Wednesday, November 30, 2005

Thanksgiving Art

Here are two photographs taken with my camera by Miss Brenna Imperati.








Brenna and Devin are our nieces here at Weblog Yahantei. I wish I had some photographs of these two clever and accomplished young ladies, but Auntie is not quite as good a photographer as Miss Brenna is, so their art will have to speak for them.

Miss Devin made the one on top and Miss Brenna the one on the bottom.

The Weblog Yahantei team were delighted with the snow and with the cherry pie that appeared on this happy occasion. We look forward to more masterpieces like this in the future.

Tuesday, November 29, 2005

Pat Morita; Memoirs of a Geisha

1. Noriyuki Pat Morita

Pat Morita died on November 24.

His experience as a Japanese American actor working in the US is the subject of a New York Times editorial by Lawrence Downes, called "Goodbye to Pat Morita, Best Supporting Asian". Access to NYT articles can sometimes be a bit complicated, so here is a part of it that caught my eye. It is more a comment on the climate the US media creates for Asian actors, rather than on the work of Mr. Morita himself.

Mr. Miyagi remains everybody's idea of a positive character. Who can forget "wax on, wax off," his wise counsel linking car care to karate? But still, it bother me Miyagi-san so wise, but find so hard use articles, pronouns when talk.

I don't know much about Mr. Morita's life, though it was always my impression that, as Mr. Downes puts it, "he was a man of uncommon decency and good humor."

We will miss you, Mr. Morita.

Wikipedia article
NYT obituary

2. M o a G

I am not a fan of Memoirs of a Geisha, but a lot of students really like it. Many say that it is the reason that they got interested in learning more about Japan. To all of you, but especially the latter group, I recommend you read literature by actual Japanese writers--even actual geisha!--because it's amazing stuff and might give you insights into things that you wouldn't get otherwise.

A film adaptation of the novel is about to be released. The novel has long been the subject of controversy, perhaps most notoriously as regards the case of IWASAKI Mineko's repudiation of the book. Controversy related to the film, however, has also emerged, with some people in Japan dissatisfied with the inauthenticity of its representations of geisha and others with the fact that many of the characters in the film are actually portrayed by Chinese actors. Critics in China have also complained about this, some quoted making very intemperate remarks indeed. Others prefer not to comment, hoping it will just go away, and still more are interested in it for the insight it gives into the ways foreigners imagine Japan.

This article from Yahoo news gives a nice overview.

On the other hand British people I know (a certain one in particular especially) complain all the time about the cheesy way Hollywood depicts Britain, British people, etc., so a charitable view would regard this as merely more of the same.

Tuesday, November 22, 2005

Journey North

Weblog Yahantei is taking a holiday for Thanksgiving. We're going for a very long drive, and wish everyone else who is traveling this week a safe and happy time.

Here are some verses from Asahi in the meantime. The first one I liked a lot because it's something I've become familiar with. My house is underneath some huge oak trees (along with pines and dogwoods) and the patio in back is covered with acorns. They are not all bad, because they bring out the chipmunks, but along with everything else, and the recent winds and rain, it's a lot of work. But they also can offer an occasion for a poem:

Caps off
acorns race down
the plaza

--Michael CORR

I liked this one too. "Sweet olive" is another name for osmanthus, whose voluptuous fragrance I extolled in a September post. I don't smell it as much anymore, but there's a big sasanqua in the yard, with flowers I first mistook for some kind of rose. Anyway, when the tiny white blossoms of the sweet olive fall, they turn a dull gold beneath the plant.

Sweet olive
ending with golden carpet
Come out, sasanquas

--TACHIBANA Kennosuke

Getting colder here. Enjoy the last of November.

Thursday, November 17, 2005

Buson and Chinese Poetry

Now I'm reading a book called Buson to kanshi (Buson and Chinese poetry); it's by Narushima Yukio, published by Kashinsha in 2003. The book is pretty focused, I have to say; it's more or less a list of Chinese poets whose verse Buson drew on in his haikai, with the relevant poems included and discussed. I am starting with the afterword, because I usually find afterwords and prefaces more interesting than the actual specifics (unless I want to know more about a particular specific, in which case of course it becomes interesting).

