Thursday, May 5, 2011

Album Review: “The King is Dead” by the Decemberists, 2nd Draft

This album pulls you in with rousing harmonica, and asks you to stand up. It bellows and hums; it trills and clanks. Its mood and sound are down-home and upbeat, also quiet and pensive. There are plenty of other albums that could offer this; but on “The King is Dead” the Decemberists have gathered a group of particularly fine musicians—including themselves. Also, the Decemberists have in singer and songwriter Colin Meloy a man skilled in and unafraid of interesting language. The album's lyrics—sometimes intricate and mysterious, sometimes simple as garden dirt—are compelling because of Meloy's choice of unusual words. But he doesn't overdo it--he certainly knows the power of simple refrains. The album glides along smoothly and wholeheartedly. When its forty minutes are done, you are tempted to just start it again.

The King is Dead is a departure into breezy folk rock for the Decemberists. Based in Portland, Oregon, the band is known for long-winded, concept albums. Their 2009 The Hazards of Love was a rambling rock-opera thick with allegory and thorny plot lines. This is a nerd's nerd band, an English major or drama queen's band. Lead singer Colin Meloy--who writes all the lyrics and melodies, bringing the songs to the rest of the band nearly finished--is a lover of literature and language; historical allusions abound in his songs. On the band's 2006 album The Crane Wife, Meloy sings in “Sons and Daughters” about war and hearing the “bombs fade away”: “Take up your arms/ Sons and daughters/ We will arise from the bunkers/ By land, by sea, by dirigible.” But it is Meloy's clear, high-spirited delivery of the end-line notes that keeps the song hopeful and catchy. That and the joy of someone inserting a word like “dirigible” so artfully—singably—into a song.

But with The King is Dead the Decemberists break away from concept, go folk-rock-country and give plentiful nods to their influences—R.E.M., The Smiths, Neil Young, the Band, and Emmylou Harris, to name a few.  R.E.M.'s Peter Buck plays on three tracks, and Gillian Welch sings on seven.  “Don't Carry It All,” the ablum's opener, booms in with the stellar band's funky and classical mix: drums, bass, accordion, violin, mandolin, bouzouki, harmonica, pedal steel, and tambourine. Meloy entreats us to “raise a glass to the turnings of the season,” while revealing hints of his Irish heritage as his voice wavers and trills ever so slightly around words such as “trillium” and lines such as “upon a plinth that towers t'wards the trees.” “Calamity Song,” with Peter Buck on his 12-string, could be mistaken for early, jangly R.E.M. at its best, and Meloy teases with enigmatic, historical Michael Stipe-like lyrics: “Hetty Green/ Queen of supply-side bonhomie bone-drab/ (Know what I mean?).”  The song is a clear tribute to R.E.M.'s hit “It's the End of the World as We Know It (And I Feel Fine),” and its dream-like lyrics and powerful beat are dead-on.

Meloy's voice is round and rich; his enunciation, word play and word choice are charming on this album. The song themes can be playful, as in “Calamity Song,” and “All Arise” but also soft and comforting, as in “January Hymn” and “June Hymn.”  The two latter songs are beautifully simple, pastoral odes that quietly mark and honor how the earth changes month to month, with both songs having a subtle thread of entreaty to a loved or lost person.  In “All Arise,” a rousing, spin-your-partner kind of song, Meloy croons about a thief: “So the dollar shop shoppers/ Broke the lock and they knocked you down/ Better call the coppers/ If you need someone to push you around.” There are culverts, there are shotguns. The barroom piano and hoedown fiddle are the ideal accompaniment to the song's loose mood.

The King is Dead” is a celebration of life, complete with partying, funerals and those quiet moments pondering the jasmine in the garden. The musicianship is first-rate. The sound buoys you through every swell, and Meloy's voice and words are enthralling. It is worth listening to over and over again.

Album Review: “The King is Dead” by the Decemberists, 1st Draft

This album is addictive. Its gorgeous arrangements and compelling lyrics—sometimes intricate and mysterious, sometimes as simple as garden dirt—are irresistible. It bellows, it hums, it trills and clanks. But it glides along so smoothly and wholeheartedly, when its forty minutes are done, you just want to start it again. It is a near perfect album—whiny arguments about such music not being “your taste” and therefore no good hold no sway here. There is such a thing as objective quality: something is done so well, done to its utmost in its genre, that even if it is not your cup of tea, you cannot argue against its inherent excellence. The King is Dead is just that—simply and inarguably great music.

