Arts Students Quotes

The teacher is of course an artist, but being an artist does not mean that he or she can make the profile, can shape the students. What the educator does in teaching is to make it possible for the students to become themselves.

When you fall in love with a work of art, you’d die to meet the artist. I am a student of the galleries of Pacific sunsets, full moon rises on the ocean, the clouds from an airplane, autumn forests in Raleigh, first fallen snows. And I’m dying to meet the artist.

Fighting isn't all there is to the Art of War. The men who think that way, and are satisfied to have food to eat and a place to sleep, are mere vagabonds. A serious student is much more concerned with training his mind and disciplining his spirit than with developing martial skills.

My recommendation: don’t be special; don’t be unique. Redefine your metrics in mundane and broad ways. Choose to measure yourself not as a rising star or an undiscovered genius. Choose to measure yourself not as some horrible victim or dismal failure. Instead, measure yourself by more mundane identities: a student, a partner, a friend, a creator. The narrower and rarer the identity you choose for yourself, the more everything will seem to threaten you. For that reason, define yourself in the simplest and most ordinary ways possible.This often means giving up some grandiose ideas about yourself: that you’re uniquely intelligent, or spectacularly talented, or intimidatingly attractive, or especially victimized in ways other people could never imagine. This means giving up your sense of entitlement and your belief that you’re somehow owed something by this world.

It's not that students don't "get" Kafka's humor but that we've taught them to see humor as something you get -- the same way we've taught them that a self is something you just have. No wonder they cannot appreciate the really central Kafka joke -- that the horrific struggle to establish a human self results in a self whose humanity is inseparable from that horrific struggle. That our endless and impossible journey toward home is in fact our home. It's hard to put into words up at the blackboard, believe me. You can tell them that maybe it's good they don't "get" Kafka. You can ask them to imagine his art as a kind of door. To envision us readers coming up and pounding on this door, pounding and pounding, not just wanting admission but needing it, we don't know what it is but we can feel it, this total desperation to enter, pounding and pushing and kicking, etc. That, finally, the door opens...and it opens outward: we've been inside what we wanted all along. Das ist komisch.

A common defect of modern art study is that too many students do not know why they draw.

What grinds me the most is we're sending kids out into the world who don't know how to balance a checkbook, don't know how to apply for a loan, don't even know how to properly fill out a job application, but because they know the quadratic formula we consider them prepared for the world` With that said, I'll admit even I can see how looking at the equation x -3 = 19 and knowing x =22 can be useful. I'll even say knowing x =7 and y= 8 in a problem like 9x - 6y= 15 can be helpful. But seriously, do we all need to know how to simplify (x-3)(x-3i)?? And the joke is, no one can continue their education unless they do. A student living in California cannot get into a four-year college unless they pass Algebra 2 in high school. A future psychologist can't become a psychologist, a future lawyer can't become a lawyer, and I can't become a journalist unless each of us has a basic understanding of engineering. Of course, engineers and scientists use this shit all the time, and I applaud them! But they don't take years of theater arts appreciation courses, because a scientist or an engineer doesn't need to know that 'The Phantom of the Opoera' was the longest-running Broadway musical of all time. Get my point?

part of the art of teaching is the ability to rearrange the world for students - to force them to see things in a new way. i've known too many stupid intellectuals to believe that education and wisdom come as a package deal along with facts, it's your perspective that counts - your ability to see differently, not just to see a lot.

Reading the very best writers—let us say Homer, Dante, Shakespeare, Tolstoy—is not going to make us better citizens. Art is perfectly useless, according to the sublime Oscar Wilde, who was right about everything. He also told us that all bad poetry is sincere. Had I the power to do so, I would command that these words be engraved above every gate at every university, so that each student might ponder the splendor of the insight.

I said it before and I’ll say it again: books are dead, plays are dead, poems are dead: there’s only movies. Music is still okay, because music is sound track. Ten, fifteen years ago, every arts student wanted to be a novelist or a playwright. I’d be amazed if you could find a single one now with such a dead-end ambition. They all want to make movies. Not write movies. You don’t write movies. You make movies.

A tear rolled down my cheek And more came down Until tears rolled down like a stream. My eyes were blind with tears for you. They washed my eyes till I could see.

Entirely in accordance with what education is supposed to be. Education is the sum of what students teach each other in between lectures and seminars. You sit in each other's rooms and drink coffee - I suppose it would be vodka and Red Bull now - you share enthusiasms, you talk a lot of wank about politics, religion, art and the cosmos and then you go to bed, alone or together according to taste. I mean, how else do you learn anything, how else do you take your mind for a walk?

Students need to learn how to learn. First you teach them how to learn, then you teach them what to learn.

Epictetus told his students, when they’d quote some great thinker, to picture themselves observing the person having sex. It’s funny, you should try it the next time someone intimidates you or makes you feel insecure. See them in your mind, grunting, groaning, and awkward in their private life—just like the rest of us.

We have become obsessed with what is good about small classrooms and oblivious about what also can be good about large classes. It’s a strange thing isn't it, to have an educational philosophy that thinks of the other students in the classroom with your child as competitors for the attention of the teacher and not allies in the adventure of learning.

Art is dead, but the student is necrophiliac.

Grit, persistence, adaptability, financial literacy, interview skills, human relationships, conversation, communication, managing technology, navigating conflicts, preparing healthy food, physical fitness, resilience, self-regulation, time management, basic psychology and mental health practices, arts, and music—all of these would help students and also make school seem much more relevant. Our fixation on college readiness leads our high school curricula toward purely academic subjects and away from life skills. The purpose of education should be to enable a citizen to live a good, positive, socially productive life independent of work.

Regarding the creative: never assume you're the master, only the student. Your audience will determine if you're masterful.

One student asks: Why should I live? Steven Pinker answers: In the very act of asking that question, you are seeking reasons for your convictions, and so you are committed to reason as the means to discover and justify what is important to you. And there are so many reasons to live! As a sentient being, you have the potential to flourish. You can refine your faculty of reason itself by learning and debating. You can seek explanations of the natural world through science, and insight into the human condition through the arts and humanities. You can make the most of your capacity for pleasure and satisfaction, which allowed your ancestors to thrive and thereby allowed you to exist. You can appreciate the beauty and richness of the natural and cultural world. As the heir to billions of years of life perpetuating itself, you can perpetuate life in turn. You have been endowed with a sense of sympathy—the ability to like, love, respect, help, and show kindness—and you can enjoy the gift of mutual benevolence with friends, family, and colleagues. And because reason tells you that none of this is particular to you, you have the responsibility to provide to others what you expect for yourself. You can foster the welfare of other sentient beings by enhancing life, health, knowledge, freedom, abundance, safety, beauty, and peace. History shows that when we sympathize with others and apply our ingenuity to improving the human condition, we can make progress in doing so, and you can help to continue that progress.

It is a strange thing, isn’t it, to have an educational philosophy that thinks of the other students in the classroom with your child as competitors for the attention of the teacher and not allies in the adventure of learning?

Many people carry this type of negative self-image for years, but it is swept away the instant they experience their own perfectly clean space. This drastic change in self-perception, the belief that you can do anything if you set your mind to it, transforms behavior and lifestyles. This is precisely why my students never experience rebound. Once you have experienced the powerful impact of a perfectly ordered space, you, too, will never return to clutter.

