Peter Thiel couldn’t pay me enough to quit education

scholar postcard IMG_0905
Image by tlr3automaton via Flickr

Today I read a Slate article about how billionaire and college drop-out Peter Thiel wants to pay students $100,000 to drop out of college themselves. Supportive blogs and sites like GOOD claim he’s not asking kids to drop out but to “stop out” (whatever that means) because, as Thiel and like-minded moguls believe, education stifles entrepreneurship by mass-producing “an army of college-educated, non-creative thinkers.”

Non-creative thinkers? I teach creativity for a living!

Of course, I’ve heard this argument before, including from people very close to me, who have claimed that college is a brainwashing institution, teaching students not HOW to think but WHAT to think. The best I can do is tell them, “Not in my classroom.” When students come to me and ask what topic they “should” write about for their essays, my immediate answer has always been, “You tell me.” I have never been interested in the “right” answer or the “correct” way to do things, but in the way things work and how people put ideas together. Perhaps that’s what Thiel is arguing, too, but I think he’s going about it in the wrong way. I’m not a fan of this expression, but here it feels appropriate: Thiel wants to throw the baby out with the bathwater.

I believe that education is what we make it. In that, I suppose I partly agree with Thiel and some of the anti-educational institution commenters on the article: You cannot simply sit in a room and wait for validation from a paid babysitter. There are plenty of students who enter a classroom they are either over-prepared for or too intelligent for, and they wind up bored out of their skulls and sorely disillusioned with education in general. “Hell,” they think, “I could teach this class.” And they might be right. They’re right, too, that their presence in that room, simply to fulfill a course requirement or jump through what they perceive as an arbitrary hoop, is potentially a waste of their intellectual resources. I was one of those students, and I wound up skipping some of the courses I now teach because I placed out of them through advanced testing. My younger brother, too, was one of those students, and he gave a big middle finger to our high school when he decided to take his GED and test out of school (he finished school well ahead of his classmates). I’ve taught such students before, the ones who sleep in class and still make As, or the students who stay awake in class only to occupy their minds by tormenting me, derailing my planned curricula with off-topic questions and knowing I can’t ignore them because the questions are good ones. I know what it’s like.

Me at the Adler Planetarium, in the "lecturer" position of an exhibit on the history of university education, May 2007.

But when I was bored — in high school, even sometimes in college — I diverted my mind not with less education but with more education. Like Thiel, I value the Lincoln-esque ideal of self-education, so between the classes I took and the hoops I jumped through, I used my campus resources (the library, my professors’ office hours, lectures from visiting speakers, opportunities in journalism) to learn a little extra on the side, and therefore I was never really bored. Because I was willing to invest myself in my education, I wound up learning more than I was taught.

But I know, too, that without those resources, and more importantly without the guidance of several dedicated teachers who recognized and nurtured my thirst for education, I would never have managed alone what I learned through my years in college. Frankly, it’s one of the reasons I went into teaching: it gives me the means by which to remain engaged in an educational environment; it allows me continued access to those resources I so valued in college.

Now, when I see students falling asleep in class because they believe they could teach the material themselves, I invite them to do just that. When I encounter students who try to divert the class discussions to topics that better interest them, I ask them to research their interests between classes and then I invite them to my office to carry on that discussion. And the students who accept those invitations to make their education their own, to take some degree of control over what they learn and how they learn it, wind up learning far more than even they thought possible.

Because the problem isn’t in education, but in what we do with it.

I once took a Religious Motifs in Literature course from a Presbyterian minister and doctor of divinity. In the first week of classes, most of the students “rebelled” against the very nature of the course — as the classroom discussion unfolded, several students explained that they openly loathed religion and all it stood for, because religion was corrupt, corrosive, debauched, hypocritical, and ultimately just as fictional as the novels we would be reading in class. My professor went purple with the effort of containing his rage, and those students who’d spoken out held their breath not with anxiety but with a kind of pride and a giddy anticipation of the delusional tirade they were sure they’d incited. But instead, my professor took a deep breath, shook his head, and returned to a relatively normal shade, and he explained that he wasn’t angry that they didn’t like religion — he was angry that they’d misdirected their criticism.

