I Am a Pencil: A Teacher, His Kids, and Their World of Stories

The Blackbird Is Flying

I

Among twenty snowy mountains,

The only moving thing

Was the eye of the blackbird.

First we went over some hard words—pantomime, indecipherable, Haddam, lucid, euphony, and equipage. Then, as I handed out copies of Thirteen Ways of Looking at a Blackbird, I told the fifth graders, This is a famous poem written by an American businessman named Wallace Stevens. I’m telling you that so you know you can be a writer and still have another career. I said, Before we discuss it, I want you to read it silently.

My students put their elbows on their desks and leaned over the poem. I’d been teaching writing to this class for three years, since they were in third grade. I knew them well. They were a smart group, immigrants or the children of immigrants to Queens, New York. They came from twenty-one countries and spoke eleven languages. A majority were from Latin America, and most of those were from Ecuador, but Colombia, Cuba, the Dominican Republic, Guyana, and Uruguay were also represented. Two had Puerto Rican fathers. Ten were listed on the roster as Asian, but that covered a lot of ground, including Bangladesh, Cambodia, China, Hong Kong, India, Korea, Pakistan, Taiwan, Thailand, and Vietnam. One student was Turkish. The class had also had an Egyptian boy and a half-Croatian, half-Bosnia-Herzegovinian girl, but they’d since moved.

The kids knew English, more or less, but some still thought in their native tongues, and I could see them translate what I said inside their heads. Most were poor, their sights set on doctoring as the clearest way up the American ladder, and although they enjoyed reading and writing, they thought math and science were the only subjects that really mattered.

Their fifth-grade classroom was crowded, not much space for anything but students, tables, and chairs. But it was a bright, tall room, at the top of a fat old brick schoolhouse. Its ceilings were high; the windows started eight feet up the wall, so that even when standing you had to look up to look out. All you ever saw was sky. It was like being in a deep box with the lid ajar.

Stevens writes of twenty snowy mountains. It was late January, nearly seventy degrees and sunny. We were hot. El Niño! cried my students. Global warming! What could they know of mountains and blackbirds? The school had no recess, and when the kids were not in class, most were stuck in tiny apartments, forbidden to play in the city streets.

The room was silent as the children read.

II

I was of three minds,

Like a tree

In which there are three blackbirds.

The first stanza’s moving blackbird eye becomes the I that is the poet in the second stanza, where the blackbirds are an unsettling metaphor for the poet’s thoughts. Throughout this poem, Stevens juxtaposes the actual blackbird with the blackbird of his mind. At least I think that’s what he’s doing, but it’s hard to know for sure. It’s a fair question: Is Thirteen Ways of Looking at a Blackbird too difficult for fifth graders?

Kenneth Koch, a poet whose book Wishes, Lies and Dreams became my bible for teaching poetry, shows in Rose, Where Did You Get That Red? that adult verse can be used to inspire children to write poems. He recommends poems by Blake, Donne, Whitman, Lorca, Ashbery, and others, each providing an example of what he calls a poetry idea. Koch makes a special pitch, however, for Thirteen Ways of Looking at a Blackbird, finding in it both a gamelike quality that is appealing to children and an obvious poetry idea: write about an ordinary object in as many different ways as you can. This assignment was well-suited for my yearlong unit on trees, and I hoped it would help my students approach our subject from new and interesting directions.

I waited for the children to finish reading the poem. One by one they looked up, faces blank. Uh-oh, I thought. The less confident cast sidelong glances round the room, checking to see if others were as lost as they. I told them, This is a difficult poem. Don’t worry if you didn’t understand it. But before we discuss it, I’d like to hear your first reactions.

Not a hand went up. Everywhere I looked, eyes avoided mine.

I called on Simon, a bright-eyed kid with ears that stuck out. Simon was the baby of a Dominican family, so lovable and so well loved he never was afraid to say he didn’t know. This is like a college poem, Mr. Swope, he said. Why’d you give us a college poem for?

Yeah, said Rafael. I didn’t understand a word of it!

Yeah, said Aaron. I thought I was falling asleep!

Smelling blood, everyone perked up, eager to join an uprising: Yeah! Yeah! Yeah!