The work of the art student is no light matter. Few have the courage and stamina to see it through. You have to make up your mind to be alone in many ways. We like sympathy and we like to be in company. It is easier than going it alone. But alone one gets acquainted with himself, grows up and on, not stopping with the crowd. It costs to do this. If you succeed somewhat you may have to pay for it as well as enjoy it all your life.

Medicine, and Law, and Philosophy - You've worked your way through every school, Even, God help you, Theology, And sweated at it like a fool. Why labour at it any more? You're no wiser now than you were before. You're Master of Arts, and Doctor too, And for ten years all you've been able to do Is lead your students a fearful dance Through a maze of error and ignorance. And all this misery goes to show There's nothing we can ever know. Oh yes you're brighter than all those relics, Professors and Doctors, scribblers and clerics, No doubts or scruples to trouble you, Defying hell, and the Devil too. But there's no joy in self-delusion; Your search for truth ends in confusion. Don't imagine your teaching will ever raise The minds of men or change their ways. And as for worldly wealth, you have none - What honour or glory have you won? A dog could stand this life no more. And so I've turned to magic lore; The spirit message of this art Some secret knowledge might impart. No longer shall I sweat to teach What always lay beyond my reach; I'll know what makes the world revolve, Its mysteries resolve, No more in empty words I'll deal - Creation's wellsprings I'll reveal!

Students of public speaking continually ask, "How can I overcome self-consciousness and the fear that paralyzes me before an audience?" Did you ever notice in looking from a train window that some horses feed near the track and never even pause to look up at the thundering cars, while just ahead at the next railroad crossing a farmer's wife will be nervously trying to quiet her scared horse as the train goes by? How would you cure a horse that is afraid of cars—graze him in a back-woods lot where he would never see steam-engines or automobiles, or drive or pasture him where he would frequently see the machines? Apply horse-sense to ridding yourself of self-consciousness and fear: face an audience as frequently as you can, and you will soon stop shying. You can never attain freedom from stage-fright by reading a treatise. A book may give you excellent suggestions on how best to conduct yourself in the water, but sooner or later you must get wet, perhaps even strangle and be "half scared to death." There are a great many "wetless" bathing suits worn at the seashore, but no one ever learns to swim in them. To plunge is the only way.

I came with many knots in my heart, like the magician's rope. You undid them all at once. I see now the splendor of the student and that of the teacher's art. Love and this body sit inside your presence, one demolished, the other drunk. We smile. We weep, tree limbs turning sere, then light green.

Oh, Williamsburg. There was a point when you seemed like a scary, tough neighborhood, but now it's obvious that the graffiti on your walls gets put there by art students.

He felt like a young student again, confronted with all the art and knowledge of mankind. The experience was both exhilarating and depressing; a whole universe lay at his fingertips, but the fraction of it he could explore in an entire lifetime was so negligible that he was sometimes overwhelmed with despair.

Teachers dread nothing so much as unusual characteristics in precocious boys during the initial stages of their adolescence. A certain streak of genius makes an ominous impression on them, for there exists a deep gulf between genius and the teaching profession. Anyone with a touch of genius seems to his teachers a freak from the very first. As far as teachers are concerned, they define young geniuses as those who are bad, disrespectful, smoke at fourteen, fall in love at fifteen, can be found at sixteen hanging out in bars, read forbidden books, write scandalous essays, occasionally stare down a teacher in class, are marked in the attendance book as rebels, and are budding candidates for room-arrest. A schoolmaster will prefer to have a couple of dumbheads in his class than a single genius, and if you regard it objectively, he is of course right. His task is not to produce extravagant intellects but good Latinists, arithmeticians and sober decent folk. The question of who suffers more acutely at the other's hands - the teacher at the boy's, or vice versa - who is more of a tyrant, more of a tormentor, and who profanes parts of the other's soul, student or teacher, is something you cannot examine without remembering your own youth in anger and shame. yet that's not what concerns us here. We have the consolation that among true geniuses the wounds almost always heal. As their personalities develop, they create their art in spite of school. Once dead, and enveloped by the comfortable nimbus of remoteness, they are paraded by the schoolmasters before other generations of students as showpieces and noble examples. Thus the struggle between rule and spirit repeats itself year after year from school to school. The authorities go to infinite pains to nip the few profound or more valuable intellects in the bud. And time and again the ones who are detested by their teachers are frequently punished, the runaways and those expelled, are the ones who afterwards add to society's treasure. But some - and who knows how many? - waste away quiet obstinacy and finally go under.

My recommendation: don’t be special; don’t be unique. Redefine your metrics in mundane and broad ways. Choose to measure yourself not as a rising star or an undiscovered genius. Choose to measure yourself not as some horrible victim or dismal failure. Instead, measure yourself by more mundane identities: a student, a partner, a friend, a creator.

The parents are making threatening noises, turning dinner into performance art, with dad doing his Arnold Schwarzenegger imitation and mom playing Glenn Close in one of her psycho roles. I am the Victim. Mom: [creepy smile] “Thought you could put one over us, did you, Melinda? Big high school students now, don’t need to show your homework to your parents, don’t need to show any failing test grades?” Dad: [bangs table, silverware jumps] “Cut the crap. She knows what’s up. The interim reports came today. Listen to me, young lady. I’m only going to say this to you once. You get those grades up or your name is mud. Hear me? Get them up!” [Attacks baked potato.]

Be honest: did you actually read [the above geometric proof]? Of course not. Who would want to? The effect of such a production being made over something so simple is to make people doubt their own intuition. Calling into question the obvious by insisting that it be 'rigorously proved' ... is to say to a student 'Your feelings and ideas are suspect. You need to think and speak our way.

Motivation of this sort, once it catches hold, is a ferocious force, and in the gradeless, degreeless institution where our student would find himself, he wouldn’t stop with rote engineering information.

In Japan, a number of time-honored everyday activities (such as making tea, arranging flowers, and writing) have traditionally been deeply examined by their proponents. Students study how to make tea, perform martial arts, or write with a brush in the most skillful way possible to express themselves with maximum efficiency and minimum strain. Through this efficient, adroit, and creative performance, they arrive at art. But if they continue to delve even more deeply into their art, they discover principles that are truly universal, principles relating to life itself. Then, the art of brush writing becomes shodo—the “Way of the brush”—while the art of arranging flowers is elevated to the status of kado—the “Way of flowers.” Through these Ways or Do forms, the Japanese have sought to realize the Way of living itself. They have approached the universal through the particular.

[Math] curriculum is obsessed with jargon and nomenclature seemingly for no other purpose than to provide teachers with something to test the students on.

So apparently all homeschooled kids spoke like pretentious liberal arts college students.

The first function of an art student is to observe, to study nature.

With great enthusiasm and determination you will master the art in your field.

If you’re a teacher, enjoy your gregarious and participatory students. But don’t forget to cultivate the shy, the gentle, the autonomous, the ones with single-minded enthusiasms for chemistry sets or parrot taxonomy or nineteenth-century art. They are the artists, engineers, and thinkers of tomorrow.

The art of handling university students is to make oneself appear, and this almost ostentatiously, to be treating them as adults...

The best students always are flunking. Every good teacher knows that.