The Decemberists, based in Portland, Oregon, are known for long-winded, concept albums. Their 2009 The Hazards of Love was a rambling rock-opera thick with allegory and thorny plot lines. This is a nerd's nerd band, an English major or drama queen's band. Lead Singer Colin Meloy--who writes all the song lyrics and melodies, bringing the songs to the rest of the band nearly finished--is a lover of literature and language; historical allusions abound in his songs. On the band's 2006 album The Crane Wife, Meloy sings in “Sons and Daughters” about war and hearing the “bombs fade away”: “Take up your arms/ Sons and daughters/ We will arise from the bunkers/ By land, by sea, by dirigible.” But it is Meloy's clear, high-spirited delivery of the end-line notes that keeps the song hopeful and catchy. That and the joy of someone inserting a word like “dirigible” so artfully—singably—into a song.

But with The King is Dead the Decemberists break away from concept, go folk-rock-country and give plentiful nods to their influences—R.E.M., The Smiths, Neil Young, the Band, and Emmylou Harris, to name a few. R.E.M.'s Peter Buck plays on three tracks, and Gillian Welch sings on seven. “Don't Carry It All,” the ablum's opener, booms in with the stellar band's funky and classical mix: drums, bass, accordion, violin, mandolin, bouzouki, harmonica, pedal steel, and tambourine. Meloy entreats us to “raise a glass to the turnings of the season,” while revealing hints of his Irish heritage as his voice wavers and trills ever so slightly around words such as “trillium” and lines such as “upon a plinth that towers t'wards the trees.” “Calamity Song,” with Peter Buck on his 12-string, could be mistaken for early, jangly R.E.M. at its best, and Meloy teases with enigmatic, historical Michael Stipe-like lyrics: “Hetty Green/ Queen of supply-side bonhomie bone-drab/ (Know what I mean?).” The song is a clear tribute to R.E.M.'s hit “It's the End of the World as We Know It (And I Feel Fine),” and its dream-like lyrics and irresistible tempo infiltrate and don't let go.

Meloy's voice is round and rich; his enunciation, word play and word choice is charming on this album. The song themes can be playful, as in “Calamity Song,” and “All Arise” but also soft and comforting, as in “January Hymn” and “June Hymn.” The two latter songs are gorgeously simple, pastoral odes that quietly mark and honor how the earth changes month to month, with both songs having a subtle thread of entreaty to a loved or lost person. In “All Arise,” a kick-off-your-shoes and spin your partner kind of song, Meloy croons about a thief: “So the dollar shop shoppers/ Broke the lock and they knocked you down/ Better call the coppers/ If you need someone to push you around.” There are culverts, there are shotguns. With barroom piano and hoedown fiddle, it's as singable and danceable as songs get.

“The King is Dead” is a celebration of life, complete with partying, funerals and quiet moments pondering the jasmine in the garden. The exquisite arrangements buoy you through every swell, and Meloy's skill as a singer and song writer supply lush text and context for life's sunshine moments and for its storms. It is worth listening to over and over again.

Sunday, April 24, 2011

Another Roadside Attraction

Tom Robbins opens this book with two quotes. The first is from the gospel of John, something about all that Jesus did could not be contained in all the books in the world. The second quote (from someone named Lowell Thomas) is about how the Marx Brothers films would be a big hit with the Dalai Lama. This kind of juxtaposition is signature Robbins: unexpected, iconoclastic, silly, with some meaty bones thrown in for gnawing on while you guffaw, gape and blush your way through his book, whose central question is: What if the Second Coming didn't quite come off as advertised?”

A band of gypsies and circus cast-offs create the ultimate roadside attraction. Along with the hot dog stand and flea circus, there is “the corpse,” which has been hidden in a Vatican basement for thousands of years and which may or may not be “you know who.” There are ex-CIA operatives, shamans, and magicians. There is rock-and-rock, mushrooms of all kinds, and a thread of coarse sexuality. And it is all very vivid, just as Robbins likes it. His language is insanely heaped with wild metaphors and similes; his teeming adjectives appear to simply breed more and more vibrant adjectives (take “mashed banana sunlight”). The air between the pages is fecund and flip. His characters are subversive and fringe, but kind and open-minded.

