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Living Back to Front

My brood – one bride plus one remaining brute equals a brood, for those of you who hate being told to “do the math!” – and I live in a three-bedroom attached house. Eco-bride emailed me the other day with the sales details for our (possibly fictitious) neighbours’ place a half-dozen houses down the row. (We’re not sure we’ve ever seen them.) What stood out to me was that the place apparently has four bathrooms, when it’s hard to imagine that as many as four people live there. My wife, meanwhile, was mock-offended that the ad “didn’t mention the friendly neighbours!” Ha. A sour little inside joke.

The whole point of places like this is to be free to ignore the neighbours. That’s why they’re all built backwards, as most suburban homes are. (Ours is more of a middle-class in-fill to what our real-estate agent thought of as a sketchy part of town – Vanier, for those who know Ottawa – but the same inversion principle applies.) The most prominent feature of our house is our garage, while the front door with its tiny front step is obviously something to pass through like a stealthy wind. That’s why our basketball goal off the drive is such an affront to our nearest neighbours.

We’re supposed to be invisible to each other. That’s why there are such tall and bland and ubiquitous fences. That’s why, ideally, one clicks the garage door opener and drives directly into the garage. That way, once you leave the hermetically sealed, climate-and-aural-environment-controlled ambience of your SUV, you can walk directly into the private foyer without having to risk the possibility of running into a human being not-of-your-same-address. That’s why most of us entertain only in the high-fenced micro-yards out the back patio doors.

And that’s why my wife is such an oddball when she throws a lawn chair out in our tiny front yard to read the newspaper on a warm spring morning. I like our little house, but I’m nostalgic for the old houses where I grew up, the ones with a rambling front porch where folks would drink their coffee, watch their kids, wave at passersby, jibe with the neighbours. And didn’t mind waiting for the bathroom to come free.

BetterReadThanNever 1: Talent, Potential and the Myth of Ability

“Talent doesn’t exist. Talent is nothing. It’s all about what you do, how you work, how you dive into the process.” That was Ben. (It may still be Ben.) He was learning to love his trombone in a Jazz Performance program at Montreal’s McGill University.

“Listen, you’re right, process matters, it’s great to focus on what you can control. But you don’t believe in talent? You’ve never coached basketball, that’s for sure.” And that was me, his teacher-coach father.

This was a conversation that lasted hours, across several days and venues. I, of course, was the voice of balance and reason in the face of Ben’s extremist argument. Because every athletic coach knows this: if you’re gonna make rabbit stew, you’d better start off with some rabbits. Some kids you can teach for a week and they can do it slowly, and some are at high speed after 15 minutes. Everybody knows this, right? So maybe my argument was dispassionate, based on grey hairs and considered experience. And perhaps it wasn’t, always, because I was interested in reminding my boy that he was talented (always different from “skilful”), and I might also have been nurturing a niche or two of my own where I doggedly hope that there’ll be some natural flow and not all hard work. (See “Writing”.)

Surprised as I was by his “naïveté”, I was moved by his argument. It made sense, given his position: you’ve been accepted into a prestigious program after auditioning; you are what you play, so thinking about “natural ability” is distracting at best, corrosive at worst; and besides, the only thing you can control is your level of effort and quality of focus. I got that. It’s one of those beliefs that, regardless of its level of absolute truthfulness, is just useful to believe. It’s forward-looking, it’s practical, and it gives the person seeking mastery the permission to keep on looking. Good.

All of which reminded me that I hadn’t gotten ‘round to reading something all educators should (even if they don’t speak math), as should any who like to think about human potential and barriers to its expression. John Mighton, a Canadian writer and educator, came out with The Myth of Ability: Nurturing Mathematical Talent in Every Child in 2003. Just as I had with Ben, I was dubious about Mighton’s egalitarian premise but excited about the possibilities it opened.

Mighton loved mathematics as a child, but left it behind in discouragement before he left high school. He went on, doggedly, to teach himself to write, which he did well enough to win a Governor General’s Award (Canada’s top literary prize) as a playwright. I’d heard about the book – a new approach to teaching math to kids – but I was at least as interested in the author, and his odd movement from writing for the stage to a belated doctorate in mathematics. He examined the systematic approach he’d taken to writing, and applied it to the rekindling of a stifled earlier love. He became an adult math prodigy, and he watched carefully how he did it and why it had taken him so long.