It’s not a poem!

It’s like a set of instructions!

Directions to see a blackbird!

It’s a how-to thing!

It’s got numbers!

Yeah, it’s, like, so weird!

I was of three minds: I am a rotten teacher; this is a rotten class; Stevens is a rotten poet.

III

The blackbird whirled in the autumn winds.

It was a small part of the pantomime.

Stevens’s economy of language is impressive. In just two lines he moves us from a single bird to the whole sky. If this were a scene in a movie, the soundtrack would be silent as the camera tracked the bird then gradually pulled back to reveal an autumn panorama in which the ever-smaller blackbird soared.

Now I’ll read the poem out loud, I said. Just make yourselves comfortable and listen. I turned out the lights; the room went gray and dusky. Several students put their heads down. It’s a marvelous thing, reading to children. My voice, Stevens’s poem, blackbirds in the room. No one fidgeted, no one whispered, and when I finished, the poem hung in the air.

Reactions?

Students lifted their heads, rubbed their eyes. I called on Mateo, a polite boy whose mother had wanted to be a schoolteacher back in Ecuador. He smiled apologetically, sorry to disappoint.

Come on, Mateo, I said. What did you think of the poem when you heard it read out loud?

When you read it, it made more sense.

Okay, I said. In what way did it make more sense?

He smiled and squirmed, nothing to say.

Rosie, a thoughtful Indian girl with long beaded braids, put it this way: When you read something, you can’t explain the feeling—it’s the feeling you have, whatever you do.

What do you mean, ‘whatever you do’?

When you read this, it’s a feeling. It gives you a feeling.

What feeling?

I can’t explain it.

Is this enough? To read a poem out loud, cast the spell, give your students a feeling, then move on? Not talk about what can’t be talked about? Perhaps, but even if we say that sometimes the reading of a poem is enough, is Thirteen Ways of Looking at a Blackbird that sort of poem? I doubt it. If I had let it go, Stevens’s words would have whirled around the room and vanished.

It’s a tough poem to hold on to. It has no characters, no plot, no humor, no rhyme, no clear-cut beat, no uplifting sentiments, and its pleasures are subtle, quiet, abstract. Koch is right. Thirteen Ways of Looking at a Blackbird is a puzzle, a Cubist collage—precisely the kind of poem you get to know better by talking about it. But how to do that with a room of ten-year-olds?

Following Koch’s advice, I focused on the poem’s more accessible sections, then asked the children to write about a tree in as many ways as they could. Most came up with four or five separate thoughts, of which these, each from a different student, are typical:

It looks like eyes on the trunk.

A stick with a bee hive on the end.

I wish it was spring so my tree could grow leaves.

A tree is a place that keeps people trapped inside.

You are the wall I hate that covers the sun when I’m cold.

I was both heartened and disappointed. They’d gotten the poetry idea, as Koch promised, but they hadn’t written poems. To help them do so, I decided we’d discuss the poem line by line but in small groups and then, using Stevens’s poem as a model, write Thirteen Ways of Looking at a Tree.

Later, after I explained the task, Rosie, a deep-thinking, no-nonsense girl, looked at me and said, Let me get this straight: You want us to use all thirteen techniques but with different words, and about a tree?

Yes, that’s the idea, but if a section seems too hard, I hurried to add, skip it. Make up something all your own.

No, no, it’s not too hard, she assured me. No problem.

The world around the tree

Was hectic and moving

Yet it stood still

With a brave heart.

ROSIE

IV

A man and a woman

Are one.

A man and a woman and a blackbird

Are one.

Here the style of the poem changes. In plain, declarative sentences, Stevens announces a spiritual idea of unity. We are all one. There’s nothing more to say.

I met with students in groups of five or six. What a difference intimacy makes! One group was all boys, and by the time we got to this part of the poem, each of them was fighting to be heard. Simon, the boy who’d scolded me for giving them a college poem, was so eager to talk he couldn’t sit still.

Simon, please don’t stand on your chair.

But I want to say what section four means!

Okay, what’s section four mean?

It means a man and a woman get married and become one because they love each other so they’re not two separate people.

