Category Archives: lit

“I had rather be any kind o’ thing than a fool”

And so we saw the King Lear last night. It was glorious. There is something magical in the fact that the entire production was done without microphones in a theater the size of Royce Hall. By no means am I equipped with the expertise to offer any critical revelation or opinion on the production. Suffice it to say that I was impressed and that I’ll avoid the kind of sophomoric humor that could have followed the gasps heard from audience members when Gandalf displayed his “wizard staff,” his “precious,” or his little “Bilbo Baggins” (I realize how sophomoric that actually was, but I couldn’t resist). Also seen last night in attendance: Alfred “The Man” Molina, Neil Patrick Harris, and John Lithgow.

Anarchist Puppets, Possibilities, and the Stories We Continue to Tell

Returned from meeting number two of a focused book club entitled “Planet of the Humans.” The club, its organizer, and meeting location all deserve elaborate, extensive posts; not something I’m going to do quite yet. While books one and two focused on specific relationships with nature, tonight’s discussion looked specifically at human interactions with other humans. Though relying on a yet officially published book, the evening’s participants were provided with a digital manuscript for reading. Specifically looking at giant puppets in today’s protests, the conversation led to discussions of the role of the artist and the teacher as well as the nature of swarm theory and animal behavior in groups. I’m particularly interested in the larger stories being told in today’s protests – at least as described by Graeber. Speaking in generalities that do not do justice to the book’s deliberate pacing, the media and the state (as enacted by police force) are telling a story of activists and anarchists as villains. The image of the smashed Starbucks is symbol of the repugnant behavior that is a detriment to our way of life. At the same time, the other agents in the protest story, the anarchists, are trying to reframe the story – they are creating a carnival and symbolic projection of utopia through puppets and the careful reinterpretation of space; a smashed window is more than just a smashed window: it becomes a portal into other possibilities. As an English teacher, it’s these kinds of stories that I’m interested in telling. I’ve toyed with the idea of writing about the concept of the teacher as griot, something I’ve visualized for a couple years now but haven’t quite framed as something truly coherent. At the same time, I’m gearing up for (re)telling a new story with my students when I go back on track in two weeks. Maybe that story is the same one as the story discussed tonight. Really a remarkable book club and something I’m valuing for its direct application within my classroom and in relation to my own (constantly redeveloping) pedagogy. Six more books to go.

Pantoum’s for the letdown

No, precious reader, you are not forgotten. As my seniors are preparing for graduation and my juniors are turning the corner as the new school year approacheth, everything seems to be caving in on the school front. June’s just a ridiculous month with ridiculous deadlines and ridiculously little time to post on a ridiculously nondescript blog.

I have however been reading and playing around with a lot more poetry than previous months this past year. The most recent Dean Young collection is flooring me and I’m ever so slowly going through Mr. Berryman’s Dream Songs. I read a couple everyday – though I feel hopelessly lost sometimes I anticipate actually finishing this book. This has lead me to an interesting thought about poetry, poets, and how we go about picking our “favorites.” In my more impressionable undergrad years, it wouldn’t take much for me to jump on board various (overly canonized) authors – one poem that struck the right chord was often enough to do it. I can think specifically of one Bob Kaufman, one T. S. Eliot, and one Elizabeth Bishop. And while I still admire all of the aforementioned poets today, there’s only one that’d still be relegated to “favorite,” these days (not so fast, Eliot!).

Perhaps not being as focused on academic minutiae and not bogged down with as much journalistic riff raff as I’ve been the past few years, I’ve been playing around with form a bit more. I’ve been on a pantoum kick of late. The structure is playful (google it yourself!). I’m not particularly proud of these poems – the content is like what? and the meter is a bit off (I’ve been shooting for nice, clean octameter). Yes, I am fully aware of the weak slant rhyme in the second poem- just leave it, will ya? However, maybe this will be a place to occasionally put up new work for the hell o’ it? Eh.

Pantoum 1
We dip in time like rocket ships
Uninhibited in zero gravity
Energy pulsing fingertips
Awaiting the new news delivery

Uninhibited in zero gravity
We now link limbs in synchronicity
Awaiting the new news delivery
Rubbing shins under one’s humidity

We now link limbs in synchronicity
Nudged shoulders, jostled arms, lost grip
Rubbing shins under one’s humidity
Stumble off course find a new trip

Nudged shoulders, jostled arms, lost grip
Energy pulsing fingertips
Stumble off course find a new trip
We dip in time like rocket ships.