And along the way, he began volunteering to teach the “unteachable”, those kids – often from underprivileged and undereducated backgrounds – who had fallen “hopelessly” behind in their numeracy. He started with Lisa, a sixth-grader operating at about a grade one level; she was unable, for example, to count by twos to ten. Using the basics of what became the JUMP (“junior undiscovered math prodigies”) method – rigorously defined teaching by clear and tiny steps, coupled with dollops of unremitting praise – Mighton helped her to the point where she could pass grade 9 high school math at the academic level. It was the first of many remarkable success stories.

He’s convinced that the teaching of mathematics is rife with false ideas, chief among them the elitist notion that only a few students can be expected to excel in it. And, though he argues this rather gently, that it is poorly taught, based on the expectation that most will eventually fail anyway. Teachers, especially at the crucial elementary levels, either are among those who picked it up easily (and therefore unconsciously expect that everyone should do the same) or those whose own mystification with mathematics made them rather phobic about it. (Mighton doesn’t ask this, but I do: how many primary- and junior-level teachers actually like mathematics? Having trained as one, my unscientific answer is: not many.)

Everybody can learn mathematics. (There, I gave away the ending.) Mighton is evangelical about this message; it’s an educational call to arms, and an emphatically political one. The Myth of Ability takes the principle of democracy and slams it down into every grade school classroom in his province (Ontario) and beyond, arguing forcefully that it is deeply ingrained prejudice that makes us think that only the few can possibly have had the magic fairy dust of mathematical potential sprinkled upon them. (It reminds me of another bit of widely believed exclusivity: that art and creativity are only permitted to the rarely gifted, when what is really needed are the means, the time, and the confidence.)

To a man with a math obsession, of course, perhaps every problem looks like innumeracy: “more than half the world’s children still live in abject poverty. In affluent countries, violence, overconsumption and the destruction of the environment continue….Children who grow up…meeting only a fraction of their potential, unable to reason clearly or weigh the consequences of their actions…will be exploited and misled with ease by corporations and politicians…” Hyberbolic? Perhaps. Mighton is a mighty believer in the power of education, that good teaching and constant encouragement are the antidotes to apathy and failure. He writes: “If children in any part of Canada were being starved to the point where they looked like famine victims, people would demand that they be fed. But children regularly graduate from our schools after reaching only a fraction of their potential. Why do we tolerate this vast loss of potential…?….We must all believe, on some level, that these children are not being starved, they are simply incapable of eating.” Mighton has proved to himself, and the JUMP program seeks to demonstrate to more and more schools, that the great majority of young can not only eat math but love it, too.

It’s a challenging thesis, but a painless read. He writes clearly, engagingly, and concisely. Mighton tells his story, outlines the development of JUMP and pleads for a more challenging (yet more equitable) approach to education in well under 100 pages. (In fact, if you’re as lazy as me, you can skip the entire second half of the book, in which he reprints selections from the JUMP manual, from teaching fractions to something called “finite state automata”. Good thing I’m not getting paid for this review!) The Myth of Ability is a small but potent package, and well worth the read for anyone who believes – or wants to – in the importance of education and the undiscovered country of human potential. at times I felt that Mighton might slightly overstate his case, although he does not suggest that there aren’t inborn differences in ability. I think, though, that my “talent is nothing” son Ben would approve. He would nod furiously at Mighton’s title, that’s for sure.

Better Read Than Never

I once described myself as an “accidental reader”, and it’s even clearer now. I have my lists, my piles, my really shoulds, and believe me, I really mean to be faithful. But they are usually trumped by the book (magazine, email, billboard, menu…) that flirts and flounces into my sight. Goodbye to faithfulness, and hello serendipity.

Yes, even my reading is erotically charged. Sure. What this actually means is that I don’t read what’s current. I’m too time-stingy to give those hours to writing that hasn’t yet shown some endurance, and too darned cheap to buy new and full-priced books. The Used Bookstore Syndrome. Coming soon, therefore, to this space: a semi-regular but entirely unscheduled look at reading that I finally get around to. Better Read Than Never. (Bonus books in the great book of life to anyone who writes to unpack the delicious blend of clichés underpinning this title. I am Title Guy. What am I saying? Bonus points to ANYBODY who writes me!)

Coming soon will a quick look at The Myth of Ability. Nice.

Return of the LitWit

So I raise my head blearily from the long, muddy furrow in which I’ve been crawling for several months – it looks, to the inexperienced eye, like a clean and well-lit classroom – and I remember I used to believe in a question.