Robbins was a student of art and religion, and he relishes weaving both subjects into his work. But he weaves disrespectfully, against the warp and weft. If you hold organized religion in high regard, you will not enjoy this book or any of Robbins' subsequent novels—this one, written in 1971, was his first. In Another Roadside Attraction, Robbins puts the feet of “the church” to the fire:

The history of the Catholic Church is written on charred pages splashed with gore.
It is a history of inquisitions and genocides, of purges and perversions, of ravings
and razzings. Yes, but through those same bloody pages walk parades of saints playing
their celestial radios and sowing their sparkles of love.”

He picks on the Catholics quite a bit, but his bias against any and all dictatorial, didactic, hell-threatening religious institutions is clear. I read this novel at the exact time I needed it. I was in my early twenties, in college, and newly emancipated from born-again Christianity. Robbins style was music to my ears--ears that still had patronizing, pat sayings ringing in them about “God's will” and “resisting the devil's temptations.” His style is rebellious, taboo-busting, free-thinking, silly yet not stupid. His handle of language demands attention. I respected his writing, and I drank in his religious lectures within the story: all the religions are really based on the same idea, searching for the same thing. If there is a God, there's very likely only one of them and all the zealots, priests, monks, pastors and Sunday churchies are all looking at different sides of the same God, and coming back down the mountain with a different description. But damn them if they're going to tell the rest of us that there's only one path up that mountain—or that we have to go up it at all. Now that's music to sermon-weary ears.

I was also knee-deep in philosophy classes at the time I read this book and he tweaked that interest quite a bit. Many of my friends were art majors and I envied their creative outlet and talent; through Robbins I could live in that bohemian artist's world for a while. Hell, I could contemplate the varieties and utility of art, sex, religion and philosophy all on one page of this novel—while characters like Amanda, Plucky Purcell and John Paul Ziller gave me explicit examples to boot.

Robbins appears to be entranced by nature in this book, and if I hadn't already been a budding nature lover when I first read it, it would have shoved me off the couch and into the wild. Take this bit about monarch butterflies: “Indeed, wherever there is access to milkweed....there you will find monarchs, for the larvae of this species is as addicted to milkweed juice as the most strung-out junky to smack. His appetite is awesome in its singularity for he would rather starve than switch.” Robbins goes on for another page and a half about the monarch and their inexplicable migratory journeys—but in language unlike any science text I had ever read.

This book, along with Zen and the Art of Motorcycle Maintenance, played heavily in my decision to buy a motorcycle—against the advice of every adult over 40 that had ever heard me say that cycles were pretty cool. How's that for literal rebellion?

Somehow Tom Robbins manages to be a deft writer, while cramming in over-the-top descriptors. He is both highly silly and heavily sexy, and sexist. He is both intellectual and low-brow. His writing makes me feel alive.

One last quote:

“She carried her excitement lightly, the way a hunter carries a loaded gun over
a fence. Warm chemical yokes burst in their throats. Ziller had the stink of Pan
about him. Amanda heard the phone ring in her womb. In the magnetized space
between them they flew their thoughts like kites.”


If you haven't read this book yet, or any Tom Robbins, you're in for an exotic treat--and a wild ride.

Sunday, April 17, 2011

She Would Be Proud

I have run a household since I was fifteen years old. As as a teenager I pulled through the death of my mother, then my father. Without parents, I survived the attentions of an over-opinionated, bossy aunt. At twenty I studied in London and traveled through Europe. I bought and learned to ride a motorcycle, and I didn't cry when I repeatedly burned my calves on the tailpipe. I put myself through college and then graduate school, through waitressing, scholarships and assistantships. I lived and worked in Japan as a newlywed. I have published a poem on living in Japan and a peer-reviewed academic paper on avian food-storing. I have worked at the University of Maine for the Vice President for Research, managing federal grants and research events with U.S. Senators in Washington D.C.. I can make mushroom risotto, bechamel sauce and a decent cheesecake. I know how not to overcook vegetables and I know the value of local food. I can change the oil in my own vehicle, fix an old toilet and install curtain rods—with a drill. And at any given moment, I can pretend I am calm and in charge when indeed I am ridden with anxiety, when all I want to do is to give up and call for my mother.

Losing a mother at any age is devastating. As a teenager, I kept my emotions at bay by burying myself in homework, books, and activities with friends. But I did feel sorry for myself when I stopped long enough to think about my situation: a mother who died a premature death at forty-six, an alcoholic father and my only sibling, my big brother, away at his first year in college. The self pity never lasted too long in one session, but it crept up regularly over the years.

Then sixteen years after my mom died, the grieving for myself was turned on its head by something I had always hoped for: the birth of my own daughter--my motherhood.

