Author: JennyDetroit (Page 18 of 43)

Zine Syllabus

IMG_0070I thought that by making my American Literature syllabus into a zine, I would be saving something. Saving my desire to teach. Saving my subversive stance against traditional education. Saving my students from their mistaken ideas about learning and literature.

(Egads! This last one sounds condescending, doesn’t it? I don’t mean it to be).

If my passion for teaching was flagging, if this might be the last hurrah, then I was gonna go out in my own way, with my own style.

I have always wanted to find a way to make zines more integral to my work. I’m still in that process of discovery for my writing and fiction, but in my work as a teacher, I thought, “What the heck, I’ll do it!”

So I made a zine for my American Lit class. The zine was both syllabus and statement: it was my philosophy as a teacher, distilled into a few pages of amateurish cartooning and clumsy designs. I figured that a zine might intrigue enough students by its format that they would actually read the syllabus. Maybe some of them did.

But making the zine wasn’t enough. By the end of September, the 2021-2022 school year had turned as dismal as the previous one. (This isn’t a Covid thing, by the way. I’ve been in the process of questioning my work as a teacher since about 2018.) The gloom is caused by a lot of things: my ever-lingering feelings of inadequacy as a teacher; my inability to handle the workload of grading papers; my disillusionment with traditional schooling.

(Okay, this last one can be chalked up to Covid… Once we went online in March of 2020, I really started questioning whether the bells and the rigid schedules and the hyper-focus on grades was healthy or good for real education, for real learning. When we suddenly all went home and could spend our time more freely, I began to wonder if the whole “school” thing was just a way to keep kids under control and supervised while parents went to work. Don’t misunderstand me, I’m not against parents working or free childcare. But I started to wonder if that’s what society really valued about schools: not the educational aspect but the childcare aspect. Which is fine,  I guess, but let’s not church it up.

If we cared about education — real learning — then I feel there is so much more we could be doing to “de-school” our schools and make learning the focus. And then I started reading a lot of anti-Capitalist stuff, and John Holt and Ivan Illich and Teaching as a Subversive Activity, and before I knew it, I was wondering why we kept the traditional model of schooling going at all when it didn’t seem very healthy or fulfilling. Basically, I’ve been in a state of cognitive dissonance for a little over a year, and I don’t know why I thought making a zine syllabus would allay all of these doubts, but I did make one and I did hope for the best. Alas, none of these hopes came to pass.)

So here I am, at end the school year, and the zine syllabus didn’t save me. Nothing I’ve tried has saved me. I’ve tried going “grades-less” (but that’s caused as many problems as it’s tried to address… and surprisingly, students are quite attached to getting grades, at least at the school where I taught). I’ve tried being as subversive as I could, decoupling “schooling” from learning to the best of my ability. But nothing has worked. I mean, it worked for some students, I guess, but the vast majority? No. And it didn’t save teaching for me. It wasn’t the panacea I was hoping for. At about the midpoint of the school year, I thought, “I could go back to a grades-based classroom. I could go back to sticking with the status quo.” But I didn’t want to do any of that. I didn’t want to be part of a system I didn’t belong to anymore.

So that’s why I decided to retire. June 30, 2022 was my last day as a teacher. I feel both insanely afraid and wonderfully free. It’s nice not having to live with the cognitive dissonance anymore, but I won’t lie and say I’m not scared for the future. What if I don’t make enough money as a freelancer? As an indie author? As anything? What if it all goes horribly wrong? For most of my professional life, I’ve been a teacher. Now I’m not.

I can’t say these fears don’t cross my mind everyday. But then I remember the alternative. I remember how miserable I was in the classroom, and how unfair it was to my students to be so miserable. I couldn’t change anything, not really. Not even myself.

I’m glad I made my zine syllabus, though. I’m glad I took the risk to make it and share it with students and parents. I’m proud of the statement it makes, even if that statement hasn’t really come to fruition in my own classroom. But anyway, I’m glad I made it. And I’m proud that I had the courage to move on from teaching into something I’ve dreamed about my entire life. Now all I have to do is keep going.