How can I know what I think till I see what I say?

That’s the novelist E.M. Forster (A Passage to India, Howard’s End) reminding himself and any would-be-wise guy that writing is, among many other things, a way of understanding. Judging from my strangled output over the last year and more, I don’t understand much when I’m teaching full-time. (And coaching. And trying desperately to influence the young, face to face. Madly off in all directions. (Thank you, Stephen Leacock.) Running to stand still? Sometimes.)

I do know exactly where I am when I face a group of students. It’s natural, it’s demanding, and I’m only slightly less manic-energetic than I used to be. But the sense of déjà vu sometimes weighs heavily, and while I know exactly what I’m doing, and while even a ninth-grade French class can turn into a chance to clarify and express my views on matters mighty and minor, I am not finding Forster. I have not been stretching and stressing my brain and typing fingers. More and more, lately, I’ve been feeling this absence from my life, hence today’s self-involved posting.

I’m back, not that cyberspace missed me much. Today, I like writing.

An End to Foreign-ness: This is London Calling

My last post bemoaned my neglect of this quiet little forum, and that was several months ago. If you happen to have been a regular reader when there was fresh fodder, sorry and thanks. If you’re new, thanks for showing up. (And “an end to foreign-ness”? It’s part of what ‘Abdu’l-Bahà, visionary and civilization-builder, called upon the world to create nearly a century ago. I love that phrase.) (I hope I don’t have to explain the “London Calling” reference, except maybe for my mother-in-law: Margery, it’s a great punk album by The Clash. You’re welcome.)

After a wobbly and jet-lagged first day in London, vacationing back to the Anglo-Saxon homeland with my wife and youngest son, I want to throw this into the ether before pitching myself into the loft of oblivion. Sleep, my friends. Sleep.

The next thing you’ll see is a little something I wrote to my Grade 10 English class — a group that should’ve been a delight, considering the material we studied and the brainpower of many of the kids, but was only occasionally so — as class ended in June. No coincidence that I’ve relaunched my writing / With gnashing and biting and / Blasts from a thousand kazoos after a week and more away from being a full-time educator. Teaching and writing is a balancing act I haven’t yet found the rhythm or the moderation to master…

Welcome.

Farewell to ENG 2D

Here’s an end-of-term bit of old-fashioned letter-writing — hand delivered, mind you! — to a group of kids champing at the bit to feel free of all the literacy I forced upon them. I just had a couple more things to say, and hope that 2 in 28 paid attention:

Friday the 13th
(Lucky us!)
June ‘08

Well, 2D,
(2D, or not 2D / That is the question.) (Sort of.) (Okay, not really, but it rhymes…)

Many a Journal has been written this semester, but not a one by me. Time to change that, ‘though as the photocopier hums merrily along behind me with last-day-of-class exam preparation sheets and other items of ground-wobbling importance, I’m not sure I’ll be able to complete the required full page. But it’s a start. After writing Journals quite madly for years – including, often, those written alongside my sweating students as they scribbled theirs – I’ve been in a Journal Drought. I’ve written many another thing, and some of ‘em were green and growing, but my personal coil-bound thought sanctuary has been a desert.

So this rambling scramble of a letter is my first baby step toward the restoration of my own private record-life-as-it-happens-so-I-learn-and-remember habit.

‘Cause that’s what a Journal is, besides its obvious value in helping/forcing you to get better and easier in putting your thoughts and feelings down on paper. (How can I know what I think ‘til I see what I’ve said? one writer asked.) For most of you of you, by now, getting it down is something you do easily and well; I wish I’d had more time to read and respond to the thoughtful, wonder(ing)ful, funny or frustrated things you spun out of your own life and intelligence. What’s more important, though, is that YOU will read what you’ve written, sometime down the road. There’s a vivid portrait, in words and exclamations and marginal scribbles, of yourself in there, one that you should value and that you should keep, right alongside your yearbook, maybe. (Great idea, sir!)

I wish you all the best, including a summer full of reading: the Best Single Thing you could do for your educational future, I say, AND for those quiet hours when only a book will do…

Peace and progress,
Mr. H.

Neglect, Thy Name is Howdy

This is a brief post aimed especially at The Faithful Ones — and You know who You are — who tune in to this site to see if Mr. Jay has anything to Say. (He Hasn’t. Not since February 21. Ouch. Chastened, which, English being the odd language that it is, has little to do with chastity. For whatever that’s worth. And if I continue with this tangled paranthesis, you may never wish to dial Howden again. So I’ll stop. Real soon.)