“You’re confusing religious institutions for the religion itself,” he said, forcefully but calmly. “You want to be mad at your church, at your congregation, that’s fine. You probably should be. I get plenty mad at the Presbyterian Church, USA and I do a lot of yelling and arguing in Synod. But don’t confuse the problems with an institution with the problems of the faith itself. There are plenty of churches that don’t practice what they preach, and there are too many people, I think, who misinterpret their own religion. But you can dismiss the misinterpretations without dismissing the whole religion.”

2nd half of 14th century
"Liber ethicorum des Henricus de Alemannia," (Henricus of Germany in front of his students), by Laurentius de Voltolina, 2nd half of 14th century. (Image via Wikipedia)

I feel much the same way about the state of modern American education, especially higher education. Many of our institutions have become corrupt, they have sold out to money or to private interests, they have forgotten their mission. Not all of them, not even most of them, but too many of them. I agree. But that does not diminish the value of education itself. What it does is highlight the increasing need for education. We have built ourselves a false dichotomy in our cultural idioms so that we believe we must either “beat `em or join `em.” But the truth is, we beat them BY joining them. One of the great things about the education system is that it has always found within itself the ability to change, to progress. Thiel says to hell with traditional education? I say great: Bring that attitude to the table and show us new ways to do things. He says the system is broken? I say get in here and fix it. He thinks he knows better? I sure as hell hope he does, but we won’t get to benefit from that unless he’s willing to share it.

Instead, he seeks to rob not just himself but a whole generation of the opportunities that education affords. He has made the mistake that so many people today make of equating success with dollar signs, of supplanting intellect and wisdom with force and power.

So what is the value of our education, if not the earning power it provides us? I once asked a class this question, and they said something Thiel would like: “We’re here to get better paying jobs. Our diploma gives us a shot at more money in the future.”

We were discussing a recent editorial in the student newspaper in which a student had complained about the performance of her teachers. And I’m using “performance” in the theatrical sense. The editorial’s author claimed that if students failed a class, it was the teacher’s fault, and that because students invested significant sums of money in the university, they were entitled, like any customer, to expect a return on that investment.

I asked my students, “Is that how you view the university? Like a vending machine? You put money in and push a few buttons and get a diploma, just like that?”

Several students said, “Well, yeah.”

And I said, “If all you want is a piece a paper, you’re seriously overpaying. I can make you a diploma right now, on some pretty fancy paper, for about five dollars.”

But one student explained it with a different equation: They were investing large tuition sums in order to reap large salaries from their “better jobs.” They expected, financially, to get out of their education whatever they put into it, with interest.

And I said, “Well there I think I might agree with you, but not in the way you’re thinking. I think you do get out of education what you put into it, which is why those of you who fail to invest anything — not your time, not your effort, not your intellect — those of you who feel like you can just sit here and sleep and not turn in assignments or engage in classroom discussions? You’re going to get exactly what you put into it. If you fail to invest in your education, you can expect to fail at your education. And you’re probably not going to be very appealing on the job market, either.”

Adam Smith; engraving
Adam Smith, "father of capitalism," went through the university system and was a highly educated man. (Image via Wikipedia)

Thiel wants to give this generation a handout, a $100,000 excuse to give up on their education. What he’ll reap is a generation not of innovators and entrepreneurs but of people who expect everything to be handed to them that easily. He is a money-minded economic Darwinist, but I think that if economic Darwinism is right (and I don’t), Thiel is going to find himself on the losing end of it. His generation will get rich, some of them, and a few will probably stay rich, and they might even be able to delude themselves into a kind of happiness, or at least bought satisfaction. Meanwhile, my students will become smart enough and self-sufficient enough to take on the world bravely, empty-handed, and they’ll wind up with both intellectual and actual wealth. They will have earned wisdom, and more power to them.

Photo blog 26

"The Dews drew quivering and chill." Platteville, WI, 18 October 2008.

*(The title of the photo comes from the Emily Dickinson poem commonly known as “Because I Could Not Stop for Death.”  Read it.  If you’ve already read it, read it again.  You know you love it.)

A Writer’s Notebook: NaNoWriMo outline

This is perhaps a bit early — National Novel Writing Month is still two weeks away — but I’ve had this project (and vampires in general) on the brain lately, so I figured I might as well get started. (SPOILER ALERT: If anyone feels like following along with my progress on this book during NaNoWriMo, skip this exercise. I’m not planning to stick rigidly to this outline, but I’m laying out what I know I want to write about, so if any of this winds up in the book, I’ll be ruining some surprises here.)

