Habits


Simple life forms become more complex over time; a life of complexity yearns for simplicity. Beautiful artwork is food for the soul. Respect can become a habit. 

My students expressed these ideas in the paragraphs they wrote about our trip to the Akron Art Museum last week. They all enjoyed themselves and seemed to get something out of the experience, even Van who exceeded her own minimum standard of three sentences.

“I guess there are ten,” she said, “but they are short, simple sentences.”

“Did you do that so you wouldn’t make any mistakes?” I asked, half joking.

She nodded with her usual mischievous grin.

Luz Alba’s prose was the most poetic, discussing how artists express their “states of mood” through vivid colors and abstract scenes. Hers was the phrase about art as soul food, a line that brought to my mind Shakespeare’s Twelfth Night and music as the food of love.

Santos, the newest addition to our class, had a lot to say about the origins of life and how one artist in the museum’s collection portrayed a kind of evolution from single cells to human beings amid a watery background. 

“It remind me of a book I read,’ he said, pronouncing it not like ‘red’ but as the present tense. “First, there is one cell, then two, then three, and up and up and up.”

His English is a bit more limited than that of my other students, and he uses a lot of hand gestures to get his meaning across. He also repeats himself a lot, unable to produce the nuanced vocabulary he knows in Spanish.

One of Van’s ten sentences commented on Luz Alba’s sense of humor, and I asked her to elaborate.

“What kind of sense of humor does Luz Alba have?” I asked. “How would you characterize it?”

All four of them stared at the white board where I had corrected Van’s phrasing from ‘a good humor’ to ‘a good sense of humor.’ Silence.

“Would you say she has a wicked sense of humor?” I wrote wicked on the board. “A mean sense of humor? A rude sense of humor?”

I wrote each adjective on the board as I said it.

“It’s kind of like,” Van ventured, “she not mean, but kind of ...like, getting you in trouble.”

She punctuated her comment with nervous laughter, as she so often does.

“How about this word?” I wrote mischievous on the board. “What does this word mean?”

The silence lengthened.

“This same as word in my country, I think,” Santos finally said. “It mean kind of dark, unknown.”

“Okay,” I said. “Not exactly. Dark? Not really. Anyone else?”

“I think it mean,” Yuwei spoke up tentatively, “kind of like....naughty.”

“Yes!” I wrote naughty on the board. “Perfect! Mischievous is not being bad, exactly, but rather naughty.”

Yuwei smiled big, but no one seemed to really understand. From a brief conference in Spanish, Luz Alba determined that Santos had been confusing the word with mysterious, which sounds almost the same in both English and Spanish.

I needed to clarify.

“Remember at the museum,” I began, “in that room where the Chinese artist had colorful banners hanging on the walls? And there were all those pieces of pottery and ceramics on the low table? When Luz Alba came in, she reached into her pocket as if she were going to get out a coin and said to Van, ‘You want to make a wish?’ with a totally straight face. Remember that?”

Everyone was smiling and nodding, clearly remembering and getting the point.

“She was being mischievous.” I said. “She wasn’t being bad, exactly, but was joking about doing something bad.”

This somehow brought up the word inhibit, which I partially defined in opposition to uninhibited, a word that describes both Luz Alba’s personality and my own.

“We do not block our emotions,” I said. “We do not inhibit ourselves. We express ourselves freely.”

Van mentioned how she often confuses inhibit with another word, but couldn’t think of it just then. We collectively came up with inhale and inhabit. 

“They’re so close to each other, aren’t they?” I wrote inhabit directly underneath inhibit. “But their meanings are very different. It’s weird, isn’t it, how that prefix in means a negative in one word, but more of a positive in the other.”

Once again, I sympathized with the difficulty of learning English vocabulary that comes from so many different origins. A rule that applies in one situation is irrelevant in another.

Our lesson then moved from vocabulary to distinguishing between plurals and possessives in words that end with an s. Santos had a little difficulty with these, as well as with third-person verbs that end in s. Once that was covered, he had another problem to tackle.

“I have a question, Sharon,” he began. “One my teacher tell me, when he talk to patients, he say they have four things they need teach a child. When a boy reach 14 years old, he need these four thing, and he go off and be a man. These are responsibility, solidarity, honesty, and respect.”

I wrote those words on the board, not sure where he was going to go with them.

“When I talk to patients,” he continued, “I tell them, only teach these four habits. Habits? Is the right word?”

Now the conversation took a more philosophic turn.

“I don’t think those things are habits,” Van said. “Maybe values...”

“Yes, I agree,” I said. “Responsibility, solidarity: those are more like values than habits.”

“Yes, but,” Santos was clearly not satisfied with this and needed more of an answer. “is right? I can say to patients these are habits to teach children?”