It’s been dry. I’ve been busy. Life has happened. Blah blah blah. But I am going to get back in the cyber saddle over the next few days. I actually have some fresh (ish) writing to post, mainly stuff from the weekly column I spastically thrash together for my hometown weekly, The Grand River Sachem. (That’s its real name.) It’s all over the map, but some of it might be worth looking at again, especially since Son the Eldest just found two fairly senseless statements in a recent meditation on Barack Obama and the meaning of American life.

So look down, and with any luck, you’ll see some bits with “March” in the dateline that weren’t there before. They’ll be a little out-of-date, but they still pass the smell test for me.

Thinking About Persepolis

(This is adapted from a piece I wrote for the Grand River Sachem earlier this year.)

What can I tell you? I’m fascinated by many things Iranian. An Ottawa girl, whose parents fled Iran not long after the Revolution in 1982, won Canada’s largest university scholarship in January, in large part because of her activism in publicizing the human rights violations of the Iranian government. (17. Wow! What were you doing at 17? I was mostly trying to perfect my jumpshot.) I’m also a fan of Marjane Satrapi’s bittersweet graphic novel, Persepolis, which has just come out in cinematic form. Persepolis (the ancient Greek name for the Persian empire) was born of a similar love for Iran and lament for its struggles and the oppression of many of its best people.

But now hear this (the tragedy of speechwriting, exhibit A): many people can’t hear mention of Iran without the malignant phrase “axis of evil” echoing around in their skulls. (The George Bush speechwriter who coined this famous political mantra, David Frum, is actually Canadian. I loved his mother Barbara, journalist/interviewer extraordinaire, but his influence in America is no cause for flag-waving, say I.) That Iran is a troubled state with shaky governance is obvious. I am only too aware of some of the political and religious repression that goes on there — my spiritual brothers and sisters have endured nearly two centuries as scapegoats — but I also appreciate Iran’s mighty contributions to world civilization.

The Zoroastrian and Bahá’í Faiths were born there, and some of the fairest fruits of Islamic civilization grew in Persian soil (including the towering mind of Avicenna – Ibn-Sina – a “renaissance man” who pre-dated the Renaissance by hundreds of years). Cyrus and Darius, as we call them in Western histories – Suroosh and Daryoosh would be more nearly correct – are only the best-known kings of a Persian empire that was the greatest of its age. The poetry of Omar Khayyam and especially of Hafiz are landmarks of Iranian culture. In my small contemporary experience, I know some of the sweet expressions of Iranian cinema, music, cuisine and their perfection of the art of courtesy. I see beautiful faces, generosity and a deep pride in their rich and ancient culture. There is so much more to Iran than nukes and turbaned mullahs.

If you’re interested in more on this intriguing and deeply important country, I can recommend a couple of things. Jean-Daniel Lafond – known in Canada mainly as the husband of our Governor General, Michaëlle Jean – is a prominent documentary film-maker. Over a year ago, I saw his 2001 film Salám Iran: A Persian Letter and heard Lafond interviewed immediately afterward. He followed, in his film, the return of an Iranian Canadian, living in exile since the revolution, to his mother and his motherland after two decades away. Lafond collaborated in this film with the writer (Persian Postcards: Iran After Khomeini), translator and lover of Iranian culture Fred A. Reed. In early 2004, the pair returned to Tehran. It was the eve of elections that would spell the end of the reform movement and install the hard-line conservative regime of President Ahmadinejad and all the blustering and crackdowns that came with it.

Lafond’s and Reed’s interactions with ordinary (and extraordinary) Iranians resulted in their newly published book Conversations in Tehran. I still haven’t read it yet, but I was impressed by these two men at an Ottawa Writers’ Festival event. They are worldly, compassionate, scholarly and curious. I detected no particular axe to grind, although it was clear that they hope for more openness and less theocracy in Iran, and for greater understanding and appreciation of the country everywhere else. These are the kind of films and books that most of us never look at, but we’d see the world in a much more interesting light if we more frequently did. These authors aren’t showmen. They are understated, moderate, marvellously articulate and, in their quiet ways, intensely passionate. They love Iran and Iranians with such intelligence and force that no one who listens could fail to think or say, “Maybe there’s more to Iran than I thought.” What Fox News gives us surely isn’t the whole story!

