I produced a new PennSound podcast, the sixth in the series; it presents an overview of PennSound, its mission and its pedagogical assumptions and implications. In discussing how students, teachers and readers can use PennSound's materials, I use as an example Rae Armatrout's poem "The Way," about which I've written in an earlier entry here.
After we put up the Ezra Pound recordings, we got a raving fan note from poet Peter Gizzi (who has his own PennSound author page), and here is what Peter wrote:
I LOVE, I mean LOVE that Pennsound has put up all the Pound material. I have it all in bootlegs and tapes of course but it is wonderful to have it there, finally, I mean it is THE MOST OUT there of anything on that site or ubu web! EP is the best. I used to listen to those tapes over and over in my car in the late 70’s when I was a teenager. To me it was Punk. And hearing it now it brings back summer and my youth! Listening to the Spoleto recording, maybe my fav for its restrained intensity, I am taken aback just how his late syntax has totally effected me. Liz and I were listening and we could hear my poem Homer’s Anger loud and clear for instance. Amazing. And Richard’s head note makes me want to listen further.
In late spring/summer 2001 Jim O'Neil, then the higher education beat reporter for the Philadelphia Inquirer, interviewed me at length for a story about my electronic pedagogy. The essay would appear in the (now defunct) Inquirer Sunday Magazine in August of '01. In '99 and '00 I had taught three all-online versions of my modern & contemporary American poetry course, English 88. And I had for years been using chat rooms (the earliest was a MOO called PennMOO) and listservs to enable the students' discussion to be the central activity of the course. The six-year-old piece seems a bit quaint to me now, and Jim's focus (in several middle paragraphs) on my life and "development" as a teacher is a bit embarrassing, but the narrative is more or less right. Here's a passage from the essay, starting with the end of the biographical stuff:
In the early 1980s, while pursuing his doctorate in English at the University of Virginia, Filreis began to teach. At the time, the university purchased early-version desktop computers. "They were big white machines, in the shape of a huge space helmet," Filreis said. "They ran a word processor program called Magic Wand."
Filreis stored set pieces on computer, each describing a common student writing mistake. He gave each set piece a number. Then, marking student papers by hand, he put a number in the margin near each mistake, and attached the appropriate computer-generated commentary.
"This changed my relationship with the students," Filreis said. "I wanted to engage the students in a conversation." In effect, he had created a low-tech prototype of the teaching style he would later refine. He calls it "dialogic pedagogy."
When e-mail and the Internet appeared, Filreis, who arrived at Penn in 1985, easily integrated these new tools. The core of that teaching philosophy mirrors the course material of English 88.
Postmodernist poets focused on the process of their poetry, rather than on what the words in their poems actually said. The purpose was to make poetry and language new again.
There's no better way to describe Filreis' teaching style. He uses technology to free class time for discussion, which to Filreis is more important than the course material itself. The point is to develop his students' ability to think critically, not to have memorized every last fact about Gertrude Stein. And yet, he said, through that active engagement with the material, students end up remembering more of the content.
Here's Filreis' teaching style in action: By late April, the students in English 88 are studying the postmodern poets.
Shortly after class gets out one day, the English 88 listserv starts to hum. Some students like the postmodernist message. Others think a poem whose words made no conventional sense was ridiculous. At one point during the raging debate, Filreis e-mails everyone a brief message to guide the discussion along. He cites a quote from one student, who chafed at the postmodernist experiment: "I disagree with the idea that effective poetry can consistently be made by imposing an arbitrary set of rules on some subject and following them rigorously," wrote the student, Jacob Kraft.
Filreis' seven-word reply reads: "Is this not what a sonnet is?"The online jousting plants the seeds for an equally charged debate in class a few days later over an elegy performed in 1975 by postmodernist Jackson Mac Low, called "A Vocabulary for Peter Innisfree Moore". Mac Low took his friend's name, used a computer to churn out every word that could be constructed from reshuffling the letters of the name, and then got friends to read those 960 words aloud in a staged performance. The work generates intense give-and-take among the students on whether old-fashioned elegies did justice to the dead.
