Posts Tagged ‘California State Summer School for the Arts’

Attention Deficit Nonsense

Friday, November 26th, 2010

“Tell the children the truth.” Bob Marley

1957. Las Lomitas Elementary School. Menlo Park, California

“I invite those people with ants in their pants,” proclaimed Mrs. Davenport, my third grade teacher, “to run to the oak tree and back before we get to work on our projects.”

Those people always included me, so I and several of my cohorts, boys and girls, walked sedately to the classroom door from where we bolted into sunlight and fresh air to run across the playground to the gigantic oak that overshadowed the playing field. Upon our return, Mrs. Davenport would say, “Todd, Jody, Wendy, I invite you to circumnavigate the oak one more time because I can see you’ve still got a little jitterbug in you.”

Mrs. Davenport was from Oklahoma and proudly one-eighth Cherokee. She was the most beautiful woman I’d ever seen in all my eight mortal years. She was astute, funny, musical, athletic, and she enjoyed using words somewhat beyond the official Third Grade vocabulary. We loved Mrs. Davenport because she loved us and had great empathy for our collective predicament: being eight-year-olds.

In 1957, may the fates be eternally blessed, there was no such thing as Attention Deficit Disorder, nor were hideous drugs routinely and epidemically administered to children with ants in their pants. Thus I was spared the pharmaceutical suppression of my true nature, which was, as our beloved Mrs. Davenport so aptly put it, “To jitterbug.”

“There can be no keener revelation of a society’s soul than the way in which it treats its children.” Nelson Mandela

1969. Oakland, California

“You’re kidding,” I said to my friend, a Third Grade teacher at an elementary school with an entirely black student body. “All the kids in your class take Ritalin?”

“Every single one of them.”

“That’s insane.”

“There’s no other way to control them. Forty wild kids in a dinky classroom. Believe me, the ones who skip their meds stand out like sore thumbs.”

Lest you think the situation in that Oakland elementary school was an anomaly, think again. A monumental takeover of America’s schools was underway in the late 1960’s and continued through the 1970’s and 80’s, and is now complete. Today millions of our children are, for all intents and purposes, forced to take prescription drugs if they wish to attend school. And what saddens me most is knowing that had such drugs existed in my antsy childhood, and had my school been run by agents of the pharmaceutical corporations as most schools are run today, my parents would have dutifully signed the requisite forms allowing my jailers to drug me.

“Children are remarkable for their intelligence and ardor, for their curiosity, their intolerance of shams, the clarity and ruthlessness of their vision.” Aldous Huxley

In 1974 I worked as a teacher’s aide and janitor at a day care center in Palo Alto. All but three of our twenty-seven kids, ages two to five, came from single parent homes with the dads missing, the moms working as secretaries or nurses or maids or salespeople. The children were dropped off at the center between seven and eight in the morning and were to be picked up by a parent between four and five in the afternoon. For all sorts of wrong reasons, I was often left alone to care for several of these little people from two in the afternoon until the last of their very tired mothers arrived long after five.

My strategies for safely overseeing seven to fifteen antsy little kids all by myself for three or four hours included story telling, snack providing, and running my charges back and forth to the oak tree, so to speak, until they were too tired to do anything other than nap or draw or play quietly until their mommies came to get them. Several of these children, according to the school’s director, exhibited propensities for Attention Deficit Disorder; but not one of these angels suffered from any such thing under my care.

“A fool’s brain digests philosophy into folly, science into superstition, and art into pedantry. Hence University education.” George Bernard Shaw

In 1989, as I began my third year of running the Creative Writing program for the California State Summer School for the Arts, the school’s director hired a renowned academic authority to conduct a workshop for the department heads. I was skeptical about the value of the workshop, Strategies for Working With Contemporary Teenagers, because after two years of working with contemporary teenagers I had yet to discern any differences between contemporary teens and the teenager I had been; and my skepticism proved justified the moment that overpaid fraud opened his mouth.

He began with the proclamation that due to the pernicious effects of comic books and MTV, “the teenagers of today are incapable of sustaining focus and interest in a subject for more than a few minutes at a time. Therefore, you must design your curriculum to accommodate their limitations.”

I raised my hand, for I was swiftly approaching the limits of my capability of sustaining focus and interest in what this jackass was saying.

“I will complete my initial presentation,” he snapped, “and take questions after.” He glanced at his watch. “In twenty-four minutes.”

