jrlewis's blog

“I think;

Therefore, I am,”

Said the philosopher, Renee Descartes.

“I think;

Therefore, I am;

Therefore, I can change who I am,”

Argued the neurobiologist, Paul Grobstein. 

I write;

Therefore, I know;

Therefore, I can change what we know.

Might the poet, Martin Espada, write. 

Neurobiology and Behavior

(Thank you for this conversation Paul Grobstein)

“Maybe, it isn't

That there is something

To behavior other than the brain; but,

That there is something

To the brain other than behavior.”

“But aren’t neurons black boxes?”

“I suspect so,

Still neurons are not the storyteller.”

“This is the story of science as a story?”

“Our undertaking is subject

To the VAGARIES of the currents, winds, and tides

And our own will or lack thereof.

Therefore,

We must return time

And again, not only to find

But to create, and again to find and create.”

“Neurons are stories.” 

“The nervous self system…”

“Now I see

How science is living by the sea. 

Where, washed upon the shore are stories;

There to be captured

And dropped down again. 

Again,

Littering the terrain, so

The terrain is never the same, so

Know that truth and time are interwoven,”

I wrote. 

“Yep

Rich powerful writing

Part of you

You have been keeping under wraps,”

Wrote the neurobiologist.

“Stories are black boxes.”

…

When I am storytelling my life,

People often ask what happened, and I reply,

He is solid wood

Seasoned with wind and fighting

To light sodden logs

Bright is life and death is steam

Fire alarm am I. 

It started with a series of presents a wooden carving of an Icelandic horse, a fleece-lined sleeping bag, and a plain cloth book.  I used the pony to model for an updated photograph of myself as a ballet dancer waiting for the annual recital to begin.  I tested the sleeping bag in my car, in 16^oF weather, in a strange rest stop.  But the book was a problem.  What to do with a book I can’t read?  After accepting the help of Google Translate, I found out the title, Ritsafn, and author, Olof Sigurdardottir, of my book.  I looked for a translation, none exists; there isn’t a lot of Icelandic literature translated into English, I learned.  Her book, it looks is out of print in Icelandic alas.  Interestingly, my book is a collection of poetry and fairy tales, the third and final published work of a woman farmer writer.  That her husband was a carpenter formed the basis for my poem comparing the author to myself.  My carpenter (the presenter) seemed satisfied.  I was still curious.  This is the story of how I decided to start a series of homophonic translations of my book.

Your souvenirs:

Icelandic horse carving, fleece sleeping bag, hardback

Which left me longing for a translation that doesn’t exist;

What to do with a text I can’t read?

Old book Ritsafn, old tee-shirt soft,

The paper shines; signed by Fra Sigurdardottir a Hlodum.

She was a writer of fairy tales and poems married to a carpenter,

Ever after farmers.

We are the writer and the carpenter;

My caretaker, I shall translate into the genitive case romantic.

Book and word are English cognates of the Icelandic language,

Word list and word lust.

I learned enough Icelandic;

Now let us make like old people and read in bed!

At one time or another, every writer turns into a teenager.  They fold their arms across their chest and lean back against their chair silent.  They are sullen.  Finally, the frustrated writer exclaims, “you don’t understand me at all!” 

What is a writing teacher to do with a teenager?  This is what I would call a teachable moment.  It is the place where the writer’s technique has failed.  Their craft is insufficient to convey their intentions.  Every student writer needs to learn how to realize their intentions in their writing.  This is true from anthropology papers to poems. 

I would like to make a place for student intent within the teaching of writing. The student writer must to be able to talk about their intent and figure out what technique they should use to realize it.  Sometimes talking about intent in another form is freeing for the writer.  Changes in form and genre can be freeing.   It is essential for the teacher to experience the gap between the student’s intentions and their work.  The teacher should try to help the student bridge the gap by means of better technique.  The potential for revision is what makes teacher’s critiques different from those of literary scholars. 

Or Graduate School Application Responses...

The good writing teacher helps students express ideas clearly and concisely through writing in the form appropriate to their discipline.  The great writing teacher helps students develop the relationship between their thinking and their writing.  The purpose of student writing assignments is not a regurgitation of the material the teacher feed to the class.  It is to continue a conversation started in class and reading assignments.  While the teacher may initiate the conversation, it is the students’ responsibility to extend the classroom discussion with their own insights.  Students are supposed to learn about the relationship of words to ideas. 

Even in the work of the best writers, words fail a little.  Words always incompletely capture the world.  Acknowledging the limitations of language is essential to the practice of writing and interpreting.  However, the gap between intention and interpretation is where real learning occurs, for the writer and the teacher too.  As the technique of the writer improves, the gap decreases.  It is the work of the student and the teacher together to bridge that gap.  The teacher should deploy a variety of strategies to help the student realize their ideas in their writing.  Repeated revisions, experimentation with form, and face-to-face conversations are some good methods.  This story about teaching writing holds true across all disciplines.