The Rhetorical Which

Should we maximise our capabilities, based on our limits?

Or maximise our limits, based on our capabilities?

As to the basic message, here, I actually don’t see too much hair-splitting. Both are aimed at action constrained by circumstance. The difference, I think a lot of people would propose, is the optimism or pessimism found between the two phrases although, even saying that, I think we blend within ourselves attitudes from both.

As for me, I feel more given to the second phrase, maximising our limits based on our capabilities, for its seeming more empirical, more driven by circumstance. Let’s take stock of our resources, and get on with it. Limits that exist will obviously present themselves as obstacles or else, well, they wouldn’t exist. And not only can those limits be reached, maybe they can even be stretched or overcome. This then becomes the task, and thank goodness for capabilities – and there’s the blending. Even empiricists have that esoteric side.

In the first phrase, similarly, something must exist – capabilities – or else they wouldn’t exist! So they must be maximisible (a word I just invented) in a way that hasn’t yet been, well, maximised. The first phrase is all about potential, what could be, if we just find a way to maximise our capabilities. Fist pump, exclamation point. In the culture I’m most familiar with, I suspect people – at least initially – would consider this first phrase a kind of optimism.

Okay, maybe not, since its basis is limitation, and that hardly sounds all warm and cozy. Still… in the first phrase, limits are a mystery to be solved, a challenge to overcome, an adventure: you can do or be anything you want, if you just believe in things. Set some goals, too, obviously – you can’t just go through life living on hope alone. Maybe I’m giving myself away; remember, I feel more given to the second phrase.

If the first phrase is optimism, the second could only be blunt, blanketing, clinical pessimism. But, like I said, I think we tend to blend, and I know I seldom feel satisfied with polarised options. So, even feeling more given to the second phrase, I won’t call myself a pessimist or even lean in that direction. And, yes, that means I won’t call myself an optimist either. Regardless, as I feel more given to the second phrase, I feel good about it for a couple reasons… relying on my capabilities means I have them and can use them, exclamation point, which means my limits can be pushed and stretched and even overcome. Fist pump! In neither phrase is there any lack of opportunity. In fact, each leaves room for the other.

For me, optimism and pessimism aren’t found in phrasing. Sure, we can play with words and come up with ways to objectify our capabilities or our limits. We can arrange syntax a certain way and suggest some interpretations, as I’ve just been doing. But, like I said, the basic message in both phrases is simply action constrained by circumstance. Attitude, tone – these are traits, and traits we find in people. Words describe, and tools are helpful. But it’s people who do the living.

Life has got to be about the verb.

Gettin' Busy Livin'.png

‘Tis the Season to be Silly!

Here’s a curiosity… I wrote this thirty years ago in Grade 12 for – wow! wee! – the high school newspaper. Good lord, thirty years. When you’re able to say such-and-such happened thirty years ago, and remember it…

!!!!!

Sigh. Beats not remembering, I suppose. While we’re at it, how about a wow-wee for thirty-year anniversaries: diamonds, pearls… joy buzzers? Better watch your back at the reunion, folks.

So what do I remember? My Journalism teacher, Mrs Sullings, had been waiting for me to overcome writers’ block and finally granted me an extension until the following issue, figuring I’d never make the deadline for end-of-March.

I really appreciated that from her but now felt all the more determined (and a bit guilty…) to meet the deadline the next morning. I remember sitting on my bed later that afternoon, struggling woe-is-me, and finally just flipping through the thesaurus as some desperate chance-worthy way of inspiring an idea. I think it was “rapscallions” that got the ball rolling, and from there, as the saying goes, the thing just wrote itself! Then it got buried on page 7 because every newspaper has a layout crew. Joke’s on me, I suppose.

Fringe benefit, though… the next time I nearly missed a deadline, for the June edition, Mrs Sullings wasn’t nearly so concerned. She left that to me, that time.

I’m pretty sure this is the second piece I ever wrote for a public audience, as in something actually published somewhere, out of my hands. Boxing Day - Humbug!.jpgThe first was a few months before, this Boxing Day editorial for the December edition, although officially my class hadn’t switched over yet – you either went from Journalism to Creative Writing in January, or you were vice-versa like us. Admittedly, neither piece is rocket science, much less brain surgery, but hey, every piece does more than just fill its own space in the puzzle. A curiosity, like I said.