Narushima starts his discussion by quoting from Buson's Preface to Shundei kushû. Here's the bit; it's my translation. I'm going to include a little more of it than Narushima does, so it makes sense. In order to follow it, you have to know that "zoku" means "vulgarity, ordinariness" etc. "Rizoku" is getting away from zoku. Shôha is Buson's friend and disciple; the place he lived, Shundei-sha, was his second house:

I went to visit Shundei-sha Shôha at his second house in the west of Kyoto. Shôha asked me a question about haikai. I answered, "Haikai is that which has as its ideal the use of zokugo, yet transcends zoku. To transcend zoku yet make use of zoku, the principle of rizoku, is most difficult. It is the thing that So-and-So Zen master spoke of: 'Listen to the sound of the Single Hand,' in other words haikai zen, the principle of rizoku." Through this, Shôha understood immediately.

He then continued his questions. "Although the essence of your teaching must be profound, is there not some method of thought that I could put into use, by which one might seek this by oneself? Indeed, is there not some shortcut, by which one might, without making a distinction between Other and Self, identify with nature and transcend zoku?" I answered, "Yes, the study of Chinese poetry. You have been studying Chinese poetry for years. Do not seek for another way." Doubtful, Shôha made so bold as to ask, "But Chinese poetry and haikai are different in tenor. Setting aside haikai, and studying Chinese poetry instead, is that not more like a detour?"

I answered, "Painters have the theory of 'Avoiding zoku:' 'To avoid the zoku in painting, there is no other way but to read many texts, that is to say, both books and scrolls, which causes the qi to rise, as commercialism and vulgarity cause qi to fall. The student should be careful about this.' To avoid zoku in painting as well, they caused their students to put down the brush and read books. Less possible still is it to differentiate Chinese poetry and haikai." With that, Shôha understood.


So, a bit of faux Zen gibberish from Mister Buson, but this is maybe the most frequently-quoted passage of anything in his entire oeuvre. There's a hell of a lot going on here.

I'll keep my comments now, though, to what interests Narushima. That is, not surprisingly, is the identification of haikai and Chinese poetry. He points out that in the passage that begins "I answered," Buson is alluding to the famous Mustard Seed Garden Manual of Painting, perhaps the most influential (Chinese) painting treatise that ever made it to Japan. I am not sure it was received in China, but my guess is that it was very influential there also.

(Remind me that I want to do some follow up on that. Narushima mentions something about it in the context of Ogyu Sorai's disciple and Tokugawa Yoshimune. Seems very interesting. He also points out that Ike no Taiga was quite fond of this book.)

What, asks Narushima, did Buson learn from Chinese poetry? Two things, he says, in some sentences that are going to be devilishly difficult to translate but I'll take a crack at it anyway:

One of these is the world of Chinese verse as the poetic ("poesie") and the other is language as a means of expression. It may be better to say the fascination of language. Either way this was not only something where, measured on the basis of how much it broadened and deepened the extent Buson's own poetic artistry, could not be done without, but something that played an important role in polishing his poetic spirit so that he achieved a greater level of mastery and established a more colorful verse style.

Whew!

What Buson learned from the work of these these foreign poets was none other than the fact that haikai (shi=poetry) is not something that simply depicts the things of reality, but is rather something that, stirring the wings of imagination into flight, causes the poetic spirit to journey in limitless world of the fictive.

Goodness. Perhaps it doesn't really sound so overheated in the original.

He cites some verses here, which I will leave you with today:


willow leaves, fallen
clear stream, withered
stones, here and there

yanagi chiri shimizu kare ishi tokoro dokoro

I'm feeling melancholy
so strike the fulling block--
but stop it, now

uki ware ni kinuta ute ima wa yamine

A fulling block was used to soften cloth, and hearing its sound on an autumn evening was evocative of sorrow. Fulling blocks were archaic in Buson's time, but continued to be mentioned in poetry. Here is a picture of a character in a Noh play using one. In Buson's verse, the speaker doesn't want to overdo it.

plowing the fields
without moving
the clouds disappear

hatake utsu ya ugokanu kumo naku narinu

Saturday, November 12, 2005

Simon Singh's Universe

I went to listen to a lecture by Simon Singh last night, sponsored by Emory's Department of Physics and Astronomy. I've been getting very interested in science fiction recently, so it was nice to make a little visit to the realm of science fact. Dr. Singh is an absolutely brilliant speaker--the lecture was a huge amount of fun. He talked about the Big Bang theory, and was equally at home with complicated cosmology, Led Zeppelin, and Calvin and Hobbes. Not least among his tricks was the incandescent something he did with two forks and a pickle. His mastery of the medium of Powerpoint was also very impressive.