Poem #11

Title: “Retirement”

Today, what?

Cards and gifts, but the honorees

are already gone.

Cleaning out papers, and

handing over keys.

I’m not ready yet.

Probably should send some emails,

personal and professional.

There is paralysis because

my choices are infinite,

and today filters itself

through each choice, each

possibility, until there’s

no time left, and nothing’s

done, except the card and

gifts and no one to

give them to.

Graceland

I turned forty this past year. 1992 was thirty years ago. Somehow, in my fortieth year, I can see images of my childhood more readily than I can see the here and now. They are TV images set to high contrast.

Seven years ago, when I began Avalon Summer (my fictional, fantasy adventure memoir), I didn’t reckon with the time that had passed between the early 1990s and 2015. I didn’t reckon with how much older I had grown. It felt like the past, sure, but it wasn’t that long ago. It didn’t feel that long ago to me. It hadn’t yet become “the past” the way my parents’ childhood decades had.

Now, I cannot help but reckon the time. 2022 and 1992 are thirty years apart. Thirty years is a big round number; it is substantial and significant and feels hard to ignore. Everyone makes a huge deal out of these decade-markers (like the incredulity my aunts and uncles and older cousins have when they realize I’ve turned forty — I, the “youngest” of the cousins). Thirty, forty, fifty, sixty, etc. These numbers denote something, I guess, when we notice them and point to them and say, “This is a marker of time.”

So it’s been thirty years since 1992, since I was ten-going-on-eleven, since I was in that liminal space between childhood and not-childhood (but not really adolescence, not yet), and I still hoped to run around the woods pretending to be on a quest, fighting ogres, and seeing elves without embarrassment, without judgment or teenage scorn. By the end of that year, such hope was gone. 1993 was a different time.

Everywhere I turn now, my memory sees my childhood. Maybe it’s because I’m watching Pee Wee’s Playhouse with my kids these days, or sharing grainy videos of old Muppet Babies episodes with them on Youtube; maybe it’s because I’m listening to Paul Simon say “call me Al” on the home stereo, or Cyndi Lauper comes up on my ipod in the car while I’m driving the kids to Grandma’s, and along the way, the sunlight bursts over the world and warms it on a cold April morning so that I feel a fleeting promise of what Saturday mornings used to mean, in my childhood, when I had a whole day to daydream and tell myself my adventure stories and read books and wonder.

I float back into memories a lot these days. Every new gray hair or old pop song does it. And thirty years was so long ago now that it feels long ago, it feels like the 1960s felt to me when my parents were forty: a golden-hazed Polaroid, an almost-foreign land — but it’s a photograph that’s coming more and more into focus, the contrast between then and now growing more and more pronounced. I don’t mean in a “Those were the good ol’ days!” kind of way where I deride all the changes that have happened these thirty years hence; I like a lot of changes we’ve seen; there have been and continue to be many good changes. I am not pining.

What I mean, simply, is that my childhood was a long time ago, so I can see the differences now. Technicolor has bled into the frames and rendered that part of my past ultra-vivid — but ultra-vivid because it has separated from the whole. It isn’t part of the continuum anymore: it’s a space set apart, at least for me.

I wish I could live in these images, honestly. They feel more real. Is this what it means to grow old: to be more in the past than in the present? To live the here and now like Dorothy in black-and-white Kansas while bright-colored Oz awaits when we close our eyes and remember? I don’t know. I don’t know if this kind of rumination is even very healthy or helpful. But it feels significant: a recognition of my mortality, perhaps.

The problem, as I see it, is that this feeling — this experience of my past — is what I want to convey with my novel, Avalon Summer, but I know I’m failing at it. I know I’m falling short. And I wish I knew how to fix it. I can see it all so clearly — I can feel it so deeply — but I’m afraid I can’t help you see it or feel it that way. No matter what I write, no matter what words I use, the communication of these feelings eludes me. This is the anxiety of the artist, I guess. The continual failure of a sub-creator who can only render shadows on the wall when she wants to breath life into clay.