So here ‘tis! a piece from the past, yet as much for posterity inspired! O Come, all ye Jokesters, unite!

(If you’re interested, click here, here, or here to learn a little more about the history of April Fools’ Day.)

 


‘Tis the Season to be Silly

March 1989

With the end of March comes the eagerly awaited Spring Break, and with Spring Break there is invariably April 1st – All Fools’ Day.

April 1st is the pressure release for everyone whose desire to become a practical joker just can’t be contained another side-splitting minute. Jokesters, jesters, and clowns alike all join together in an harmonic convergence of comedy, where conventional precedents of whimsy are discarded, long-established antic-morals know no bounds, and the quest for the ultimate in rusing excellence reigns supreme.

But as one may expect when the wells of witticism have run dry (as is the case in the world now), spotting any sort of Page 7.jpgexuberant attempt at outlandish tomfoolery proves more difficult than raking wet leaves with a plastic fork. And the Ministry of Education has hardly accommodated the desires of those jovial few desperately striving to keep April 1st, the Prankster’s Paradise, from losing all significance in this once derisory society of ours.

In its infinite wisdom, and unquestionably sound methods, the Ministry has conveniently arranged things so that April Fools’ Day occurs in the middle of the holidays, thus eliminating any hope of school-time merriment. In all fairness to the government, though, they (unlike you or me) wouldn’t recognise a cavorting rib-tickler if it walked up and shook their hand with an electric buzzer. Because of this, school must be dropped as the hostel of hilarious high-jinks.

Where, then, can one perform those pie-in-the-eye shenanigans and still achieve slapstick perfection? Home seems a logical place to start. And why not? For the abundance of potential targets, direct family ties keep anger broiling at a constant low, which is a major determining factor when dealing with the art of rabble-rousing, as are the many options open to the aspiring mischief-maker while on a mission of mirth.

There are the obvious escapades like exploding cigars and fake barf, or such monkey tricks as switching the salt and sugar, baking chocolate EX-LAX brownies, or stretching Saran Wrap over the toilet seat. As well, there are some old favourites to fall back on during instances of carefree nostalgia, like the bucket perched above the half-open door, or replacing the shampoo with NEET. Even the family car isn’t immune, as some skylarking rapscallions decide that switching on the radio to full volume, the windshield wipers to maximum speed, the air-conditioning to its coldest setting, and just about anything else located on the dashboard before the ignition is started, can provide for boisterous buffoonery in the highest degree.

Frozen Bunny.jpg

If this doesn’t tickle your fancy, then send someone you know a letter filled with sneezing powder – make sure it’s post-dated April 1st. You may try soaking your mother’s underpants and then freezing them overnight. Or remove the Sani-flush from the toilet and put green food colouring in the toilet bowl. When the shocked victim flushes the apparent “algae,” it is replaced by red-stained water from the toilet tank, which you have surreptitiously prepared the night before, in the name of all that is hallowed and holy amongst the flamboyant heroes of comedy whose Day you’re helping to celebrate.

Obviously, April 1st – All Fools’ Day – is one of the most important events of an otherwise blasé year, breaking the cat-gut tension with its relaxed, devil-may-care attitude. It is a time for everyone to get, get gotten, and be a good sport about it, either way.

Enjoy your April 1st this year, and if you’re one of the fortunate few to succeed in your sally – CONGRATULATIONS! You can appreciate the hearty effort undertaken by all those looking for an April Fools’ Fest.

And if you’re one of the unlucky targets of this annually occurring “puerile idiocy,” just grin and bear it, because half the joke is watching the victim’s reaction. Stay calm, laugh along with them… and then start plotting for next year.

Thu Pham.jpg

I May Be Wrong About This, But…

Before introducing the moral pairing of right and wrong to my students, I actually began with selfish and selfless because I believe morality has a subjective element, even in the context of religion where we tend to decide for ourselves whether or not we believe or ascribe to a faith.