It's often the most naturally intelligent students who have the most difficult time in their first year -- law school, particularly the first year of law school, is not really a place where creativity, abstract thought, and imagination are rewarded. In this way, I often think -- based on what I've heard, not what I know firsthand -- that it's a bit like art school.

NEUTRALITY, BOREDOM become worse sins than murder, worse than illicit love affairs,” she told her Smith College students in 1958. “BE RIGHT OR WRONG, don’t be indifferent, don’t be NOTHING.

Many years ago Rudyard Kipling gave an address at McGill University in Montreal. He said one striking thing which deserves to be remembered. Warning the students against an over-concern for money, or position, or glory, he said: “Some day you will meet a man who cares for none of these things. Then you will know how poor you are.” —Halford E. Luccock

It seems an odd idea to my students that poetry, like all art, leads us away from itself, back to the world in which we live. It furnishes the vision. It shows with intense clarity what is already there.

Growing up is terribly wonderful. But often it’s also wonderfully terrible. Ha, a riddle of words amounting to nothing. A stuttering cleverism that falls as short as my feeble steps. But this is true. A teacher could become rich if he ever perfected the art of helping mature students unlearn many awful things. Enjoy your innocence, my dear. Even if it only lasts the day.

One thing that happens when you have an alcoholic for a parent is you grow up the child of an alcoholic. ... For a quick trip around the bases, it means you blame yourself for everything, you avoid reality, you can't trust people, you're hungry to please. Which isn't all bad: perfectionism makes the straight-A student; lack of trust begets self-sufficiency; low self-esteem can be a terrific motivator; if everyone were so gung-ho on reality, there'd be no art.

No one on the street thought anything of the downtown girl dressed in black who had paused in the middle of midtown foot traffic. In her art student camouflage she could walk the entire length of Manhattan and, if not blend in, be classified and therefore ignored.

It was Monday morning. Swaminathan was reluctant to open his eyes. he considered Monday specially unpleasant in the calendar. After the delicious freedom of Saturday and Sunday, it was difficult to get into the Monday mood of work and discipline. He shuddered at the very thought of school: the dismal yellow building; the fire-eyed Vedanayagam, his class teacher, and headmaster with his thin long cane...

Saint Bartleby's School for Young Gentlemen Annual Report Student: Artemis Fowl II Year: First Fees: Paid Tutor: Dr Po Language Arts As far as I can tell, Artemis has made absolutely no progress since the beginning of the year. This is because his abilities are beyond the scope of my experience. He memorizes and understands Shakespeare after a single reading. He finds mistakes in every exercise I administer, and has taken to chuckling gently when I attempt to explain some of the more complex texts. Next year I intend to grant his request and give him a library pass during my class. Mathematics Artemis is an infuriating boy. One day he answers all my questions correctly, and the next every answer is wrong. He calls this an example of the chaos theory, and says that he is only trying to prepare me for the real world. He says the notion of infinity is ridiculous. Frankly, I am not trained to deal with a boy like Artemis. Most of my pupils have trouble counting without the aid of their fingers. I am sorry to say, there is nothing I can teach Artemis about mathematics, but someone should teach him some manners. Social Studies Artemis distrusts all history texts, because he says history was written by the victors. He prefers living history, where survivors of certain events can actually be interviewed. Obviously this makes studying the Middle Ages somewhat difficult. Artemis has asked for permission to build a time machine next year during double periods so that the entire class may view Medieval Ireland for ourselves. I have granted his wish and would not be at all surprised if he succeeded in his goal. Science Artemis does not see himself as a student, rather as a foil for the theories of science. He insists that the periodic table is a few elements short and that the theory of relativity is all very well on paper but would not hold up in the real world, because space will disintegrate before lime. I made the mistake of arguing once, and young Artemis reduced me to near tears in seconds. Artemis has asked for permission to conduct failure analysis tests on the school next term. I must grant his request, as I fear there is nothing he can learn from me. Social & Personal Development Artemis is quite perceptive and extremely intellectual. He can answer the questions on any psychological profile perfectly, but this is only because he knows the perfect answer. I fear that Artemis feels that the other boys are too childish. He refuses to socialize, preferring to work on his various projects during free periods. The more he works alone, the more isolated he becomes, and if he does not change his habits soon, he may isolate himself completely from anyone wishing to be his friend, and, ultimately, his family. Must try harder.

It is in Christianity that our arts have developed; it is in Christianity that the laws of Europe--until recently--have been rooted. It is against a background of Christianity that all of our thought has significance. An individual European may not believe that the Christian faith is true, and yet what he says, and makes, and does will all spring out of his heritage of Christian culture and depend upon that culture for its meaning...I do not believe that culture of Europe could survive the complete disappearance of the Christian faith. And I am convinced of that, not merely because I am a Christian myself, but as a student of social biology. If Christianity goes, the whole culture goes.

But the problem was, Sacks wasn’t comparing herself to all the students in the world taking Organic Chemistry. She was comparing herself to her fellow students at Brown. She was a Little Fish in one of the deepest and most competitive ponds in the country—and the experience of comparing herself to all the other brilliant fish shattered her confidence. It made her feel stupid, even

I saw- with shut eyes, but acute mental vision- I saw the pale student of unhallowed arts kneeling beside the thing he had put together... Frightful must it be, for supremely frightful would be the effect of any human endeavor to mock the stupendous mechanism of the Creator of the world.

Something, somewhere, somewhen, must have happened differently... PETUNIA EVANS married Michael Verres, a Professor of Biochemistry at Oxford. HARRY JAMES POTTER-EVANS-VERRES grew up in a house filled to the brim with books. He once bit a math teacher who didn't know what a logarithm was. He's read Godel, Escher, Bach and Judgment Under Uncertainty: Heuristics and Biases and volume one of The Feynman Lectures on Physics. And despite what everyone who's met him seems to fear, he doesn't want to become the next Dark Lord. He was raised better than that. He wants to discover the laws of magic and become a god. HERMIONE GRANGER is doing better than him in every class except broomstick riding. DRACO MALFOY is exactly what you would expect an eleven-year-old boy to be like if Darth Vader were his doting father. PROFESSOR QUIRRELL is living his lifelong dream of teaching Defense Against the Dark Arts, or as he prefers to call his class, Battle Magic. His students are all wondering what's going to go wrong with the Defense Professor this time. DUMBLEDORE is either insane, or playing some vastly deeper game which involved setting fire to a chicken. DEPUTY HEADMISTRESS MINERVA MCGONAGALL needs to go off somewhere private and scream for a while. Presenting: HARRY POTTER AND THE METHODS OF RATIONALITY You ain't guessin' where this one's going.

Your scorn for mediocrity blinds you to its vast primitive power. You stand in the glare of your own brilliance, unable to see into the dim corners of the room, to dilate your eyes and see the potential dangers of the mass, the wad of humanity. Even as I tell you this, dear student, you cannot quite believe that lesser men, in whatever numbers, can really defeat you. But we are in the age of the mediocre man. He is dull, colorless, boring — but inevitably victorious. The amoeba outlives the tiger because it divides and continues in its immortal monotony. The masses are the final tyrants. See how, in the arts, Kabuki wanes and withers while popular novels of violence and mindless action swamp the mind of the mass reader. And even in that timid genre, no author dares to produce a genuinely superior man as his hero, for in his rage of shame the mass man will send his yojimbo, the critic, to defend him. The roar of the plodders is inarticulate, but deafening. They have no brain, but they have a thousand arms to grasp and clutch at you, drag you down.