And I know how Reed and Lafond feel. I have much to be grateful to Iran for: some of my most deeply cherished friends and co-workers, for one thing, and for a Persian exile’s vision of peace and hope that keeps me sane, that helps me walk a faithful path with (fairly) intelligent feet. Salam, Iran, indeed. Salam means “peace”, and may it someday be so.

Arts and Remembrance

(This rambling wreck careened out of a keyboard when days were colder in Ottawa, Canada, where the pro hockey team is a source of civic anxiety and depression, but where the temperatures sometimes now hit double digits by mid-afternoon. Celsius.)

Reasons that Ottawa is great, Article 5, Subsection 3, Clause 11: the National Arts Centre is a five-minute drive from my house. (Okay, the last time, it took 10 because we’re the snow capital of the world right now. We’re getting another 25 centimetres this week. Me back, me achin’ back!  But the sun is lingering longer and I believe in melting.)

Back to the NAC. Ballerina Bride still loves to see the occasional dance piece, although she has little patience with the avant-garde stuff. It’s all pretty new to me, so I end up enjoying the fascination with oddness while she boils and filibusters non-verbally. We recently switched to a dramatic presentation, because she’d seen the director’s name in some promo material. That can’t be the Yvette Nolan that was my manager at Swenson’s Ice Cream and then my roommate in Winnipeg, can it?! said the once and future Twirler. While she was studying at the Royal Winnipeg Ballet, my bride lived with an Yvette, though she hadn’t known her as a theatre person. But Yvette had been part Aboriginal, and this was a native-themed play at the NAC, so maybe just maybe…

Absurd coincidence appeals to me, too. When she showed me material for Death of a Chief, I noticed a name from my teaching past, that of a girl from the Six Nations Reserve who had silently suffered through my grade 11 writing class. Yeah, but there are lots of Johnsons and it’s a pretty big country. But the play looked interesting, even if there weren’t old friends and students in key roles: it was a Native North American spin on Shakespeare’s classic tale of leadership and rivalry, Julius Caesar. And so, to the National Arts Centre we went.

[He finally gets ’round to the review.] In the Studio Theatre, the stage was bare, except for a curved arrangement of what looked like rocks. Black-out, and when the lights slowly came up, there were simply-costumed actors lying on the stage, slowly moving and then slowly chanting traditional Aboriginal songs. There were coloured banners – one of them a road which we later learned was an evocation of the troubles between white developers and Native activists near my old home town, along southern Ontario’s Highway 6 – and stylized movements and nary an English word. We were taken to a primal place of dance and song and symbol, and we were there for a good ten minutes. I was expectant, fascinated, with only the smallest tinge of impatience.

And then in walks Cassius, played by a short, fierce woman. “Yon Cassius has a lean and hungry look,” comes the familiar Shakespearean line, delivered by a tall, slender, female Caesar with a long white ponytail. It was jarring, and purposely so. Suddenly, the ensemble, which has been wordlessly weaving a visual and auditory tapestry of traditional Native culture, switches into a condensed but textually familiar performance of Shakespeare. Caesar wears a brightly coloured robe, others wear buckskin or hooded sweatshirts, and the swords of the Roman senators and warring factions become the flint knives of Aboriginal leaders, both modern and ancient, disputing for power.

It was a fascinating performance. We soon became used to a female Caesar (Monique Mojica), and an Aboriginal Brutus (Keith Barker) who plots her downfall out of concern for his home and native land. And the delivery of Shakespeare’s lines was strong, though for this lover of the Stratford Festival, a few lesser performances were grating. (Nothing has ever compared to the brutality committed by Keanu Reeves as Don John in a cinematic version of As You Like It. Wow. His syllables clanked like stones in a bathtub.)

As unsettling as the opening is – and the initial mash-up of Shakespearean English and tribal custom – the piece overall worked well. I watched avidly. And when, at the death of Caesar, the soft, mournful chanting begins anew, it feels like a natural and homespun part of the world that the Native Earth Performing Arts troupe has woven.

The play arose from a joke. Aboriginal actors, playwrights and directors were discussing how they could widen their theatrical possibilities. After all, there are only so many parts for noble savages and other ethnic clichés. One of the performers flippantly said, “Why can’t we do an all-native Julius Caesar? It’s really just about Aboriginal politics, after all.” That offhand comment developed into this production and, yes, the joker was my wife’s old roommate, director Yvette Nolan. And when I picked up my program before the show began, I was delighted to see that Decius (and several other roles) were indeed taken by my former student, Falen Johnson. Nifty!