As I propose them, selfish and selfless are literal, more tangible, even quantifiable: there’s me, and there’s not me. For this reason, I conversely used right and wrong to discuss thinking and bias. For instance, we often discussed Hamlet’s invocation of thinking: “… there is nothing good or bad, but thinking makes it so” (II, ii, 249-250). Good and bad, good and evil, right and wrong… while not exactly synonymous, these different pairings do play in the same ballpark. Still, as I often said to my students about synonyms, “If they meant the same thing, we’d use the same word.” So leaving good and bad to the pet dog, and good and evil to fairy tales, I presently consider the pairing of right and wrong, by which I mean morality, as a means to reconcile Hamlet’s declaration about thinking as some kind of moral authority.

My own thinking is that we have an innate sense of right and wrong, deriving in part from empathy, our capacity to stand in someone else’s shoes and identify with that perspective – look no further than storytelling itself. Being intrinsic and relative to others, empathy suggests an emotional response and opens the door to compassion, what we sometimes call the Golden Rule. Compassion, for Martha Nussbaum, is that means of “[hooking] our imaginations to the good of others… an invaluable way of extending our ethical awareness” (pp. 13-14). Of course, the better the storytelling, the sharper the hook, and the more we can relate; with more to go on, our capacity for empathy, i.e. our compassion, rises. Does that mean we actually will care more? Who knows! But I think the more we care about others, the more we tend to agree with them about life and living. If all this is so, broadly speaking, if our measure for right derives from empathy, then perhaps one measure for what is right is compassion.

And if we don’t care, or care less? After all, empathy’s no guarantee. We might just as reasonably expect to face from other people continued self-interest, deriving from “the more intense and ambivalent emotions of… personal life” (p. 14). Emotions have “history,” Nussbaum decides (p. 175), which we remember in our day-to-day encounters. They are, in general, multifaceted, neither a “special saintly distillation” of positive nor some “dark and selfish” litany of negative, to use the words of Robert Solomon (p. 4). In fact, Solomon claims that we’re not naturally selfish to begin with, and although I disagree with that, on its face, I might accept it with qualification: our relationships can supersede our selfishness when we decide to prioritise them. So if we accept that right and wrong are sensed not just individually but collectively, we might even anticipate where one could compel another to agree. Alongside compassion, then, to help measure right, perhaps coercion can help us to measure wrong: yes, we may care about other people, but if we care for some reason, maybe that’s why we agree with them, or assist them, or whatever. Yet maybe we’re just out to gain for ourselves. Whatever our motive, we treat other people accordingly, and it all gets variously deemed “right” or “wrong.”

I’m not suggesting morality is limited solely to the workings of compassion and coercion, but since I limited this discussion to right and wrong, I hope it’s helping illuminate why I had students begin first with what is selfish and selfless. That matters get “variously deemed,” as I’ve just put it, suggests that people seldom see any-and-all things so morally black and white as to conclude, “That is definitely wrong, and this is obviously right.” Sometimes, of course, but not all people always for all things. Everybody having an opinion – mine being mine, yours being yours, as the case may be – that’s still neither here nor there to the fact that every body has an opinion, mine being mine and yours being yours. On some things, we’ll agree while, on some things, we won’t.

At issue is the degree that I’m (un)able to make personal decisions about right and wrong, the degree that I might feel conspicuous, perhaps uneasy, even cornered or fearful – and wrong – as compared to feeling assured, supported, or proud, even sanctimonious – and right. Standing alone from the crowd can be, well… lonely. What’s more, having some innate sense of right and wrong doesn’t necessarily help me act, not if I feel alone, particularly not if I feel exposed. At that point, whether from peer pressure or social custom peering over my shoulder, the moral question about right and wrong can lapse into an ethical dilemma, the moral spectacle of my right confronted by some other right: would I steal a loaf of bread to feed my starving family? For me, morality is mediated (although not necessarily defined, as Hamlet suggests) by where one stands at that moment, by perspective, in which I include experience, education, relationships, and whatever values and beliefs one brings to the decisive moment. I’m implying what amounts to conscience as a personal measure for morality, but there’s that one more consideration that keeps intervening: community. Other people. Besides selfish me, everybody else. Selfless not me.

