Home, and Other Destinations

One of my favorite movies growing up, but one I have not seen in a long, long time, is “The Wizard of Oz.” Our version was taped from a TV special hosted by the wonderful Angela Lansbury (“Mrs. Potts,” for those of you who don’t know her) and was interrupted by long commercials from the ‘90’s for cars, soap, and McDonald’s (thus I’ve somehow always associated those things with the Emerald City, scarecrows, and munchkins).

Anyway – the line I have been thinking of so often lately, as I drove from Louisiana back to Massachusetts, stopping in Athens, Tennessee one night, Washington D.C. the next, and later flying back to Notre Dame, Indiana, and as I now look forward to moving to Colorado next year, is: “There’s no place like home … There’s no place like home.”

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Home.

Since writing this post on Setting and World Making, I’ve been rather preoccupied with the concept of place and how it shapes us, just as setting affects plot in a story. This week I have been teaching setting to little middle school students (they are SO small!)–a simplified form of what I did with my big kids a few weeks ago. These incoming sixth graders were especially intrigued by how setting establishes what is possible and impossible. After using lots of adjectives to label various parts and objects of our classroom with sticky notes, we then made a chart discussing what COULD happen in our room (“we could have fun,” “we could learn,” “we could write”) and what COULD NOT happen (“we can’t have a circus–the elephants wouldn’t fit” “we can’t cook a pizza–there’s no pizza oven” “we can’t be underwater–we couldn’t breathe/the water would escape through the door and windows”).

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You have to see them to believe them.

And I thought about what is possible–and impossible–for me, being back here at Notre Dame for the summer. I can write a lot more. I can spend time with ACE friends. I can pray in the beautiful basilica, and run around the Saint Mary and Saint Joseph lakes. But I cannot be with my high school students. I cannot observe alligators slipping slyly into the Mississippi river. I cannot enjoy drive-through daiquiris (read about these unbelievable establishments here).

Reunited with other ACE teachers here at Notre Dame, I am able listen to new stories about their kids—spread all over the country—and the funny phrases, the accents, the struggles, the absurdities and delights of all the different places that have shaped them. “Do your kids say ‘swaggin’?” “Yes they do!” “I’ve never heard of ‘cuttin’ up’ before.” “Well, neither had I!” And I thought, my goodness, we have become a part of new settings and some of us have even found ourselves at “home” there.

Yet my decision to leave my ACE school and to move to a new place, to a new state–to uproot myself, as it were, for the third time in three years–has me feeling rather homeless lately. I haven’t lived in Massachusetts for more than a few weeks at a time since high school. As much as I would love to, I cannot become an undergraduate in Dallas again. And although I plan on visiting Louisiana next year, I will be doing just that: visiting. I will be a visitor, in someone else’s home.

ImageMy Dad told me about a new book by Rod Dreher called The Little Way of Ruthie Leming, reviewed here by Michael Hannon. It’s very much about home,  one’s sense of place, community, and belonging. And, in our restless and mobile age, it seems also to be an appeal to us to re-evaluate our relationship with our homes, wherever they may be.

Hannon’s description has put this book at the very top of my reading list this summer: “The book tells two distinct stories, beautifully interwoven: an autobiography of Rod himself, and a hagiography of his sister Ruthie.” Rod is the restless one—who wants to leave his native Louisiana behind, to seek home elsewhere. Ruthie is the opposite—content to remain and to grow in her beloved little community:

An involuntary outsider from a young age, Rod never wanted anything more than escape. Philosophical by nature and restless by temperament, he annoyed his sister and the St. Francisville community at large with his constant curiosity, asking probing questions about ultimate realities that they were happier just to take for granted. Despite knowing that they loved him, he never felt understood by his family or accepted by their small-minded local community. Without disparaging the simple lives they led, he always longed for something somehow grander for himself.