Contrary to what some folks would have us believe, it is not tragic, even if undesirable, for a person to leave a liberal arts education not having read major works from this canon. Their lives are not ending. And the exciting dimension of knowledge is that we can learn a work without formally studying it. If a student graduates without reading Shakespeare and then reads or studies this work later, it does not delegitimize whatever formal course of study that was completed.

Students who attend what they considered to be their first-choice school were less likely to persist in a biomedical or behavioral science major,” they write. You think you want to go to the fanciest school you can. You don’t.

While his school was closed due to an outbreak of plague in 1666–67, twenty-five-year-old Isaac Newton showed his professor, Isaac Barrow, what research he was conducting in his spare time. Barrow immediately gave up his job as a professor and became a student of Newton. What a noble gesture. What ethical behavior. When was the last time you heard of a professor vacating his post in favor of a better candidate? And when was the last time you read about a CEO clearing out his desk when he realized that one of his twenty thousand employees could do a better job?

The phenomenon of relative deprivation applied to education is called—appropriately enough—the “Big Fish–Little Pond Effect.” The more elite an educational institution is, the worse students feel about their own academic abilities.

The world was different in the morning. Quiet, unassuming, and somehow bigger, as if it was brimming with possibility. It was, she thought, as if during the day the world went through a shrinking process, gradually condensing the morning’s expansion, only to inflate again during the night

Instead of labelling your emotions as problems to solve, you can see them as signals to interpret. Instead of judging your desires as shameful aberrations, you can learn to meet them in healthier ways. Instead of calling yourself critical names when you cannot build or break certain habits, you can explore your motivations. You can become a student of yourself rather than always seeking a wiser teacher.

Poets are excellent students of blizzards and salt and broken statuary, but they are always elsewhere for the test. Any intention in the writing of poetry besides the aim to make a poem, of engaging the materials, SHOULD be disappointed. If the poet does not have the chutzpah to jeopardize habituated assumptions and practices, what will be produced will be sleep without dream, a copy of a copy of a copy.

You know why I am here?" asked the headmaster. Swaminathan searched for an answer: the headmaster might be there to receive letters from boy's parents; he might be there to flay Ebenzars alive; he might be there to deliver six cuts with his cane every Monday at twelve o'clock. And above all why this question?

The most critical part of this system was the belief that you, the student who has sought out Stoicism, have the most important job: to be good! To be wise. “To remain the person that philosophy wished to make us.” Do your job today. Whatever happens, whatever other people’s jobs happen to be, do yours. Be good.

In Aikido training, we learn from everyone. We learn from the most experience people, but we also learn from new students. Everyone is connected through the heart and develops a mutual understanding. It is important to create a place where that can happen.

Carrie felt this as a personal reproof. She read "Dora Thorne," or had a great deal in the past. It seemed only fair to her, but she supposed that people thought it very fine. Now this clear- eyed, fine-headed youth, who looked something like a student to her, made fun of it. It was poor to him, not worth reading. She looked down, and for the first time felt the pain of not understanding.

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

The vocational approach at NOCCA (New Orleans Center for the Creative Arts) helps build grit in students. It teaches them how to be single-minded in pursuit of a goal, to sacrifice for the sake of a passion. The teachers demand hard work from their kids because they know, from personal experience, that creative success requires nothing less.

When I was a young philosopher, I asked a senior colleague, Pat Suppes (then and now a famous philosopher of science and an astute student of human nature), what the secret of happiness was. Instead of giving me advice, he made a rather droll observation about what a lot of people who were happy with themselves seem to have done, namely: 1. Take a careful inventory of their shortcomings and flaws 2. Adopt a code of values that treats these things as virtues 3. Admire themselves for living up to it Brutal people admire themselves for being manly; compulsive pedants admire themselves for their attention to detail; naturally selfish and mean people admire themselves for their dedication to helping the market reward talent and punish failure, and so on.

Why have so many schools reduced the time and emphasis they place on art, music, and physical education? The answer is beyond simple: those areas aren’t measured on the all-important tests. You know where those areas are measured… in life! Art, music, and a healthy lifestyle help us develop a richer, deeper, and more balanced perspective. Never before have we needed more of an emphasis on the development of creativity, but schools have gone the exact opposite direction in an effort to make the best test-taking automatons possible. Our economy no longer rewards people for blindly following rules and becoming a cog in the machine. We need risk-takers, outside-the-box thinkers, and entrepreneurs; our school systems do the next generation a great disservice by discouraging these very skills and attitudes. Instead of helping and encouraging them to find and develop their unique strengths, they're told to shut up, put the cell phones away, memorize these facts and fill in the bubbles.

Frigideiro! " said Hermione again from the desk next to him. Her water was solid ice and there were white crystals forming on the rim of her glass. She seemed to be totally intent on her own work and not at all conscious of the other students staring at her with hateful eyes, which was either (a) dangerously oblivious of her or (b) a perfectly honed performance rising to the level of fine art.

those at the very top of the class—are going to face a burden that they would not face in a less competitive atmosphere. Citizens of happy countries have higher suicide rates than citizens of unhappy countries, because they look at the smiling faces around them and the contrast is too great. Students at “great” schools look at the brilliant students around them, and how do you think they feel? The phenomenon of relative deprivation applied to education is called—appropriately enough—the “Big Fish–Little Pond Effect.” The more elite an educational institution is, the worse students feel about their own academic abilities. Students who would be at the top of their class at a good school can easily fall to the bottom of a really good school. Students who would feel that they have mastered a subject at a good school can have the feeling that they are falling farther and farther behind in a really good school. And that feeling—as subjective and ridiculous and irrational

Mathematics is the art of explanation. If you deny students the opportunity to engage in this activity-- to pose their own problems, to make their own conjectures and discoveries, to be wrong, to be creatively frustrated, to have an inspiration, and to cobble together their own explanations and proofs-- you deny them mathematics itself.

American students, we are told, are falling behind in reading and math; on test after test, they score below most European students (at the level of Lithuania), and the solution, rather than seeking to engage their curiosity, has been testing and more testing— a dry and brittle method that produces lackluster results. And so resources are pulled from the “soft” fields that are not being tested. Music teachers are being fired or not replaced; art classes are quietly dropped from the curriculum; history is simplified and moralized, with little expectation that any facts will be learned or retained; and instead of reading short stories, poems and novels, students are invited to read train schedules and EPA reports whose jargon could put even the most committed environmentalist to sleep.

It could be said that a liberal education has the nature of a bequest, in that it looks upon the student as the potential heir of a cultural birthright, whereas a practical education has the nature of a commodity to be exchanged for position, status, wealth, etc., in the future. A liberal education rests on the assumption that nature and human nature do not change very much or very fast and that one therefore needs to understand the past. The practical educators assume that human society itself is the only significant context, that change is therefore fundamental, constant, and necessary, that the future will be wholly unlike the past, that the past is outmoded, irrelevant, and an encumbrance upon the future -- the present being only a time for dividing past from future, for getting ready. But these definitions, based on division and opposition, are too simple. It is easy, accepting the viewpoint of either side, to find fault with the other. But the wrong is on neither side; it is in their division... Without the balance of historic value, practical education gives us that most absurd of standards: "relevance," based upon the suppositional needs of a theoretical future. But liberal education, divorced from practicality, gives something no less absurd: the specialist professor of one or another of the liberal arts, the custodian of an inheritance he has learned much about, but nothing from.

