My post last week about the poetry of Passover got me to thinking.
We’ve seen countless news stories and blog posts about the importance of improving science and mathematics instruction in our country. In recent years, we argued endlessly (and fruitlessly) about the emphasis within the Common Core State Standards on complex, informational text. Everywhere you look, people are up in arms about our need to prepare students better for a complex, technological world.
I have no argument with any of that. I think it’s all correct, all on-target, and all necessary. And yet…
And yet, I think we’re missing something. We definitely need to help our students handle a wealth of concepts and content across all subject areas. But the place where many students have trouble is the grey area where facts are contradictory or confusing—where meaning isn’t quite clear or shifts from moment to moment—where the truth of the matter lies not in “this or that,” but in “both things at the same time.”
Why do we have so much trouble with this? Because we don’t teach enough poetry.
I know, it’s a radical proposition. It’s ridiculous. Poetry barely makes an appearance in state learning standards. It’s laughable—it’s esoteric—it’s a relic of an earlier, gently humanistic world. You don’t need poetry to get an MBA, write a legal brief, develop the next generation of massively-multi-player games, or design a higher-capacity car battery. So who needs it?
We do.
Why Poetry Matters
When we teach poetry and focus only on rhythm and rhyme as the most important—most definitional—things, we not only leave out a lot of good poetry; we also miss why it really matters. Poetry is suggestive and sly; it thrives in the grey area of ambiguity—a liminal place of always becoming but never quite being. That’s what it does best. It hints and insinuates, often without resolving into anything concrete. Whether it rhymes or scans or just dumps words onto a page, what makes poetry poetry is its ability to hover in a place where things can be and not-be, both at the same time.
Take a look at this stanza from E.E. Cummings:
since feeling is first
who pays any attention
to the syntax of things
will never wholly kiss you;
wholly to be a fool
while Spring is in the world
Look at lines 2, 3, and 4. Notice how they suggest two sentences without quite settling down into one or the other. If this were prose, it would say, “Who pays any attention to the syntax of things?” Or it would say, “The syntax of things will never wholly kiss you.” Cummings jams the two sentences together, with “the syntax of things” as the pivot of the seesaw. It’s both ideas at once; it’s neither idea absolutely. It lives in a weird limbo of thought that you can’t quite pin down. That’s what poetry can do, and it gives us a different kind of access to the world than journalism does.
I say, “it gives us,” but it doesn’t for everyone. Some people find poetry perplexing or merely irritating—as my 9thgrade students did, years ago, when I tried to teach the Cummings poem. My students were maddeningly literal—and not just about poetry. No matter what we were discussing, they wanted to know: What does it mean? Is it this or that? It must be this or that! Everything had one meaning—one answer—only. And it was my job to hand it to them.
The inability to handle ambiguity carries over into prose, of course. Poetry is a great place to learn it, but great writers make use of it everywhere. I remember teaching a Ray Bradbury story called “The Dragon,” in which two knights in armor prepare to battle a terrible beast. The dragon they describe breathes fire, has one horrible, yellow eye, is impervious to knives or spears, and travels the same path between two towns every night, mowing down anything in its path. In the final moment of the story (spoiler alert), as the knights attack the monster, the scene switches perspective, and we see two engineers on a train, mystified at the apparition they’ve just seen. Two knights in armor! They came out of nowhere. It happens every night. So weird.
“Ahhhh,” good readers say. The dragon is a train. The train is a dragon. Cool! But my students did not say, “Cool!” They didn’t get it.
I read the story to them again. They still didn’t get it.
I listed the attributes of the dragon and the attributes of a train, side by side, on the board (yes, it was a blackboard. I’m old). Now they kind-of got it. But they wanted to know: “Was it really a dragon or was it really a train?”
My answer was, “Yes.” They were not amused.
They weren’t stupid kids; they just couldn’t process the idea that a thing could ever be two things at once—that it could exist in a strange world of sort-of-being where both things (and neither thing) were, in some ways, true. They didn’t like that. There could be different perspectives, different points of view—they were fine with that—but one of them had to be “true” and therefore correct.