Falen was good, very watchable and with command of the language. After Diana and I talked to Yvette, Falen was also open to post-show meetings with an unnamed old fella; I’m sure Yvette had forgotten my name. The silent, rather delicate young Goth-dressing woman from a long-ago grade 11 class was, after the show, a strong-voiced, laughing (but very serious) actor. What a treat it was for both Diana and me to be able to lurk near the dressing rooms and speak to a couple of the principals, especially since it was a chance to make connections with our pasts.

And to think it all happened on Elgin Street. (I wonder how the play was received in The Big Smoke (Toronto), where it ran for a week or two at Buddies in Bad Times Theatre.)

Return of the Creature

(An item recovered from a memory stick, frosted white while lost in the chalk tray…)

A year ago last September, I wrote a short on-line meditation about the slight disorientation I felt, after many years of trying to make classrooms live, at NOT being chalk-stained and eager at that time of year. Part of it went like this:

 (September 6, 2006) “It’s Labour Day Tuesday and, for the fourth straight year, I am skipping school. It’s about 2:30 p.m., and in the olden days I would have been well into the last teaching period of the day. The Teacher Dreams – can’t find my classroom, can’t find my clothes, don’t know what subject I teach – are over. The performance anxiety – can I still DO this? – evaporated two minutes into period 1, and I would now be feeling the great fun of a new beginning (even though the marking pile already grows thick) and the eagerness to find out who these kids are and what we’ll be able to do together.

“I would be in my element. I might be sitting at my desk watching them write their first journal entry (“All About Me by Me” or “What Am I Doing Here?”) or exercise or assigned reading, but more likely I’d be strolling about, interviewing students, offering random observations, observing the various adolescent species in their (un)natural environment. Or maybe I’d be standing at the front, leaning slightly against the chalk ledge, right ankle crossed over the left, rambling on. (The horizontal streak of chalk dusting my butt didn’t concern me; at least once, though, the grommets on my right hiking boot hooked the laces on my left, so that a particularly animated point I wanted to step up and make vaulted me face-first into the legs of the front-row desks. That was a good one. I bowed deeply, grinned maniacally, and blushed quite redly.)

“By this time, I would already have forgotten to send down the afternoon attendance check, so a (usually) cheery secretary calls to try again to get Mr. H. properly trained. But there are no staff meetings, no reporting deadlines, no rebellious kids (yet), no sense of depletion or the (inevitable) frustration of my most dearly held intentions. Hope springs in an educator’s autumn. This was always a great day to be a teacher…”

And on February 1, 2008, I had another one of those fine, hopeful, we-can-do-anything-together days. It wasn’t quite typical, because at my new school they send their students through their Semester 1 timetable in the morning; I didn’t see my new kiddies until the afternoon, and then only for a shortened period. With that, the in-flux timetables and the game-players who didn’t bother showing up the first day – and no, they actually didn’t miss much, except for me at my most charming and fun-loving! – we didn’t do much that was even vaguely curricular. But I started a relationship with students, got a few of my basic expectations across, and shed a little of my teaching rust.

By Monday, I was teaching my fool head off at Merivale High School, a southwest Ottawa academy that was surrounded by fields ten years ago and which is now boxed in by big box stores and malls and fast-food emporiums. (In other words, it’s a typical student’s dream, and a good spot for shopaholic teachers, too.) We are the Marauders. As a former student of McMaster University, that name and the colour maroon are more than comfortable. In fact, I told several people that I was feeling simultaneously disoriented and right at home.

I didn’t know where the photocopier was or have an office space to work from when I wasn’t teaching. I was teaching a course in Careers that I’d never taught before, and hadn’t yet realized that there IS indeed a textbook for it. I was always surprised by bell times and running head-first into Merivale routines — not to mention colleagues and students — that were new to me.

But at the same time, I was doing what I’ve done for awfully close to ever. Though I was foggy on lots of particulars and incidentals, I knew right where I was and exactly what I was doing. I was, once again, a full-time, ultra-dedicated, in-it-to-win-it educator. Thomas Wolfe famously said you can never go home again, but I’ve found that, if you don’t mind some of the rooms being re-arranged, you sure can. And I like it.