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In 1985, two professors of physics published some research about the extent to which a physics class impacted students’ intuitive understanding of motion. Like most of us, the students had a more Aristotelian model–the one that seems to fit with common sense: e.g., heavy objects fall faster rate than lighter ones. The goal was to see how many students internalized the Newtonian model by the end of the semester: e.g., heavy and light objects fall at the same rate.

Perhaps unsurprisingly, they found that many students retained the Aristotelian model after the course. The professors were surprised, however, that even A-students–those who had demonstrated competence on exams that tested ability to use and apply Newtonian concepts of motion–even these students still retained the Aristotelian model. Shockingly, the students would rationalize their belief in such models even when shown evidence to the contrary. It’s a truism that we education is more than transmission of knowledge. In fact, we often say that you don’t get it until you do it. Clearly this is not the case, though. Even skillful application of knowledge doesn’t demonstrate understanding sometimes.

This study shows how difficult it is for students to shift paradigms, but true students grow when those paradigms shift. What most teachers, myself sadly included, often forget is how radically disorienting, how almost-impossible it is for individuals to shift those paradigms. Humans are adaptation machines. Experience shows that human resilience (and the creativity bound therein) is almost boundless. Yet we routinely forget the pain, the embarrassment, the extreme self-doubt that is part of the learning process. We are also extremely fearful beings, afraid to test the limits of our fragility. We rationalize, equivocate, and often simply hide when confronted with new paradigms because we have reached a horizon point beyond which we cannot see our new selves.

I expect that if I understood this concept better, I would not ride the same roller coaster every semester. Every four months, I go through the same series of moods. I have been teaching for a number of years now, so I know to expect them:
1. Hopeful: I begin hopeful, hard-working, planning extensively, providing copious feedback.
2. Chastised: After several rounds of assignments, multiple attempts at correction, coaxing, I realize my expectations are too high and need to be tempered.
3. Failure: When students fail to meet my more reduced expectations, I begin to question the whole enterprise of teaching.
4. Despair: The dark night of my teacher’s soul. I lose sleep, wonder when my fraudulent stint as a teacher will be brought to its ignominious end.
5. Peace: I come to accept the reality of my students, my abilities, somehow accept the failures and successes alike.

Perhaps I’m addicted to the process, to the highs and lows; I need every break I get, but after the break–when I step back into the classroom–I am filled with hope again. At the end of every semester I promise to remember the lessons I have learned, but it’s clear that my own internal paradigms are not fully shifted to the reality of the task yet.

I wanted to feature essays by students–about poetry primarily, but perhaps other literature-related topics too–which surprised me in some way. It’s not that I am pointing to these students as budding literary scholars (we need scientists and historians who can read poetry!) or that I’m some star teacher who wants to show off the quality results of my teaching. Instead, I am featuring students whose writing showed them grappling with those new paradigms, whose work showed a kind of bravery in confronting the new self beyond the horizon point. I see a facility for understanding and writing about poetry in a way that I thought was admirable. There are sentences I wish I had written; ideas I wish I had articulated.

That’s when I feel most satisfied as a teacher: when I see a spark of something in a student that I admire. Not a mirror image of myself (Augustine said–roughly–that no parent is so stupid to send their child to school to learn what the teacher thinks), but that mutual flame of interest in something outside both teacher and student. In that sense, a great classroom environment is created when those flames combine and burn that much brighter.

I hope that other THEthe contributors who teach will also feel compelled to contribute to this series. But for now, this is my own (burnt) offering.

I am not a secular poet, have never been a secular poet, and my work is a journey through both the imagery of my working class Irish Catholic background and my sense of the the incarnate word as Shema Mitzvah–the oneness of God within the act of love toward neighbor. First Shema:

Hear O Israel, the lord, the lord is one.
And you shall love the lord
with all your mind and with all your heart
and with all your strength

and the Mitzvah is

And the second commandment is like unto it: love your neighbor as yourself.

All other commandments are contained within these two, the whole of the law, the spirit of the law. They are the ontology of my poems, and to truly enter my work, you must understand it in the context of Shema Mitzvah. I do not believe in the separation of faith and works, but, like James, believe faith without works is dead, and works without faith is merely materialism as a form of the dole. Given a choice of which I’d prefer, I’d take works without faith which makes me a radical, but I would not take it happily since I think bread without spirit, and material comfort without conscience is barely worth the bother.