I was so used to thinking of my life story from my perspective—natural, perhaps--that I never really thought of how my mother must have felt before she died, knowing she was leaving two children behind—with a less than able father. When I became a mother to my first daughter Zoe, my grief perspective shifted. For the first time I was the protector, the mother. My god, I thought, how on earth did my mother leave? How excruciating the pain must have been for her, knowing how much I still, we all still, needed her. She was the center of the family, the magnet, the life-force.

I became a mother at thirty-one, barely. Coincidentally, this was the same age my mother was when she had me, and my daughter Zoe was born two days before my own birthday. I went through the seasons of my pregnancy thinking that my mom had felt the same pangs in the same months, and had to endure a heavy, hot summer before birthing an August baby. I held my daughter, and gaped at the improbable life of her, surely just as my mom gaped at me. Ah, but I would never leave Zoe too soon; that's where the similarities would end.

I was working at University of Maine when I became pregnant with Zoe. Not knowing what motherhood would demand of me, I boldly asked my supervisors if I could work from home while caring for my new baby. Amazingly, they agreed. After my six weeks of maternity leave were over, I reluctantly turned on the office computer. I knew in my gut even then that it was already too late. My world had utterly changed; my entire hierarchy of needs and ambitions had been rearranged by this baby. Caring for her eased my grief, it gave me joy like no other, it gave me more flesh and blood in my family—flesh and blood that came by way of my mother's DNA. It turned my focus from myself to someone else. And it was the hardest thing I had ever done.

When other parents heard we were expecting our first baby, they asked about names and joked about lack of sleep and our social life going down the drain. They kept it light and smiled saying our life would never be the same. The hubris I exhibited in thinking that we would be different, that life would pretty much carry on as usual, just with our baby tagging along. When all the baby accessories started cluttering up the house in preparation for the big arrival, I should have been tipped off. The high chair in the middle of the kitchen through-way, the wind-up swing squeezed in our small den, the playpen with the changing table on top, the musical bouncy seat, the baby bathtub behind the bathroom door. All the baby gear certainly messed with out usual orderly, attempt-at-zenful state of things. But then she came, and all the anonymous clunky gear was transformed into her things, and by association became beautiful.

Perhaps all of the worldly experiences, skills and jobs I engaged in up to age thirty-one helped prepare me for being a mother, perhaps only some of them did. Most of those experiences were all about satisfying my own needs and desires—but I did learn quite a few useful skills and gained confidence in myself. One would think that such world-tested self confidence would prove invaluable as a parent, but being in charge of keeping another person alive, helping that helpless being to thrive, tests confidence like nothing else. Zoe sometimes would cry for hours on end, and we could do nothing to calm her. I would nurse her for hours, nurse her while making work phone calls and answering work email. Then she would spit up what seemed like gallons.We called all our experienced friends for advice, I prodded my out-of-state mother-in-law for how she coped thirty years ago as a mother of newborns. I cried while singing lullabies, walking Zoe around and around the dining room table trying to get her to sleep, wishing my mother was there to take my baby in her arms. I made it through nearly nine months of working at home while caring for Zoe. Then her long daily naps became grew shorter as she began to crawl and sit up. I quit my paid job and breathed a hugh sigh of relief.

Those tough years of nursing and changing diapers in the middle of the night are over. Zoe is now seven, with a five-year-old little sister called Lilah. I have not gone back to a paid job. I am not working on a career, or building my resume. I mother, full-time. I do not neglect my own interests or needs. Time for those has slowly returned as my girls have gained independence. I exercise, I write, I read, I take classes and participate in groups who do these things. I make sure I have plenty of grown-up time. I put a lot of time and energy into getting healthy food for my family. I work hard at renovating and rescuing our old house. I have planted a lot of flowers and trees around this house. I take my girls to all kinds of places—forests, libraries, museums, farms, oceans, parks—and I truly enjoy spending time with them; they are thoughtful, fun people. I read, draw, play, joke, scream, sing, run, dance and snuggle with them. I tell them stories about the grandmother they will never meet. I breathe them in and let them see me cry.

I think my mother would be proud.

Sunday, April 3, 2011

Random Opinions


Eggs should be cooked slow. When are we are all going to realize this? I am tired of gnawing on people's rubbery deviled eggs at Easter get-togethers, and hearing them say, “Oh, they're so easy to do. I just leave them boiling on the stove, for 20, 25 minutes, whatever. The shells come right off.” No. You bring them to a boil, then turn the heat off immediately and leave them for 12 minutes, 15 tops if they are large and grocery-store bought. The organic, rock hen eggs I get from Fisher Farm only need 12 minutes. They come out soft and velvety. Same with scrambled or fried. Cook on the lowest heat possible. Have patience with your eggs!