And now, my notes and outline; and later, the exercise.

Plotline: A living vampire runs from a blood-thirsty cult until the he’s forced to make a stand.

NEW YORK:

Julian discovers he’s a vampire. Lots of inner workings, the whole tortured soul thing, and make VERY CLEAR that he’s not dead or undead or superhuman or any of that nonsense. He’s a human being, just a fringe loner who craves blood.  Some (accidental) violence, especially in the climactic night club scene.  He begins to hear rumors of a Church. Dismisses idea that some sort of “Old Ones” (gods) are in New Orleans because it’s ridiculous and derivative. (Introduce some secondary character, a friend and helper that Julian generally ignores out of self-pity, or something. This will need some work. But this character, “Amy” [I hate this name] will be his main connection to the “ordinary” world.)

Then he meets Portia Lynn — mad infatuation.

When he learns she’s disappeared and can’t find her, he travels to New Orleans anyway, because he doesn’t know where else to go. Amy tries to stop him, but to no avail. (Or something less lame and cliche.)

NEW ORLEANS:

Wanders lost. Meets other vagrant “vampires” under bridges and in night clubs. Finally tracks down the rumored “Church,” where he reunites with Portia Lynn. She’s a member of the Church, and she tries to “convert” him. Madness. Chaos. Julian resists, the Church retaliates, and Julian flees west.

NEW MEXICO:

(Re-read Ceremony?) Winds up in the desert, in pain and dying. He lives off wildlife, stays for a time in the Laguna Reservation, earns his way by framing houses. (Steal from my friend’s story about live on the res, but let Julian’s version go dark.) Bitten by a snake. Delirium. Leaves to wander desert again, winds up in cave. Portia Lynn tracks him down. He is weak; she feeds on him and feeds him in return, keeping him alive. Amy tracks them down (HOW??) and kills Portia Lynn. Rise of Julian. He heads east to confront the Church.

NEW LONDON, TX:

They clash in a small town in Texas, and with Amy’s help (why?, how?) they break up the Church, destroy some of the members, and make a new covenant. Somehow, end.

As I’ve said in other posts, I have mixed feelings about outlines. I don’t like doing them and I think they’re risky for a writer like me because I can too easily get trapped in them. But I also know from experience how important they can be for guiding and sometimes driving long-form fiction, and recently I’ve been using them a lot more than I’d ever have expected to organize and understand some of my longest short stories.

When working with a novel, I feel they’re important to start with. They’re still problematic, as I learned the hard way with my dissertation novel (I had to fight through a lot of that one because I did sometimes get trapped in the outline), but last year the very rough outline I wrote for my NaNoWriMo novel helped tremendously. For some reason, the speed of that writing experience helped me veer outside the lines easily and I never felt confined in the outline, but when I drifted too far and lost track of what I wanted to write, the outline brought me back to task without any real problems.

The novel I want to write this November is one I’ve long had ideas for, and wrapping my head around them all in a long-form project like this is going to be difficult without the guidance of a rough outline. I’ve also known for a while now that I’d like the story to travel, and the idea to take it to places with “New” in the title turned out to be a convenient (if perhaps too-clever) organizing device.  ‘m not entirely happy with where this story seems to be taking me, and I’ll almost certainly deviate frequently as the characters develop themselves, but at least now I have a rough plan for working.

Need help forming your own outline? You might try some of the ideas on The Wright Words.

15 Authors (and then some)

Paperback Writer...
Image by ChernobylBob (in Buffalo until the 18th) via Flickr

There’s a meme going around Facebook (and probably elsewhere) in which we are invited to name 15 influential authors in 15 minutes.  It reads like this:

The Rules: Don’t take too long to think about it. Fifteen authors (poets included) who’ve influenced you and that will always stick with you. List the first fifteen you can recall in no more than fifteen minutes. Tag at least fifteen friends, including me, because I’m interested in seeing what authors my friends choose.

I’m posting it here because it feels appropriate to the blog and because this blog imports as Notes in my Facebook anyway.  (By way of “tagging,” I found this through Victor David Giron, of Chicago’s Curbside Splendor.)