Cesar disagreed. No, it means, like, the man and woman do, like, a matrimony and then they look at blackbirds and see the blackbirds do the same.

But a man and a woman and blackbird are not going to get married! said Gary.

No, not like get married exactly, explained Cesar, but birds, people, they do basically the same—

No! said Simon. He said that a woman and a man and a blackbird are one. He’s not comparing them.

Then what is Stevens doing with the blackbird here? I asked Simon.

Simon went quiet for a moment; then he said, It might be that that bird’s their pet.

Everyone liked this idea. Maybe they are bird lovers, suggested Rafael. The man and the woman, they get married, so then they treat the blackbird like a child.

Cesar smiled, happy at that thought. Part of the family, he sighed.

You are one.

So am I.

But trees are part of us

Also.

NOELIA

V

I do not know which to prefer,

The beauty of inflections

Or the beauty of innuendoes,

The blackbird whistling

Or just after.

I begged him, Miguel, write! Write something! Try!

He hadn’t written a thing for months, he rarely had his homework, and in class he couldn’t sit still. Miguel was immensely confident, capable of unusual, interesting thought, yet lazy and disorganized, angry and socially awkward. He often drew while other children wrote, but he wasn’t very good at it, and what he drew upset me.

May I see?

Miguel had scrunched his drawing in a corner of the page. It was typically sloppy and mostly indecipherable. There were scratchy men with limbs that didn’t bend, and there were guns and bombs. At least he had a bird, an eagle decently drawn, but even it was bleeding from the heart. There were blotches of explosion and lots of smudgy death, not the joyful ruin happy children draw, no flashing zigzag lines and gaudy color.

Oh, Miguel, I sighed. Why are your pictures always so violent?

He smiled, happy to be noticed, and continued drawing. We had had this conversation many times before.

It worries me, Miguel. It makes me feel like you’re not happy.

Oh, I’m happy, Mr. Swope. I just like drawing violence, that’s all.

I knew him well enough to say, This picture makes me think you’re going to grow up and be a mass murderer, Miguel, and I think you can do a little better than that.

Miguel giggled as he kept on drawing.

Do me a favor. Stop drawing and try to write. Write at least one way of looking at a tree, okay? You can do this.

Okay, he said, and cheerfully pulled out his writing folder.

It grows big

but he

is small

although

big things

are happening inside.

MIGUEL

There are no euphonies here, and even though his poem isn’t perfectly clear, it has some interesting innuendo going on, a lot of promise. I gave it a Good!!!

But it’s hard to know what I responded to—the poem itself, or the boy behind it; my student as he was, or as I wanted him to be.

VI

Icicles filled the long window

With barbaric glass.

The shadow of the blackbird

Crossed it, to and fro.

The mood

Traced in the shadow

An indecipherable cause.

This section was a class favorite, with its prison made of ice, its menacing shadow, and its goose bumps sort of evil. Yet when I asked Su Jung how she’d do something similar but with a tree, she shook her head and told me that was hard.

Her classmates disagreed.

I know!

Through the icy window—

The tree—

Or its shadow—

It looks like a monster or something—

Suddenly the wind blows and you see this branch—

And it looks like a hand—

Yeah, and you get scared—

And you see a UFO!

As other children huddled around and spun this silly horror, Su Jung sat in silence. She was often quiet, not always by choice. Sometimes she’d join in a discussion, then startle us by going mute, eyes looking out at me as from a cell. She couldn’t speak, not even when she wanted to. No one could explain these strange and sudden silences, least of all Su Jung. It was as if she were under a curse, and in a way, tragic girl, she was. When you suffer as a child and have the blackbird’s shadow in your heart, do you lose the fun of fear, the happiness of horror? Throughout the years I had her as a student, Su Jung didn’t write of happy-ever-afters. No prince rode into her stories.

We want to know our students, and knowing, try to help. I searched her writing, certain that I understood, but is her life, as I have described it, her deciphered cause? Am I so wise? Can I say I know this child so well I see into the window of her soul? What arrogance is that?

Su Jung’s only comment on this section was I don’t like looking out an icy window ’cause I feel like it’s destroying my eyesight.