People need to stop being so chirpy in emails and written announcements. All those exclamation points make me feel like I'm being shouted at all the time. The head of a local school group I am a part of simply cannot go a full paragraph without a minimum of seven exclamation points. As I read her exuberant updates of how the book fair or teacher appreciation lunch went, all I picture is her face stricken with an ear-to-ear smile, eyebrows arched to her hairline, eyes wide with the unbelievable sunshine of our school family. Emoticons also get on my nerves—especially the ones used to ensure someone you're “just kidding.” If you can't express your meaning with words, then take responsibility for it—don't fall back on little smiley faces. I enjoy droll wit and sarcasm, and it's actually entertaining to leave people wondering. And since when did a little mysterious facetiousness hurt our relationships? It keep things interesting. Perhaps emoticons bother me because they are a descendant of the email itself. I don't think I would mind if someone doodled a face on a hand-written letter to me. But back when I exchanged snail-mail letters frequently, I don't remember a lot of little smiley faces in them. They just weren't necessary. It's the hurried pace of email exchange that seem to require them. I guess I'm still a luddite at heart, grudgingly toiling away at the screen every day, loving its convenience but missing the breather we used to get between communications. Time between letters gave us pause, and perhaps we chose our words more carefully too.

Can we please end the “adolescent jeans with the crotch hanging halfway down to the knees and the boxers showing” fad? Hasn't it been long enough? I am not a fashion policer, and I don't think it's an issue of modesty. It's just absurd and makes me seriously ponder the state of mind of some of our teenagers. But I'm sure that makes me sound rather ancient. Other teenagers probably don't have much of an opinion; those guys that shuffle around with jeans 3 sizes too big are just from another fashion, or social clique. They're harmless. And they are; but for some reason, I just want to move on. Skinny jeans are pretty ridiculous too, for that matter. Can't we settle on something in between? We can all pronounce our individuality with brand, or embellishments. I'm partial to Levis myself. My little girls love glittery things on their jeans; butterflies and flowers are big, and peace signs seem to be making a comeback.

Scent pollution is a serious problem. I applaud the doctor's offices that request that patients refrain from wearing perfume when they come to appointments. My husband's office has also banned heavy scent from the workplace. Can we ban it everywhere? The other day at the gym I was assaulted by the body spray from a fellow exerciser when she alighted on the machine next to mine. Instant headache for me and it ruined my whole workout. Another time, my husband and I took a cross-country flight that also carried the Don Juan of Drakkar Noir. We both had full-fledged sneezing attacks all the way to Anchorage. Fellow passengers were leaning away from us fearing we had the flu. If you shower pretty regularly, maybe use a little essential oil behind the ears, you should be all set. Let your natural scent waft out. It's amazing we as a species persist if pheromones are supposed to be major players in opposite sex attraction—how does anyone smell the love hormones under all those chemicals?

Excessive packaging is an even more serious problem. I can't stand the big plastic containers that house salad mix and strawberries. But those are the best deals and I grudgingly purchase them from time to time, wishing for less bulky alternatives. Yes, the plastic containers can be recycled in some places, but not all; it would be better not to use them in the first place. So many of our products come over-packaged. Laundry detergent and dish soap come in heavy plastic bottles when they could be sold in those plastic sleeves. Doggie bags from restaurants are handed to you not in simple foil and paper, but in a styrofoam clamshell often 3 sizes too big for your leftovers. Many children's toys are encased in shiny boxes and rendered immobile with metal and plastic ties, tape and glue. Does the Fisher Price Fun Castle really need to be packaged to sustain a space shuttle mission? Everything from batteries to grocery store sushi is encased in plastic tubs—are biodegradable paper containers really that much more expensive to produce? It's been a while since I read up on the cradle-to-grave environmental cost of various containers—the ecological cost of production, recycling or landfilling. But paper-made containers are for some reason less offensive to my senses. They just seem more natural, less processed. I'm sure it's mostly of matter of economic cost for most package manufacturers. Some companies are changing packaging, I know. It's just not happening fast enough for me.  I mean, am I truly expected to live a full life without those 3 pounds of strawberries and the Fun Castle?