“I will not wait twenty-four minutes,” I said, rising from my seat. “Or even one minute. Your premise is erroneous. The young people we work with are easily able to sustain their focus and interest for hours on end, so I will leave you to your nonsense and hope my colleagues will have the good sense to leave with me.”

Needless to say, the director of the school was displeased with my boycott of the renowned academic, but life went on and our young writers and artists proved themselves illimitably attentive. Of course, we weren’t training our students to jump through hoops and remember meaningless bits of data pursuant to passing tests pursuant to becoming docile members of an emotionally stifled population of neurotic consumers. We were providing them with opportunities, inspiration, and techniques for expressing their original visions, while modeling for them adult versions of what artists might be.

“I never set out to be weird. It was always other people who called me weird.” Frank Zappa

2010. There is today, the authorities tell us, an epidemic of autism sweeping America; and though no one has a definitive explanation for the dramatic upturn in the incidence of autism, massive quantities of barely tested drugs are being administered to our nation’s hapless children in the name of managing the growing problem. Autism is a highly non-specific term, almost as non-specific as the word human, and may refer to a child incapable of even minimal self-maintenance, to a teenager with abnormal speech patterns, or to an adult incapable of making eye contact with other human beings, to name just a few of the thousands of autistic behaviors found under the vast umbrella of the so-called autistic spectrum.

“Yes, well, we have administered the appropriate tests and come to the conclusion that your daughter falls somewhere on the spectrum of being human. Her particular manifestation of humanness indicates she might be more easily controlled were she to take two hundred milligrams every four hours of the drug Freedonia, an absurdly expensive drug cheaply manufactured and available exclusively from one of the unregulated and amoral pharmaceutical giants. This giant multinational corporation claims to have thoroughly tested Freedonia on several thousand unsuspecting peasant children in India. Only a small percentage of those peasant children died or went insane as a result of taking the drug, and despite a notable percentage of the subjects experiencing dizziness, loss of appetite, and an irrational fear of the color blue, a viable percentage of those taking Freedonia showed a noticeable reduction in those symptoms of humanness similar to the symptoms unfortunately exhibited by your daughter. Therefore, we strongly recommend that your daughter take the recommended dosages of Freedonia if you wish for her to continue attending Sweetness and Light Elementary School.”

“All truth passes through three stages. First, it is ridiculed. Second, it is violently opposed. Third, it is accepted as being self-evident.” Arthur Schopenhauer

Most people find it hard to believe that it was common practice for medical doctors in twentieth century America to prescribe cigarettes for patients suffering from anxiety, but they, the medical doctors, did just that for many decades. My father, a medical doctor, smoked cigarettes until 1957 when the Surgeon General gave his first official warning about the “probable link” between cigarettes and lung cancer.

I have several friends who feel that life would not be worth living without the prescription anti-depressants they take, and I am relieved they have something to help them feel good about being alive. I am not against the use of all drugs. But I am against the use of drugs in place of discovering and working on the underlying causes of what ails us and what ails our children.

A growing body of research suggests that the accepted truth in the not too distant future will be that the exponential rise in the occurrence of autism is at least partially related to the chronic use of computers and cell phones by children who should not be using (or exposed to the rays from) those brain-altering devices until their brains have had the opportunity to fully develop as our brains are genetically intended to develop. Crucial synaptic connections are very likely not being made in the brains of millions of young people who are texting and gaming and cyber surfing before their brains and psyches and bodies are fully and healthfully formed.

Have you ever entered a café where several people are peering into cell phones and twiddling their thumbs on miniature keyboards? These people are modeling several of the fundamental symptoms of autism: disconnection from reality, self-isolation, repetitive physical mannerisms, and avoidance of direct contact with other humans. Or to put it another way, they seem to be missing out on what we old farts call life.

Writing Good

Saturday, July 3rd, 2010

(This article originally appeared in The Anderson Valley Advertiser, July 2010)

I daresay creativity cannot be taught. Creativity can be engendered, encouraged, cultivated, and supported, but being creative is as natural as breathing, and so to purport to teach creativity is to lie. And the multi-billion dollar creativity-teaching industry in this perpetually adolescent culture of ours is just that: a big fat putrescent lie. And the crown jewels in this cartel of deceit are the several hundred MFA programs in Creative Writing sponsored by academic institutions large and small that yearly hoodwink tens of thousands of misguided people, young and old, who very much want to become more accomplished writers and have succumbed to slick fairy tale propaganda promising mastery and success with their writing in just two or three years of apprenticeship to writers who, almost without exception, cannot write their ways out of paper bags let alone teach anyone to write any better than they.

