“My life could have turned out differently, but it didn’t.”
“I live with my contradictions intact”
“I’ve got to lose this skin I’m imprisoned in”
“Didn’t nobody seem to know me, babe, everybody pass me by”
It is easy to trace the twisted path which led me to where I am; however, it is a bit more difficult to see where I am going next.
An obnoxious student asked me last week, in regards to this assignment, what my “rock” was. In my usual evasive fashion, I responded, “You are” meaning all of them, my students were my rock. However, even though I enjoy teaching most of the time, when I think of why I do what I do, or rather who I am, I don’t think about teaching. I have several roles I have taken on over the years: husband, father, friend, teacher, student, doctoral student, writer, poet, fool. I don’t think I am a Prufrock, yet, sometimes I feel as if I am no more than a sad man walking along the beach with my trousers rolled. Having a meaning or purpose, it is often said, leads to a happy (ier) life. With that in mind I guess, I would say that teaching gives me some of my purpose, and poetry gives it meaning, or helps me to create a meaning, to create sense out of chaotic universe.
Recently a friend wrote that she had a hard time calling herself a writer, even though I know she writes and writes well. A few years ago, a woman at the first meeting of a poetry group said she did not feel as if she could call herself a poet. I had just said as part of my introduction of myself that I had considered myself a poet since I was fifteen. She seemed shocked that I would have the audacity to call myself a poet. This inability to call oneself what one does came up again in another conversation between teachers. One man said that it felt somehow pretentious to call oneself a poet or a writer. I asked the group how was it any more pretentious to say you were a poet than to say you were a teacher. To me it seemed more pretentious to lay claim to that title, to say, “I am a teacher.” I mean Jesus was a teacher. Who the hell am I? But I have over time become used to being called arrogant, so I guess that is why I have an easy time saying: I am both: a teacher and a poet. I don’t claim to be very good at either one, but I am both. Charles Bernstein said that if one says it is a poem, then it is a poem. No claims to quality, but it is a poem. I am a poet. I sit down with the intention of writing a poem. I think about each line, the rhythm, the sounds of the words in relation to the other words, the phrasing, where I can cut and reduce, where something else needs to be added. I use poetry as a way of making sense of myself and the world I find myself in. As I have said elsewhere, poetry (both reading and writing it) helps keep the horrors of the world away and a way to find beauty everywhere and in everyone. I have consciously written poetry since I was fifteen; with luck, I will continue to do so the rest of my life. I am a poet.
Of course, I am also a teacher. If some magical seer had appeared to me when I was a 17-year-old senior, and told me that I would be a teacher for more than 30 years, I would have laughed out loud just before dying in horror. Yet, here I am working at one of the best high schools in Texas as the senior APLit teacher. Sartre famously wrote about a waiter at a Parisian café. The waiter, according to Sartre, is only a waiter when he is performing as a waiter. So, following that train of thought, I am only a teacher when I am at work talking to my students. I rarely think about being a teacher. It is still, after more than 30 years, difficult to think about me being a teacher. I suppose my life as a teacher would be inauthentic since I don’t think about why I do this beyond making enough to feed my children, pay the mortgage, and send them off to college. Yet, in some small way I like to believe that what I do matters, even though I know it probably doesn’t.
Maya Angelou said you remember how people made you feel, not what you learned. I think that is why when my former students run into me at HEB, or they come back to visit, they remember my class fondly. A few weeks ago, I was having a beer with a friend when I man in his thirties approached and asked if I was Mr. Neal, as if he were a process server for some lawsuit. It was odd to say the least. When I answered yes, he told me that he had been in my class when he was an eighth-grade student at Pflugerville Middle School. He said he heard my voice, and knew it was me. He remembered “The Road Not Taken.” (I used to have my students memorize poems). He said the first few lines. He said that had been his best English class, which I found embarrassing and kind of sad—his best English class was as an eighth grader.
I am not retelling this event as an attempt at self-aggrandizement, but to show how one’s self-identity is often much different than how the world sees you. I am always uncomfortable when people try to define me to me. I find their descriptions to be too pat, too much mired in the cliché, too many wrong associations. I am a teacher, and I feel in some small way I am helping create a better world with my students; yet, I never really know what it is I am doing.
In a faculty meeting, several times, I have stated I don’t have any idea what my students are taking away from my class. In an age of standardized testing, to say I don’t know what my students learn in my class is tantamount to heresy. I don’t mean I don’t know what it is I am doing in class; I just don’t know what it is they are learning. And I certainly don’t see them as the number they receive on standardize tests. I have had students tell me years after being in my class what they remember. It is always surprising to me what they found valuable, because it is never really what the objectives were in the class.