People need to stop being so judgmental. A friend of mine told me this story the other day. My friend was at a her friend Claire's house, and they were talking about their kids. Claire's young daughter chimed in, “People that stop at two are just quitters,” referring to the number of kids people have. Claire just smiled at her daughter's clever parroting, and agreed. My friend was simply speechless; she is a mother of two shining young boys, and has had two miscarriages recently. Claire, a mother of three, knows every detail of the miscarriages. What are people thinking in moments like this? I have opinions about the number of children we have and the reasons why we have them, but this is an issue that should not be treated with casual judgmental barbs. It is thorny and fraught with personal and political issues. I have always loved that saying about honey going down better than vinegar. If you really want someone to listen to you, be kind. Talk less. Then when you do say something, people might just stop and listen. Regarding this matter of eggs—the number you choose or are able to fertilize (or the temperature you choose to boil at): all I have to say is: slow down, have patience, and go easy on your fellow beings.

Sunday, March 27, 2011

Would Homeschooling Be Worth It?


My friend and I have been talking about pulling our kids from public school. Bangor is reportedly a great school district, with very high standards and the test scores to match. The Assistant Superintendent of Schools reminded me and my friend of this the other day when we met with her. So why would I want to remove my child from such a great school system? There are many reasons why I think about it for my two daughters, who are five and seven. I like some of what I see going on in their elementary school, but I wonder: how much more would homeschooling do for them? What would our days be like and would my girls flourish intellectually and creatively—would they turn out to be better people? What would a local cooperative school look like—could the murmurings of several friends, also considering homeschooling, actually turn into solid action? And what would push us over the edge to pull our kids out of school? Will they be just fine if we leave them where they are?

My friend and I met with the Assistant Superintendent of Bangor Schools, Donna Wolfram, because we are tired of seeing reams of worksheets in our children's school days. We didn't understand why there was a significant focus on spelling and grammar so early, why the elementary kids weren't learning foreign language yet, and why there was so little science and so few field trips. Ms. Wolfram had answers for all our questions. There is a new curriculum this year, and some of the teachers have “gone overboard” trying to squeeze in every worksheet that is suggested, she told us. This is not necessary, and she definitely sees the value in more hands-on learning. She told us they are working hard at bringing in more and more hands-on projects to each learning unit, but it is a new way of instruction for the teachers. Admittedly, it is more work. But, Ms. Wolfram agreed that integrating math principles into art or music or science makes perfect sense, of course. She called it “inquiry-based learning” and she appeared to be all for it. Apparently, the school board is working at bringing foreign language learning into the K-3 grades; they are working at ramping up the science in the younger grades too, by integrating it into the existing curriculum. When we asked about the focus grammar and spelling, Ms. Wolfram explained that before beginning a foreign language, children must first comprehend certain fundamentals of their native language. Some of these efforts to improve the curriculum are thwarted by budgetary problems or security issues, she said. Field trips have all but disappeared for the students of Abraham Lincoln. And bringing in special guests or instructors—scientists or artists or authors—presents real security issues for the schools.

My older daughter Zoe loves the routine of school, and she is a natural rule follower. Reading came very easily to her and she devours books. She is in second grade now, and has so far scored average or above average in all the tested categories. But she does not easily ask questions or engage in group discussions; she needs prodding. She does not readily ask for help if she is confused by a topic, and I can imagine her pretending to her teacher that she understands something better than she truly does—simply to not appear slow.

Zoe loves all of the “specials” as they call them in school—library, art, gym and music. But art is now given only every other week, and so far the music program at Abe Lincoln doesn't appear to be much more than singing seasonal songs and banging on the odd instrument. However, the school does have a stellar gym teacher. She has won state-wide awards for her innovative programs. Gym with Mrs. Poisson is so fun, the kids don't realize they're exercising. In her phys-ed program, she uses creative games, scooters, role-playing, and dancing to music even the veteran third-graders think is cool. The dancing isn't just random fooling around, either. The children learn specific dances and then get to show off their skills at the school-wide family dance night. Like all the kids, Zoe loves the school-wide events: the book fairs, the family dance night, movie night in the gym, the spring fair on the school grounds. Lilah, my younger daughter, is in the half-day Pre-Kindergarten program this year, and of course already loves the specials and extra school events too.

