Hope Wins

Where to begin?  I was up and at the polls before they opened and there were 20 people there waiting at 5:45 am.  By the time they opened the polls in Woodside, where I vote (at 6:08, don’t get me started), there were 100 people there.  Excitement lit up the foggy pre-dawn darkness.

The machines were cranky as they started and the people in the 47^th district had to wait until the most experienced blue-haired old lady came and jiggled a lever on the back just so to get the machine back into order.  I was seventh in the 47^th district, 007.  You’ve seen the picture.

Teaching and grading papers all day there was a strange air of camaraderie and hope.  Spike’s dad put it into words as we watched our kids practice soccer last night before the results were in: “It’s like Nine-One-One, everyone has feeling of secret connection.”

Indeed, as the kids played soccer at McCarren Park two Hasidic men came up with their gloves and joined the Latino guys who were playing softball in the warm November evening.  Only in New York do you see Orthodox Jews shagging fly balls with strangers.

As Mason and I drove back to Queens NPR called Pennsylvania for Obama, and one of the wags said: “I can’t imagine a path to the Whitehouse for McCain that doesn’t include Pennsylvania.”  Before we got over the Greenpoint Bridge they were calling Florida for Obama, and Mason took my cell and excitedly texted Linda that news (and Dole’s SC Defeat).  I came home and ate with supreme hope.

During the day I got an email on my phone from a friend from the 70s who had lived with me in Boston and known me in my messenger days.  We had been through a fair amount together and he contacted me out of the blue as a way –I assume– to reach out of his white New England life and celebrate with a dear old friend (of color).  I had similar calls and emails from Australia, Ireland and Northern California.

This impulse, this digital coming together is, for us progressives, like coming out after a storm.  The last 8 years have been hard.  Personally, I have felt “occupied” like I did as a young non-white man in Boston in the 70s.

So these contacts made because of the HOPE of the Obama campaign feel especially good.  To be reminded of the good and decent whites who were my dear friends during the horror of bussing in Boston in the 1970s, the people who reminded me that I was a man, a friend, a  person of value “un-adjectivized” (not a black man) has begun the thawing.

Before Mr. Obama’s election I was still in my shell.  I was a bit jaded and cynical about friends from the “way-back-machine” contacting me and asking me to drink the Kool-Aid.  I didn’t want to HOPE because I didn’t want to be disappointed.  I have been stand-offish.  But their naïve enthusiasm was touching.  It reminded me of going to anti war marches and Pete Seger concerts with my parents in the 60s.  I don’t think that the 60s, in light of the Republican avarice we’ve lived through from 80 onward, were all that great.

SO last night, and all day yesterday I felt like we had finally become a nation again.  I felt the possibility of Human Companionship.  On September 11^th, 2001 we all receded to our livingrooms to watch our lives and country on television.  We got the “Dulce et Decorum Est” romantic version of America.  All of those grand Ken Burns PBS documentaries seemed more real than playing baseball or listening to jazz.  I feel like our nation slipped into a massive communal state of DuBoisian double consciousness, alienated from ourselves by our image of ourselves as something else.

When Spain was attacked on March 11, 2004 the nation came outside together.  After 9-11 we went into our living rooms and isolated.  They re-established their humanity in the most basic way.  I have been jealous of that European land for these four years.  Yesterday we came out.  We came out in the millions.  We got a 9-11 mulligan and we chose to participate instead of isolate.  The contacts from Europe, Australia, California and Vermont are contacts from our higher place.  America can stop fearing.  We can HOPE again.

One of my colleagues has called this the moment that America becomes Post-Colonial.  We have stepped (a little bit) beyond the colonial and imperial traditions we’ve inherited and begun to live up to our constitution.  The whole world is breathing a sigh of relief because we can choose someone who has a vision of a greater America that doesn’t have the 1945 and 1992 unipolar American power in mind.  “We don’t have to subjugate/ in order to be great.”

America has returned to the dream by electing Mr. Obama.  From Dakar to Dushembe, from the steppes of Mongolia to the factories of Viet Nam there are people who are seeing the America of FDR, JFK (neither of whom were angels), the America of hope and individual opportunity, the America of the Great Society, the America of freedom to be (not to earn), for the first time.

GOD BLESS AMERICA

See Cabaret at LaGuardia Community College

5/10/2008 8:00 AM

I went to see LaGuardia Community College’s production of Cabaret. Now I’m not much of a theatre aficionado, but I had a great time. I am strongly recommending that, should you read this before their run ends, you go and check the kids’ show out.