He mostly talked about the history of the Big Bang theory. Of course in order to talk about it, he had to explain it somewhat, and I found this very instructive. He made it sound very simple, which obviously it is not. I was interested not only in what he said in order to make it comprehensible, but how he said it. Despite his obvious sophistication, he constantly alluded to popular culture, and turned extremely mundane artifacts into powerfully persuasive metaphors. At first I thought that this lecture must have been something he spent quite a bit of time preparing, because it was so full of aptly-chosen illustrative devices. Listening to his responses in the Q & A afterwards, in which he responded to every question in a way that interwove sciency tech-speak with cocktail-partyish funny anecdotes, I stopped being so sure. He seems to have made a habit of thinking about hard, remote things in terms of the easy and immediate. He presents them both simultaneously, in a way that neither cheapens the hard thing nor distorts or denigrates the easy one.

Finding dignity in the everyday, revealing the essence of the stars that is present in the objects of ordinary life--what could be more like haiku?

Thursday, November 10, 2005

Visual Culture; Fans; National Cinema

Scavenging for things to work on in my spring semester classes.

Next semester I'll be teaching two classes. One is a freshman seminar on East Asian studies, more or less a general introduction to some of the "great books" or "classics" of East Asia. The other is on the interactions between literature and visual culture in Japan. Links to what I've done in these classes in the past are available on my homepage: C A Crowley's homepage.

In today's post I have some fairly random items; a miscellaneous collection of things as they've come up.

1. Visual culture

This article here strikes me as pretty reactionary and atavistic: Rescuing Art from "Visual Culture Studies". It gives me some ideas about the anatomy of resistance to recent ideas about the visuality and its relationship to "art." It's a very tidy summation. I haven't read it carefully enough to have any specific words of insight; at the moment I'm just thinking, what a scary world this must be for someone like the author of this article.

2. This leads me to thinking about sacredness in general, and the possessive attitude that comes with familiar territory.

Here's something I was reading yesterday, from a book called Textual Poachers by Henry Jenkins. The book is about fan culture, specifically, about the communities that spring up around television shows, what makes them "cult," and so on. Doesn't have anything directly to do with classical Japanese literature, but it struck me that haikai and haiku are both extremely participatory, collaborative, and self-policing, and I wanted to think a bit about how this works.

The book does a nice job of tracing the progression people go through from being a casual consumer of a text or group of texts to a "fan." It was interesting because the thing that appeared to hook people in most was the promise of community. These communities develop their own culture; they regulate the behavior of their members and create specific acceptable ways to read and interpret the texts they revere. A quotation from Chapter 2, "How Texts Become Real," interested me. It's by Umberto Eco:

What are the requirements for transforming a book or movie into a cult object? The work must be loved, obviously, but this is not enough. It must provide a completely furnished world so that its fans can quote characters and episodes as if they were aspects of the fan's private sectarian world...I think that in order to transform a work into a cult object one must be able to break, dislocate, unhinge it so that one can remember only parts of it, irrespective of their original relationship with the whole.

I'm not sure what I'm going to do with that, or whether it has a place in either of my classes. Now that I look at it it makes me want to review the chapter. Basically something happens and the audience takes charge of the text, so much so that they get all hysterical when the producers of the text do something that contradicts the set of rules they've developed for it. The fan-audience and the producers have a dramatically different relationship with the text.

Incomplete thoughts here: sanctity of the text. "Cult" implies sacredness: it's an object of reverence. Competition over who controls the text. Breaking it apart into its constituents as a kind of devotion. What are its parts? Nah, not coming up with anything that interesting to write about it right now but it's something to return to, to keep working on.

3. National Cinema

Thinking about the visual culture class as "Japanese visual culture." Something else I'm reading is called Philosophy of Film and Motion Pictures: An Anthology, edited by Noel Carroll and Jinhee Choi.