I want Avalon Summer to be finished this year. Thirty years from 1992 to 2022. I don’t know why, but that feels fitting. It began life as a NaNoWriMo novella, then it became my “side project” when I needed a break from writing the Merlin’s Last Magic series, and now it has been my focus for the past twelve months — this side project has become the center of my imagination. The memories and ideas that have lingered with me for thirty years have burst through the wall like the Kool-Aid man, like a Nickelodeon orange splat across the screen, like the feeling of a Saturday afternoon bike ride through my old neighborhood.

Avalon Summer is meant for anyone who has ever read a book that made them glad to be alive, for anyone who has ever wanted to lay down alone in the grass and think, for anyone who has ever wanted to be loved despite feeling undeserving. It’s for the square pegs and the dreamers. For the misfits and the weirdos.

I don’t know if I’ll finish the book this year. Days flow by and so much still seems undone, but I know I’m trying. I know I’m trying to find the words and fill the pages. I haven’t abandoned Merlin’s Last Magic or the second book in the series (Ysbaddaden), but right now, I have to finish Avalon Summer.

I’m looking ahead: another Saturday morning, R.E.M. comes up on the ipod as I drive the kids to Grandma’s, and along the way, a breeze blows through the open window and cools the world in warm July so that I know the fleeting promise of what a Saturday morning still means. It’s still a day for daydreams and adventure stories and reading books and wonder. And on the shelf is my own book, a letter to myself, a moment of grace. Anyway, that’s what I hope.

Rule 8

I’ve loved Sr. Corita Kent’s “Rules” for Immaculate Heart College’s art department since seeing them on Austin Kleon’s blog, but of all the rules, Rule 8 wasn’t one that stuck with me. I am much more a Rule 9 and Helpful Hints kinda gal, but the other day I was thinking about the difference between reading a book and writing a book, and I thought of Rule 8: “Don’t try to create and analyze at the same time. They’re different processes.” First, I’m not saying that reading a book is the same thing as analyzing it… but maybe I am? We tend to define analysis as this super-serious and intellectual thing, but at its heart, analysis is to study something with care, to look closely, to learn the nature of something. When we read deeply, are we not doing this? When we delve into a book (not just skim it or run across it like basilisk lizards), aren’t we looking closely? Aren’t we trying to learn the nature of the story, of the ideas, of the author who gave voice to its words?

Rule 8 feels like another way of saying that when we take something in, it’s a different process than putting something out into the world. When I read, I’m looking closely at something that is outside myself: I’m taking it in.

When I write, I’m releasing something from within: I’m letting it out.

And these two processes must be different, though related. I can’t be looking closely at something and studying it with care if I’m in the midst of releasing it. My eye is directed inward when I am creating. It’s only once the thing has been released that my mind’s eye can be directed outward. But it’s the cycle between these two visions that Rule 8 is hinting at. It’s not one or the other: it’s not all creating or all analyzing all the time. It’s creating: putting things out into the world. And then it is analyzing: taking things in from the world. Or vice versa. Not sure it matters which comes first, the creating or analyzing. But it’s the interplay between the two, the cycle. That is what matters. We just have to remember to not try to do both at the same time. We can’t steep the tea and drink it at the same time.

This Blog Is Anti-Fascist

And anti-Nazi too.

Awhile back, I discovered dungeon synth and thought it was super-cool. The Italian punk label HDK put out cool tapes (Kobold, Gnoll, Basic Dungeon), and I thought, “Hey! This is fun RPG music I can listen to and get inspired!”

Then the YouTube algorithm led me to other bands: Fief, Thangorodrim,  Elador, Quest Master, Midnight Odyssey. I was digging all this new, evocative music.