I confess I cheated a little and reordered these alphabetically.  I suppose, subconsciously, the order in which these names occurred to me probably says something about how important they have been in my development as a writer, but as I moved down the list, I kept thinking, “Oh, but she’s a bigger influence than he is, and he should really go up here, and she belongs down there because technically I discovered her later….”  (I really am this obsessive about making lists, which is why I don’t like making lists.)  So I decided to just run them alphabetically.

It’s also interesting to note how many, many names I’m leaving off this list.  Horror writers, just for one set of examples, have actually been a major part of my life, from Poe to Stoker to Lovecraft to Matheson to King to Rice to Barker….  Yet I’m not as conscious of their influence on what I write now as I am of the 15 listed above.  (Which is to say, the 15 above are much more “literary,” and I’m a pretentious idiot.)  It also doesn’t account for the authors who have stuck with me even though I’ve read only a single book by them (so far):  Mark Z. Danielewski, Fyodor Dostoevsky, Jackie Kay, Alan Moore, Toni Morrison, Alan Warner, Irvine Welsh.  Nor does it account for the authors who just missed the cut and, on another day, probably would have been on this list:  Sherwood Anderson, Rick Bass, Anton Chekhov, Stephen Crane, F. Scott Fitzgerald, Jennifer Grotz, Jesse Lee Kercheval, Alice Munro, Bill Roorbach.

And then there are the 15 people who’ve had probably the most immediate impact on my experience as a reader and a writer–the writers and poets I’ve had the great privilege of working with in workshops over the years:

The Algonquin Round Table in caricature by Al ...
The Algonquin Round Table in caricature by Al Hirschfeld. Image via Wikipedia.
  • Allegra Davis
  • Crystal Elerson
  • Wayne Lee Gay
  • Natalie Giarratano
  • Eric Grizzle
  • Kristen Keckler
  • Bethany Lee
  • Michael Levan
  • Andy Mortazavi
  • Susan Muegge
  • Bri Pike
  • David Shattuck
  • Terry Smith
  • Will Tyler
  • Ryan Werner

This list, too, could easily be longer, but each of these writers has produced work that, even when it was still rough and getting pushed through the meat-grinder of the workshop process, moved me in a way that their work stays with me even now.  And each has personally offered me insights into the writing life and/or my own work that has improved the way I write.  These folks deserve a list all their own.  These folks also are publishing now or soon will be, so keep your eyes open for them–I’m convinced they will be part of the next generation of great literature.

Photo blog 25

 

"Ghostbuster, angel, and Charlie Chaplin." Photo taken by Julie Snoek, October 1987(?).

 

I didn’t take this photo–my mother did.  I’m actually in this photo–I’m Charlie Chaplin.  My brother, Jon Snoek, is the Ghostbuster (I made his ghost-trapping “backpack” for him), and my sister, Sara Snoek, is an angel.  I think the year was 1987, but don’t quote me on that.

I decided to post it for two reasons.  One, I’m planning to post Halloween-related photos the rest of October.  And two–and more importantly–I’ve been on a binge of awesome vintage photography lately.  I got hooked when I found the band Summer Camp and, while searching for more information about them, stumbled across their excellent vintage photo blog:  all the post titles are titles of their songs, but that’s the only text you’ll see–this blog is entirely photographic, most of the pics from the `60s, `70s, and `80s.

That same day, in a wonderful moment of synchronicity, I also found a link to a Newsweek photo-essay composed of anonymous vintage photos that John Foster finds in garage sales.  It’s a fantastic treat.

And then today, my friend Ryan Werner sent me a link to yet another photo story, this one from the Denver Post, which shows–amazingly–rare color photographs from the tail end of the Great Depression.  As far as I can tell, these photos are not colorized–they were shot and developed in color, back in the 1940s.  It’s a riveting collection.  I’m so used to seeing Depression-era photography in mood-appropriate grainy black-and-white that seeing these images in color is almost beyond belief: the images are so rich and so clear you sometimes swear you’re really looking at stills from a contemporary movie set, not 70-year-old photos.  And yet that same contemporary appearance–and the mostly candid nature of these photos–make it that much easier to recognize ourselves in these people born a century ago.

So, I’ve had vintage on the brain and thought it might be fun to embarrass my siblings with this old photo.  Granted, 1987 isn’t yet truly “vintage,” but it’s getting there.