Jinhee Choi's "National Cinema: The Very Idea" is good for a number of reasons. It's a clear and well-expressed explanation of a lot of things that will be very helpful for discussing texts in general (not just film). Also, it would be a good model for students in thinking about writing their papers.

Books it refers to:

Stuart Hall, David Held, Tony McGrew. Modernity and its Futures. (Cambridge: Open University Press, 1992).

Noel Burch. To the Distant Observer: Form and Meaning in the Japanese Cinema. (Berkeley: University of California Press, 1979).

Saturday, November 05, 2005

Emiko Miyashita: a shortcut toward home

I got a postcard from Emiko Miyashita yesterday. It was a nice surprise. I met Ms. Miyashita at the HNA conference and hadn't realized I'd made any impression on her. So I was very pleased to get the card.

Ms. Miyashita is a haiku poet and translator. She is a wise, gracious, and well-spoken person. Here is one of her haiku:

silencing the cricket
a shortcut
toward home

One of Ms. Miyashita's most recent books is The New Pond: An English-Language Haiku Anthology (Hokumeisha, 2002). This book is interesting because it's translations of English-language haiku into Japanese. It shows the difficulty of moving between the two languages. There are two Japanese versions of each poem in English: one, a haiku (5-7-5 syllable poem) that strives to capture something of the sense of the original without being a direct translation and then a paraphrase of the original that is in some ways closer or more exact.

I recommend it for people who are interested in understanding the differences between English and Japanese haiku. However, you have to be able to read at least some Japanese in order to follow that part of it. Alternatively, it has a lot of very good poetry in it (including some efforts to come to terms with the tragedies of September 11th, 2001) in both English and Japanese.

Here's one from the book that I particularly liked. It's by Robert Major. As autumn grows deeper, night seems to grow deeper with it.

No one lights a lamp--
just our voices in the dark
as night descends

Happy Bonfire Night to everyone celebrating it.

Wednesday, November 02, 2005

Education About East Asia Under Threat in the UK

This is the text of an article in the October 27 edition of the Financial Times, written by Dr. Peter Cave of the University of Hong Kong. No copyright infringement is intended.


Tony Blair, the British prime minister, is fond of talking about the opportunities offered by the rise of Asian giants such as China and India. Yet is Britain itself preparing adequately for Asia's growing importance? Not in the field of education, at least.

Few readers of the FT will need to be convinced of the huge role that China will play in the 21st century. Even so, it can still be a shock to go there and encounter the evidence of change on the ground. Some parts of Beijing and Shanghai could be Tokyo. Brand name shops offer designer goods at London prices. Last year, amid the classical gardens of Suzhou, I enjoyed coffee at £1.80 a cup in a stylish cafe whose menu was only in Chinese. Wake up and smell, is the message.

Nor can the rest of Asia be neglected. Fifteen years of stagnation in the Japanese economy has led many outside Asia to transfer their interest from Japan to China. To assume that Japan is subsiding into insignificance would be foolish, however. In fact, the political changes over the past decade may well signal a more assertive Japan on the world stage. The painful choices that Japan faces are resulting in a new politics marked by real policy debate and party discipline, showcased by the recent general election with its portentous landslide victory for the decisive and flamboyant Junichiro Koizumi. The rise of the rest of east Asia will only increase Japan's importance as a major international player.

All this ignores the other superpower, India, not to mention the Koreas or south-east Asia. Yet how is the next generation being prepared to deal with this new reality by the British education system? It is not. In fact, British universities have beencutting back on their east Asia programmes. Last year, the closure of Durham University's Department of East Asian Studies went ahead despite a storm of protest, the latest in a series of cuts that has seen the disappearance of Japanese Studies centres at Stirling and Essex. Now comes the news that the School of Oriental and African Studies plans to replace its specialist librarians in Chinese and Japanese with more junior staff.

In the competitive environment created for universities by successive governments, these cuts and closures make a kind of perverted sense. Governments want efficient and concentrated use of resources and try to achieve this by rewarding excellent research and high student numbers. The system rewards individual universities for ignoring thenational interest and pursuing their own, by getting rid of what is expensive or outside the fields where their most outstanding research is being done. As a result, Asian Studies has been hit by a double whammy. First, it is a relatively expensive area to fund and its student numbers are not high, partly because of the difficulty of learning Chinese or Japanese. Second, it is a small area
that can easily be hit hard by a few closures of departments whose research is very good, but not at the exemplary level that alone attracts significant government funding.