When people ask what it is I teach, they mean what books are we reading. They seem confused when I talk about my students. My students are what (who) I teach. Books, poems, essays, are just the ephemera of my class. The tools that are employed in the teaching. About 15 years ago, I would respond glibly to my fellow teachers when I was asked what I was teaching that six weeks with “Nothing.” My students read what they wanted to read, and for the most part wrote what they wanted to write. I ran my class as a reading/writing workshop. The district where I worked claimed that ELA did workshop k-12, yet I was the only teacher in my high school who did. So it often took several weeks to teach the students how to read on their own, to have the stamina to read for 20 minutes without interruption. So, one day after the students were fairly proficient at the process, I was sitting on the floor in the doorway to my class. I was monitoring the students who read in the hall, and the ones who stayed in my classroom. A history teacher walked by and said snarkily, “I wish I could not teach, and sit around all day and just read.” My students were on the verge of rising up against her, when I mumbled (they had learned to understand my mumbling at that point as well)—I mumbled in response to her, “One would have to know how to read first.’ She walked on, not hearing what it was I had said, and the students laughed as they settled back into their books. I developed a reputation with the faculty pretty much as a smart-ass. Not that they were wrong, but I interpreted what they saw as smart-assness, as more of a way not to scream expletives at them. I refused to accept their definition of what it meant to be a teacher. I created my own definition. Even if some of that definition was simply a defiant rebellion against my fellow teachers.
I do think a lot about what I am doing both as a teacher and writer. So, I imagine I am attempting to be authentic in what I am doing. I question whether my praxis (my beliefs correspond with my actions) is authentic..not just me going with the flow because that is the easy way to go about life. As I said earlier, I am never sure if what I do is effective or worth doing at all. I will fluctuate between thinking I am a decent teacher, or writer, to thinking I am a fraud, fooling everyone, even myself.
And that is the point I think of life: to try to be brutally honest with oneself, to never settle back and assume you know what it is all about, because one can never know. Which is not to say that we should not try to understand our lives, we should always be trying, even if we know we shall never know. Embrace the vast absurdity of the universe with a passionate intensity, not matter how pointless. It is the process and the awareness of the life you are living that makes the life have meaning and be worth living.
A little more than a month ago, one of my work mates proposed that she, a math teacher, and myself write a haiku a day for a month. After 37 haikus (I wrote more than one some days), I am going to stop the exercise. I think that my fellow English teacher proposed the undertaking in order to make her write everyday. I do this already, so it did not motivate me to write. I did find it a calming activity most days: a time to stop and think about what was in front of me either physically, mentally, or spiritually. However, it also deflected my attention away from other poems I had been working on. Usually I post about 15 or so poems a month (sometimes even pushing to 20). In October, because of the haiku event, I posted 38 new poems. I like haiku, and like writing them. Usually I make up parameters for my writing in an arbitrary and random manner. During the exercise, I used the traditional 5-7-5 syllable count, although I have in the past ignored that stricture focusing more on the brief flash of attention than on a numbers game. Figuring the syllable count is more of a guideline than a law. I don’t plan on giving haiku up; I’m just not going to sit down each day to write one. I have always written in small snatches of time, never having the leisure to write for extended lengths during the day. So, haiku, and imagism, lend themselves well to going from start to finish in the brief time I have to write. However, I also like spending time in my head as I go through the day, thinking about a longer piece. Therefore, as I stated at the beginning of this ramble, I am going to end my participation in the project. Thanks to all of you who read and liked the work I have posted over the last month.
I received a rejection email from a lit magazine for a set of poems this morning. It was the standard, “does not fit our needs at this time” rejection. However, the magazine also told me that my poems made it to the final round of selections, before being rejected, and I should feel free (with a small reading fee) to submit more of my work in the future. It was as if I was told that my poems were almost good enough. But not being a hand grenade, nor a game of horseshoes.. almost is almost an insult. I know that it was supposed to be read as a compliment: my poetry was better than the outright rejections, yet still was found lacking. I laughed; It was funny. I am not bothered by rejection letters. They are just part of the game of submissions. A couple of years ago, I received a rejection from a magazine that had previously published a couple of my poems. In the rejection letter, the editor, I imagine in an attempt to be helpful, commented on what I could do to improve my writing, citing both positive and negative examples. I found this more troubling than the almost-good-enough rejection. The commentary was the sort one gets in undergraduate writing workshops. In other words, not really useful, or germane to what I was doing in the poem. I did not ask for feedback; I have been doing this awhile, I know what I am doing. I feel that if you did not select my writing for your publication, a simple polite no is good enough. I do not have to see your reasoning. I do not think, in the stereotypical manner, that the publisher did not “get” my writing. I just figure as the statement in most rejections pronounces: they do not fit, or they are not what we are looking for at this time. Or it is not the type/style of poetry the editor likes. I write what I write. I stopped a long time ago trying to write what I think some specific magazine, or editor will like. I don’t need a gold star, or the affirmation of someone else. I send out my work, because I would like it to be read; but, not to the degree that I will change the way I write. I am not trying to be arrogant, in fact, I see it more as humility. I write my poems, and they are poems, not experiments, or assignments. If you don’t care for my style, or what I say, that is okay. If you do like what I wrote: cool. I send my writing out sporadically. Normally, I will send out to several magazines at the same time. Not simultaneous submissions, for I write all the time and have a large backlog of poems. After my flurry of submissions, I continue writing; I forget who I sent poems to, then they slowly come back to me with rejections, and the occasional acceptance, which is always a thrill. I have never been one to see POETRY as a career, where I have to get published all the time, in all the BEST magazines. I don’t think one can be a professional poet. I do take poetry seriously: I read it all the time, I write it all the time. I even teach poetry, and conduct poetry workshops with my students. I send some out every now and then. Some get rejected; some get accepted.