It was a common complaint amongst the Arts students that their library was in dire need of refurbishment. To call the old building shabby chic was being kind. It didn’t have automated stacks or self-service machines like the Management and Sciences library the other side of campus and the carpets and bookcases looked like they were probably the Victorian originals. But on days like this one, where the springtime sunshine streamed in through the high windows and set the dust motes dancing, Harriet sincerely felt that those BSc lot could stuff their vending machines and state of the art study pods. The Old Library was clearly suited for those who had poetry in their souls, rather than numbers in their heads.

According to a 1995 study, a sample of Japanese eighth graders spent 44 percent of their class time inventing, thinking, and actively struggling with underlying concepts. The study's sample of American students, on the other hand, spent less than 1 percent of their time in that state. “The Japanese want their kids to struggle,” said Jim Stigler, the UCLA professor who oversaw the study and who cowrote The Teaching Gap with James Hiebert. “Sometimes the [Japanese] teacher will purposely give the wrong answer so the kids can grapple with the theory. American teachers, though, worked like waiters. Whenever there was a struggle, they wanted to move past it, make sure the class kept gliding along. But you don't learn by gliding.

The only road to freedom is self-education in art. Art is not a luxury for any advanced civilization; it is a necessity, without which creative intelligence will wither and die. Even in economically troubled times, support for the arts should be a national imperative. Dance, for example, requires funding not only to secure safe, roomy rehearsal space but to preserve the indispensible continuity of the teacher-student link. American culture has become unbalanced by its obsession with the blood sport of politics, a voracious vortex consuming everything in its path. History shows that, for both individuals and nations, political power is transient. America's true legacy is its ideal of liberty, which has inspired insurgencies around the world. Politicians and partisans of both the Right and the Left must recognize that art too is a voice of liberty, requiring nurture without intrusion. Art unites the spiritual and material realms. In an age of alluring, magical machines, the society that forgets art risks losing its soul.

think, for example, has a higher suicide rate: countries whose citizens declare themselves to be very happy, such as Switzerland, Denmark, Iceland, the Netherlands, and Canada? or countries like Greece, Italy, Portugal, and Spain, whose citizens describe themselves as not very happy at all? Answer: the so-called happy countries. It’s the same phenomenon as in the Military Police and the Air Corps. If you are depressed in a place where most people are pretty unhappy, you compare yourself to those around you and you don’t feel all that bad. But can you imagine how difficult it must be to be depressed in a country where everyone else has a big smile on their face?2 Caroline Sacks’s decision to evaluate herself, then, by looking around her organic chemistry classroom was not some strange and irrational behavior. It is what human beings do. We compare ourselves to those in the same situation as ourselves, which means that students in an elite school—except, perhaps,

Mr. Winston and I had already discussed: How what I'd done was vile and on par with kicking disabled kittens. That I was on the path to becoming a criminal and likely would spend the rest of my life in jail giving myself homemade tattoos with a needle and Bic pen. That the statue was a work of art, and would I dare to ear the arm off the Mona Lisa? He didn't think so. That I was a disappointment to him, my family, my boyfriend, my fellow students, and likely all of Western civilization.

But aesthetic value does not rise from the work's apparent ability to predict a future: we do not admire Cézanne because of the Cubists drew on him. Value rises from deep in the work itself - from its vitality, its intrinsic qualities, its address to the senses, intellect, and imagination; from the uses it makes of the concrete body of tradition. In art there is no progress, only fluctuations of intensity. Not even the greatest doctor in Bologna in the 17th century knew as much a bout the human body as today's third-year medical student. But nobody alive today can draw as well as Rembrandt or Goya.

A school superintendent once told me that most educators define "a Christian teacher" as strictly in terms of personal behavior: things like setting a good example and showing concern for the students. Almost none define it in terms of conveying a biblical worldview on the subjects they teach, whether literature, science, social studies, or the arts. In other words, they are concerned about being a Christian *in* their work, but they don't think in terms of having a biblical framework *on* the work itself.

The desire to make art begins early. Among the very young this is encouraged (or at least indulged as harmless) but the push toward a 'serious' education soon exacts a heavy toll on dreams and fantasies....Yet for some the desire persists, and sooner or later must be addressed. And with good reason: your desire to make art -- beautiful or meaningful or emotive art -- is integral to your sense of who you are. Life and Art, once entwined, can quickly become inseparable; at age ninety Frank Lloyd Wright was still designing, Imogen Cunningham still photographing, Stravinsky still composing, Picasso still painting. But if making art gives substance to your sense of self, the corresponding fear is that you're not up to the task -- that you can't do it, or can't do it well, or can't do it again; or that you're not a real artist, or not a good artist, or have no talent, or have nothing to say. The line between the artist and his/her work is a fine one at best, and for the artist it feels (quite naturally) like there is no such line. Making art can feel dangerous and revealing. Making art is dangerous and revealing. Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Doubts, in fact, soon rise in swarms: "I am not an artist -- I am a phony. I have nothing worth saying. I'm not sure what I'm doing. Other people are better than I am. I'm only a [student/physicist/mother/whatever]. I've never had a real exhibit. No one understands my work. No one likes my work. I'm no good. Yet viewed objectively, these fears obviously have less to do with art than they do with the artist. And even less to do with the individual artworks. After all, in making art you bring your highest skills to bear upon the materials and ideas you most care about. Art is a high calling -- fears are coincidental. Coincidental, sneaky and disruptive, we might add, disguising themselves variously as laziness, resistance to deadlines, irritation with materials or surroundings, distraction over the achievements of others -- indeed anything that keeps you from giving your work your best shot. What separates artists from ex-artists is that those who challenge their fears, continue; those who don't, quit. Each step in the artmaking process puts that issue to the test.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

Hang on . . .” Harry muttered to Ron. “There’s an empty chair at the staff table. . . . Where’s Snape?” Professor Severus Snape was Harry’s least favorite teacher. Harry also happened to be Snape’s least favorite student. Cruel, sarcastic, and disliked by everybody except the students from his own House (Slytherin), Snape taught Potions. “Maybe he’s ill!” said Ron hopefully. “Maybe he’s left,” said Harry, “because he missed out on the Defense Against the Dark Arts job again!” “Or he might have been sacked!” said Ron enthusiastically. “I mean, everyone hates him —” “Or maybe,” said a very cold voice right behind them, “he’s waiting to hear why you two didn’t arrive on the school train.” Harry

Fighting isn’t all there is to the Art of War. The men who think that way, and are satisfied to have food to eat and a place to sleep, are mere vagabonds. A serious student is much more concerned with training his mind and disciplining his spirit than with developing martial skills. He has to learn about all sorts of things—geography, irrigation, the people’s feelings, their manners and customs, their relationship with the lord of their territory. He wants to know what goes on inside the castle, not just what goes on outside it. He wants, essentially, to go everywhere he can and learn everything he can.