The twist in the tail is that even as such cuts and closures are going ahead, some universities, such as Bristol, are setting up new east Asian programmes. The trouble is that such programmes need to put in place a fresh infrastructure that takes years or decades to build. This scrap-and-build approach to higher education is wasteful and inefficient, besides being terrible for morale among east Asian experts.

The situation at school level is possibly even worse. The crisis in modern language teaching overall has been laid bare, as enrolments plummet in the wake of the decision to make languages optional at GCSE. It remains to be seen whether the government's National Languages Strategy willenable enhanced abilities in Asian, as well as European languages. In particular, there is a strong argument for introducing Chinese on a much expanded scale at schools, perhaps even from primary school. Who can doubt that in 25 years time, Britain will need people who can use Chinese and are well educated in the nuances of Chinese culture? But if we want those people in 2030, then we cannot afford to wait before setting up the systems to educate them.

The government has declared that special help will be given to subjects of national importance in higher education, including Asian Studies. This must be delivered. Britain needs a national educational strategy to prepare us for the rise of Asia in the coming century. Otherwise, 2030 will find us asking why we weren't ready.

Tuesday, November 01, 2005

Being a Good Teacher

This is by Peter C. Beidler. I got it from "Tomorrow's Professor," a mailing list maintained by Rick Reis of Stanford University. He's involved with the Stanford University Center for Teaching and Learning . You can get good advice about teaching at their website; click here to e-mail a request to subscribe to "Tomorrow's Professor."


1. Good Teachers Really Want to Be Good Teachers

Good teachers try and try and try, and let
students know they try. Just as we respect
students who really try, even if they do not
succeed in everything they do, so they will
respect us, even if we are not as good as we want
to be. And just as we will do almost anything to
help a student who really wants to succeed, so
they will help us to be good teachers if they
sense that we are sincere in our efforts to
succeed at teaching. Some things teachers can
fake. Some things teachers must fake. We have,
for example, to act our way into letting our
students know that we can't think of any place we
would rather be at 8:10 on a Friday morning than
in a class with them talking about the difference
between a comma splice and a run-on sentence. An
acting course is a good preparation for a life in
the classroom because it shows us how to pretend.
Our students probably know on some level that we
would rather be across the street sipping a cup
of Starbucks coffee than caged up with 24
paste-faced first years who count on our joyous
enthusiasm and enlivening wit to be the cup of
Starbucks that will get them ready for their 9:10
class. But they will forgive our chicanery, even
if they suspect that we are faking our joy. They
will know it by the second day, however, if we
don't really want to be good teachers, and they
will have trouble forgiving us for that.
Wanting-really, truly, honestly wanting-to be a
good teacher is being already more than halfway
home.

2. Good Teachers Take Risks

They set themselves impossible goals, and then
scramble to achieve them. If what they want to
do is not quite the way it is usually done, they
will risk doing it anyhow. Students like it when
we take risks. One of my own favorite courses
was a first-year writing course in which I
ordered no writing textbook for the course. On
the first day I announced, instead, that my
students and I were going to spend a semester
writing a short textbook on writing. It was, I
said, to be an entirely upside-down course in
which the students would write lots of essays,
decide as a group which ones were best, and then
try to determine in discussion what qualities the
good ones had in common. Whenever we hit upon a
principle that the good essays seemed to embody
and that the weak papers did not, we would write
it down. Then we eventually worked our
discovered principles into a little textbook that
the students could take home with them. It was a
risky course. It was built on a crazy notion
that first-year college students in a required
writing course could, first of all, tell good
writing from less-good writing, and, second, that
they could articulate the principles that made
the good essays better. My students knew I was
taking a risk in setting the course up that way,
but because they knew that my risk was based on
my own faith and trust in them, they wanted
me-they wanted us-to succeed.