The girls both also love their teachers; they are additional authority figures and guides, separate from their parents. Zoe has had very good teachers so far at Abe Lincoln—and we parents all know who the “best teachers” are and try to get our children into their classes. By sometime luck and sometime request, Zoe has had among the best teachers. I have volunteered in nearly all of Zoe's classrooms, and this has given me a great chance to observe the teachers in action. This year, while I was directing a math game at a table in Zoe's classroom, I watched her teacher expertly move the students through several different activities within an hour: individual reading, reading to another student, small group discussion with her, math game with me, and ending with all the students in a circle. I was impressed at how orderly the students were, but also remembered something the Asst. Superintendent said about the teachers telling her they need more time in the school day; they simply don't have enough time to accomplish everything that is required. It was all very orderly, but was it also rushed?

But if I home-schooled, there would be plenty of time, right? I have heard it takes only a fraction—maybe one quarter—of the time to teach your child the same things they learn in a group setting in school. The individual attention I, or even someone else, could give my children has got to be at the top of the list of why I would take them out of public school. All the varied ideas on learning I have heard over the years have been bouncing around in my head lately—children excel best in small groups or with individual attention; peer settings can encourage children in learning; children may learn better from someone other than their parent. But these are all generalized ideas. I need to figure out what is best for my own situation, for my own children. What would homeschooling--let's say a cooperative school--look like in my life, for me and my kids?

Perhaps this summer, it would happen like this: there is a small group of us, five families, who together commit to try a cooperative school for a year. This only comes to fruition after many get-togethers and into the night discussions in the living rooms of each other's homes. Among us, there are degrees in english, math, natural science, music, and education. We all live in Bangor and our kids, ranging in age from four to nine, have attended Abe Lincoln. Some of us do not work for pay, some have part-time jobs. We agree that we need to find a space, a set of rooms for instruction and projects. Already, this is an additional cost—and of course we are still paying our taxes that support public school. (We are looking into a voucher program, but with all the recent budget cuts in education and the new Republican governor, we are not hopeful.) We find a suite of three rooms on the fourth floor of a Central St. building in downtown Bangor, the same building as a yoga studio, a fiber artist, and a violin maker. The smell of fresh baked bread from the Friar's bakery fills the stairwell. The windows of our small suite of rooms look out over the canal.

The cost of all of the supplies--the curriculum we agree on, the desks, the chalkboards and charts, the paint brushes, the rulers, the books, the shelves—are split among the families. But it is difficult to keep track precisely. Some families are simply donating items—a computer, nature books, a globe. We have chosen a curriculum that is theme-based. It meets all the state and federal requirements but is designed in such a way that encourages active application of principles, such as building projects to integrate math, science and art. With such a small group, we have the opportunity to work on these projects daily. Our suite of rooms begins to fill up with mini plywood and clay cities, leaf collections, original plays and stories, and homemade instruments.

We design a schedule that has the children in the school room for most mornings. There are always two parents in the classroom, the schedule rotates but one parent from each family must offer instruction or assistance for the same amount of time each week. The first two hours of the morning are for more or less formal instruction, review, and discussion of the week's theme. The introduction and explanation of principles leads into active application, but sometimes the hands-on project is simply the lesson itself. After the group lesson, some of the older children work on unfinished projects, individual reading, or music practice, and some of them help with the instruction of the younger children. The older kids become quite proud of their ability to read, practice penmanship, and introduce beginning math principles to the younger ones.

One week our theme is color and we need to cover the topics of measurement (focusing on fractions) and perspective. We discuss what we could build that would require measurement—what does our classroom need that would be interesting and fun to build? We decide on building art easels. First, we talk about how we will find out how to build an art easel—the library, the internet? Yes, both. But for this project, we agree that getting a blueprint for an easel on the internet is probably the best idea. We search together and print it out. We make a list of the building supplies and tools we will need. The list is divided and everyone has items to bring in for the next day. When all the supplies are gathered, the building begins. We measure and cut, drill, screw and nail. We talk about halves and quarters of the boards, and the number of nails. We draw on the boards with pencils to illustrate the fractions. We divide the piles of nails into thirds and fifths. The children clutch the hammers earnestly, and with help pound in the nails. Two crude but sturdy easels now stand by the windows of the classroom. Tomorrow we'll talk about perspective, in art and in writing. We'll draw vanishing roads and big foreground flowers on our new easels, mixing the paint ourselves and discussing which colors recede and which pop out at you, which colors are cool or warm and why. We will write autobiography, and biography. We may head down to the bakery and interview the bakers on how they started their successful business and then put it in our school newspaper, which we pass out among the tenants of our Central St. building. When we go down for a sewing class in the afternoon, with the fiber artist on the third floor, we'll ask her for a little of her life story too.