So when I went into the little theatre and heard Rashisda the Emcee start with the tune “Welcome,” which I had only heard John, the campy waiter from the Magic Pan sing before I was sold. I was ready for a new experience that resonated with the others, but was completely original. Ms. Rashida, in addition to singing well, moves marvelously, and her dance and stage presence was a fun thing to watch on top of the play. When she would do turns around the stage during different parts of the play she would invoke everyone from Groucho Marx to Cab Calloway (the swallowtail jacket didn’t hurt).

The cast was vibrant and real. Now, I know that a play must be “real,” but, what I was excited about was being in the room with the live, lively and alive performers out there giving it their all without a net. Was every note perfect, I dunno, I have a tin ear, but the whole show was perfect. I wanted to know whether Frauline Schneider would marry Herr Schultz, and there might be a happy ending for one or two characters (when I saw the swastikas I knew which way this one was going). It is odd that “the Old Man” and “the spinster” should have been so compelling in a musical so focused on youth and flesh. But so it was that Jamie Davis and Will Koolsbergen stole the show, emotionally and dramatically speaking, from the ample charms of the handsome and beautiful young leads and the breathtaking chorus line (another musical from the 70s). Of Course when Sally Bowles tells Clifford Bradshaw that she’s had an abortion, well that got my attention. Oh Yeah, And Will K. can turn, the little bit of dancing he did was amazing, in its octogenarian way.

I want to give a general shout out to every member of the cast, who I watched with constant interest. They were all wonderful to look at and hear, and I often found myself looking back into the chorus line and at the “extras” marveling at the wonderful courage and diversity of these LaGuardia CC students. Whether it was Mr. Footman as the cabby looking for his money, Jocelyn Catasus as Frauline Kost (cost) and her many sailor/suitors, Mr. Ochoa as the drag queen, or any of the lovely lads and ladies of the chorus line, there was plenty of multi-cultural-multi-talented “eye-candy.” I am far too repressed to admit how beautiful all of the young women are and too homophobic to admit the same about the men. I also have to say that I love hearing live music, and the production got a lot of mileage out of the horns, keyboards and drums they had tucked away above stage. This was a great way to Spend a Friday night, and I highly recommend catching it if you can.

Ernst, the Nazi who opens the play was a surprisingly convincing actor and I have to say, though his role of scoundrel was exposed in the second act, his bonhomie from the first act made him hard not to watch, even when he was the Nazi, in a krystalnacht redux, beating down Darryl Sorrentino as our Harrisburg Hero Clifford Bradshaw (who was good in his role as the idealist cuckolded by the torch-singer Veronica Palazzo as Sally Bowles).

The voices were all good, the show was really exciting, and since I had never seen any version of it before, neither the Queen Latifa version nor the Joel Gray jammy, it was fresh and I really wanted to know what was going to happen. Now, I’m not sure that having the plot spoiled by previous versions would have stolen anything from this show because, like I said, the music and actors were all really present and engaging.

The cast was vibrant and real. Now, I know that a play must be “real,” but, what I was excited about was being in the room with the live, lively and alive performers out there giving it their all without a net. Was every note perfect, I dunno, I have a tin ear, but the whole show was perfect. I wanted to know whether Frauline Schneider would marry Herr Schultz, and there might be a happy ending for one or two characters (when I saw the swastikas I knew which way this one was going). It is odd that “the Old Man” and “the spinster” should have been so compelling in a musical so focused on youth and flesh. But so it was that Jamie Davis and Will Koolsbergen stole the show, emotionally and dramatically speaking, from the ample charms of the handsome and beautiful young leads and the breathtaking chorus line (another musical from the 70s). Of Course when Sally Bowles tells Clifford Bradshaw that she’s had an abortion, well that got my attention.

I have to confess that I have never seen Cabaret in any of its guises before. I remember back in the 70s when it was a play and all of the theatre majors from Emerson College with whom I worked at The Magic Pan would go about belting out the tunes from the show while we did sidework. Then I recall the movie coming out and another surge of popularity, and hearing the tunes “Cabaret” and “Money Makes the World Go Around” floating into my pop-culture-world. I think there was a disco version of the $$ song (it was right about then that NY NY with Robert Deniro and Liza Minelli; Frank Sinatra stole the song from the film, but that’s another sad, sad, story).