Whereas Ruthie was born into the place she knew she belonged, Rod always felt like a stranger in their hometown. So after college, he left Louisiana in search of a place where he too could fit in, pursuing a career in journalism and wandering all over the Atlantic coast. But even there, from Washington to New York to Philadelphia, Rod never found the sense of at-homeness that Ruthie had always known in St. Francisville. (Michael Hannon, “Small-Town Saints for Our Placeless Age”)

As I read Hannon’s review (you should too), I found myself feeling a little sad, and even a little guilty. In a way, I’m like Rod–bouncing around the country, encountering new places, meeting new people–and always wanting in the back of my mind to find home. So many of the people I admire most, like my Grandma, my Mom, my Dad, my sister, Flannery O’Connor, Tolkien, Emily Dickinson, Richard Wilbur, all seem to have a very strong sense of place, of home. My Mom still has a strong attachment for Oklahoma where she grew up. My Dad, my Grandma, and my sister are New Englanders through-and-through. O’Connor, Tolkien, Dickinson, and Wilbur are great because their reverence for place helps all of us understand what home really means.

And yet strangely, in ACE, part of our job is to be displaced and a little homeless. And our foreign-ness is often a gift to our students, many of whom may never leave their home-state and may never experience, first-hand, the adventure of travel as we have. Sometimes over the past two years I found myself tempted to encourage my students to branch out too and to see new parts of the country, to apply to that reach-college out of state, to accept the adventure. And there is good in this. As Bilbo says to Frodo, “You step onto the road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.”

Yet of course this is a warning as a well as an invitation.

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created by Shaylynn on her blog “Shealynn’s Faerie Shoppe”

There is that distinctly “progressive” tendency to despise insularity, to belittle the prejudices and notions of small-town America, to complain that some people refuse to widen their horizons and see the world in new ways. It is one of the many temptations of the ACE teacher, I think. And I think Bilbo’s warning should be considered. We may encourage our students to leave–but where are we encouraging them to go? Where are we hoping they will be “swept off to”? The journey is important in and of itself, but so is the destination.

I have been swept off to many strange and wonderful places in the past few years, but I am beginning to feel what Rod Dreher describes in his book, a longing for home. And so I recognize there is a wisdom in the people who choose to stay–to go to the local college, return for your high school reunions, live near your family, remain in your home-town. It is not the popular choice nowadays.

Having cut the ties that bind us geographically, we have become in many ways a placeless people. We have lost what St. Benedict called “stability,” man’s permanent attachment to a particular home in this life. “St. Benedict considered the kinds of monks who moved from place to place all the time to be the worst of all,” Dreher recounts. “They refused the discipline of place and community, and because of that, they could never know humility. Without humility, they could never be happy.”

For Rod, the realization of this Benedictine truth required him to go home: “[If] I wanted to know the inner peace and happiness in community that Ruthie had, I needed to practice a rule of stability. Accept the limitations of a place, in humility, and the joys that can also be found there may open themselves.”

[…]

“There has to be balance,” Rod reminds us. “Not everyone is meant to stay—or to stay away—forever. There are seasons in the lives of persons and of families. Our responsibility, both to ourselves and to each other, is to seek harmony within the limits of what we are given—and to give each other grace.” (Ibid)

O’Connor also insists upon seeking “harmony within the limits of what we are given.” We are all invited to some courageous act, and for some it is the task of staying, and for others it is the task of leaving and starting somewhere new. I think my fellow ACE teachers can relate. Some of them are staying at their schools. Some are leaving. Some, like me, will continue to be teachers. Others won’t. We all carry the gift and the burden of whatever setting we have been shaped by for the past two years, though.

I guess I am still looking for home. But I am grateful that over the years, different people have opened their homes to me.

“My Way Back Home” by Dawes:

Teaching and World-Making – Or, the Importance of Setting

So I’m finishing up my unit on short stories with my sophomores. Our last lesson has a relatively simple goal, but it gave me a lot to think about: SWBAT analyze the effects of setting on plot in short stories.

We define our terms first:

Plot = what happens (in a story, movie, play, novel…)

Setting = when and where the plot happens (in a story, movie, play, novel…)

This is what Eudora Welty has to say:

Every story would be another story, and unrecognizable if it took up its characters and plot and happened somewhere else… Fiction depends for its life on place. Place is the crossroads of circumstance, the proving ground of, What happened? Who’s here? Who’s coming?…

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Eudora Welty was a photographer as well as a writer. This is “Home by Dark.”