In the afternoons, me and my girls have the freedom to choose what we do. We can engage in something fun and exploratory, or active. As a cooperative school, we join with other homeschool groups for weekly sports sessions at the Bangor Rec Center. These are in the afternoons, as are outings to the Maine Discovery Museum, the UMaine Art Museum, the Bangor Library, and the Fields Pond Nature Center. The local homeschool network is strong, with a lot of religious-based groups. Whatever the reason for homeschooling, however, we discover that we can learn a lot from those who have been doing this for a while. We discuss schedules and local activities with other homeschooling families. We ask around about the feasibility of hiring a native-speaking foreign language instructor.

It is a lot of work. This endeavor requires a lot more time, money and energy than dropping your child off at school every day. I can sense all us all asking ourselves weekly: is it worth it? Are we giving them a better education than they would get in public school, and can we maintain this project? What if a family or two decides to drop out? Then the cost per family would rise significantly. We removed our children from public school because we had the interest and momentum of a large enough, skilled enough, set of families. None of our children were in crisis in a public school setting. We simply thought that we could do better.

My own girls love the uniqueness of this small, special school at the moment, but it has only been a few months. It is difficult for them when they encounter former school friends—at a dance class or playground—and hear about what's going on at their old school. But the children are clearly thriving with more individual attention, more integrated learning that is active and creative, and more freedom to pursue their own interests. We will continue, at least for the full year. Perhaps we will gain more families and expand a little. We will learn more as we go along. 

But how do we assess our progress at the end of the year? Surely not simply by standardized test scores. That should be the minimum standard, if even that. The real measure must be the growth of our children's minds, their character, their resourcefulness, their spirits. It would be so much easier if there was “a test” for those qualities of personhood, but it looks like we as parents will just have to use our own standard of humanity to judge the progress of our children.

Sunday, March 20, 2011

Mother Pulse


My body throbs from the weight of it all. New blood is thundering through my veins, as if trying to find an exit. My swelling stomach is tight and heavy. My first daughter lifts up the inside of her wrist, pointing to her veins, “What’s this?” she asks.

It’s your blood, I say (it was my blood once).

She studies her veins, and asks me to wipe them away. “It’s your blood,” I tell her. Will you one day wonder at your birth, and at the origin of all things--will it be a miracle or simply an explosion of life?

She studies her faint blue veins, and asks me again to wipe them away. I bend to smell her skin. Her hand is pressed against my pregnant belly, for warmth, for comfort. Will you bend for your sister when I move on, when life changes again?

I bend down and breathe in her toddler head, her hand is pressed against my soft, shrunken stomach. My second daughter lifts up her wrist, “Mama, what are these?”

Will you bend for each other when I move on?

My body throbs from the weight of it all.

***

I am standing by the window over the kitchen sink, and he is putting her to bed.  I hear them through the monitor. They are upstairs in Lilah’s three-year-old bedroom, getting ready to sing their nighttime song.

Sons and Daughters, Papa.”

Alright,” he says, “You first, then me.”

I lean in to hear her small voice float out: “When weee arriiive, sons and daughters, we'll make our lives on the waaater. We'll build our walls, alumi-NUMMM. We'll fill our mouths with cinna-MONNN…”

He helps her some with the words, then sings this same refrain from the Decemberists' song again, in a warm as bathwater voice. I know he is leaning down close to her face and she is grinning wide, so proud that she learned this song from him, sung like a secret traded between them.

Outside the kitchen window, it is dark with only moony patches of snow glowing bluish. But a light rises in my throat; I swallow it back down and close my eyes to better taste its warmth.

***

After ZoĆ«’s bedtime nursing I creep downstairs while he reads to her about moons and great green rooms. I pour my wine and take the glass out to the back porch – it’s mid-October and our days of outside evening air are numbered.

Through the kitchen window I see him fix a drink, and I wait for him to find me. Tonight, I hope he will look. Moments pass and I sip wine and roll my shoulders trying to purge acid from aching muscles. I wonder if I look as old to him as I feel.

I hear his feet scuff on the porch floor. “Oh, there you are,” he says, “I thought the Rapture happened,” and he smiles at our longtime, only half serious joke. He is still standing.

I stare at him. My pulse thrums. One heartbeat, two. “You thought it happened, and you got left behind and I went?”

Yes,” he replies, sitting down next to me, “You are a mother, you are good; you would go.”

I look away, and take a sip of dark wine. His words follow down my throat: absolution.