Because you can’t focus?

Exactly.

The tree is an angel

That god sent down

To watch over the earth.

But in the winter

The snow covers its eyes

So it can’t see.

SU JUNG

VII

O thin men of Haddam,

Why do you imagine golden birds?

Do you not see how the blackbird

Walks around the feet

Of the women about you?

It’s hard to look at the world and really see it.

One day we went to Central Park and drew trees. I was watching Rafael, a skinny Cuban kid with shiny blackbird hair.

Rafael, why are you coloring the tree trunks brown?

’Cause that’s what color they are.

Take a look around you. What color is the bark?

He squinted at some nearby trees and said, It’s brown.

No, it’s not. It’s gray.

No, it’s not. It’s brown.

Look! I told him. Use your eyes!

Rafael looked again, and when he saw that I was right, he said, I don’t care what color real trees are. In comics, trees are brown.

Rafael’s parents were divorced. To support her son and daughters, his mother worked six days a week as a receptionist. She was a kind, decent woman with a sad smile, and she always looked tired. She came to school several times, worried about Rafael. He didn’t read books, was bored by school, didn’t do his homework, hadn’t tested well. All he cared about was comics and cartoons. What should she do?

Buy him paper and paints and markers, I said. Send him to art class.

I don’t want to encourage him.

His comics are really good. Maybe he’ll be an artist.

That’s what I’m scared of, she said. An artist’s life is very hard.

It’s scary, yes. But if he is an artist, there’s nothing you can do. You won’t change that. It’ll be better for Rafael, and better for you, if you encourage him.

This made her sad.

Don’t worry, he’ll be fine. I think he’s got a gift. Besides, there’s money in cartoons.

It was easy to see Rafael as an artist type. He was a loner, quiet, quick to cry, but with a rattlesnake temper when roused. He loved to dance. Although happy when I let him make a comic instead of writing, when I didn’t, Rafael would make a comic anyway, drawing one in words. It didn’t matter what sort of writing I got him to do—essay or story or poem—it was always a comic strip struggling to get out.

When Rafael handed in his Thirteen Ways of Looking at a Tree, I asked him, While you were writing this, did you glance at a real tree even once?

No.

I threw up my hands and said, Rafael!

Heh, heh, heh, he answered, mimicking Beavis.

But Rafael was right, just following the master. I don’t imagine Wallace Stevens sat on some old rock while writing of the blackbirds at his feet.

O crazy mimes of Staten Island

Stop giving free performances

To the tree, can’t you see the

Tree is one of you, you mimes,

The Tree is a very still mime!

RAFAEL

VIII

I know noble accents

And lucid. inescapable rhythms;

But I know, too,

That the blackbird is involved

In what I know.

In the beginning was the thump, screech, and grunt. Then came words, or was the whistle first? Long before our noble accents, back when speech was being made, what models did our early wordsmiths use? Where did the sounds of language come from—the whoosh of wind, a gurgling stream, the songbird warble? Somewhere lost in time, did Nature help to shape our tongue, and so inform our thought? Is that what Stevens meant: the blackbird is involved in what I know?

I asked Fatma, a gloomy Pakistani child and the school’s top speller, what she had made of Thirteen Ways. She didn’t like it, telling me, The thing is, it doesn’t say very much, but then you don’t understand it.

Good point. Even when his words are simple, reading Stevens is like trying to understand a language you don’t know very well. You have to do a lot of guessing.

But Noelia, a carefree Caribbean child, showed her gap-toothed smile and said, That’s why I like this poem.

Explain.

Because I didn’t understand it!

But why do you like that?

Because I learn new things, she said. And it’s kind of weird.

Weird is good?

Oh, yeah! Weird is def-i-nite-ly good.

Noelia loved the funniness of words, their boing-a-doing and tickle: In-you-EN-doe! YOU-fun-knees! But with Stevens I suspect she loved the word equipage best of all, and when I said, That word is kind of fun to say. Let’s say it all together, Noelia pogoed up and down and shouted out of sync, Equipage! Equipage! Equipage!