Vonnegut at the blackboard

I was so glad to see Ampersand Review link to this article in Lapham’s Quarterly:  I had to profound good fortune to see Kurt Vonnegut give this same lecture at Trinity University in San Antonio back in, oh, 1995?  1996?  I forget the date, but I will never forget this lecture, in which Vonnegut explains his theory of graphing plots.  The Lapham article does a great job of conveying the gist of that brilliant lecture.

A Writer’s Notebook: Photo story

My wife turned our laptop around the other day and showed me this photo and said, “You should write about this.”  So, first, the photo, and then the writing.  And then, the exercise.

People think I do this for money.  I put out a box and I don’t object when people drop money in it.  In fact, I make a few dozen euros a day on weekends.  One Friday when the weather was nice I found forty-seven euros, five British pounds, and thirteen US dollars in there.  I bought a three-course meal and spent the rest on beer afterward.  I kept the accordion in the chair next to me.  The waiter asked me to play and I told him no.  I don’t play for just anyone.  I only play for her.  I haven’t seen her in the park yet, but she knows I’m here–I send her a postcard every week.  “I can’t explain anything in words,” I wrote on one.  “But I want to explain so badly, if you’ll just come hear me out.”  Another time I wrote, “Sometimes I get angry at you just for being angry at me.  It is a vicious circle.  But every day I’ll be there, hoping you’ll forgive me.”  A bunch more, all more or less like that.  One each week.  It’s been two years now.

I see her sometimes on the streets, going into a cafe or coming out of a clothes shop, but I never go to her.  I can’t begin to think how to, what to say.  All I can do is play for her.  I will always play for her.  Someday, I have to believe, she will come.  She will hear my song and she’ll understand.  Maybe she won’t forgive me–I’m not delusional–but if she can just know how much I miss her, that at least would be a beginning, again.

This is a familiar exercise by now. I’ve done it before, in the “1,000 words” exercise and the “Uninvited Guests” exercise.  The short version:  Write a story (or a poem or anything) based on what’s going on in the photo or on how the photo makes you feel.

My wife and I had both been looking at a lot of photos lately, over at the bizarre but brilliant photo blog of the band Summer Camp.  The vintage photos over at the Summer Camp blog are all fantastic, but they also use them as exercises of sorts, posting their own song titles as captions to the photos, a hint that those photos somehow reflect the songs.

Just before I began working on this photo my wife picked, I checked my e-mail and found a different exercise in my RSS feed from Lori Ann Bloomfield’s First Line blog.  She sometimes posts “random exercises,” and the randomness today involved working a line of dialogue into a story somehow.  She provided the line; it was up to me to fit it in.  So I decided to up the ante on the exercise a bit and added that to the work today.

Incidentally, this photo actually is my own–I took it in Vondelpark in Amsterdam back in April.  (The beautiful girl on the bridge in the background is my wife.)

Photo blog 24

"Camouflage." Truck in the woods, New Glasgow, Prince Edward Island, 12 August 2006.

A new story

Our Band Could Be Your Lit, also on Facebook.

As promised in the last Writer’s Notebook entry, I wrote a story for Ryan Werner’s Our Band Could Be Your Lit blog.

I’ve been a fan of this project since before it began, back when it was still an exercise on my blog, but I’m awfully damn impressed with where Ryan is taking it.

And I really like this “guest” feature–my own story was fun to write, and David Maizenberg’s story is just killer.  I’m really hoping this turns into a regular thing–I’d love to see other writers step up and take a shot at this thing.  (I’m talking to you, Dan Chaon.  And if anyone has Rick Bass‘s e-mail, pass it along!)

Anyway, I wrote a short-short based on Earth‘s “Omens and Portents I – The Driver.”  If you want to check out the result, go to my story on the OBCBYL blog.

A Writer’s Notebook: Our Band Could Be Your Lit

This week the writer’s notebook will get delayed.  That’s not because I’m not working, but because I’m working toward something.  I’ve agreed to write a guest-blog story for Our Band Could Be Your Lit, so I’m using this week’s Notebook to work on that.  But the story won’t get posted until Sunday (and probably won’t be finished until shortly before then), so you’ll have to wait a few days to read it.  Hang in there, folks:  I’m not taking a break–I’m working even harder!

Tune in on Sunday, October 3, for the results of this week’s exercise!

If anyone’s looking for the exercise itself, check out the Writer’s Notebook entries on Music and flash fiction and Music and freewriting.