Seven lessons from a middle-aged beginner

There is beginner’s mind, and then there is beginner’s body.
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Around the time I turned 40, I got this idea that I wanted to become a good skater by the time I turned 50. The impulse hit me when I was at the rink in Brookline, skating with the kids, and I noticed a woman older than me who was powerful and fluid on the ice. I wanted to skate like her, and, even though her skating was more advanced, this suddenly seemed doable to me and desirable. Later, I found out she had started skating in her early 40s when her son was playing hockey, and she found herself looking at the ice and longing for it. So she began. At 60, when I met her, she was strong and graceful. This, by the way, is the first lesson in learning something new and hard: (1) Look for real-life models.  Famous athletes may inspire us but, because their talents are stratospheric, can’t really convince us that we can do it.

I had been on the ice hundreds of times — if you grow up in Massachusetts, as I did, it’s almost a requirement that you get a new pair of cheap skates every year for Christmas and spend lots of time clumping around on frozen ponds or public ice rinks — but I couldn’t  skate well. At age 40, I started taking group skating lessons for the first time. I learned a lot, starting with this basic fact that skates have edges (and if you have two feet, there are four edges altogether, or eight if you include forward and backward), and control of those is the foundation for everything. I also learned, from a teacher named Mark, that you can be afraid to do something and still make yourself do it. “You will fall,” Mark said. Being mindful of the possibility of injury makes it harder to try new things as an adult, and this fear must be managed in order to proceed. Which leads me to this: (2) Be afraid to fall, and skate anyway. I am, and I do.

You can only do beginner lessons so many times before you start to bump up against a ceiling. This winter, at age 45 and at my halfway point, I decided it might be time for private instruction. Happily, the teacher of the group lesson I was taking also teaches privately, and the transition was easy. I discovered, too, that the decision to do this was a signal to myself of the seriousness of my goal. You can’t hide in a 1:1 learning situation as you can hide in a group (and one can even hide, paradoxically, by excelling against other beginners). Another lesson: (3) When it starts to get easy, become more vulnerable to the task.

It’s a luxury to have the devoted instruction of an accomplished professional for one hour a week. (No wonder students like meeting with me alone for an hour to work on their writing.) There is an intensity to the learning experience that is different from a group experience that is a deep pleasure. The learner is also scarily exposed in a private lesson; there is no stepping to the side to let someone else skate ahead, and there is no half-assed trying just to get a little cheap credit for having gone through the motions. Continue reading

Second chance for the rejected

On the floor in the cellar, I found an encouraging rejection — part form letter, part handwritten note — I had gotten from an editor at The Sun and then set aside for safekeeping. The letter must have slipped out of one of those cardboard boxes I’ve marked JANE – STUFF and put on a shelf, intending to sort its contents (some day).

So, the rejection stuck in my mind for a day and prompted me to think about all the good writing out there that never finds its place among readers. A lot of writing no doubt gets turned away because it’s not good. Some writing, the kind I’m interested in here, may get turned away because it’s not a so-called good fit for the publication.

These literary misfits need a place, like the Island of Misfit Toys where cool playthings hung out and waited for the day when Santa would take them to the right child. There are cool poems, stories, and memoir that didn’t make it into one of many (low paying, highly competitive, and prestigious) literary journals.

Good yet misfitting submissions need their own Santa Claus. I have an idea for a journal, called Displacement (for the condition of having been displaced, and also the psychological defense mechanism in which emotions or desires are shifted from some original object to another one), that could be it. Continue reading

Relics

oak seedling and acorn relic

This fact once had a hold on me: that a baby girl is born with about 1 million ova. When my daughters were infants, I would stare at them, trying to grasp the reality that future grandchildren, if I were to have them, had gotten their start as cells inside my body. And the baby that I was diapering, was watching play with her toes, was soothing to sleep had a package of potential life inside her.

Contemplating this, I had a feeling not unlike the one you have when you stand in front of a mirror holding another mirror, and hold it in such a way that you see yourself reflected on and on and on and on.

Even as the babies grew into children — the daughters and the son — and their once physical connection to me was lost, I held on to the idea that cells that had originated inside me remained inside them like traces, souvenirs, relics. At the same time I felt perversely proud of my body (for doing what it does sort of automatically), these immigrant cells felt like losses to me, too, as though they took something from me.

My contrary feelings and ideas about my old cells residing in my children were so pressing that I of course had to write a poem about them. An early version (not the first draft) looked like this:

Relic

       for a daughter

Cheeks full. Lips
dripping pearl. You
have sucked

me soft.
What I had—
sinew leaping
blood replenishing
bones toughening—
spent.  Clean shell
I cultivate urge:

grow, colony, grow!
Multiply and billow
like yeast yet keep
my relic.

Moored boat,
patient seed, egg
inside me inside she
(my harbor, my flower),

remain, and divide.

Later, perhaps years, I dug the poem out and revised and revised it. I was going through a period of loving the cooler voices of poets like Mark Strand and Louise Glück, and I was a little embarrassed by my exclamation and stacked images. Continue reading

What goes into grading

By this time of the semester — classes ended, presentations watched, final paper drafts discussed — I feel as though my teaching is done.

And yet, I’m not done with the semester because I’m still grading.

There’s a lot of it to do, and it’s hard to get motivated because I feel as though the students’ attention and energy has moved on. Yeah, they are still taking exams, but they are already looking forward to the summer and perhaps to next fall. So, what is the purpose of my careful reading of and comments on their final papers? Why all this time spent on the minute calculations of the final grade? Seriously, it can take me 15 hours for each class (I have four) to read the final papers and put the whole thing to rest. Is there any relationship between that time spent and student learning? Continue reading