It was a great pleasure to see Cesar Mack, a student from my ENG101, Professor Raven Blackstone and, most of all, Gail Mellow who is always there to support our students. IF you can, go ask any of them how they liked it, and I’m sure they’ll say that this show is a Must See.

Coney Island (Passover Edition)

4/25/2008 6:24 AM

Yesterday we went to Coney Island. A lot more than that actually happened, but the trip to the edge of New York was the most interesting part. TO get there we had to bring Mason to the doctor (don’t like this orthopedist) and do a few other things. Chandler’s new friend Jasmine came by and woke her at the crack of 11 after Lennox and I had failed and she went out and floated around the big six schmoozing and kibitzing on the grounds. The fact that she’s made friends is probably the biggest news of this break, but today I’m writing about Coney Island.

We took the train and I started to write a poem before the other adults had found me. I’ll try and include the two lines and the idea here in a bit, but I was in a foul mood after the cost of escape velocity from our apartment was a huge fight with Mason about the brace that he is supposed to wear and Linda just exempted him from wearing after I had fought, been cried at, insulted and changed multiple shoes, laced braces and new shoes and generally acted like a butthead. As I treat my wasted ankle at 48 I think about how Mason should “____(^{insert macho platitude here}) ” to insure his athletic future.

We drove to the cousins’ house and took the F to the park. It was a fun ride with the kids running up and down the car looking out the window at the various sights below the F on McDonald Ave. My favorite is the Jewish Cemetery that you float over looking down at a century of graves (with some new shiny laser etched ones near the tracks so you can kinda see the eternal portraits chosen by the next of kin. It is in much better shape than Mt. Zion over here in Woodside/Maspeth which has me thinking about the anecdotal nature of the conclusions I’ve been drawing about Jewish cemeteries from my runs here in Queens.

The excitement of the park fully grabbed me as we crossed over Surf Avenue from the train. It is great how you can make it straight from the W. 8^th street Stillwell Ave station to the boardwalk with out having to touch the “common” ground of the city: I felt like I was floating over my cares and worries associated with life in NYC. Now, needless to say after my journal entry yesterday about Great Adventure I was not in the mood to totally forgive the Amusement Park Gods, but the fact that I was in New York and I hadn’t been hazed by a two our car ride or a $15 parking fee put me in a mood more amenable.

As we turned onto the boardwalk by the Aquarium I saw another reminder of the previous day’s excesses: a sea of Hasidim in black and white. Again the shock of seeing people whom I think of as particularly reserved and clannish out at the great American amusement park (really great and American, not the six flags/paramount llc brand) further reduced my resistance to the deities of common diversion. As we turned off the boardwalk and descended the stairs to Astroland I was literally shocked at how insanely crowded it was in April. Even in July and August it is generally not that crowded, and this time it was about ½ orthodox and conservative Jews. It was like looking at a puzzle or a test pattern where the dominant motifs (black and white) are overplayed for effect. It was stunning and beautiful aesthetically, a bit overwhelming as a parent and a consumer.

The Kids Right Now

4/21/2008 5:57 AM
Here is another gem from Lennox to keep with the “Daddy remembering is like fish talking” zinger that she announced at the park the other day. Speaking of Mason “pulling the girls legs,” or teasing, about something or another, Lennox observed, when he exclaimed “I’m joking,” in a deadpan tone with the slightest roll of the eyes: “a joke is when people laugh afterwards.” Miss Lennox is quite the witty little thing and really enjoys saying things that make people laugh.
Now Mason is a witty guy, his ability to frame things in new ways with his excellent 11-year-old vocabulary is legendary. It began when he was younger than Lennox when he tacked onto one of his parents’ bromide about “when life gives you lemons, you should make lemonade,” the coda “and sell it!” at dinner one night. He used to get so angry when Linda and I would crack up at something he said, some little witticism (which I cannot remember any of right now [see “fish talking”]) because he thought we were laughing at him.
Chandler, never much of a joker, is the best linguist in the house. She saves her parsing for two main categories of utterances: requests and commands. She can detect, with annoying and unerring accuracy the slightest hint of resentment, bossiness or command in the day-to-day talk of a house. “Put water in the pitcher before you put it back in the ‘fridge,” is a statement where the tone, syntax or intention can embed an insult potent enough to stop the morning in the tracks. “I would do that but you cannot just boss me around like I’m some sort of nitwit. I have my reasons for not refilling it, and the way that you ordered me will NEVER get me to do it. I’m so mature that we might as well have restarted the Hattfields and the McCoys up for a century of good Appalachian vendetta: hillbilly omerta in Woodside.
When we think to frame our utterances in the form of requests, “Chandler would you change (meaning clean) the guinea-pig cages today?” “Sure” she’ll reply. But in that request, framed in a way so as not to rankle Honey, Rocky and Buttercup’s “mommy,” is enough wiggle room for her to not do it until bedtime; her chores become late night filibusters against bedtime. All day long, as we politely remind her that the cages need attention we are parried, feinted and dodged with grammatical explications, “I said I would, and I will, just not right now.” Chandler’s quiver is filled with arrows that any semiotician would be proud to use. Her ability to “lawyer” will be wasted on the law because with the silicone slickness of her linguistic abilities and the cudgel of her willingness to take offense remains untouched by discipline in the old-fashioned 50s sense (most recently enacted in the 1970s on the Brady Bunch), which she reminds us came with primitive behaviors like corporal punishment.