We teachers have something called academic
freedom. Too many of us interpret that to mean
the freedom from firing. I suggest that we
should interpret it rather as the freedom to take
chances in the classroom. I love taking risks.
It keeps some excitement in what is, after all, a
pretty placid profession. I like to try things
that can fail. If there is no chance of failure,
then success is meaningless. It is usually easy
enough to get permission to take risks, because
administrators usually like it when teachers
organize interesting and unusual activities. For
some risky activities it may be best not to ask
permission, partly because the risks that good
teachers take are not really all that risky, and
partly because it is, after all, easier to get
forgiveness than to get permission. Teachers who
regularly take risks usually succeed, and the
more they succeed the more they are
permitted-even expected-to take risks the next
time. Taking risks gives teachers a high that is
healthy for them and their students. It makes
good teaching, good learning.

4. Good Teachers Never Have Enough Time

Just about all of the good teachers I have known
are eternally busy. They work 80-100 hour weeks,
including both Saturdays and Sundays. Their
spouses and families complain, with good reason,
that they rarely see them. The reward for all
this busy-ness is more busy-ness. The good
teachers draw the most students, get the most
requests for letters of recommendation, work most
diligently at grading papers, give the most
office hours and are most frequently visited
during those office hours, are most in demand for
committee work, work hardest at class
preparations, work hardest at learning their
students' names, take the time to give students
counsel in areas that have nothing to do with
specific courses, are most involved in
professional activities off campus.

For good teachers the day is never done. While
it does not follow that any teacher who keeps
busy is a good teacher, the good teachers I know
rarely have time to relax. The good teachers I
know find that they are as busy teaching two
courses as teaching three. They know that they
do a much better job with the two courses than
the three because they give more time to the
individual students, but they also know that for
a responsible teacher the work of good teaching
expands to fill every moment they can give to it.
They might well complain about how busy they are,
but they rarely complain, partly because they
don't want to take the time to, partly because
they don't like whining. Actually, they seem
rather to like being busy. To put it more
accurately, they like helping students-singular
and plural-and have not found many workable
shortcuts to doing so.

7. Good Teachers Try to Keep Students-And Themselves-Off Balance

I have learned that when I am comfortable,
complacent, and sure of myself I am not learning
anything. The only time I learn something is
when my comfort, my complacence, and my
self-assurance are threatened. Part of my own
strategy for getting through life, then, has been
to keep myself, as much as possible, off balance.
I loved being a student, but being a student
meant walking into jungles where I was not sure
my compass worked and didn't know where the
trails might lead or where the tigers lurked. I
grew to like that temporary danger. I try to
inject some danger into my own courses, if only
to keep myself off balance. When I feel
comfortable with a course and can predict how it
will come out, I get bored; and when I get bored,
I am boring. I try, then, to do all I can to
keep myself learning more. I do that in part by
putting myself in threatening situations.

A couple of decades ago, I developed a new
teaching area-an area I had never had a course in
when I was a student: Native American literature.
It would have been more comfortable for me to
continue with the old stuff I knew, but part of
what I knew is that I detest stagnation. I
rashly offered the department's curriculum
committee a new course. When they rashly
accepted it, I was off balance, challenged by a
new task in a new area. I now teach and publish
in Native American literature regularly.

In 1988 I began to feel that I was growing
complacent teaching the privileged students I
have always taught at Lehigh University-mostly
the children of upper middle class white
families. It was getting too comfortable, too
predictable. I applied for a Fulbright grant to
teach for a year in the People's Republic of
China. When the appointment came through, I was
scared, but I signed the papers and not long
after went with my wife and four teenaged
children to Chengdu in Sichuan Province to take
up the teaching of writing and American
literature to Chinese graduate students. I have
never felt so unbalanced in my life-teaching
students who could just barely understand me,
even when I was not talking "too fast." It was a
challenge to teach such students to read the
literature of a nation most of them had been
taught to hate and to write papers in a language
that was alien to them. And that was only part
of the unbalance. The rest was riding my bicycle
through streets the names of which I could not
read, eating with chopsticks food that was almost
always unrecognizable and often untranslatable
because nothing quite like it grew in my native
land. Never have I felt so unbalanced for so
long a time, but never have I learned so much in
so short a time.

I have noticed that good teachers try to keep
their students off balance, forcing them to step
into challenges that they are not at all sure
they can handle. Good teachers push and
challenge their students, jerking them into
places where they feel uncomfortable, where they
don't know enough, where they cannot slide by on
past knowledge or techniques. Good teachers, as
soon as their students have mastered something,
push their best students well past the edge of
their comfort zone, striving to make them
uncomfortable, to challenge their confidence so
they can earn a new confidence.