But just the other day I stumbled (whilst looking up RPG stuff) onto a Reddit thread where people were talking about the Neo-Nazi, Neo-fascist dungeon synth scene and I was like, “Whoa! What?!” and started feeling all icky and gross because what if I had been listening to some disgusting fascist crap?

So now I am trying to research every album that popped up on YouTube and finding very little information about most of these bands. From what I can tell Fief and Thangorodrim are anti-fascist. And the stuff from HDK seems like leftist/anarchist; no Nazi stuff there, from what I can tell.

But I don’t feel safe listening to this genre anymore. It’s hard to find info about a lot of these bands, and I don’t want to listen to anything even remotely connected with racist or fascist ideology. I think HDK is still okay, especially considering they are more punk/diy/arthouse and seem to be coming at dungeon synth from the left. But it’s incredibly frustrating and upsetting that what seems like an innocuous subgenre of electronic music is very much attached to horrific Nazi stuff.

So just an explicit announcement: this blog is anti-fascist, anti-racist, anti-Nazi, anti-white supremacy. From now on, I will probably leave off listening to most dungeon synth and just groove to old soundtracks from 80s movies.

On Tidying and Stuff and Resisting “More”

I’ve been trying to Kondo my stuff for over a year. This is partly because I have too much stuff and want to minimize, partly because all my stuff is making it hard for me to keep a (relatively) clean house, and because clutter and an unclean house give me anxiety. I’m also doing it because I want my husband and children to perhaps see my example and follow suit. I’m hoping our house in general can become tidier and therefore more comfortable.

I don’t need a house that is uber-minimalist, not by any means. I like piles of books stacked up on desks and shelves. I like random sticky notes stuck all over the place and tons of kiddo art hanging from the refrigerator. I like that we have an art room that is messy and an art shelf that is wonderfully helter-skelter. But what I don’t like is the feeling of my stuff closing in and creeping all around me like a black pudding. I want to be able to breath. And to dust a room without having to lift fifty million things.

So I’ve been Kondo-ing, but it’s going slow. I did the clothes pretty easily, but then I’ve never been particularly attached to my clothing. Books weren’t hard either because I basically kept everything. (Okay, that is an exaggeration, but  honestly, I didn’t get rid of many books. They are the objects that “spark” the most joy.)

Paper — the category Marie Kondo says is the easiest — has proven to be the hardest so far. This has to do with the fact that I have a lot of drafts of my writing sitting in boxes, and notebooks from years past, and old magazines and cut outs that I plan to use one day for… something (maybe making zines?), so it’s not just a matter of shredding a bunch of old credit card statements and outdated bills. Also, my kids make art at an incredible level — and they often refuse to throw any of it in the recycling box — so we have boxes and boxes of their drawings and art projects. I want to keep some of their things for sentimental reasons, yes, but honestly, most of it needs to go. I feel bad though because this project was supposed to be about tidying my own stuff, not my kids’. Nevertheless, if I’m going to have any sanity, I need to tidy some of their artwork. Remember, for me clutter = anxiety.

So it’s back to the old grindstone, trying to sort my way through all these papers.

The latest installment of The Convivial Society newsletter couldn’t have come at a better time now that I’m rededicating myself to Kondo-ing. In this issue, Sacasas explores the way our economic system and society program us to want and need more and more stuff, and while our culture is perhaps very good at providing for our material needs, it’s less good at satisfying immaterial needs:

This is one of the most perverse effects of contemporary society. People need food, water, shelter, etc. These are, of course, material needs we cannot do without. Profound suffering accompanies their absence. But there are other critical needs which are nonmaterial in nature and thus cannot be simply manufactured and distributed. Your list and mine of what these might be will differ in the details of the enumeration, but I suspect we would both agree that such needs exist and that their absence also entails profound suffering. Material deprivations manifest materially. You can see when someone is being starved. Nonmaterial deprivations typically manifest non-materially. Someone who looks perfectly healthy may bear a crushing load of loneliness, desperation, or anxiety. I would argue that while modern societies may be particularly adept at the satisfaction of material needs (4), they are also structured so that nonmaterial needs are more likely [to] go unmet. These two tendencies are not unrelated. The relative degree of success on the material front depends upon conditions that undermine the satisfaction of nonmaterial needs.