“The Message” (For Class Thesis Development)

The Message

Granmaster Flash and the Furious Five. 1982. The Message. 12-inch single (Sugar Hill SH-584).

 

Broken glass everywhere
People pissing on the stairs,
You know they just don’t care
I can’t take the smell, I can’t take the noise
Got no money to move out, I guess I got no choice
Rats in the front room, roaches in the back
Junkie’s in the alley with a baseball bat
I tried to get away, but I couldn’t get far
Cause the man with the tow-truck repossessed my car

Chorus:

Don’t push me, cause I’m close to the edge
I’m trying not to loose my head
It’s like a jungle sometimes
It makes me wonder
How I keep from going under

Standing on the front stoop, hangin’ out the window
Watching all the cars go by, roaring as the breezes blow

Crazy lady, livin’ in a bag
Eating out of garbage piles, used to be a fag-hag
Search and test a tango, skips the life and then go
To search a prince to see the last of senses
Down at the peepshow, watching all the creeps
So she can tell the stories to the girls back home
She went to the city and got so so seditty
She had to get a pimp, she couldn’t make it on her own

It’s like a jungle sometimes, it makes me wonder
How I keep from goin’ under

My brother’s doing fast on my mother’s t.v.
Says she watches to much, is just not healthy
All my children in the daytime, Dallas at night
Can’t even see the game or the sugar ray fight

Bill collectors they ring my phone
And scare my wife when I’m not home
Got a bum education, double-digit inflation
Can’t take the train to the job, there’s a strike at the station

Me on King Kong standin’ on my back
Can’t stop to turn around, broke my sacroiliac
Midrange, migraine, cancered membrane
Sometimes I think I’m going insane,
I swear I might hijack a plane!

My son said daddy I don’t wanna go to school
Cause the teacher’s a jerk, he must think I’m a Fool
And all the kids smoke reefer,
I think it’d be cheaper
If I just got a job, learned to be a street sweeper
I dance to the beat, shuffle my feet
Wear a shirt and tie and run with the creeps
Cause it’s all about money, ain’t a damn thing funny
You got to have a con in this land of milk and honey

They push that girl in front of a train
Took her to a doctor, sowed the arm on again
Stabbed that man, right in his heart
Gave him a transplant before a brand new start

I can’t walk through the park,
‘Cause it’s crazy after the dark
Keep my hand on the gun,
‘Cause they got me on the run
I feel like an outlaw, broke my last glass jaw
Hear them say you want some more, livin’ on a seesaw

A child was born, with no state of mind
Blind to the ways of mankind
God is smiling on you but he’s frowning too
Cause only God knows what you go through
You grow in the ghetto, living second rate
And your eyes will sing a song of deep hate
The places you play and where you stay
Looks like one great big alley way
You’ll admire all the number book takers
Thugs, pimps, pushers and the big money makers
Driving big cars, spending twenties and tens
And you wanna grow up to be just like them
Smugglers, scrambles, burglars, gamblers
Pickpockets, peddlers and even pan-handlers
You say I’m cool, I’m no fool
But then you wind up dropping out of high school
Now you’re unemployed, all null ’n’ void
Walking around like you’re pretty boy floyd
Turned stickup kid, look what you done did
Got send up for a eight year bid
Now your manhood’s took and you’re a may tag
Spend the next two years as an undercover fag
Being used and abused, and served like hell
Till one day you was find hung dead in a cell
It was plain to see that your life was lost
You was cold and your body swung back and forth
But now your eyes sing the sad sad song
Of how you lived so fast and died so young

