A Quilting Metaphor

Yesterday went by so quickly that I never registered the fact that it was Tuesday. I missed another writing deadline, and I apologize to anyone who was waiting to hear from me. (A girl can dream, can’t she?)

What was I doing that kept me so busy? I was quilting, making a Mother’s Day present. The process held me completely engrossed. What color palette did I want to use? Once I selected the color, I had to select the actual fabric, and then decide how to arrange the strips. Once those decisions were made, I could begin the actual construction, carefully sewing quarter-inch seams, using a foot designed explicitly to keep me from straying. Only after I had sewn all the pieces together could I get to the actual quilting, which for me is still following the lines made by the seam, but for this project, I could use one of my machine’s built-in decorator stitches. Finally, I added the binding, using a fabric I wasn’t quite sure about, but when it was in place was just the finished touch the project needed.

So here I am today, a day late and a dollar short, trying to make good on my promise to myself. But what should I write about? The Slice of Life philosophy of writing about what is going on in our day made me think about the quilting I did yesterday. But here’s the problem: I am a novice quilter, so I can’t really offer any insights into the quilting process, and just writing about the day I spent quilting is hardly worth clicking on a link. But then it dawned on me. I like to use extended metaphors in my writing, probably because my favorite classic poet is John Donne. His use of metaphysical conceits makes me swoon. His comparison of separated lovers to the legs of a draftsman’s compass is perhaps my all-time favorite extended, even convoluted, metaphor. How might I use quilting as the basis for my own conceit?

I could write about how quilting is like a relationship, with the love contained in each stitch, and how the stitches (the love?) sometimes cause pain, the way I prick my finger with the needle or when my shoulders ache. I could write about the way learning to quilt is like learning to play a sport, starting with the basics and working up to increasingly difficult skills and finally adding one’s own stamp to the game. Both of these ideas struck me as too corny, and also unrelated to this blog.

Then it struck me that quilting is like writing. Both quilters and writers have to choose a project—a pillow sham or wall cover, a set of placemats or a lap quilt for the quilter, a letter to the editor or a short story, an ode or a sonnet for the writer. In each case, the decision imposes a size on the project and the amount of commitment required.

In quilting, one has to pick out the colors that will establish the viewer’s response. In writing, one has to establish an attitude toward the subject. In each case, the creator can make changes, but the further one gets into the project the more difficult it is to change.

As quilters pick the specific fabrics, writers have to select specific details. The fabric audition is much like the writer’s decision to incorporate some elements and leave out others. Some fabrics are too similar to be effective, just as too many similar anecdotes diminish the overall effect of a piece of writing. Other fabrics are too garish, just as some details might be too graphic. Quilting requires just the right balance of dark, medium, and light fabrics, some with larger designs, others with smaller patterns. A good piece of writing will do the same. In “The Philosophy of Composition,” Edgar Allan Poe emphasizes the unity of effect. Both the quilter and the writer should keep his admonition in mind.

Both quilter and writer have to decide on the arrangement of these elements. Does the quilt palette gradually progress from light to dark, or will it juxtapose the darks against lights and use the medium notes as a transition between blocks? The same holds true for the writer. Does the organization move from small details to large conclusions, or does the writer start with the conclusion and add details in support? Does the novelist tell the story in chronological order or in flashback? Will the poet jolt the reader with sudden shifts or lull him with elements that weave seamlessly together?

After these decisions are made comes the real work and commitment to craftsmanship. In quilting, one has to be very careful to maintain the same seam width throughout the project. Others before me have decided that one quarter inch works well, but even in this basic choice there are arguments. Some quilters swear by a “scant” quarter inch (to accommodate the width of the thread in the seam), while others insist on a precise quarter inch. In either case, consistency is important. Here is a major difference between the quilter and the writer. The writer has the luxury of ignoring the rules of grammar and mechanics while creating a rough draft, but before any piece of writing should see the light of day, it must be carefully checked for mechanics, grammar, and stylistic consistency to be taken seriously. In writing, there are some disagreements in style—does one use the Oxford comma or not?—but just like the quilter, the writer should be consistent throughout.

Once the quilting elements are pieced, the whole is finally assembled into a quilt, and the quilter decides the pattern that will be used to unite the top, batting, and backing. We may find unfinished quilt tops at a flea market, but these are much like rough drafts—they were abandoned before they were completed. This final step adds character, much like the writer with a draft that she wants to publish. Before sending it off, the writer should add appropriate craft. The difference between a great piece of writing and a so-so one is this step.

The quilter adds binding to hide the rough edges and provide durability. The writer has to bind her finished product as well, making sure there are no loose ends. The most successful pieces of writing will withstand the test of time because everything is tightly integrated, every detail contributing to the finished product.

Perhaps this conceit is too convoluted, too contrived, but I know that teachers of writing have to dig deep into their own experiences to help their students move from idea to polished piece. I was always looking for a new example to inspire my students to keep with a piece of writing until it had achieved its full potential. Maybe this quilting conceit will help your students. Or maybe you could challenge them to design their own writing conceit that works for them.