“Well,” I said, unsure of how to proceed exactly. “I would say there are behaviors you can practice that express these values, and if you practice those behaviors enough, they will become habits. And these are probably good values, and the behaviors that express them are good...”

“Habit is something you do over and over?” Yuwei asked.

“Yes,” I said.

“And child who behaves like this is good child,” Santos interjected. “His habit is good, so his values is good.”

Luz Alba interrupted to say she doesn’t fully agree.

“In my town of birth,” she said, “I knew a man, all the way from elementary school, high school, all my life. He was a good person, all the time good. I went to college, then came back, and he still there. Only now, he was...narco traffic. You know this word?”

Yes, I had heard of narco traffic. I wrote it on the board.

“Narcotics,” I said, writing out the full word, “are drugs, like cocaine and heroin.”

Yuwei and Santos nodded their comprehension. All faces were solemn.

“Yes,” Luz Alba continued. “I come back from college and learn this man, there had been a bank robbery, and he kidnap all the people in the bank, and then..”

She trailed off, but pointed her index finger and curled her other fingers into her palm, pumping her thumb up and down in the motion of firing a gun.

“Oh,” I said, rather horrified. “He murdered them? He was on drugs?”

“No,” Luz Alba said. “He only sell the drugs. He not take them. But he sell them in the cartel, and he always need more. So he was good man, but his habits were not good.”

“It seem like good habits are hard to keep,” Van said, “But bad habits are so easy.”

“Yeah, you’re right,” I said, surprised at Van’s insight, as well as her uncharacteristic willingness to speak up in class. “I keep trying to stop biting my fingernails. I quit smoking a long time ago, but can’t seem to quit chewing my fingers.”

We eased away from the seriousness of Luz Alba’s example, but the idea of habits kept coming up.

I ended the class with some worksheets on verb tense that I wanted them to do at home for next week.

“When you’re looking at the chart and working on these exercises,” I said while everyone gathered their things, “remember that the name of the tense isn’t so important. I don’t care what you call it; I only care if you use it right.”

“I know all this,” Luz Alba said, looking a little frustrated. “I remember all this and do it okay on paper. It is when I talk that it is hard.”

Van agreed that she gets verb tenses alright on paper, but has a hard time using them well in conversation.

“Yes,” I said. “I understand. But the more we practice them, eventually they will become a habit.”
I pointed again to the word habit on the board. 

We all have bad habits, whether it’s biting our nails, drinking too much coffee, or checking our cell phones every five minutes. Santos told us it takes only ten weeks to solidify a new habit, a timeframe I am skeptical about. I guess the trick is being consistent for that ten weeks, then being diligent about keeping up the practice.

This class on Thursdays has become a habit, one I have to work fairly hard to keep. I never know exactly how it’s going to go, but we always get to some kind of meaning together, whether I’ve over prepared or arrived with nothing. 

In the complexity of learning English, my students understandably long for simplicity. In the simple task of volunteering for this class, I encounter the endless complexity of negotiating the nuance of communication. And together we build a habit of meeting on Thursdays, practicing our language skills, and respecting each other’s opinions. It’s not the easiest thing I’ve ever done, but it’s easier than trying not to bite my nails.

Of Art and Architecture


The Akron Art Museum was not as crowded as I had expected for a free-admission Thursday evening. A handful of people strolled through the quiet rooms of the permanent collection; another half dozen or so roamed the open spaces of “Beauty Reigns,” the current modern installation of pieces by a variety of international artists. 

My husband and two of my school friends had joined my three most reliable conversation class attendees at the library before crossing High Street to enter the museum. Luz Alba also brought a friend, Santos, a Mexican doctor here to study medical hypnosis. His limited English vocabulary did not keep him from attempting to engage in lengthy explanations of his history, the education he was gleaning in Ohio, and his love of particular paintings in the permanent collection that reminded him of his home in the hills of Mexico. 

After donning paper bracelets at the front desk, we moved as a group into the Mary S. and David C. Corbin Foundation Gallery to experience “Living with Art,” a presentation of artwork in settings that mimic a home: three bright, geometric prints grouped behind a dining table and chairs; a frenetic scribble of fuschia across white canvas above a sleek, modern sofa; tastefully matted and framed photos of bygone local businesses above a mod credenza, complete with magazines and an ersatz stereo system.

A small metal bird fashioned from spoons and resting on a night-stand next to a bed made up with fresh-looking linens caught everyone’s attention. Its assemblage was ingenious: the business end of old silver spoons were turned upside-down to form the bird’s head and wings; spoon handles fanned together to create tail feathers. We were all impressed with the ingenuity and creativity involved. Luz Alba picked it up and turned it over and over in her hands, trying to fathom its construction. 