August: Osage County (why I’ll try theatre again)

2/26/2008 4:07 AM

I got an email from Sunil Vyas while I was at work yesterday and he just responded again. It seems I’ll see him on Monday the 3rd for dinner. How exciting. I am up on time and ready to go, but I want to write a little here first.
I keep thinking of the play that I went to see with Chandler. “August: Osage County” was a great play and in spite of the fact that I usually do not enjoy big c culture events I loved this one. I think I’d like to write a brief post about it for the Blog. I should start with the fact that I often, peremptorily, prejudicially and without cause, don’t like going to plays and being around the theatre crowd. This goes double for opera, classical music and experimental theatre. The last play I went to was the one about Buckminster Fuller with my dad (which has its own special load of fraught freight). I remember that it was in a warehouse-type theatre with lots of really engaged people, not a few of whom were old hippies like my dad. As I went into the big space with bleachers built to face the stage I enjoyed the “archive of Buckminster Fuller” and the “world games” that filled the space like some experimental museum. But I was not comfortable.
In spite of the fact that is was like a trip to my childhood, with buckyball globes (tetrahedrons cut out of postcards) made of cardboard and other oddities of the subject of the play, I felt disease. It is the same feeling I get when I go to the opera in SF, or Philly or (strangely to a lesser extent) in New York. I got crabby and judgmental, spending as much time assessing the clothes, styles, class and culture of my fellow theatre goers as I did watching the play, theatre, opera or anything else.
When I go to big-C-cultural events I inevitably start to compare instead of identifying. I begin to reach a point where I note every difference between myself and the other people attending the same production. I’ve noted before that I don’t get this way when I’m in an art museum, so this alienation and judgment is particular to the theatre-arts big-C-cultural events. I just don’t know why. I suppose I could go to a few years of therapy and figure it out, but I like sitting in my grouch-can complaining too much.
“August: Osage County” was a great play and a big-C-cultural event that I truly enjoyed. This leads me to believe that the real issue is the quality or my engagement with the productions I’ve seen. I know that I did actually enjoy the St. Petersburg production of Pushkin’s “The Fiery Angel,” but it had massive full frontal nudity and catholic bashing (fifty nuns stripped down and climbed all over the set nude: it was spectacular). But, I also enjoyed “August: Osage County” and it had no nudity. It was a human drama full of real people and actual emotions covered in very funny humor, which is how I try to avoid my feelings.
From the moment the play began I stopped taking inventory of my fellow theatre-goers and did not notice a thing besides Chandler’s tired head on my shoulders until it was over. I wasn’t even bothered by the people pushing passed my seat to get oiled at intermission. The guy behind me who was so drunk that his breath was making me tipsy barely bothered me as I watched the drama unfold.
It was like watching the most dysfunctional family reunion or chistmas dinner ever, in the tawdriest trailer park in the south. Yet I had no judgment of the people on stage at all (in spite of the bashing that the description I just gave suggests). I was immediately struck by the humanity of the characters, the reality of the actors’ performances and the use of humor to deflect the horror of a domestic tragedy.
I loved the experience of this play and look forward to going to more drama, if it is this good. This one play rescued three genres of big-C-culture for me in one felled swoop.

“Queens Boulevard Driftwood”

In my annual calender, on the page I started the poem were these two “bon mots:” “the truth broke my uniqueness” (3.22.7) and “My ability stand pain diminished” (4.2.7). I’m not sure why I wrote them down, who said them, or why they matter, but I’m digitalizing them.

I saw a huge chunk of wood in traffic on Queens Boulevard the other day and the traffic was slowly dissolving it. I though about it and I want ed to write a poem, and this is what I started last night as Erin (M) spoke.

“Queens Boulevard Driftwood”
A six foot block of 8” by 10”
Aged for a century deep in
A warehouse that held barrels of oil
That 2 floors down became pens

Flame de-industrialization
For cold steel replacement buildings:
To fill with pressboard furniture
Covered with white and birch veneer

The rubble of that factory
Trucked away thirty cubic
Yards at a time to a depot
Lashed to barges along the River

The illegal that packed the charred beam
In the 30 yard dumpster lashed loose
The blue plastic tarp containment
Disposable archeology

Too fast turn by stallion carting
Out flew bricks, rubble and plaster
The beam that held up 100 years
Of hard work and new things fell out

Wave after wave of traffic rolls
Over and over the charred cedar
Crumbling and shaving the wood cut
A century ago by dagos