9. Good Teachers Do Not Trust Student Evaluations

Neither do bad teachers. But there is a
difference in their reasons for distrusting them.
I have noticed that good teachers, when they get
really good evaluations, don't quite believe
them. They focus instead on the one or two
erratic evaluations that say something bad about
them. They good teachers tend to trust only the
negative evaluations: "I wonder what I did wrong.
I suppose I went too fast, or perhaps I should
have scheduled in another required conference
after that second test. I wish I could apologize
to them, or at least find out more about what I
did wrong." The not-so-good teachers also do not
trust student evaluations, but they distrust them
for difference reasons. They tend to trust the
positive evaluations but not the negative ones:
"Those good evaluations are proof that I
succeeded, that my methods and pace were just
about right for these students. The others just
fell behind because they were lazy, because they
never bothered to read the book or study for the
exams. Naturally they did not like my course
because they put nothing into it. Besides, how
can students judge good teaching, and anyhow,
what do they know? Anyone can get good student
evaluations by lowering their standards, being
popular, and by pandering to the masses." Good
teachers tend to discount the positive
evaluations, however numerous they may be;
less-good teachers tend to discount the negative
evaluations, however numerous they may be.

10. Good Teachers Listen to Their Students
Shortly after I read Professor Levi's statement
that no one has ever defined what makes a good
teacher, I asked the students in my undergraduate
Chaucer course at Baylor University (where I was
a visiting professor during 1995-96), to write a
sentence or two about what, in their own
experience, makes a good teacher. The responses
ranged widely, but I sorted through the pieces of
paper on which they wrote them and put them in
different piles. Then I combined the piles into
ones that seemed to be generically related. Then
I combined the piles into ones that seemed to be
generically related. Three quarters of their
responses fell into two piles. The first of
those I call the "A" pile, the second I call the
"E" pile.

In the "A" pile I found words like "accessible,"
"available," and "approachable." Here are some of
the sentences they wrote in response to my
question, "What makes a good teacher?" I have
edited them slightly, mostly to put them into
more parallel constructions:

Good teachers

are available to assist students with
questions on the subject, and they show concern.

do not have a lofty, standoffish attitude.

can interact with a student on an individual basis.

want to know each individual student.

give time, effort, and attention to their students.

are personable, on your side.

are willing to be a friend to students.

are actually interested in the students.

are actively involved with their students.

are first friends, then educators. The
friend encourages, supports, and understands;
the educator teaches, challenges, and spurs the student on.

In the "E" pile I found words like
"enthusiastic," "energetic," "excited":

Good teachers

love what they teach and convey that love to the class.

have both an enthusiasm for and an
encyclopedic knowledge of the subject.

have such an obvious enthusiasm for what
they do that it is contagious and their
students pick up on it.

have a desire to learn, and for others
to learn, all of the exciting things they have
learned.

are obviously excited about teaching.
When a teacher enjoys teaching, it is usually
obvious, and that enjoyment is passed on to the
students. The classes I've had with teachers who
loved the subject they were teaching are the ones
I've enjoyed the most, and the ones I've been the
most eager to learn in. A teacher who isn't
enthusiastic can ruin even the most fascinating
of subjects.

These students are English majors at a Christian
university in Texas. Their answers might well
not ring as true for computer science majors at
MIT in Massachusetts. The point is not that all
good teachers must be available to their students
and enthusiastic about what they teach-though
that is surely not bad advice for anyone aspiring
to be a good teacher. The point is that good
teachers listen to what their students try to
tell them about what makes a good teacher.

Hey, I've done it! Good teachers are those who
want to be good teachers, who take risks, who
have a positive attitude, who never have enough
time, who think of teaching as a form of
parenting, who try to give students confidence at
the same time that they push them off balance,
who motivate by working within the students'
incentive systems, who do not trust student
evaluations, and who listen to students. Who
says no one has ever defined what makes a good
teacher?

But wait. The trouble with good teachers is
that, finally, they won't be contained in a
corral labeled "good teachers." The trouble with
exciting teachers is that they are almost always
mavericks, trotting blithely off into some
distant sunset where no one can brand them. The
trouble with inspiring teachers is that they
won't stay put long enough to be measured,
perhaps because they know that if they did they
would be expiring teachers.

Damn.