The light was crude. It made Artaud's eyes shrink into darkness, as they are deep-set. This brought into relief the intensity of his gestures. He looked tormented. His hair, rather long, fell at times over his forehead. He has the actor's nimbleness and quickness of gestures. His face is lean, as if ravaged by fevers. His eyes do not seem to see the people. They are the eyes of a visionary. His hands are long, long-fingered. Beside him Allendy looks earthy, heavy, gray. He sits at the desk, massive, brooding. Artaud steps out on the platform, and begins to talk about " The Theatre and the Plague." He asked me to sit in the front row. It seems to me that all he is asking for is intensity, a more heightened form of feeling and living. Is he trying to remind us that it was during the Plague that so many marvelous works of art and theater came to be, because, whipped by the fear of death, man seeks immortality, or to escape, or to surpass himself? But then, imperceptibly almost, he let go of the thread we were following and began to act out dying by plague. No one quite knew when it began. To illustrate his conference, he was acting out an agony. "La Peste" in French is so much more terrible than "The Plague" in English. But no word could describe what Artaud acted out on the platform of the Sorbonne. He forgot about his conference, the theatre, his ideas, Dr. Allendy sitting there, the public, the young students, his wife, professors, and directors. His face was contorted with anguish, one could see the perspiration dampening his hair. His eyes dilated, his muscles became cramped, his fingers struggled to retain their flexibility. He made one feel the parched and burning throat, the pains, the fever, the fire in the guts. He was in agony. He was screaming. He was delirious. He was enacting his own death, his own crucifixion. At first people gasped. And then they began to laugh. Everyone was laughing! They hissed. Then, one by one, they began to leave, noisily, talking, protesting. They banged the door as they left. The only ones who did not move were Allendy, his wife, the Lalous, Marguerite. More protestations. More jeering. But Artaud went on, until the last gasp. And stayed on the floor. Then when the hall had emptied of all but his small group of friends, he walked straight up to me and kissed my hand. He asked me to go to the cafe with him.

They're trying to breed a nation of techno-peasants. Educated just enough to keep things going, but not enough to ask tough questions. They encourage any meme that downplays thoughtful analysis or encourages docility or self indulgence or uniformity. In what other society do people use "smart" and "wise" as insults? We tell people "don't get smart." Those who try, those who really like to learn, we call "nerds." Look at television or the press or the trivia that passes for political debate. When a candidate DOES try to talk about the issues, the newspapers talk about his sex life. Look at Saturday morning cartoon shows. Peasants, whether they're tilling fields or stuffing circuit boards, are easier to manipulate. Don't question; just believe. Turn off your computer and Trust the Force. Or turn your computer on and treat it like the Oracle of Delphi. That's right. They've made education superficial and specialized. Science classes for art majors? Forget it! And how many business or engineering students get a really good grounding in the humanities? When did universities become little more than white collar vocational schools?

The Mountain My students look at me expectantly. I explain to them that the life of art is a life of endless labor. Their expressions hardly change; they need to know a little more about endless labor. So I tell them the story of Sisyphus, how he was doomed to push a rock up a mountain, knowing nothing would come of this effort but that he would repeat it indefinitely. I tell them there is joy in this, in the artist’s life, that one eludes judgment, and as I speak I am secretly pushing a rock myself, slyly pushing it up the steep face of a mountain. Why do I lie to these children? They aren’t listening, they aren’t deceived, their fingers tapping at the wooden desks— So I retract the myth; I tell them it occurs in hell, and that the artist lies because he is obsessed with attainment, that he perceives the summit as that place where he will live forever, a place about to be transformed by his burden: with every breath, I am standing at the top of the mountain. Both my hands are free. And the rock has added height to the mountain.

Several years ago, researchers at the University of Minnesota identified 568 men and women over the age of seventy who were living independently but were at high risk of becoming disabled because of chronic health problems, recent illness, or cognitive changes. With their permission, the researchers randomly assigned half of them to see a team of geriatric nurses and doctors—a team dedicated to the art and science of managing old age. The others were asked to see their usual physician, who was notified of their high-risk status. Within eighteen months, 10 percent of the patients in both groups had died. But the patients who had seen a geriatrics team were a quarter less likely to become disabled and half as likely to develop depression. They were 40 percent less likely to require home health services. These were stunning results. If scientists came up with a device—call it an automatic defrailer—that wouldn’t extend your life but would slash the likelihood you’d end up in a nursing home or miserable with depression, we’d be clamoring for it. We wouldn’t care if doctors had to open up your chest and plug the thing into your heart. We’d have pink-ribbon campaigns to get one for every person over seventy-five. Congress would be holding hearings demanding to know why forty-year-olds couldn’t get them installed. Medical students would be jockeying to become defrailulation specialists, and Wall Street would be bidding up company stock prices. Instead, it was just geriatrics. The geriatric teams weren’t doing lung biopsies or back surgery or insertion of automatic defrailers. What they did was to simplify medications. They saw that arthritis was controlled. They made sure toenails were trimmed and meals were square. They looked for worrisome signs of isolation and had a social worker check that the patient’s home was safe. How do we reward this kind of work? Chad Boult, the geriatrician who was the lead investigator of the University of Minnesota study, can tell you. A few months after he published the results, demonstrating how much better people’s lives were with specialized geriatric care, the university closed the division of geriatrics.

The non-jocks, the readers, the gay kids, the ones starting to stew about social injustice: for these kids, "letting your freak flag fly" is both self discovery and self defense. You cry for this bunch at the mandatory pep assemblies. Huddled together, miserably, in the upper reaches of the bleachers, wearing their oversized raincoats and their secondhand Salvation Army clothes, they stare down at the school-sanctioned celebration of the A list students. They know bullying, these kids--especially the ones who frefuse to exist under the radar. They're tripped in the hallway, shoved against lockers, pelted with Skittles in the lunchroom. For the most part, their tormentors are stealth artists. The freaks know where there's refuge: I the library, the theater program, art class, creative writing.

Over recent years, [there's been] a strong tendency to require assessment of children and teachers so that [teachers] have to teach to tests and the test determines what happens to the child, and what happens to the teacher...that's guaranteed to destroy any meaningful educational process: it means the teacher cannot be creative, imaginative, pay attention to individual students' needs, that a student can't pursue things [...] and the teacher's future depends on it as well as the students'...the people who are sitting in the offices, the bureaucrats designing this - they're not evil people, but they're working within a system of ideology and doctrines, which turns what they're doing into something extremely harmful [...] the assessment itself is completely artificial; it's not ranking teachers in accordance with their ability to help develop children who reach their potential, explore their creative interests and so on [...] you're getting some kind of a 'rank,' but it's a 'rank' that's mostly meaningless, and the very ranking itself is harmful. It's turning us into individuals who devote our lives to achieving a rank, not into doing things that are valuable and important. It's highly destructive...in, say, elementary education, you're training kids this way [...] I can see it with my own children: when my own kids were in elementary school (at what's called a good school, a good-quality suburban school), by the time they were in third grade, they were dividing up their friends into 'dumb' and 'smart.' You had 'dumb' if you were lower-tracked, and 'smart' if you were upper-tracked [...] it's just extremely harmful and has nothing to do with education. Education is developing your own potential and creativity. Maybe you're not going to do well in school, and you'll do great in art; that's fine. It's another way to live a fulfilling and wonderful life, and one that's significant for other people as well as yourself. The whole idea is wrong in itself; it's creating something that's called 'economic man': the 'economic man' is somebody who rationally calculates how to improve his/her own status, and status means (basically) wealth. So you rationally calculate what kind of choices you should make to increase your wealth - don't pay attention to anything else - or maybe maximize the amount of goods you have. What kind of a human being is that? All of these mechanisms like testing, assessing, evaluating, measuring...they force people to develop those characteristics. The ones who don't do it are considered, maybe, 'behavioral problems' or some other deviance [...] these ideas and concepts have consequences. And it's not just that they're ideas, there are huge industries devoted to trying to instill them...the public relations industry, advertising, marketing, and so on. It's a huge industry, and it's a propaganda industry. It's a propaganda industry designed to create a certain type of human being: the one who can maximize consumption and can disregard his actions on others.