Yellow, then red and green again
The pulsing of the traffic thuds
Over and over the charred cedar
Gnawing away on the old beam

Smoothing the remains of the tree
Felled so long ago in mountain woods
A century hidden in red brick
Supporting piece-work now done by

Dominicans and Poles and
Koreans and Fujianese
And Hondurans and Mexicans
With bleary eyed efficiency

When I see the board dissolving
Under the waves of rush hour tires
It smoothes along the rough grain grown
When Lincoln debated Douglass

The grain shows like the tree itself
Fell down in a cold mountain stream
And was worn away gently in
The most tranquil of rural deaths

Waves of cars on Queens Boulevard
Lap over the wetback hewn board
Eroding it like the bowsprit
Of a shipwrecked sail freighter

Made redundant by steel and steam
Wave after wave on the freezing verge
Wears away the tree cut down quick,
Casually, when Queens was built

By dawn there is only a smooth
Core, the size of a root, halo-ed
By splinters worn off, car after car
Queens Boulevard Driftwood

This poem, on reconsideration, reminds me of this shit.

Physical Therapy and Abu Ghraib

So I’ve been undergoing physical therapy twice a week for a while now. Some of you might notice the photo above from an earlier post. as I am stretched and pulled, massaged and exercised I am for period of ten minutes each time left alone in a cubicle with electrodes strapped to my ankles. My ankles are then wrapped in ice-packs and the power is turned on. This increases bloodflow to the recently “exercised” joints and I think is helping (I am getting better). During those lonely twenty minutes a week I have been composing poems on my crackberry:

As I lie in my curtain-cubicle
Stretched and stretching out
Upon the insurance company wrack
Tring to revive my ligaments

I feel the gentle surge
Of the curative electrodes
Taped to my lower extremities
As I stare up at the curtains

That separate me from
The other patients with
Other infirmities
Stretched shocked wrenched

Each of them must feel
The tears of their own flesh
Rehabbing looking up
At the fluorescent

Curtains that separate us all
Hanging from the tracks
That segregate walls
For our own lonely cures

Stretch (This one is a revision of the first that speaks more directly to an imagined interrogation instead of the isolation that I feel in that cubicle and in the medical world.)

In a hyper-clean cubicle
On a Plynth Three Section Table
Model sixty-four-eighty-five
Sold only to prisons and HMOs

Lies a man Bound by zip-ties
Lies a man who does not speak
The language of his “providers.”
He is to undergo “truth-therapy”

At the hands of a good Hoosier
Raised on corn and bologna
Jello, macaroni, potatoes and
Bread that you can make balls out of

As concerned about march madness
As he is with homeland security
He puts medical electrodes
On the depilated scrotum

Telling the patient patient in poor Urdu
What he is doing just like a real doctor
He explains the range using the LCD readout
Then he connects the wires

He illustrates the discomfort of the number two
With his military training school Urdu
The LCD reminds him of the scoreboard
At McCracken that Hoosiers venerate

Lost in thought he wonders about
The bracket he filled out in the px
And if there were any upsets in the first round.
Then he reads the first urdu question typed on the sheet

There in the hygienic curtained exam room
Two men speak in Urdu one of whom
Is thinking about college basketball
And the other of his flaming balls

Sent via BlackBerry by AT&T

 

Happy New Year (Rat)

Stockhom Syndrome and the ACT Prep Intensive

My class takes the ACT today and I feel like the Stockholm Syndrome is reaching critical; I’ll miss them, but I’m glad the cops are coming to free us all from each other. I have one student who has been handing in incomplete practice exams all through the class. If she would a) stop writing the perfect seven sentence intro and b) start with and stick to an outline she’d be through much more quickly and efficiently. There are another couple of students who have such amazing words and language problems that correcting them all puts more of my writing on the page than theirs. I want to use the fact that they originally spoke languages other than English as an excuse, but they are actually caught at a more profound level since they both speak English better than they write it. I’m not sure what it is about writing that makes them “write” (scrawl, scribble, or “tag”) convoluted words that they would never utter. There are, of course, the students whom I can’t imagine why they didn’t pass the damn test. I feel a special twinge of sadness for them because had they learned the tricks of the ACT they’d have passed easily, but they probably thought about the question outside of the (training wheel) ACT paradigm and were punished for writing a thoughtful and balanced essay. There we are, all locked in the vault together. But just for today. Just for one more day.