Pantoum for five books
The jazz we sing is savory
Unclothed unseen in your Iran
Ras and yams electricity
Shut eyes dried nose lost in Sudan

Unclothed unseen in your Iran
We dance in journals fraught with fear
Shut eyes dried nose lost in Sudan
Trujillo’s reign for us to smear

We dance in journals fraught with fear
Quixote in his windmill dreams
Trujillo’s reign for us to smear
Uncouth in mouth and all too free

Quixote in his windmill dreams
Ras and yams electricity
Uncouth in mouth and all too free
The jazz we sing is savory

Murakami’s Trombone Miasma

I’m about 50 pages into the new Haruki Murakami book and, like most of Murakami’s work, I’m drawn to the small bits of Americana and western culture that permeates his writing. Despite having read a bunch of his translated work, I’ve yet to pinpoint what it is that gives his work that Murikami-ness that is so pleasant to read – and no, I’m not talking about his fantastical plot elements and science fiction wackiness, since that’s only working for him some of the time.

I do like that one of the characters in the book plays the trombone, which seems like a motif cropping up in his work (not simply American jazz, but the trombone itself). I flip-flop regularly, but I’m pretty sure my favorite short story of all time is “Tony Takitani” for it’s startling simplicity. In it, Tony’s father is also a jazz trombonist. Hmmm….

In any case, I was drawn to the current novel’s explanation of why this character plays the trombone:

“When I was in middle school, I happened to buy a jazz record called Blues-ette at a used record store. An old LP. I can’t remember why I bought it at the time. I had never heard jazz before. But anyway, the first tune on Side A was ‘Five Spot After Dark,’ and it was great. A guy named Curtis Fuller played the trombone on it. The first time I heard it, I felt the scales fall from my eyes. That’s it, I thought. That’s the instrument for me. The trombone and me: it was a meeting arranged by destiny.”

It blew my mind reading this namely because I finally bought Blues-ette while in Chicago last month. My visit to the Jazz Record Mart led me to an oversized vinyl bag filled with jazz gems that were long overdue in my personal collection. Fuller is truly astounding on this, and when Murakmi’s two characters hum the opening bars of “Five Spot After Dark,” I’m right there with them. One of the moodiest, instantaneously catchy songs you’re going to find. I’ve been playing this album continuously in my class the last few weeks; it’s likely that many students’ impressions of “jazz” will be made primarily by the magic of Blues-ette.

The book’s other references so far are also telling, aforementioned trombonist wants to be in a band like Tower of Power (awesome), female protagonist questions the naming of a love hotel “Alphaville” (Godard references always make me tingle) and Ben Webster is innocuously playing on a stereo in a bar. Did I mention the opening of the book takes place in a Denny’s? I realize that there are several critics that have questioned Murakami’s fetishization of western culture; is this why hipster kids like Murakami so much? Though such a discussion is one for a lengthier debate I will say that Murakami’s style is iconic and one that cannot be trivialized by his occasional use of culture signals for the pop enthusiast.

Not My Kind of Nation

I really wanted to like Cora Daniels’s latest book, Ghettonation. I wanted to, but I didn’t. And when I condemn the book’s stabs at humor, meandering footnotes, and unnecessary glossary of ghetto-isms it’s not a wry attack on a book I didn’t enjoy. On the contrary, I wanted this book to succeed and found these wearisome attributes to continue to cloud or overcast any relevance I could attain from the text.

Picking up the book for a top-secret project I am partially involved in, I’ll say I had an invested interest in gaining any insight into the concept of “ghetto” from the text. Teaching in South Central, growing up in the past two decades, and simply being immersed in hyper-media youth culture, I felt like I understood what “ghetto” means, but was hoping for a more dynamic, nuanced explanation to phenomena of society’s embrace of all things “ghetto.” After all, this is something I see my students embodying (or at least trying to embody) daily. The gigantic white t-shirt, jeans, and white sneakers is the ghetto uniform 101, with varying accessories optional. This kind of self-reflective paragraph that you, the reader, are currently scanning is exactly the kind of text that makes Ghettonation so frustrating. The personal narrative that Daniels employs is not the best for a universal examination of “ghetto.” The frame is too limited, even through the author’s knowing eyes. Though claiming that “ghetto” is not rooted in a specific class or race, Daniels’ anecdotes and analysis end up legitimizing “ghetto” as predominantly lower class and African American-centric (her examples of Paris Hilton and stomach stapling surgeries not withstanding).

Daniels’ fickle attempts at academic analysis are befuddled and deracinated by attempts at jocularity through “ghetto” vernacular. After lambasting examples of ghetto behavior, Daniels frequently goes for the quick joke by demonstrating her own, occasional (or is that frequent?) ghetto behavior. Nearly every one of these examples is followed by a parenthetical note that, “(I be ghetto).” Cute. Well, it’s cute at least the first time, but the trite utterance is found on nearly every page and, instead of utilizing the juxtaposition as something to build towards an argument, it merely siphons out any heat or momentum an argument may have been gaining.