Since we stand so often as members of communities, we inevitably derive some values and beliefs from those pre-eminent opinions and long-standing traditions that comprise them. Yet I hardly mean to suggest that a shared culture of community is uniform – again, few matters are so black or white. Despite all that might be commonly held, individual beliefs comprising shared culture, if anything, are likely heterogeneous: it’s the proverbial family dinner table on election night. Even “shared” doesn’t rule out some differentiation. Conceivably, there could be as many opinions as people possessing them. What we understand as conscience, then, isn’t limited to what “I believe” because it still may not be so easy to disregard how-many-other opinions and traditions. Hence the need for discussion – to listen, and think – for mutual understanding, in order to determine right from wrong. Morality, in that sense, is concerted self-awareness plus empathy, the realised outcome of combined inner and outer influences, as we actively and intuitively adopt measures that compare how much we care about the things we face everyday.

Say we encounter someone enduring loss or pain. We still might conceivably halt our sympathies before falling too deeply into them: Don’t get too involved, you might tell yourself, you’ve got plenty of your own to deal with. Maybe cold reason deserves a reputation for callusing our decision-making, but evidently, empathy does not preclude our capacity to reason with self. On the other hand, as inconsistent as it might seem, one could not function or decide much of anything, individually, without empathy because, without it, we would have no measure. As we seem able to reason past our own feelings, we also wrestle echoing pangs of conscience that tug from the other side, which sometimes we call compassion or, other times, a guilt trip. Whatever to call it, clearly we hardly live like hermits, devoid of human contact and its resultant emotions. Right and wrong, in that respect, are socially individually determined.

One more example… there’s this argument that we’re desensitized by movies, video games, the TV news cycle, and so forth. For how-many-people, news coverage of a war-torn city warrants hardly more than the glance at the weather report that follows. In fact, for how-many-people, the weather matters more. Does this detachment arise from watching things once-removed, two-dimensionally, on a viewscreen? Surely, attitudes would be different if, instead of rain, it were shells and bombs falling on our heads from above. Is it no surprise, then, as easily as we’re shocked or distressed by the immediacy of witnessing a car accident on the way to our favourite restaurant, that fifteen minutes later we might conceivably feel more annoyed that there’s no parking? Or that, fifteen minutes later again, engrossed by a menu of appetizers and entrees and desserts, we’re exasperated because they’re out of fresh calamari. Are right and wrong more individually than socially determined? Have we just become adept at prioritising them, even diverting them, by whatever is immediately critical to individual well-being? That victim of the car accident isn’t nearly as worried about missing their dinner reservation.

Somewhat aside from all this, but not really… I partially accept the idea that we can’t control what happens, we can only control our response. By “partially” I mean that, given time, yes, we learn to reflect, plan, act, and keep calm carrying on like the greatest of t-shirts. After a while, we grow more accustomed to challenges and learn to cope. But sometimes what we encounter is so sudden, or unexpected, or shocking that we can’t contain a visceral response, no matter how accustomed or disciplined we may be. However, there is a way to take Hamlet’s remark about “thinking” that upends this entire meditation, as if to say our reaction was predisposed, even premeditated, like having a crystal ball that foresees the upcoming shock. Then we could prepare ourselves, rationalise, and control not what happens but our response to it while simply awaiting the playing-out of events.

Is Solomon wise to claim that we aren’t essentially or naturally selfish? Maybe he just travelled in kinder, gentler circles – certainly, he was greatly admired. Alas, though, poor Hamlet… troubled by jealousy, troubled by conscience, troubled by ignorance or by knowledge, troubled by anger and death. Troubled by love and honesty, troubled by trust. Troubled by religion, philosophy, troubled by existence itself. Is there a more selfish character in literature? He’s definitely more selfish than me! Or maybe… maybe Hamlet’s right, after all, and it really is all just how you look at things: good or bad, it’s really just a state of mind. For my part, I just can’t shake the sense that Solomon’s wrong about our innate selfishness, and for that, I guess I’m my own best example. So, for being unable to accept his claim, well, I guess that one’s on me.