The newsletter goes into much more depth than I’m quoting here, but what struck me about it was that even though I don’t think of myself as being particularly materialistic, my family’s life is still very much centered around material goods. My kids have a woeful amount of toys, so much so that they have taken over the living room. My husband and I buy entertainment-based stuff all the time: board games, role-playing games, gadgets, gear, books, DVDs, CDs, LPs, etc. I tell myself it’s okay to buy these things because these are the things we like, these are the things that “spark joy,” but what if I asked myself a different question? What if I asked myself whether this new CD or record album or book was necessary to my happiness?

I’m quite confident that my answer, in almost every instance, would be “no.” No, I do not need that CD or record album or book to be happy. I can find joy without it. In fact, we have so many books and CDs and records we’ve never even read or listened to that we could probably spend the rest of our lives just making our way through the stuff we already have. And on top of that, we could probably spend the rest of our lives making our own music and telling our own stories and not consuming anyone else’s at all. My husband and I can both play several instruments. We have musical instruments all over the house. We both love storytelling (and related pursuits like puppetry). We could entertain ourselves and our kids without any consumer products at all (as wonderful as many of them are).

But are we willing to live that kind of austerity? And if not, why not? Is it because when we feel an urge for something new, we know we can satisfy it, and there’s nothing really stopping us? How can we stop ourselves when the newest gadget or gear is just a click away?

My desire for more tidiness is one such antidote to the accumulation of stuff, but as a family, we don’t live an anti-materialist life. We — all of us, myself included — accept the default of our economy which is that if you can afford it, there’s nothing wrong with satisfying your desires by getting something new. After all, that newest DCC RPG product looks fun and we love to play role-playing games, so why not? After all, listening to music is fun and we’ll spend hours listening to that new Fleet Foxes album, so why not? I’m not even saying these products are bad or unworthy of purchase, but when we already have a lot of stuff, are they really necessary? Why aren’t we content with the DCC RPG stuff we already have? Why aren’t we content with listening to the four Fleet Foxes albums we already own?

The lure of novelty, of newness, as well as the fear of missing out, are strong pulls on our desire. Austerity and self-denial do not come easily. You’d think, since we’re Catholics, we’d be pretty good at self-denial, and I guess we are when it comes to things like Lenten sacrifices and no meat on Fridays, but when it comes to the things we really love — the books, and music, and games — then it gets a lot harder to deny one’s wants and be content with what one has.

I have no answer to give. I’m lost in the muddle of trying to declutter and minimize my stuff, but I don’t know if I’m ready to stop buying. Of course, I have to buy some things — food, clothing, toilet paper — but can I call a moratorium on buying entertainment products? Can I spend a year without buying a new book or a new game? Can I spend the next ten years?

After all, we have these places called libraries. I can always just check out books I want to read. I can check out DVDs too. And we have enough role-playing stuff already in our possession to last a lifetime.

In many ways, our desire for more stuff inhibits our ability to create. There’s nothing stopping us from making our own music or inventing our own games. There’s nothing stopping us from even making our own movies.

But of course, creating and consuming are two different activities, and they do fulfill two different needs. There’s input and output, after all. But nevertheless, perhaps we need to do more output to balance the scales.

Again, I’m not sure of the answer. I know I want to reject consumerism as much as possible and help my kids to do the same, but I also know how weak and flawed we are as humans. I suppose all I can do is try. I can keep Kondo-ing, and I can keep resisting the urge to satisfy my every entertainment whim. I can invite my children to create more and consume less. I myself can create more and consume less.

I can try saying, “‘That’s enough, thanks,'” to myself and to the marketplace. I have to believe it will be worth the effort.

« Older posts Newer posts »

© 2024 Jennifer M. Baldwin

Theme by Anders NorenUp ↑