed to uphold “a system of honors that valued nothing you hadn’t done for yourself.” They understood how the school could exist at two levels: that of its ideals, and that of its undercurrents.

But would they understand these boys who were vying for the literary award, whose prize was the honor of a private audience with a famous visiting writer, who would select the winning piece? They have known nothing quite like this; they take part in contest upon contest, but the prize is money, an academic award, or some modest fame.

But they realized quickly that they did not have to match the story directly to their lives. It unrolls its own meaning. They grasped a passage that explains (at least partly) why the boys cared so much about that competition: the narrator talks about writers who were welcomed by other writers (p. 7):

My idea of how this worked wasn’t low or even practical. I never thought about making connections. My aspirations were mystical. I wanted to receive the laying on of hands that had written living stories and poems, hands that had touched the hands of other writers. I wanted to be anointed.

Even if the students reading this had never wished to be anointed themselves (and I imagine a few had), they could imagine these boys battling their hearts out for the prize.

Today, in our second session, we read the part with Hartmut’s tune, Gershon, and Dean Makepeace: the narrator unwittingly learns a Nazi tune at YMCA camp from the chef, Hartmut; whistles it later at school, in the presence of Gershon, a handyman who (unbeknownst to the boy) is a Holocaust survivor; and is summoned by Dean Makepeace for an explanation. Some students picked up on details: they recognized the time period, noticed that Hartmut was Austrian and understood what this might mean; they understood that the narrator hadn’t realized that he was whistling a Nazi melody in Gershon’s presence, but that for Gershon it brought back the sick cruelty and degradation of the concentration camp. They understood, also, what was missing from the narrator’s apology to Gershon: how he held back the fact that his own father was Jewish. (He reveals it to the reader just at the moment that he admits that he didn’t say it to Gershon–or to Dean Makepeace.)

One student thought that if the boy had told Gershon that his father was Jewish, he would have been trying to get Gershon’s sympathy, instead of offering sympathy. He has a point there. But we were all left thinking, along with the narrator in retrospect, that the apology was lacking–not just imperfect, but dishonest. We talked, especially in the first section, about what makes a genuine apology: how it requires opening yourself up to pain, acknowledging the pain that you have caused. (I do not believe in perfect apologies; nor does this book, I think. Apologies don’t have to follow a script or check all the boxes. But they require a basic willingness to see and be seen.)

It so happened that we read the passage about Gershon today, on the 75th anniversary of the liberation of Auschwitz. I hadn’t planned it that way, but it brought even more intensity to the discussion, especially in the earlier session. (One of the two sections meets with me on Monday, Tuesday, and Wednesday, the other on Monday, Wednesday, and Friday.) It was striking that the narrator didn’t portray himself as noble. After imagining a melodramatic story of reconciliation and bonding between himself and Gershon, he rejects the idea (p. 23):

Fat chance. I wanted out of there, and I was confiding nothing. I’d let Gershon think the worst of me before I would claim any connection to him, or implicate myself in the fate that had benched him in this room. Why would I want to talk my way into his unlucky tribe? All this came over me as a gathering sense of suffocation. I stammered out a final apology and left, taking the stairs at a run as soon as the door clicked shut behind me.

Forget about “relating.” Who in the world has not done this? Who has not rejected a human connection, simply because it seemed too inconvenient, too unlucky, too miserable?

No wonder the boys in this story throw themselves into the writing contest. The narrator suspects the same: “Maybe it seemed to them, as it did to me, that to be a writer was to escape the problems of blood and class” (p. 24). It seems to them, ironically, that to be a writer is even to escape yourself. At the end of the first chapter, everything seems to come together, just momentarily.

It is not an easy book. The words, details, references, ideas, emotions, evasions, and bare truths would be a lot for some college students, not to mention ninth graders. But here we are, and such chances do not come every day. They will be able to reread the book in the near and far future. The copies are theirs. But they can’t reread it unless they’ve read it in the first place. That’s why we’re doing this now. Some students will respond to it more than others, or in different ways from others–the “they” is a generalization–but that, too, is part of the point. For a few students, this is already a revelation. They didn’t know that writing could be like this–but what is “this”?

We will find out as we go along. I have read the book four or five times and returned to certain passages repeatedly over the years. I have carried it in my mind. I have written about it on this blog. But I didn’t know what it would be like to read it aloud with my students, to hear the words, to sound them out in time. I will write about this as we go along–not describing every class session, but keeping track of this so that we can look back on it later.

I am grateful to my colleague Marianna, who made this possible. While we read onward, she will continue working through the textbook with them. They are already far along in the textbook, so we have some room. Last week and this week we have been reviewing for a test, but beginning next Monday, they will focus on Old School in all their classes with me, until we finish reading it. I can’t wait to see and hear what comes.

I made some edits to this piece (for clarity) after posting it.

This is the first in a series of posts about teaching Tobias Wolff’s novel Old School to ninth-graders at the Varga Katalin Gimnázium. To view all the posts, go here.

Tobias Wolff’s Old School: Truth, Tangent, and Return

After yesterday’s post on yearning and return, I realized I had omitted something that had been on my mind for a long time. Here it is.

If you have not yet read Tobias Wolff’s novel Old School (2003), please read it before reading this piece, which will reveal some of the ending. I also encourage you to put off reading reviews until you have read the book. Though widely praised, it has been strangely misunderstood by some, including Michiko Kakutani of the New York Times. Such are the pitfalls of reviewing: the best reviews draw attention to good work (or preserve us from mediocrity), while the worst sacrifice the book to the reviewer’s own needs and frailties. Few reviewers are consistently insightful; they succumb to their own stuff, as we all do at times. That’s how I see Kakutani’s review. Enough of that.

I am writing about this book because, from the first reading in 2003 through the third and most recent one yesterday, I have been carrying it around in my mind. I pick it up (in my hands or in the imagination) and return to favorite passages. It says more about education than many an education book; it is part of my own education. It is the ending that seizes me, though everything else builds slowly to it—an ending that seems a tangent but becomes a return and revelation. I will look at this return today.

(more…)