A Kind of Certainty: V. Fleeting Uncertainty

Click here to read Pt IV. A Kind of Faith

 


A Kind of Certainty

5. Fleeting Uncertainty

Like a vast sea of experience is all that we know and learn and encounter every single day. We are but tiny ships bobbing and rolling upon its waves, its currents steering us here and there. How on earth do we discern and decide what we value, what we believe, in order to collaborate with others in meaningful curricular relationships? (I almost wish I could just be waylaid by pirates, or something.) For me, one way to decide is to consider our shared motives, and find incentives to collaborate from there. Notwithstanding the degree to which people are educated, or by whom, everybody has motives.

But we do not all necessarily have a particular destination or a future port-of-call. So the aim for curriculum appears to be that of shaping motives to coincide with the current state of affairs such that, in a broad sense, people can (a) function – a measure of the self-ful[1] – and then (b) contribute – a measure of the selfless. Upon this vast sea, we are not so much bound for any one destination as we are bound to assist each other, each underway to wherever best suits our particular circumstances at that time – yours for you, and mine for me – and let the tangents direct us as they will.

Education, I have come to learn, is learning to have more than a destination or purpose of my own. It is to convoy with others and have faith that they do the same for others and for me, and putting in to decidedly worthwhile ports-of-call on the way. On the way, we chart our courses, but as similar as the ocean might look any given moment, wave after rolling wave, no two moments are ever exactly alike. To that degree, everyone must chart on their own. How intentionally we aid each other, how much or how little we trust, how sincerely we navigate, it is our shared curricula that will determine how effectively we undertake any particular decision we are ever likely to face, alongside whomever we find ourselves. The more we convoy in earnest, the safer we will be. With that kind of support, what is it that would sink us?

One final cautionary note: if and when some finally do make landfall somewhere, with certainty to their decision, we must acknowledge that their perspective will shift dramatically from those others who remain, however more or less certain to remain, at sea. Not everyone wants to remain at sea, and such variances our curricula are obliged to accommodate, if not fully comprehend or appreciate. There on that solid shore might be a tighter homogeneous culture that yields a more one-sided – or dogmatic? prejudiced? – communal certainty all its own. On that shore we might find a trade-off that sets the communal trustworthiness of the bobbing convoy against the stable individual footing of landfall. Yet somehow we all must sustain what we share, no matter the differences that may arise between sailor and landlubber – and why?

Because what remains the same amongst us – indeed, that which makes us who and what we are – is what we have in common. Common to all of us is being alive, being a person, being a human being, someone deserving of a basic respect for human dignity. Each of us, all of us, every one of us. We are all people. In this regard, really all that differs between us is where we are, and when. For people to think in any way differently than this about other people is narrow, delusional, perhaps cruel, and flat-out wrong. That may hardly feel a satisfactory closing, maybe even anti-climactic, but who ever said learning was meant to be entertainment?[2] Learning’s the thing wherein we catch the conscience of each other.

 

Click here for the Bibliography

Click here to read Pt I. An Uncertain Faith

 


Endnotes

[1] Forgive the invention, “self-ful.” I hesitated to use “selfish,” which tends to connote self-seeking and self-aggrandizing behaviour (in that colloquial sense of “No, you can’t have any of my ice cream”), and taking inspiration from the Bard, I just made up a word of my own. Likewise, I do not use “selfless” in some altruistic way so much as simply to counter “self-ful”; as a pair, I intend them to signify simply the notion of there being, for each of us, an intrinsic “me” and plenty of extrinsic “not me’s.” Further, with my students, I would liken self-fulness to each one’s academic efforts and scholarship, and selflessness to voluntary service and community stewardship of whatever kind. The longer-term idea was teaching students to balance these as required by kairos, by circumstance – an appropriate time for each, and the wisdom to know the difference.

[2] Or maybe, just maybe, there’s a curricular role for those gnarly amphibious surfers, after all.

Hawai'i Summer 2008
Teacher at work: catch a wave to catch the conscience?

A Kind of Certainty: III. A Scripture of Truth

Click here to read Pt II. Curriculum, or What You Will

 


A Kind of Certainty

3. A Scripture of Truth

Motive is the key, I would suggest to students: to know motive is to know the truth. And I offered this suggestion knowing full-well the timeworn joke about the actor who asks, “What’s my motivation?” Whats the Motivation Just as we can never cover it all and must go with whatever we decide to include, we also cannot (nor should not) try to present it all, ask it all, or attempt it all in one go. Yes, the odd non sequitur can break the monotony – everyone needs a laugh, now and then. But as with all clever comedy, timing is everything, and curriculum is about more than good humour and bad logic. In that regard, given what has already been said about spotting pertinence, curriculum is about motives: to include, or not to include.