I don’t think we often think about this potential power of place over character and action. Setting is one of the things all teachers talk about in English class, along with plot, characterization, exposition, climax, resolution, etc. But I think it is sometimes left in the background.

(Pun intended. Go back if you didn’t notice it… )

Yet Welty insists upon the importance of setting, and even that events and characters somehow depend upon it. Or, as my students had to write down in their notes: setting defines the logical possibilities and limitations of plot.

It defines what can or cannot happen in a story.

I think Southern writers have a particular sensitivity to the importance of place or setting. The setting IS the story. Think of Faulkner’s As I Lay Dying or The Sound and the Fury. Or Katharine Anne Porter’s “The Jilting of Granny Weatherall” (the setting is both exterior, the rural South, and interior, the wandering mind of Granny). Or Flannery O’Connor in “Revelation” and “A Good Man is Hard to Find.” O’Connor, largely due to her sacramental view of reality, expands the traditional notion of setting so that it transcends the physical:

The writer operates at a peculiar crossroads where time and place and eternity somehow meet. His problem is to find that location. (O’Connor, Mystery and Manners)

hogwartsI gave my kids a different example that I thought might work better for them. The reason why the Harry Potter series works so well, I believe, isn’t so much because of the plot and the characters (although of course these are important). The plot and the characters work because Rowling spends so much time in the first book carefully developing her setting, creating her place, defining the possibilities and limitations of the Muggle world and the Wizarding world.

Think about the detail given to describing Privet Drive, and Diagon Alley, and of course Hogwarts itself. Her world is magical but consistent – it has it’s own logic and it’s own rules. Indeed, really what made me read book two, and three, and all the others was this sense of wanting to return to that place. Yes, I cared about Harry – but I cared about returning to Hogwarts even more.

middle earthI think one of the very best examples – that really sets itself apart from any type of comparison to other stories –  is Tolkien’s Middle Earth. What is so good about The Lord of the Rings isn’t just the wonderful characters, the stirring struggle between good and evil, the languages, the recalling of myth. Rather, it’s the fact that all of these things are at home in Middle Earth itself,  – a world we believe in, and want to return to, or learn about, because it feels like our own history.  I don’t know about you, but I spent a lot of time when I was little just looking at the maps in the opening pages of the book.

There is Narnia, too. What we really desire, why we keep reading, is because we want to go back to that place created by Lewis.  I checked every closet in my house, several times, just to be sure. “Once a king or queen in Narnia, always a king or queen.”

narnia-map

I was thinking about all of this as I sat in my empty classroom during 5th hour, normally the seniors’ class. I was sitting in one of the student desks in the middle of the room. I like to sit in the student desks sometimes so I don’t get completely locked into my teacher-desk perspective. The room looks pretty different out there.

And I realized that teachers are engaged in world-making, too. We create a setting – our classrooms. And, in a way, we help define what is possible in our classrooms by creating a particular environment, unique to our personalities and our teaching style, but also hopefully open to our students’ personalities and their learning styles.

This year I have worked hard to make my classroom more accessible. Places for papers, folders, essays, are all labeled. I try to keep the space as clean and organized. This is a setting for listening and discussing and writing and reading and writing and revising and writing and writing and writing… and the classroom has to reflect that just as much as my words and actions do. My kids need to know that as soon as they walk through my door they have entered a place for learning.

I have substituted this year in many rooms where there a papers on the floor, dirty desks, and bare walls. I remember my own classroom last year – “disorganized” is a gentle way to describe it. And I think such classrooms limit the possibilities for students. Carelessness, even in the details, suggests a lack of thoughtfulness and purpose. A question I found myself unable to answer a lot last year was, “Ms. Shea, where do I put this?” “Um… I’ll just take it for now…” This year, I love when the kids don’t  have to ask me that any more. They know where to go, where to put things, when to do it… setting setting setting.

Anyway –

To what extent does the setting affect the plot in your favorite stories… in your classroom… in your home?

If you really want some tough but tasty food for thought on setting, you should go read O’Connor’s story “The Displaced Person.”