Happy writing!

 

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Do you want to dance?

On Tuesday morning, my gym offers a dance party class. The dance moves are uncomplicated so even the most left-footed people (like me) can get an aerobic workout while having fun. The usual teacher is bubbly, and her choreography includes lots of wiggling and shaking. Today we had a substitute teacher who was clearly nervous about taking over for her. Toward the end of the class, she apologized, saying that she is an aerobics teacher, not a dance instructor. She said that she had been kicked out of ballet class.
Her offhand remarks hardly registered on the rest of the class. As the last song ended, we all gave her a round of applause, as we do for all our instructors, as we headed for the locker room. Her words stayed with me, though.
As a child, I hated gym, from the ugly uniforms to the long laps around the field to the arcane rules of field hockey and girls basketball to the group showers. Gym class was an uncomfortable place for a bookworm. It was the only class where I earned a C in my entire high school career, for failing to climb the rope to the ceiling of the gym. There’s little wonder I never took a dance class.
But this woman is different. She is clearly physically fit. She teaches many other courses, and she has an excellent reputation for leading those classes with skill and enthusiasm. But even she feels uncomfortable teaching something outsider her area of expertise, although I would argue that her class was even better than last week’s class led by the regular instructor.
As a teacher, I know I prefer to teach the courses and the works of literature that I have taught before. When we are asked to list the courses we would prefer to teach, I migrate toward my old faithfuls. When we had to align our curricula with Common Core standards, most teachers were uncomfortable with making changes. It’s human nature to want to stay with what we know.
However, like my substitute dance party instructor, we often find ourselves performing at an even higher standard when we are outside our comfort zone. It might require extra time (a rare commodity for teachers), but somehow we find the hours it takes to research the topic, to find creative activities for our students, to explore opportunities for every student to participate. When we are teaching the familiar, it is easy to go on autopilot. The things we do out of habit are not as interesting for us, so how can they be interesting to our students?
You might wonder why someone who hated physical education in high school pays for a gym membership. There are other ways to stay physically fit, right? The truth is, I like my gym. I like the classes they offer. I like the challenges it gives me. I like the support I receive from the fitness team.
Our students don’t pay directly to come to school, but they can still feel the way I do when I go to my gym. If the place is inviting, if the curriculum offers a wide variety of classes, if the teachers are enthusiastic, if the team behind them is supportive, even the most reluctant student can be seduced into a love of learning.
And sometimes, just sometimes, teachers need to move outside their comfort zone so they can maintain the enthusiasm that students need so they will want to be in school.

Poetry on Parade

Every so often, the stars align and allow a project to shine brighter than anyone could anticipate. Several years ago, that happened at my high school.

It was late winter, and every cultural organization had booked a day to promote the language, the food, the movies, the music, the dance of its country of origin. Parents were heavily involved in choreographing the events, and the administration allowed the leaders of each club to spend the entire day making sure that all activities went smoothly. Teachers were encouraged to incorporate an in-school field trip into classroom activities to support these students’ efforts in educating their classmates about their culture.

It was 2005, the same winter that Christo’s Gates were displayed in Central Park in New York City. My husband and I drove from the Philadelphia suburbs for a daytrip so we could say that we had seen a Christo installation, mainly because it was a once-in-a-lifetime opportunity. The thousands of gates lining Central Park made us giddy. Strangers became friends as we walked through the saffron-lined paths.

As we were driving, we listened to NPR. One story was about Wallace Steven’s poem, “Thirteen Ways of Looking at a Blackbird.” It seems an urban elementary school had used this work to introduce its entire student body to poetry, allowing children who had been written off to become totally immersed in this difficult piece. They went on to write their own poems using “Blackbirds” as a scaffold. The students shared their poems on a nationally-broadcast radio program. It brought tears to my eyes to see how poetry could brighten the lives of students who had not seen much sunshine.

These anecdotes are wonderful, but how in earth are they connected, you might ask. Simple. The Monday after our trek to New York, I was bemoaning yet another interruption to my class by yet another cultural group as I put my lunch in the mini refrigerator in the English workroom. My rant came to a heated end with, “Why don’t we have a day devoted to teaching English?” One of my colleagues, sick of hearing me complain, said softly, “Why don’t we?”

A light bulb went off. Ours was a high school in an affluent school district with a 99% of students going to college. Why couldn’t WE take a day for everyone to read “Thirteen Ways of Looking at a Blackbird”? And if we could all read it, why couldn’t we use it as a scaffold to write poetry? And finally, what if we displayed those poems for National Poetry Month?

A quick calculation showed that if every student and teacher and support staff member wrote a poem on an 8½ by 11 sheet of paper, we could cover every wall of our sprawling high school with poetry. It would allow every student to become a published poet with classmates, teachers, and parents reading his or her works between classes or during free periods. We would have our own poetry installation, not unlike Christo’s Gates. Why not do this during April, National Poetry Month? I was dizzy.