This was probably the wrong gallery to being our visit, as it set a dangerous precedent for us. We leafed through magazines from end tables, picked up a wooden bowl to examine its construction, ran our hands over prints and fabrics to inspect their textures. We felt ourselves quite at home.

The quiet, warm rooms of the permanent collection, where a sample of works from 1850 to 1950 illustrates the changing sensibilities of a volatile century, tested the feeling of propriety we had garnered in the Corbin Gallery.

My friend from school, Rachel, and I were admiring an impressionistic landscape and discussing the texture in the artist’s brushstrokes. Rachel calmly extended her hand and ran a finger over the paint.

My heart skipped a beat, and I looked around quickly to see if any of the museum workers had seen this. No one else was in the room, so I kept my calm.

“We are not allowed to touch the paintings in here,” I whispered with a smile, hoping I didn’t sound too alarmed.

“We’re not?” Rachel asked, eyes wide with guilt.

“No,” I replied. “In that other room it was okay, but generally we are not allowed to touch any of the art in here.”

“Okay,” Rachel replied, contritely looking down at her cell phone.

I had been admonished by museum guards in the past for touching artwork, and I wanted to save Rachel from that intense feeling of guilt and shame that can accompany a harsh word from someone in an official uniform with an ID tag dangling from a lanyard and a walkie-talkie clipped to a belt-loop. My most recent infraction was at the fashion museum at Kent State University, where the rich fabrics of antique dresses and coats constantly tempt me with their siren call of tactile pleasures. I go there often with my mom and her friends; the short, bald guard there recognizes me and rarely lets us out of his sight anymore.

Fortunately, I seemed to have nipped Rachel’s similar compulsion in the bud. There were no other instances of illicit touching that I knew of in this museum visit.

After thoroughly inspecting the impressionists and early modern realists of the permanent collection, our motley group backtracked across the main lobby, taking note of the late evening light filtering through the wall of glass that makes up the front of this newest section of the museum.

When the construction of this addition was completed in 2007, Akron residents had strong, conflicting opinions about its aesthetics. Many thought the ultramodern, glass-and-chrome addition that surrounds the original red-brick building, once the town’s post office, was too much. Some said it looked like a space ship landing on the old building; some felt the trapezoidal, cantilevered metallic contraption on the roof was simply ugly. 

I love the new structure. I find the integration of the solid old building with the new, light-filled glass atrium to be a beautiful metaphor for Akron: we are constantly taking our old, tarnished city and finding ways to polish it, bring it new life, launch it into a future we can only just barely imagine. I love the startling originality this museum’s architecture brings to our skyline. It makes me feel like I can reinvent myself at will, as Akron has done time and time again.

We climbed the cement stairs in the center of the atrium and pushed through tall, glass doors. White plastic tendrils of laciness draped invisible wires hanging from the ceiling in the center of a wide open space before us. This ephemeral chandelier was the first of many oddly juxtaposed modern pieces that would challenge us in this wing of the museum. 

Our group dispersed, and we made our way individually and in pairs around bright and murky paintings, jagged and smooth sculptures, funny and disturbing installations. 

In one anteroom, ladies’ shoes had been tucked into niches that were then closed off by yellowed animal skin sewn roughly right into the plaster of the walls. The artist, Doris Salcedo, created the piece to memorialize part of her native country’s violent history. In the statement accompanying her artwork, the artist mentions the hundreds of thousands of victims of ongoing drug wars in Columbia, and says that families of some of these victims had asked her to make art to help commemorate their loss: 

“Salcedo learned that most families could only determine the identity of those in mass graves by recognizing their shoes.  Each niche contains one or two shoes, most still bearing footprints and scuffs.”

I’ve seen this particular piece many times. Every time I visit the museum, I am compelled to enter this tiny room and pay my respects to these reliquaries. I feel more powerfully the weight of loss and history amid these humble remains than I do in most cathedrals or cemeteries. I have difficulty tearing myself away from the quiet stillness in that room. The rawness of the black stitches, the opacity of the skins, the simplicity of shoes as a relic of human life: these overwhelm me every time.

Our group met up again after marveling at colors, shapes, textures, and symbols too innumerable to articulate. Everyone looked a little dazed. We moved into the museum’s cafe to share a drink and recover from the experience.

Our conversation turned to language and current events. I think we were all too overwhelmed to discuss the artwork right away. The sights and sounds of it all needed to settle a bit first; we needed time to make sense of our experience.

“I want you to do some homework,” I said to the group. 

Van cringed a little. “I hope it’s not writing,” she said.

“Yes, it is writing,” I replied with a smile. Van is a math teacher at the university, and she does not like to write.

“I want you to choose one thing you saw today, “ I said, “something you had a strong reaction to, something you either really loved or completely hated. Then write a paragraph or so to describe the piece and why you had that reaction.”