I am particularly sensitive to and alarmed by this Creative Writing MFA fraud because several extremely promising writers I’ve been privileged to work with have been severely damaged if not entirely ruined by either undergraduate creative writing classes or these insidious MFA programs. I did my best to warn these folks of the pitfalls of embarking on such misadventures, but the temptations were apparently too many, the propaganda too convincing, and the alternative of decades of solitary labor too daunting, so they surrendered to the academic combine, walked into the maws of institutionalized idiocy, and sacrificed their inherent originality and uniqueness to systems run by sycophants and frauds.

Or to quote Allen Ginsberg, “I have seen the best minds of my generation destroyed by madness,” and I have witnessed a dozen marvelous writers deformed and defused by the madness of MFA programs in Creative Writing.

Twenty-some years ago I was hired to design and run the Creative Writing Department for the California State Summer School for the Arts. The founding mandate of this summer school for artistically inclined teenagers was that the heads of each department should be accomplished artists in their fields apart from any academic credentials they may have accrued. I was the only department head without a college degree, and though I parted ways with CSSSA after five fascinating years, in the history of that still extant school I remain, as far as I know, the only non-degreed department head they ever had.

I had never taught creative writing when I took my one and only state job, nor had I ever taken a creative writing course. However, I had published novels with big New York publishers, written screenplays for big Hollywood movie companies, published dozens of short stories, and practiced writing for twenty years, so I was confident that practicing was the best way for people to learn to write. I hired teachers who had similar notions about training young writers, set up a schedule of twice-daily practice sessions for the month we’d be working with our mob of ambitious teenagers, and we got to work.

The first thing I discovered was that most people, even those who want to be writers, are reluctant to just sit down and write whatever comes to them. They need prompting. So I invented a bunch of exercises to trick people into writing without thinking too much about what they were writing. Thinking too much about what we are writing is a huge obstacle to maximal writing flow; thus all my exercises were designed to expeditiously circumvent the inner editors/critics/intellects and postpone their arrivals until it was time to rewrite. Analysis and criticism are premiere killers of creative flow, and analysis and criticism, alas, are fundamental to all MFA Creative Writing programs. My several dozens of exercises were compiled and published a decade ago in a volume entitled The Writer’s Path. Viable used copies of that out-of-print tome may be had for a fraction of a dollar each via the Interweb, and though I don’t make a dime from those sales, I highly recommend the book.

The second thing I discovered working with teens, and later with adults, is that nearly everyone in America is terrified of being punished or humiliated or rejected for writing anything substantive, but especially for writing deeply personal things. A week into my first stint at the summer school for the arts, a promising poet handed me her very first attempt at fictive prose and said, “I think maybe I trust you enough to show this to you.” I began to read her story, but a few sentences along she snatched the page away from me and cried, “You hate it!” and fled the room. The next day, finding her in a calmer mood, I asked what made her think I hated her writing, and she said, “Your nose twitched a little and you might have been about to grimace, so…”

Granted, hers was an extreme sensitivity, but I soon discovered that all my teenaged charges, and later all my adult workshop attendees, were nearly as sensitive and vulnerable as she about their maiden voyages in writing imaginatively. With this awareness, and recalling my own experiences of being pummeled by teachers for my flights of literary fancy, I cautioned my faculty that it was essential we ease very slowly into our roles of constructive critics, and that for the first several encounters with our students we should strive to be as uncritical as possible without resorting to phoniness. Eventually, once a modicum of trust and mutual respect is established, writers worth a damn will voluntarily ask for critical help with their work, though that criticism should never be about content, and only about the clarity and efficacy of the writing.

In the adult workshops I offered, in which we simply practiced my exercises designed to trick us into not thinking too much about what we were writing, I found it helpful to begin the course by letting anyone who wanted (which always turned out to be everyone) to testify about the abuse they and their writing had received throughout their lives, and how they had subsequently struggled to overcome the trauma of that abuse. Sometimes it was one particularly horrible teacher who had demolished them for something they’d written, but more often it was a pattern of punishment beginning in elementary school and continuing through college and into the work force and MFA programs that had alienated them from their own language. And yet they all still desperately wanted to express themselves through the written word.

