Tag Archives: Dina Corcoran

English Teachers

Dear readers,

This is a guest post by my talented student, Dina Corcoran. She’s a memoirist, poet and essayist. This is her personal essay on English teachers. Okay, so there’s a bit of shameless self promotion going on! Please enjoy Dina Corcoran’s,

ENGLISH TEACHERS

Since I first looked my mother in the eye and said “Ma-ma,” many different sorts of English teachers have helped me learn to express myself.

First, of course, I had to learn to read. I remember the excitement of cracking the code during our first grade work with See Spot Run, but even so, its message seemed a little boring. Nevertheless, the whole idea of thoughts being on paper opened a world of possibilities.

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So many words. . . and each had to be spelled. “Beautiful,” for instance, was very tricky, because of all the vowels that had to be in the right order. I remember seeing it on the blackboard all week with the other five words we needed to learn. I noticed the teacher used little lines to break the words into small bits. Each time I walked by, I broke “beautiful” down my own way, into be-a-u ti-ful, making a little chant out of it. And “piece” I thought of as a piece of pie. If I could remember how to spell pie, I could do “piece.”

Soon I became aware of longer, more colorful words like “indisposed.” Mother used that one when she wrote notes to the school explaining my absences:

“Please excuse Dina’s absence yesterday. She was indisposed.”

I had to ask her what that meant. Then, handing the note to the teacher, I felt important being described with such a big word.

A wealthy family acquaintance treated my brother and me, when we were quite young, to a live play in the First Theater in Monterey, an official historic site, since it was the first theater in California. The building was old with a rickety wooden floor, and I marveled at the thought of people, a hundred years before me, filling the place just to watch actors walk and talk on a stage lit with whale-oil lamps. But I could see that this was a new way to use words: making a story that could be acted out for others.

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Somewhere along the way in grade school — maybe Mrs. Jordan’s seventh- grade class—I learned the wonderful logic of sentence diagramming. Nouns, verbs, adjectives, and adverbs, all had their positions in a sentence. I loved that. All good sentences could be mapped out. Now things were beginning to fall into place.

And then:

           “Let me not to the marriage of true minds

              Admit impediments. Love is not love

             Which alters when it alteration finds,

              Or bends with the remover to remove:

              O no, it is an ever-fixed mark. . . .”

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William Shakespeare. Oh my goodness. Everybody in my Sophomore English Class must memorize and recite this verse. I guess Miss Jackson values the idea of keeping someone else’s ruminations in your brain forever. What is he talking about? I feel inexperienced in these matters. With each recitation, she gets a far-away look in her eye; obviously this means something to her, but not to me. (For the rest of my life I cringe whenever this sonnet comes to mind, because I recall the difficulty of memorizing this unfamiliar arrangement of words and the boredom of hearing it over and over again.) Why does she think this is so important? Maybe she was disappointed in love. As I study her wrinkled face and older-woman mannerisms, I try to imagine her having a love life.

Later in high school, Mr. Zapelli teaches us to seek perfection in our writing. Every day he wears a striped suit and matching tie, and I’m sure he imagines himself to be a handsome guy with his hair greased straight back, Mafia style. He sits bent over at his desk, his meaty hands holding my paper as if it is a very important document, and earnestly pores over my work.

His method of helping us is unique among English teachers. Most days we write essays in class. He guides our progress by having us bring our work up to his desk where he examines every detail. (No more than three of us at a time may wait in line.) Starting with a red pen, he marks the places that need work, and we talk about the why and how of the needed correction. Then we take it back to our seat and work on it until we are ready to face him again. We hope for only blue or green marks this time. Blue ones indicate improvement, but the goal is to get the final green marks that show we’ve got it the way he wants it. This may take several visits to his desk, but once our paper has green marks at every problem spot, we can take it home for the re-write. (Mr.Zapelli was always on me for my run-on sentences; I enjoyed rambling thoughts. But today, his cautionary attitude still guides me as I write.) Each and every student is busy. Time flies; the bell sounds too soon. And when we turn in our final version, we feel pride in our work.

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By the time I am in college, my days with Mr. Zapelli bear fruit, enabling me to do well. But this teacher, young, enthusiastic, and sporting a crew cut, has new things to show me. The world of ibid and sic is before me, and somehow I master it while discovering the excitement of research in the library’s “stacks” where all sorts of old writings are kept. Usually I write about the plight of the American Indian, because I have been passionate about that ever since my childhood friendship with Red Eagle. Unearthing government documents, I learn how evil the Bureau of Indian Affairs has actually been. My passion helps me write well. At the end of the course, Mr. Carson announces with some ceremony that only one student in the whole class will receive an “A.” My face turns red in embarrassment and pride when he says I am the one.

Speaking aloud in front of people proved to be a different story. To qualify for a teaching credential it was necessary to take public speaking. I flunked it twice, because I avoided my obligation too many times. Fear got in my way. My stepfather, Jack, helped me out of that one. He suggested bringing my six-speed racing bicycle into class and “teaching” my classmates about it. He said their eyes would be on the bike, not on me, so I could relax. It worked. Not too many people knew about racing bikes at that time, and they were interested to hear how the gear shift and hand brakes operated, and why my saddle was not soft and cushy. Having lived through that speech, I was able to go on to finish the class and pass it—on the third try!

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Years later, my principal asked me to take on an English class in addition to the science classes I was teaching in the middle school. But English did not offer the excitement of Bunsen burners and chemical reactions. And besides, I liked working with Alan Rogers, the head of the Science Department. The students suspected, but never knew for sure, that Mr. Rogers and Mrs. Corcoran were an item.

The head of the English department proved to be a stickler for detail, a fussy fellow. He kept his own, private, classroom set of dictionaries locked in a closet. On the first day of the semester, he took me in there and reluctantly handed over one copy for my use. I really didn’t enjoy those two years of teaching English, but I finished with a sincere respect for the job.

Currently I am happily enrolled in Ana Manwaring’s writing class at the Napa Valley College. She oversees the fine-tuning of our work, and encourages us to use our own “voice.” We students help each other with our critiquing. The two Guys in class have helped me: Guy K., with his constant reminders to eliminate the “is” and “was” words, (real verbs sound more interesting), and Guy “Noir” who urges me to avoid the insipid stuff like my dreadful essay on Pink Geraniums.

My mother is gone now, so I cannot look her in the eye, but I still talk to her. She always loved a well-told story. I feel her curiosity as she reads over my shoulder while I try to write those, with the help of my many English teachers.

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