Van was laughing in that mischievous way she has.

“That means more than one sentence, Van,” I said, using my best teacherly tone.

“A paragraph can be three sentences,” she replied with a grin. “I read that somewhere."

We all laughed. 

“Santos, will you join us again next week?” This was his first time with us, and I hoped he would come back. His unique perspective as a professional would add a lot to our little group.

“Yes, I will,’ he said.

We finished our drinks as our discussion turned to thoughts about pending legislation to legalize marijuana in Ohio. Then we parted ways.

As my husband and I walked the few blocks to our car, I felt a little buzzed. It wasn’t just from the Labrador Lager I had consumed, either. 

I felt truly full in mind and body. My spirit seemed larger than when we had left the library to cross High Street and push open the doors under a slanting glass atrium. My mind hummed with images of color and light and shadow, of beauty and grotesquery, of human suffering and human triumph, of tradition and innovation, of progress and regression and the constant movement of life, itself. 

I hope my students felt the same overwhelming joy and weight of the museum experience. I’ll find out next week when we share what we have written. In the meantime, the Akron Art Museum will guard decades of human experience under sheltering walls of brick and glass, and the unfiltered light of variable Ohio skies.


Out Like a Lamb


“An ‘Eeyore’ is someone who always finds the downside,” I said to my class last night. One of the three students who showed up had mentioned knowing someone who is always complaining about something. “Another name for that is a ‘Debbie Downer.’”

Then I did my impression of the Rachel Dratch character from Saturday Night Live. Van and Luz Alba nodded in solemn recognition; Yuwei chuckled and looked a little confused. 

My story about seeing a large cockroach ambling through the eating area of a local public space (which I will not name here) garnered a more enthusiastic response.

"What is a ‘cockroach’?” Yuwei asked.

I drew a little picture on the white board, and he instantly understood.

“I see a big one one time,” Luz Alba said, getting up from her chair to act out her experience. “And I get a rock to... because they are hard,” she pointed to her back to indicate the shell on the pest, “and I squish it.”

She mimicked picking up a heavy rock and placing it on the ground.

“I place it on top him and...” Here, she lifted her right foot, leg bent at the knee, then brought her foot down in a loud stomp. “I hear ...”

She made squishy, splatty noises for us, which sounded particularly funny in her Latina accent.

All four of us cringed and laughed simultaneously.

Our ESOL class met last night for the first time in about a month. I hadn’t realized how much I missed chatting with these new-found friends until I found myself wiping away tears of laughter.

We caught each other up on our lives: Van got a new part-time job as a cashier. Yuwei went to an American sports bar with some friends from work. Luz Alba had her first gig as a translator for asylum seekers in Cleveland. It felt like a true homecoming.

Then the conversation meandered easily through some old English proverbs, the pleasures and horrors of camping, the oddities of American sports bars, and our immense joy at the change in the weather. 

After we had warmed to each other again, Yuwei gave us an excellent presentation about Chinese New Year and the subsequent Lantern Festival. He talked about the month-long preparations of food and paper cuttings for the festivities, the emphasis on reconnecting with family during the holiday, and the importance of offering the first servings of a celebratory meal to the kitchen gods.

“I prepare this almost a month ago,” he said while searching for the right word at one point. “So I don’t remember all the English.”

He grinned his usual shy, charming grin. Language barrier aside, he did a fabulous job putting together a slide show on his computer about the Chinese zodiac and the travel snarls after the festival that rival our own crowded highways and airports around the Christmas holidays. I was quite impressed, especially because he called this presentation his ‘homework.’

“The Lantern Festival signal the end of the holiday,” he said. The whole thing is a fifteen-day welcoming of spring and the new planting season. Students and most workers get most or all of that period off from work, and everybody spends time with family and good friends. They print optimistic hopes and wishes on paper banners to adorn their doorways and eat sweet or savory sticky rice balls, depending on what part of the country they are in.

“We had a celebration here,” Yuwei told us. “The food was at the museum across the street because the library does not welcome food. Then we come here to the audi..auditoo..” (I had to pronounce ‘auditorium’ for him) “to finish celebrate.”

It sounded like a wonderful and joyous celebration.

I feel as if I’ve had my own personal festival of lights. The long freeze of February had me pinned down for a while, but now the spring is back in my step, and the corners of my mouth once more turn upward as easily as they used to.  

With the return of reasonable wether and longer daylight hours, I am no longer an Eeyore or a Debbie Downer.

And with the reconvening of our Thursday evening class, I feel a sense of purpose again, a sense of belonging and warmth. The Year of the Lamb may not bode well for young women looking to get married, but it seems a good sign for me. 

Let’s hope March gets the message.