"Who's to say words can capture the essence of a human being?" says Laine McDonnell. "Who's to say these words of Mac Low's don't capture his friend more?" "Aesthetically, it leaves a lot to be desired," pipes up Jake Kraft. "The postmodernists are only interested in the process. They throw aesthetics out the window."
Now that Filreis has broken down the walls of the classroom, he wants to break through all other confines of the university setting. "I want to start recruiting 'teachers' from the extended Penn community," he said, clearly thinking back to Carl Peterson's influence on him at Colgate. "I want more electronic mentoring. I want to deepen the experiment. I'd love to be liberated from the semester so I could teach whomever, wherever, whenever."
Thanks to technology, he has already liberated himself. He has created a program through which faculty can mentor incoming freshmen over the Internet before they even get to campus. He has cajoled some faculty to participate in online book groups for Penn alumni. And his own Web site — which registered more than 2.6 million hits in the last six months and includes extensive resources on modern poetry, the 1950s and the Holocaust — has become a helpful tool for high-school teachers nationwide.
Filreis is one of a small but growing cadre of professors across the country who are changing classroom pedagogy — and not merely by turning the old-fashioned lecture into a glitzy PowerPoint presentation. Many colleges provide grants and training for professors interested in using the new technology, and on every college campus there's at least one professor harnessing the basic technology of the Internet to free class time for richer, student-driven discussion.
Last fall (autumn 2006) I taught my Holocaust course again. I love teaching the modern and contemporary American poetry course, English 88, and my annual spring Writers House Fellows Seminar, but I can't say I "love" teaching the Holocaust course. Do I feel obliged or committed to do so? Am I part of the "chain of witness"? That seems much too simple.
The Modern Language Association conference was held in Philadelphia last December ('06) and, as usual, the local newspaper feels obliged to cover it. Usually such stories devote most of the space to mockery at arcane, whacky paper topics and seem inevitably to have a jokey, anti-PC, anti-academic tone: how silly, all this.
Melanie Almeder has a new book of poems out, On Dream Street. "La Pluie," a poem written "after Marc Chagall," is in the Wallace Stevens idiom: "The only green thing: the tree at the center, / bent by the pull of wind in the frail sails of its blossoms." I'd say Almeder is not a Stevensian poet overall: she believes in natural description and doesn't dwell on abstractions as lovely in themselves. But she's got the Stevens phrasing here and there and it's personally gratifying to me that she does. Why? Because I taught her, not at Penn as a member of the faculty — but at Virginia when I was there teaching as a doctoral student. Melanie was even then — as a freshman — a fine writer and a great student. And I recall that in class (although it was supposed to be a composition class of sorts) I read aloud from Stevens' poetry semi-obsessively. The book is published by Tupelo.
Does the ubiquity of recordings of poets reading their own poems change the way we teach modern and contemporary poetics? On April 23, 2007, I had a good conversation with Steven Evans about this in my office at the Writers House. Here is a slightly edited recording of that conversation: this link takes you directly to a downloadable mp3 file. Steve's Lipstick of Noise site is subtitled "listening and linking to poetry audio files." I visit the site at least twice weekly.
I maintain a deep and eleborate web site about the culture of the 1950s — with an emphasis on the cold-war and literary politics. Recently I posted to that site a verse parody written in November 1949 by an anonymous member of the faculty of one of the California colleges. It's based on Gilbert and Sullivan and was given the title "Ode to Hysteria: University Division." Of course it's a response to the anti-communist loyalty oaths of that moment: here's that poem.
PENNsound includes a page that lists and links audio and video files of me conducting interviews, giving introductions, and teaching poetry. The page is here and includes links to audio and video of my interviews with Laurie Anderson, John Ashbery, Cid Corman, Robert Creeley, Donald Hall, June Jordan, Carl Rakosi, Adrienne Rich, Lyn Hejinian, Richard Sieburth, Steve Evans, and others. These are just the poetry-related interviews.