Later, I told this story to a friend of mine, a fan of Wallace Stevens’s and a poet. When I was done, she asked, That’s how you pronounce it? Are you sure that it’s eh-kip′-ij?

No, I’m not sure, I said. How would you pronounce it?

It’s French. I think it’s eh′-kee-pahj.

My God, how stupid. Yes, of course you’re right. What was I thinking?

But then I looked equipage up and found we both were wrong. A French word, yes, but come to us by way of England, its Gallic murmur filtered through a Henry Higgins nose. It’s eh′-kweh-pij.

The hands of

the tree

reach for the

sunlight

GARY

IX

When the blackbird flew out of sight,

It marked the edge

Of one of many circles.

If Stevens were my student, I’d have written in the margin: Interesting image, Wallace, but I’m not quite sure what you’re referring to here. What circles do you mean exactly?

If I think about my students, though, I can see them in my mind—or sort of can—the whole class in a circle, holding hands.

When the

tree shakes

its arms

I still see the

mark

left behind.

ELLA

X

At the sight of blackbirds

Flying in a green light,

Even the bawds of euphony

Would cry out sharply.

I told each group, I have no idea what this section means. Don’t bother imitating it. Just make up something of your own. Now, let’s move on.

I didn’t understand the section, true enough, but that’s not why I hurried to get past it. I wanted to move on because of the word bawd. I had looked it up, expecting it to mean libertine, but bawd instead means prostitute.

It wasn’t that I didn’t think the kids could handle that. They watched TV, they flipped the bird, they spat out words both coarse and sexual. Some of them knew a lot more than they should have. My worry was their parents, who didn’t know how much their children knew (or half-knew, even worse) about the whores who nightly worked the nearby strip with all the garish lights. My worry was the school board and the armies of the right.

I looked out my window

And there the tree stood,

Gazing into my eyes

Like it knew something.

ROSIE

XI

He rode over Connecticut

In a glass coach.

Once, a fear pierced him,

In that he mistook

The shadow of his equipage

For blackbirds.

This one’s fun. The glass coach crossing Connecticut is a nice touch, kind of surreal, with the rider—I see someone noble—vulnerable, exposed, as though inside a bubble. Then the sudden fear, a gasp!

How would you do that, but with a tree? I asked one of the groups, and had them write.

Whip-smart Ella needed time to think, but not too much. That girl could get her words down quick.

As I ride the bus

along the road

I see the tree

moving but not

me, am I crazy?

ELLA

Yes! She’d even got the startle right, the shock we feel when things aren’t what we think.

Ella came from Hong Kong, skinny as a stick, and everything with her was fast, fast, fast. On Field Day, when the whistle blew, off she’d fly and leave the rest behind. In class, no sooner did I give a task than snap! she had it done—and neatly, too. And when it came to math, her hand shot up, the numbers figured out inside her calculator head. There’s more: eager to grow up, she was the first to place a hand on her hip, roll her eyes, and say to me, Oh, please! And long before the other girls, Ella played the teen and wore short shorts, her shirttails knotted up above her little belly button.

Two birds on a

tree. Two minds

in one. As two

minds in one

thought.

ELLA

Brava! Not only had she understood the birds as metaphors for thought but she’d extended that and made them metaphors for love. I told her, Ella, this is really good. Profound, in fact, and beautifully expressed.

She said, I got this idea from a commercial.

What idea?

The two always stick together, she said and slyly smiled.

I said I didn’t understand, but Ella swatted at the air and gave a huff and told me, Never mind!

Then Noelia turned to me and said, It’s from a toothpaste commercial, and part of it is tartar control and part is whitening, and together they are one.

XII

The river is moving.

The blackbird must be flying.

Jessica thought too much, which made her stories so complex and so confused that the only way for her to end them was to write, To Be Continued! And when she made her first attempts to mimic Stevens, her words were typically perplexing:

The land was

of five minds

like my tree.

I said, Don’t think, Jessica. Just write whatever comes into your head. Later, when our work that day was done, among the other bits she handed in was this:

My tree is so big

that no one

really notices.

The next day I read her poem to the class but Jessica cried out, Hey! That’s not mine!

It has your name. It’s in your handwriting.

"I’d remember if I wrote