Is that because kids watch more video and read less text these days, and commercial, general-audience video is pretty much what-you-see-is-what-you-get? I don’t know. But I think it’s a very limiting way to see the world. And it’s not just a Humanities issue. Our inability to hold two contradictory ideas in our minds keeps us from grappling with the world in all of its confusing, ambiguous mess. Our belief that all things have clear explanations and definitions that are absolute and exclude all other explanations or definitions makes us partisans on every topic of discussion, from education to climate change to religion to science. There are always two sides, and your side is always the right side, and the other side is always the enemy. It’s a terribly reductive and simple-minded way to see the world, which is infinitely complex and strange.
The push to bring more primary source text into our science and social studies classes—to rely less on textbook syntheses and summaries—is motivated by exactly this understanding that students need to analyze competing and contradictory points of view, to learn how to compare, assess, and, ultimately, deal with areas where a single, simple solution is not reachable. But if we, as their teachers, do not have a facility for dealing with ambiguity—if we are not comfortable living in the grey areas—then we are going to be ill-equipped to help our students navigate those issues. They will be saying, “But what’s the answer?” And we will feel compelled to give them one.
Against a Flat World
Of course, poetry and metaphor deal with much more than just contradiction or ambiguity. Metaphor is about association and resonance and connectivity. The snow is a blanket upon the earth. The blanket keeps me toasty warm. Toast is…well, maybe toast is just toast. But you get my point: metaphor creates connections and resonances among the things of the world. It catches us up in a net of relationships. It makes the world vibrate: touch one string, and another hums. Where there is no metaphor, nothing is like anything else, and nothing reverberates. The world just is—a jumble of discrete, isolated objects on a lonely plane of thing-ness.
When the world is reduced to discrete things, the only logical response to poetic imagery is to accept it as factually true or reject it as silly nonsense. Either the thing is a dragon, or it’s a train, and if it’s neither, it’s a stupid story. Sorry, Ferdinand, those are not pearls that were his eyes. They’re just eyes. The “sea change into something rich and strange” is…not.
On the plane of thing-ness, this approach makes sense. But the third option, beyond true and false, is vitally important. There is truth in poetry that’s very different—of a completely different nature—than the factual truth of journalism or history (as I discussed last week in terms of religious texts). When we see the snow as a blanket upon the earth, we think of winter differently: we catch the importance of that period of the growing cycle; we feel what it means to slumber snugly, to hibernate, to wait in the warm, dark place for spring to come, so that we can grow and bloom again. We are like the world; we’re part of the world. We know something that’s beyond mere facts.
Sometimes poetry tells us that there is no answer. And that’s fine, too. Sometimes, describing the mess accurately is the best thing we can do. “Describing the mess,” is how Samuel Beckett once defined his job when asked what his strange plays were all about. But he described the mess in ways no one before or since has managed. There are moments in Waiting for Godot that speak truth to me far more profoundly than what I’ve found in philosophy books or in the news. Especially this:
Astride of a grave and a difficult birth.
Down in the hole, lingeringly, the grave digger puts on the forceps.
We have time to grow old.
The air is full of our cries.
But habit is a great deadener.
At me too someone is looking, of me too someone is saying, He is sleeping, he knows nothing.
Let him sleep on.
That image in the first two lines chills me to the bone. If you painted a picture of it, it would be nightmare fodder worthy of Goya. And while it’s not literally true that we’re born astride of a grave, the text says something important about our brief sojourn on earth—and how much of it we tend to waste.
So listen. I’m all for better math and science education. I’m all for historical literacy. But we live in a world that can be oppressively fact-filled while also being bereft of wisdom. Knowing the structure and architecture of a thing is not fully knowing it. There are thirteen ways of looking at a blackbird, not just one. There is more to life than “the syntax of things,” as Cummings called it. It’s important to gather ye rosebuds while ye may. It’s important to hear your being dance from ear to ear. We’re not here for all that long (as Beckett reminds us). Time’s winged chariot is hurrying near, and there is so much—so much—to learn.
After all, as Cummings says at the end of his poem, “Life's not a paragraph / And death i think is no parenthesis.”
Lovely. thank you for writing it.