Writing is, like gender or dominatricing, a kind of performance. But the craft of writing is primarily an art of making decisions. I often like to terrorize my students by insisting that every single notation—every piece of punctuation, every word, every paragraph break—in a piece of writing is a decision. You know when something is done, I tell them (they always want to know how to know when something is done), when you know the argument for every single choice, when not a single apostrophe has slipped by uninterrogated, when every word has been swapped for its synonym and then recovered. I don’t mean to take the fun out of creation, or even to impose my own laborious process on them, but I actually believe this. Not in the first draft, or even the fifth, but by the end, I want to have stripped as many tics and defaults, as many blind choices as is in my power. I want to be awake to all my choices.

It is not easy for students to realize that to ask, as they often do, whether God exists and is merciful, just, good, or wrathful, is simply to project anthropomorphic concepts into a sphere to which they do not pertain. As the Upaniṣads declare: 'There, words do not reach.' Such queries fall short of the question. And yet—as the student must also understand—although that mystery is regarded in the Orient as transcendent of all thought and naming, it is also to be recognized as the reality of one’s own being and mystery. That which is transcendent is also immanent. And the ultimate function of Oriental myths, philosophies, and social forms, therefore, is to guide the individual to an actual experience of his identity with that; tat tvam asi ('Thou art that') is the ultimate word in this connection. By contrast, in the Western sphere—in terms of the orthodox traditions, at any rate, in which our students have been raised—God is a person, the person who has created this world. God and his creation are not of the same substance. Ontologically, they are separate and apart. We, therefore, do not find in the religions of the West, as we do in those of the East, mythologies and cult disciplines devoted to the yielding of an experience of one’s identity with divinity. That, in fact, is heresy. Our myths and religions are concerned, rather, with establishing and maintaining an experience of relationship—and this is quite a different affair. Hence it is, that though the same mythological images can appear in a Western context and an Eastern, it will always be with a totally different sense. This point I regard as fundamental.

The nouveau riche flaunt their wealth, but the old rich scorn such gauche displays. Minor officials prove their status with petty displays of authority, while the truly powerful show their strength through gestures of magnanimity. People of average education show off the studied regularity of their script, but the well educated often scribble illegibly. Mediocre students answer a teacher’s easy questions, but the best students are embarrassed to prove their knowledge of trivial points. Acquaintances show their good intentions by politely ignoring one’s flaws, while close friends show intimacy by teasingly highlighting them. People of moderate ability seek formal credentials to impress employers and society, but the talented often downplay their credentials even if they have bothered to obtain them. A person of average reputation defensively refutes accusations against his character, while a highly respected person finds it demeaning to dignify accusations with a response.

Monsieur Girard grinned at the effect his story had had, and moved on, grunting disparagingly at another student’s efforts. As he approached her, Caitlyn went back to work, afraid to be caught slacking. He came to stand behind her, watching her attempts, and despite her best efforts her arm slowed and then dropped as she was overcome with self-consciousness. “Do you, too, have a brilliant artist locked in your head?” he asked. “No. I’m beginning to think I don’t know a thing about art.” “Class! Do you hear? She knows nothing about art! And she proves it in her drawing.” Caitlyn cringed. “This,” he went on, laying his hand upon her head, “is the proper state of mind for learning to draw. Your mind must be blank of your old ideas and old ways of seeing. You must start fresh, like a baby who has never seen the world.” He dropped his hand from her head and pointed to the area she’d shaded with parallel lines. “This is nice.” “Thank you,” Caitlyn said in soft surprise. He nodded in acknowledgment. “Keep listening. With open ears, you will be one of the few who learn.

When I first read The Rebel, this splendid line came leaping from the page like a dolphin from a wave. I memorized it instantly, and from then on Camus was my man. I wanted to write like that, in a prose that sang like poetry. I wanted to look like him. I wanted to wear a Bogart-style trench coat with the collar turned up, have an untipped Gauloise dangling from my lower lip, and die romantically in a car crash. At the time, the crash had only just happened. The wheels of the wrecked Facel Vega were practically still spinning, and at Sydney University I knew exiled French students, spiritually scarred by service in Indochina, who had met Camus in Paris: one of them claimed to have shared a girl with him. Later on, in London, I was able to arrange the trench coat and the Gauloise, although I decided to forgo the car crash until a more propitious moment. Much later, long after having realized that smoking French cigarettes was just an expensive way of inhaling nationalized industrial waste, I learned from Olivier Todd's excellent biography of Camus that the trench coat had been a gift from Arthur Koestler's wife and that the Bogart connection had been, as the academics say, no accident. Camus had wanted to look like Bogart, and Mrs. Koestler knew where to get the kit. Camus was a bit of an actor--he though, in fact, that he was a lot of an actor, although his histrionic talent was the weakest item of his theatrical equipment--and, being a bit of an actor, he was preoccupied by questions of authenticity, as truly authentic people seldom are. But under the posturing agonies about authenticity there was something better than authentic: there was something genuine. He was genuinely poetic. Being that, he could apply two tests simultaneously to his own language: the test of expressiveness, and the test of truth to life. To put it another way, he couldn't not apply them.

Q (Quiller-Couch) was all by himself my college education. I went down to the public library one day when I was seventeen looking for books on the art of writing, and found five books of lectures which Q had delivered to his students of writing at Cambridge. "Just what I need!" I congratulated myself. I hurried home with the first volume and started reading and got to page 3 and hit a snag: Q was lecturing to young men educated at Eton and Harrow. He therefore assumed his students − including me − had read Paradise Lost as a matter of course and would understand his analysis of the "Invocation to Light" in Book 9. So I said, "Wait here," and went down to the library and got Paradise Lost and took it home and started reading it and got to page 3, when I hit a snag: Milton assumed I'd read the Christian version of Isaiah and the New Testament and had learned all about Lucifer and the War in Heaven, and since I'd been reared in Judaism I hadn't. So I said, "Wait here," and borrowed a Christian Bible and read about Lucifer and so forth, and then went back to Milton and read Paradise Lost, and then finally got back to Q, page 3. On page 4 or 5, I discovered that the point of the sentence at the top of the page was in Latin and the long quotation at the bottom of the page was in Greek. So I advertised in the Saturday Review for somebody to teach me Latin and Greek, and went back to Q meanwhile, and discovered he assumed I not only knew all the plays by Shakespeare, and Boswell's Johnson, but also the Second books of Esdras, which is not in the Old Testament and not in the New Testament, it's in the Apocrypha, which is a set of books nobody had ever thought to tell me existed. So what with one thing and another and an average of three "Wait here's" a week, it took me eleven years to get through Q's five books of lectures.