Jesus Christ incarnates into the broken life and impurity of the world. God descends downward, infusing all people, landscapes, and things with the presence of divinity. At the same time, God, having taken on the manner and appearance, and real flesh and needs of the world, is infused with the world which is broken, impure, profane, often ugly, and far from pious. It is also in this world of the broken that Jesus Christ, the Word made flesh, waits to be recognized. Christ is not to be found so readily in the “purified” realms, but in the midst of the broken, those who are fucked up, strange, unable to live either fully in the world (highest level of Arete–prowess) or fully in God (highest level of Xenia–care for the other)–my poems seek to witness to those who are imperfect and less than fully human but given full humanity by the incarnate word, also to those who are imperfect and less than fully divine, given divine resonance by God come to dwell amongst us: the motley, the dark, sometimes grotesque comic force of the demi-god, the half-God, Half Monster, neither fully man nor fully divine–us, the half assed. The moment in which Christ (fully man and fully God ) is seen in the “least”, is the moment that the unity of Shema Mitzvah is fully realized–the ground zero of being, which, for me, is Eucharistic reality. To put it simply: I seek in my poetics the moment when the divine is seen in the other, and the divine is not Jerusalem, the expected place, but Bethlehem, the lowly place, the place unsought, but stumbled upon, the “slip of the pen”–that is a moment of Eucharistic reality–grace. Grace appears under the following signs in my poems:

1. The Visible Signs beneath which the Shema Mitzvah lies concealed and revealed: failure, imperfection, exile, ostracism, the ugly, the lost, the comic and inept, the unrequited, the kindly, the motley and in the Falstaff-like bluster of certain of my poetic voices. There are also choices of lineation, and language by which I seek this out: mixed registers of speech, hyperbolic utterances punctured by deadpan understatements, comic or ferocious rants, ungainly one word lines, lines that wobble between long and short– all of this is towards my thematic core:the presence of the divine afflatus where it seems least likely to belong.

I use characters, dialogue, and narrative in an almost novelistic way. I believe poetry has abdicated its perfection as a vehicle for getting straight to the heart of a story to prose which, by its very nature as a conveyor of information, must be far more expository. Prose informs and expounds. Poetry incites and enacts a more immediate ceremony. Most poems, especially free verse poems, are a combination of poetic and prosaic elements, on a spectrum between poetry and prose–demi- gods. I will use an undulating line, an ungainly line because I am not after symmetry. I am after some order within sprawl–the great sprawl of the living and the dead.

2. Personified I, Vatic I, Personal I, and the mutt of all three: Many of the I-voices in my poetry are personifications. In a few poems (“Morning at the Elizabeth Arch”, for example) the I voice is Vatic– the sound of one speaking with authority and almost impersonal gravitas, the I invoking (look! Shemah–listen up!). Sometimes I will employ the personal I as in a memoir (Fists (for my father), or “Elegy of Sue Rapeezi”), but this personal I is likely to blur with the personified I. The mutt I make of all three may confuse a reader who wants the voice to be a genuine contemporary personal voice, or the voice of a character, or that sort of “Wise white man” voice you get with Stephen Dunn. There is also the intentionally stupid, or know-nothing voice of the speculative post-modernist, influenced both by the surreal, comic shtick, and dadaism. I am prone to using all these I’s and mixing them up. It’s important to know that in order to understand my emphasis on the motley. I am doing my own: I contain multitudes. My version also entertains the the darker possibility of “I am legion” (possessed by many demons and conflicted).

I write this not as an apologetic for my poetry, but as an aid to entering it with a greater awareness of its intentions. Of course, each reader misreads differently, and each brings to a body of work his or her own sense of the author’s intentions,successes and failures. To a more secular mind, all I might be doing is writing about losers. To a more sociological type, I may be showing my preference for the underdog. To those who like their lines symmetrical, and their words in a consistent register, many of my tunes may seem full of wrong notes. To those who judge the lyrical merely by the absence of the narrative, I may fail to be lyrical enough. So be it. This is my essay on my intentions. Poem by poem, those intentions wait to be realized or unrealized. On that I rest my case.

Papercuts is Australia’s only national poetry education program. Papercuts promotes the living practice of poetry through a series of workshops with contemporary Australian poets. Through Papercuts, students and educators in primary and secondary schools, correctional centres, community organisations, professional associations and universities, undertake workshops to develop their own poems, poetry collections and exhibitions.

Created by The Red Room Company in 2007, Papercuts is now programmed in over 50 schools across Australia. Originally designed for High School Students, the learning kits have since been expanded to cater to primary students from years 1-6. A diverse range of students have so far benefitted from the Papercuts learning experience, from students with special needs to gifted and talented groups. We have also run a project at Sunning Hill School in the Juniperina Juvenile Justice Centre.

Find out more about Papercuts.