Since it was only February, I had time to talk up this idea with colleagues in my department. Not surprisingly, not everyone was as enthusiastic as I was. They complained about having yet one more interruption in their classes. They worried that they didn’t know anything about the poem or about how to teach poetry. They voiced concerns that students would deface the poetry.

When I volunteered to create lesson plans that they could use as they liked, along with ways the activities would correspond to state standards, they finally agreed. We put out the word to other departments, inviting them to visit our classrooms so they could participate. We asked them to make links to Stevens in their own classes that day to extend the participation. There was some skepticism, but most of the teachers were willing to accept yet another crazy activity.

Quickly, the designated day arrived. Teachers picked up packets that included background on Stevens, lesson plans, copies of the poem, and scaffolds printed on colored paper, keyed to the students’ year of high school. I was nervous that the day would be a failure, that students wouldn’t like the poem, that teachers would agree that it was weird and difficult, that no one would write. After first period, though, I started to hear a buzz. As students entered the room they asked me if it was true that everyone was writing poetry. When I answered in the affirmative, a few of my less enthusiastic students responded, “Cool,” in a carefully calculated tone, but everyone joined in, reading the poem, discussing it, brainstorming their own ideas for something that could be looked at in a number of ways. By the end of the day, I could tell Poetry Day had been a success. Math teachers stopped me in the hall to tell me how they included the number “13” in their lessons in support of the event. Art classes had given their students the option to draw something connected to “Blackbirds.” Some teachers even shared their own poems.

The next day, stacks of poetry appeared in every English classroom. Students who never turned in assignments waved their poems at their teachers, anxious to share what they had written with their classmates and with the school. The art teachers contributed drawings that went with the poems. That afternoon a group of us started hanging them around the building.

It took hours to get all 2000-plus poems and pictures displayed, but the result was worth it.

The next morning, students and teachers alike took their time as they headed to their first classes. Students wanted to know where THEIR poems were. Students ran up to their classmates to tell them that they read their poems and loved them.

The poems stayed on the wall for two weeks, until spring break. While some of the poems did fall down because the adhesive didn’t hold very well on some surfaces, not a single poem was defaced during the entire time.

Now it’s an annual event, and students and teachers look forward to April Poetry Day the way we anticipate the first spring flowers. It’s a chance for community, but more importantly, it’s a chance for students to bask in the light of poetry and reflect their own creativity.

April Fool’s Day

Some people look forward to April Fool’s Day the way most of us anticipate Christmas or birthdays, but I hate it. The tricks seem silly if not outright mean. It’s as if humans store up all their pettiness for this one day when they can be excused if they are cruel to their fellow man.

I don’t mind the NPR story that is obviously made up, even though I have been fooled when a serious voice states there will be a dearth of Parmesan cheese because the cows won’t come in from the pasture. I’ve even repeated their April Fool’s story on occasion. While I may look silly, I’ve brought it on myself.

I don’t mind when my very serious, very scholarly godson calls me breathlessly to tell me that he failed a test, because before I can even properly commiserate with him, he blurts out, “April Fool’s!” He knows that many people are busy tricking others, so he wants to be included, but he also doesn’t want to cause undo concern.

I do mind when people deliberately inflict pain in their joking. You know the situation. Everyone in the office knows that John polishes his car every weekend, that he keeps the inside impeccably clean, that he looks back at it in pride as he locks the door. The trickster who feels the need to tell him that a tractor-trailer backed over it in the parking lot, just to see John’s face go white, is indulging in masochistic behavior, especially when the trickster waits an eternity (two seconds) before owning up to his prank. That’s not sporting! Even more despicable is the person who swears that she just got a call saying that someone was injured in a freak accident. Why would anyone make up a story like that?

Some jokes can cause real danger or even injury. There’s a reason why it’s illegal to yell “Fire” in a crowded auditorium, but some people think that April Fool’s Day makes them immune to punishment. Pulling the fire alarm on April first might seem funny, and in school it might even count as that month’s drill, but it causes inconvenience to everyone from administrators who have to search for the guilty party, to teachers whose lesson plans are disrupted, to the students who stand shivering in the cold, to the staff whose duties have been interrupted. Today that inconvenience is escalated to terror in a world where people have been shot in their classrooms or at the mall. Today, people exiting a building when an unexpected alarm is sounded aren’t thinking, “Hmm, it’s April Fool’s Day. Someone is playing a trick.” Instead, many fear they are running for their lives, and in the panic that ensues, people shove to get out of harm’s way, maybe causing injury.

You might argue that I don’t have a sense of humor because I don’t like April Fool’s Day trickery, but I appreciate a clever joke or prank as much as the next person. It seems as if April Fool’s Day brings out the worst in people, and the pranks are played on the most gullible, the easiest to trick. When I was little, I was told that it was unfair to pick on someone smaller, and most of the tricks seem to be played on the little guy, they easy marks.

If you are going to play a trick this April Fool’s Day, please make sure that you pick a target who can truly take it. Just because we laugh doesn’t mean our feelings aren’t hurt.