And then there was the discussion of education. I’ll give credit to Daniels for properly enunciating that “ghetto” is an embracement of low expectations; this is something that frustrates my curriculum daily. I have numerous students wanting nothing more than a “D” in my class so they can graduate – no other aspirations. But what about the hegemonic, class-ist structures that bar our students from success like … oh, say, No Child Left Behind? Daniels has exactly this much to say on the legislation:

“The federal law requires schools to publicly report their performance data for the first time by race and ethnicity. Schools that do not produce acceptable text scores for all students are punished with a variety of economic sanctions.”

That’s it.

In fact, 150 pages into the book (which itself is just shy of 200 pages in length) I was ready to finally give up. But the latest chapter’s title was “School Me” and I knew – I knew – that this was going to be filled with intellectual gems. And what did I learn here? I learned that, according to Daniels, the problem with our educational system can be summed up by the fact that our students are “living for the moment” and not worried about their futures (see, low expectations). But is that it?? Why isn’t the past invoked here? What about the fact that our students have had probably a decade’s worth of shoddy teachers by the time they graduate? That the school system – at least in an urban “high poverty, high minority” area (as official district data likes to call it) – deliberately frustrates and breaks our students. That the bridge from schools to prisons is seen daily as I watch student after student handcuffed in front of the school for laws like jaywalking and truancy?

I realize I’m ranting here (it’s a blog, after all), but it’s frustrating to see NCLB reduced to a sentence that doesn’t at all encapsulate what this fiasco is all about. It’s also frustrating to see Daniels’ reductionism about why are kids are failing.

Finally, my biggest qualm about Ghettonation is its lack of really adding anything to “the discourse” as the phrase has been thrown around. In page 192 in the book, Daniels writes, “The time has come for the death of ghetto.” However, Daniels never really convinced the reader that ghetto was “bad” or something that can even be signaled easily and exterminated (“I be ghetto,” remember?). Daniels begins and ends her book with the same aphorism: “I am ghetto. I am not ghetto. I am you.” I don’t get it. I realize this is supposed to be the profound, oh snap, there is no spoon, cut the red wire or blue wire, it was Col. Mustard in the Library with the Candlestick reveal, but it doesn’t mean anything. Daniels conveniently dances around any reasonable challenges, explanations, or critique by figuratively shrugging her shoulders and saying that ghetto is everywhere and nowhere. Slick. If you’re going to write a book called Ghettonation and, at the end of it, you are going to call for “the death of ghetto,” why wouldn’t you actually explain what “ghetto” means, why it is bad, and how to “kill” it? I ask these questions out of frustration. As I said, I really wanted for this book to give me answers – I’ve been grappling with the “ghetto” issue as well.

Ultimately, I’m inclined to think that “ghetto” is class and race based. Even when Daniels pointed to celebs acting ghetto, you have to remember the romantic allure of the lower class. Jarvis Cocker of Brit pop band Pulp sang it best:

“Sing along with the common people,
sing along and it might just get you through,
laugh along with the common people,
laugh along even though they’re laughing at you,
and the stupid things that you do.
Because you think that poor is cool.”

Banksy, Gladwell, Freco, Broken Windows

Wanted to make a couple of links easily accessible for when/if I teach the Tipping Point next year.

Actually, if you are interested in the state of public art and Banksy, this link might be interesting.

If you’re curious to hear Gladwell’s take on Freakonomics, then look no further.

And if you are going to be a student in my Expository Composition course next year, I can only imagine how lucky you must feel.

Koalas and Other Goodness Seen This Morning

I’ve awoken to an overcast Saturday and greeted on the WFMU blog with a lovely clip of one Kid Koala doing his koala thing. Invariably when I get engaged in a conversation of turntablism (which, granted, isn’t the standard bill of discussion with most people but it happens once in awhile), Kid Koala is usually the guy I bring up. More so than Q-Bert, or any of the other Picklz, or the Beat Junkies, or cats from the DJ Shadow school is cinematic perversion, Koala is “adding to the discourse” as one of my educational colleagues would refer to it. However, he’s also a really engaging performer, without resorting to physical flamboyance in his shows. He’s played bingo with his audience, presented goofy slideshows of comic books he has written, and last I heard his latest tour was a puppet show?? And while his newest album isn’t the greatest, here are a couple of vids that just made my day:

Koala playing Moon River. I’ve come to the understanding that you cannot improve on the film version of this song. It really is as good as one song can be. The history behind it is also fascinating to me. That being said, Koala’s take on the song is the most tastefully performed, emotional performances I’ve heard.

Music video for Koala’s Basin Street Blues. Fantastic song. Art reminds me of Jay Ryan.

Elsewhere on the net, one gossipy insider predicts that the big song cometh: Common featuring Lily Allen. I’m sold.

And Mario Vargas Llosa has a new book out? But it’s only available in the U.K.? Dios Mio!

Anyone else underwhelmed by this year’s panel list for the FOB?