The news filled me with such euphoria that for an instant I was numb. My ingrained self-censorship immediately started working: I registered the fact that there was an orgy of weeping going on around me, and that I had to come up with some suitable performance. There seemed nowhere to hide my lack of correct emotion except the shoulder of the woman in front of me, one of the student officials, who was apparently heartbroken. I swiftly buried my head in her shoulder and heaved appropriately. As so often in China, a bit of ritual did the trick. Sniveling heartily she made a movement as though she was going to turn around and embrace me I pressed my whole weight on her from behind to keep her in her place, hoping to give the impression that I was in a state of abandoned grief. In the days after Mao's death, I did a lot of thinking. I knew he was considered a philosopher, and I tried to think what his 'philosophy' really was. It seemed to me that its central principle was the need or the desire? for perpetual conflict. The core of his thinking seemed to be that human struggles were the motivating force of history and that in order to make history 'class enemies' had to be continuously created en masse. I wondered whether there were any other philosophers whose theories had led to the suffering and death of so many. I thought of the terror and misery to which the Chinese population had been subjected. For what? But Mao's theory might just be the extension of his personality. He was, it seemed to me, really a restless fight promoter by nature, and good at it. He understood ugly human instincts such as envy and resentment, and knew how to mobilize them for his ends. He ruled by getting people to hate each other. In doing so, he got ordinary Chinese to carry out many of the tasks undertaken in other dictatorships by professional elites. Mao had managed to turn the people into the ultimate weapon of dictatorship. That was why under him there was no real equivalent of the KGB in China. There was no need. In bringing out and nourishing the worst in people, Mao had created a moral wasteland and a land of hatred. But how much individual responsibility ordinary people should share, I could not decide. The other hallmark of Maoism, it seemed to me, was the reign of ignorance. Because of his calculation that the cultured class were an easy target for a population that was largely illiterate, because of his own deep resentment of formal education and the educated, because of his megalomania, which led to his scorn for the great figures of Chinese culture, and because of his contempt for the areas of Chinese civilization that he did not understand, such as architecture, art, and music, Mao destroyed much of the country's cultural heritage. He left behind not only a brutalized nation, but also an ugly land with little of its past glory remaining or appreciated. The Chinese seemed to be mourning Mao in a heartfelt fashion. But I wondered how many of their tears were genuine. People had practiced acting to such a degree that they confused it with their true feelings. Weeping for Mao was perhaps just another programmed act in their programmed lives. Yet the mood of the nation was unmistakably against continuing Mao's policies. Less than a month after his death, on 6 October, Mme Mao was arrested, along with the other members of the Gang of Four. They had no support from anyone not the army, not the police, not even their own guards. They had had only Mao. The Gang of Four had held power only because it was really a Gang of Five. When I heard about the ease with which the Four had been removed, I felt a wave of sadness. How could such a small group of second-rate tyrants ravage 900 million people for so long? But my main feeling was joy. The last tyrants of the Cultural Revolution were finally gone.

When we think of an institution, we can usually see it as embodied in a building: the Vatican, the Pentagon, the Sorbonne, the Treasury, the Massachusetts Institute of Technology, the Kremlin, the Supreme Court. What we cannot see, until we become close students of the institution, are the ways in which power is maintained and transferred behind the walls and beneath the domes, the invisible understandings which guarantee that it shall reside in certain hands but not in others, that information shall be transmitted to this one but not to that one, the hidden collusions and connections with other institutions of which it is supposedly independent. When we think of the institution of motherhood, no symbolic architecture comes to mind, no visible embodiment of authority, power, or of potential or actual violence. Motherhood calls to mind the home, and we like to believe that the home is a private place. Perhaps we imagine row upon row of backyards, behind suburban or tenement houses, in each of which a woman hangs out the wash, or runs to pick up a tear-streaked two-year-old; or thousands of kitchens, in each of which children are being fed and sent off to school. Or we think of the house of our childhood, the woman who mothered us, or of ourselves. We do not think of the laws which determine how we got to these places, the penalties imposed on those of us who have tried to live our lives according to a different plan, the art which depicts us in an unnatural serenity or resignation, the medical establishment which has robbed so many women of the act of giving birth, the experts—almost all male—who have told us how, as mothers, we should behave and feel. We do not think of the Marxist intellectuals arguing as to whether we produce “surplus value” in a day of washing clothes, cooking food, and caring for children, or the psychoanalysts who are certain that the work of motherhood suits us by nature. We do not think of the power stolen from us and the power withheld from us, in the name of the institution of motherhood.

Under the seeming disorder of the old city, wherever the old city is working successfully, is a marvelous order for maintaining the safety of the streets and the freedom of the city. It is a complex order. Its essence is intricacy of sidewalk use, bringing with it a constant succession of eyes. This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance — not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any once place is always replete with new improvisations. The stretch of Hudson Street where I live is each day the scene of an intricate sidewalk ballet. I make my own first entrance into it a little after eight when I put out my garbage gcan, surely a prosaic occupation, but I enjoy my part, my little clang, as the junior droves of junior high school students walk by the center of the stage dropping candy wrapper. (How do they eat so much candy so early in the morning?) While I sweep up the wrappers I watch the other rituals of the morning: Mr Halpert unlocking the laundry's handcart from its mooring to a cellar door, Joe Cornacchia's son-in-law stacking out the empty crates from the delicatessen, the barber bringing out his sidewalk folding chair, Mr. Goldstein arranging the coils of wire which proclaim the hardware store is open, the wife of the tenement's super intendent depositing her chunky three-year-old with a toy mandolin on the stoop, the vantage point from which he is learning English his mother cannot speak. Now the primary childrren, heading for St. Luke's, dribble through the south; the children from St. Veronica\s cross, heading to the west, and the children from P.S 41, heading toward the east. Two new entrances are made from the wings: well-dressed and even elegant women and men with brief cases emerge from doorways and side streets. Most of these are heading for the bus and subways, but some hover on the curbs, stopping taxis which have miraculously appeared at the right moment, for the taxis are part of a wider morning ritual: having dropped passengers from midtown in the downtown financial district, they are now bringing downtowners up tow midtown. Simultaneously, numbers of women in housedresses have emerged and as they crisscross with one another they pause for quick conversations that sound with laughter or joint indignation, never, it seems, anything in between. It is time for me to hurry to work too, and I exchange my ritual farewell with Mr. Lofaro, the short, thick bodied, white-aproned fruit man who stands outside his doorway a little up the street, his arms folded, his feet planted, looking solid as the earth itself. We nod; we each glance quickly up and down the street, then look back at eachother and smile. We have done this many a morning for more than ten years, and we both know what it means: all is well. The heart of the day ballet I seldom see, because part off the nature of it is that working people who live there, like me, are mostly gone, filling the roles of strangers on other sidewalks. But from days off, I know enough to know that it becomes more and more intricate. Longshoremen who are not working that day gather at the White Horse or the Ideal or the International for beer and conversation. The executives and business lunchers from the industries just to the west throng the Dorgene restaurant and the Lion's Head coffee house; meat market workers and communication scientists fill the bakery lunchroom.