And we must try to comprehend this decision from more than one perspective; each in their own way, both teacher and student ponder what to include and what to disregard during any given lesson: “Teachers are problem-posing, not just in the obvious sense that they require students to doubt whether they know something… [but] implicitly [asking] them to question their understanding of what counts as knowledge” (Beckett, 2013, p. 54-55). People generally will not doubt themselves without good reason, or else with a lot of faith in whoever is asking. Challenged to reconstruct or reorganise an experience (Dewey, 1916), more than likely we will want to know why. Curriculum addresses ‘why’.

Why! take Hamlet, for instance… deigning to know a little something about role-playing, he offers some curricular particulars while lecturing the Players ahead of the Mousetrap performance, although really this is to say Shakespeare offered them. Writers famously cringe as rehearsing actors and directors dismember their carefully worked dialogue – or is that another hackneyed joke? In any case, Shakespeare opens Act 3 with some forty lines of advice from Hamlet to the Players, whose replies are little beyond short and polite (although ‘why’ has evidently been left for you and your theatre company to ascertain). These follow some forty lines in Act 2 during an exchange between Hamlet and Rosencrantz about theatre companies, all of which could simply be played as a dose of comic relief amidst the far “weightier matters” of the play (Guyton, 2013). Tried another way, Hamlet’s lines about acting embody the very perplexity of his prolonged tumult: he takes for granted that his listener will attempt to reconcile what he says with whatever uncertainty they might have. What better job description, a “teacher”? Otherwise, why even bother to open his mouth?

What need to teach when we trust that we are all alike, that all around is 100% certain? As it pertains to telling the Players about acting, Hamlet wants no assurance that his audience must bridge some gap of certainty over his trustworthiness, not so far as he is concerned.[1] Indeed, common to live productions that I have watched, he is as relaxed and certain in offering his advice as the Players are in hearing it, like preaching to the choir.[2] Their relationship, apparently going back some time, suggests mutual respect and a shared faith not merely to listen but to understand in listening. It suggests a kind of shared attunement, something mutual, like a kind of curriculum founded upon trust. For all we might want to trust those around us, for all we might want some certainty that we are respected by others – or, perhaps more so, that we are believed – what a torment life would be if our every utterance were considered a lie. Then the only certainty would be the assurance that no one ever believed you, and if that still counts for something, it is dreadfully cold comfort.[3]

We citizens of 21st century post-modernist [your label here] North America may not have descended nearly so low although Klein (2014) does presciently discuss politics, the national discourse, and an observed decline in public intellectualism (Byers, 2014; Coates, 2014; Herman, 2017; Mishra & Gregory, 2015). Where Klein encompasses individuals and the processes, systems, and institutions that they innervate while going about their daily lives, he describes Dewey’s “conjoint communicated experience” (Dewey, 1916, p. 101) and implicates “an extraordinarily complicated conversation” (Pinar, Reynolds, Slattery & Taubman, 2006, p. 848), one that occurs everyday and includes everybody. But since we are forbidden to compel but only persuade the beliefs of free thinkers, we realise that all our perceived uncertainty can only be bridged by a kind of faith: we depend either upon others to see things as we do, or else we depend upon our rhetorical skill to persuade them toward our way. Or we live tense lives full of disagreement and antipathy. ’Swounds, but life would be a lot more stable and certain if we all just believed the same things!

Hamlet craves certainty, to the point where the dilemma of his doubt halts him so dead in his tracks that he is prompted to question existence itself. Where it comes to enacting vengeance – but, really, where it comes to everything we witness in the play – Hamlet – and, really, every character[4] – craves certainty and assurance while suffering from uncertainty and reluctance, which means, of course, that he craves and suffers from both ends. Indeed, a piece of him is certain. But comprising “one part wisdom and ever three parts coward” (4.4.42-43), he wages an unequal battle against himself. He wanders from room to room searching to free himself from his purgatorial tesseract, challenged not simply by one retrograde faith but by several, the consequence of conveying curriculum from Wittenberg back to Elsinore where, previously, he had received, to say the least, an impressionable upbringing. The upshot, given the conflicting decisions he faces, is that Hamlet would rather renounce any mutual faith of any sort and rely upon a certainty all his own: himself.

