I have not spoken much about my class at National Louis University. This term, I am teaching American Literature: 1900-1945. Even though I am on sabbatical from my high school teaching, I decided I wanted to keep this class. It meets once a week, on Wednesday evenings. The course is a survey of the modernists in American Literature. We began with
The Great Gatsby and will be going on to
The Sun Also Rises, and later
Their Eyes Were Watching God. This past week, we spent time reading and reflecting on some of the great poets: Langston Hughes, Wallace Stevens, Gertrude Stein, Carl Sandburg, ee cummings, William Carlos Williams, Marianne Moore, Ezra Pound. And we studied T.S. Eliot. I know that Eliot ends up in a lot of British Literature classes but he is from St. Louis, and frankly in the age of the Lost Generation who could tell what was American and what was not. Besides, I love teaching Eliot. Let's recall that I named my cat Eliot. Enough said.
I chose to have the students read "The Love Story of J. Alfred Prufrock." I know that many students read this in high school. Even though my students at National Louis and smart and eager, they have not had very deep literary backgrounds in high school. None of them had read Prufrock. It seemed like a good place to start. They read the poem at home along with a very large packet of other poetry. When I started the discussion in class, Melissa set the tone.
"I don't know about that poem," she said. "It was really long and I kind of got lost."
The others agreed that Prufrock had been their least favorite, except perhaps for the poems of Gertrude Stein and Ezra Pound. They liked "This is Just to Say" and several loved "I Carry Your Heart." Sandburg had several fans.
"I don't know," Ashley added. "I don't think I understood it."
And so we began deconstructing Prufrock. I did not go front to back. Instead I started with his self-description of whether he is Hamlet or the Fool. The students were willing to answer specific questions about the text but, when I came to more general issues about the poem, they felt uneasy and decided silence was prudence.
We worked slowly through issues. Who is the narrator talking to? I reassured them that critics disagree and urged them to stake a claim on a position. How old is Prufrock? We looked for phrases that would support or negate our answers.
I tried to get them to go with me into the "half-deserted streets" but I could see them setting into an old and tedious position. This was just like beating up a poem in high school, their faces seemed to say. They answered questions but only grudgingly. The life seemed to be fleeing from the classroom.
Occasionally there was a spark. Maxine had talked about Sandburg's "Fog" earlier in the evening. We compared the cats that became smoke in the air. The yellowness of the fog excited some reaction. Everyone found it slimy and disgusting.
Some references such as the connection of "there will be time" to Ecclesiastes got hands writing in notebooks. I think it seemed like the kind of sound academic information one would like to save.
And then Prufrock wondered, "Do I dare?" And something broke lose. Ashley talked about knowing these kinds of boys who stood on the sidelines and just fantasized about approaching the girls. It made Maxine wonder about his age again. Perhaps he was in his twenties, past childhood but not yet clear on how to become a man. Taylor agreed. "I think he's creepy."
Andy, twenty years in the military and returned to college to try and get a job in criminal justice, entered here. "This is all new to me. I never read a poem like this. But I wonder about the arms. The bare arms."
That is what Taylor had meant. She thought Prufrock was creeping on the women. I think so too.
And the conversation started to fly. The bored looks were gone. The class went back to find more clues that would tell us who he is talking to (they still thought himself.)
I wondered if we might be too tough on poor Prufrock. Does he deserve some of our sympathy? The class said no; they were still thinking him a creeper until the last lines. For some reason, the singing mermaids brought them a bit around to Prufrock's side. Maybe it was the comb-over that got them feeling for him.
One student did an impression of the women who come and go, talking of Michelangelo.
Another thought that, in the Hamlet section, Prufrock spoke with an awful lot of learning and intelligence for the nobody he paints himself to be.
The class was very amused by the rhymes: peach, each, beach.
And then we began to wonder about Prufrock and Gatsby, Prufrock and Nick. How is Tom the opposite of Prufrock?
I had allocated an hour and fifteen minutes for discussion of Prufrock. We tore through that and finally had to stop to fit a final assignment in.
Today in the Golden Apple seminar, we talked about the New 3 R's that Bill Gates suggested: relationship, relevance, and rigor. There were some questions raised about what is meant by relevance. To me, relevance is when a poem (even one that is one hundred years old) finds a home with students who are new to reading modernist poetry. It is when Eliot speaks loudly. It is when we judge Prufrock, and pity him, and wish him better, and know he will descend the stairs. It is when we can sit together and realize that we will not find the overwhelming question, much less be able to answer it. It is when we tell each other things that we would not have said had we known we would return from that place.
Indeed, there will be time.