Then I would share my experiences of being smashed by teachers and rejected by moronic editors and agents and publishers, and the commonality of our experiences created comradeship and sped the growth of trust among us.

The other sort of abuse experienced by many of these writers came from bestselling how-to-write books prescribing writing regimens of at least an hour a day, every day. But since for most beginning writers, scribbling for an hour at a stretch is the equivalent of running five miles the first time you try running, such dogmatic nonsense guarantees failure. Furthermore, any self-doubts a writer may have about his or her ability will be instantly ignited with the first inevitable missing of a day or running out of inspiration after twenty minutes, which happens all the time to the most experienced writers.

After the venting was over, I would proclaim, “In our time together, you do not have to share anything you write unless you want to; and criticism and analysis are verboten. If you want to criticize and analyze each other’s work, do it on your own time.”

I recently met a thirty-year-old man in his fifth year of an MFA program in Creative Writing at a prestigious California university. I would name the college, but I don’t wish to be sued. I said I had not heard of a five-year program for writing credentials short of a PhD. “Oh, it’s a two-year program, but I keep getting extensions,” he said blithely. “So I can keep getting student loans until I finish my novel.”

“So do you keep taking the same classes over and over again?” I asked, barely able to conceal my disdain.

“Oh, no more classes,” he said, shrugging. “Just, you know, occasional meetings with my mentor and…” He paused ominously. “…the classes I teach.”

“Excuse me? You’re teaching classes in the MFA program you’re enrolled in? But what are your qualifications?”

“Well, I’ve already taken the classes,” he said, nodding complacently. “And, like, they didn’t get so and so (published author) like they thought they were going to, so I filled in, and it worked out, so…”

Following my interview with this fellow, I did a bit of investigating and found that the practice of “upper level” MFA candidates teaching “lower level” candidates is ubiquitous throughout the accredited creative writing industry. Keep that in mind as tuitions soar.

“And just what do you do?” I asked this buffoon. “As a teacher?”

“I oversee, you know, the seminars. Lead the critiques. People bring in their stories or chapters, we all read them, and then we, like, critique and analyze them, and then they rework them. Oh, and I also teach the how-to-get-published seminars, too.”

“And how is one ultimately judged worthy of the MFA and the title Master?”

“We each have an advisory committee that evaluates our work, usually a collection of stories or a novel, and they see, you know, a couple drafts and then the final manuscript.”

“And these advisors are…”

“Oh, we had (names a well-known writer) on board two years ago, and almost everybody else has, you know, published something, and we might get (names another well-known writer) next year to teach an advanced workshop and be on a couple committees. Man, would I love to get his name on my résumé.”

“Tell me more about the how-to-get published sessions?”

“Oh, you know, we go over the nine steps to writing a successful query letter, the seven do’s and six don’ts of pitching ideas, the five sure-fire plot devices, the four ideal manuscript lengths, stuff like that.”

“And you learned all this from…”

“A guy one year ahead of me.”

“Have you had any luck selling anything?”

“Not so far. But I’m working on a teen vampire novel with the most amazing twist. I’m trying to sell the synopsis before someone else comes up with the same idea. Promise not to tell? The teen vampire turns out to be a consulting detective name Hercules Watson. Get the references?”

I got them, and then I murdered the guy and drove a wooden stake through his heart, but I’m not telling where he’s buried.

So if you or anyone you know is tempted to enroll in an MFA program in Creative Writing, or if you have a kid in college who wants to take a creative writing class, do anything you can to stop them. Tell them if they want to become good writers to read hundreds of short stories and novels by writers who have stood the test of time (at least fifty years) and to practice writing as often as they feel motivated to do so. Tell them to stop watching television or they can forget about having an original inspiration, and tell them to ask everyone they meet along their ways to tell them stories, and to prompt the tellers with questions, and to listen intently, and to take notes if they are so inclined. And tell them if they keep at their reading and listening and practicing, they will get better and better at writing down and rewriting what comes to them from a source transcendent of the intellect.

As for the five sure-fire plot devices, they are all contained in the following sentence. “God,” said the princess, “I’ve been raped, and I don’t know who did it. But I suspect a vampire.”

Audio versions of Todd’s novels are available from ITunes. His web site is UnderTheTableBooks.com