Yet he even doubts his ability to self-persuade, just as he holds no faith in anyone whose judgment he fears. As a result, he is rightly miserable and lives an exaggerated moment-to-moment existence, “…enraptured with, submerged in, the present, no longer a moment in but a suspension of time, absorbed by – fused with – the images in front of [his] face, oblivious to what might be beyond [him]” (Pinar, 2017, p. 12). Pinar describes a kairos moment of chronos time, as if Cecelia, while watching The Purple Rose of Cairo (Greenhut & Allen, 1985), could press “Pause.” He may not have been Woody Allen’s modernist contemporary, but Shakespeare still appeared to possess enough prescience to machinate a rather, shall we say, enlightened viewpoint; many consider The Tragedy of Hamlet, Prince of Denmark to be the Magnum Opus of English literature, not just Shakespeare. Evidently, he knew exactly how to craft such a rich and roundly individuated protagonist, one certain enough to persist for over 400 years. Certainty the Bard found within himself, and that he bestows (albeit perversely) upon Prince Hamlet, who “[knows] not seems” (1.2.76). Faith he found within himself, too, but that he saves for his audience, trusting them, freeing them, to spot it when the time is right, rendering what they will get unto those who will get it.

By the same token, may the rest get whatever they will get. As far as curriculum is concerned, one size has never fit all, nor should it ever be so.

 

Click here for the Bibliography

Click here to read Pt IV. A Kind of Faith

 


Endnotes

[1] I always suspected a handful of my students were just humoring me – have I mentioned they were brilliant?

[2] Sometimes, these lines have even been cut, to help shorten the play from its typical four-hour length.

[3] Elsinore seems just such a place. But they are wise who “… give it welcome” (1.5.165) since at least, then, you can get on with functioning, knowing where you stand relative to all the other prevaricating liars and weasels who inhabit the place alongside you.

[4] Every character, that is, with the possible exceptions of the Gravedigger, who apparently is most cheerful and self-assured, and Fortinbras, who suffers perhaps not pains of doubt so much as loss, and then always with something up his sleeve. I might also include Horatio in this reflection, but I fear, then, the need for an endnote to the endnotes, to do him any justice.

A Kind of Certainty: II. Curriculum, or What You Will

Click here to read Pt I. An Uncertain Faith

 


A Kind of Certainty

2. Curriculum, or What You Will

Baumlin (2002) distinguishes three concepts of temporality. Chronos is linearity, our colloquial passage of time, “non-human; impersonal objective nature” (p. 155), from which we understandably define past, present, and future. In relation to this is kairos, a single point in time, “[describing] the quintessentially human experience of time as an aspect of individual consciousness, deliberation, and action… that single fleeting moment … when an individual’s fortune is ‘set in motion’, … [providing] the means” and yielding “Fortuna, the consequences” (p. 155). Interwoven with kairos, then, is Occasio, the cause to Fortuna’s effect, a sense of “‘right-timing’ and prudent[1] action,” an opportunity[2] to better the capricious lies of fortune and fate. Although this sense of opportunity was emancipating, it also engendered accountability for consequences.

The developing belief that we possessed not mere agency but free will weighed upon Renaissance thinking and was a trait that Shakespeare often imparted to his characters, Hamlet (4.4.46-52) being but one example.[3] By the time 17th century Elizabethans first watched Hamlet on stage, the humanist challenge to “a grim… Christian sufferance and resignation to time” (Baumlin, 2002, p. 149) was well underway. Unsurprisingly, Shakespeare offers nothing firm in Hamlet as to where our belief should lie, either with fortune or with free will; indeed, leaving the debate ruptured and inconclusive seems more to his point. To this end, perhaps most notable is his placement of Hamlet alongside Horatio in the graveyard to ponder the dust and fortune of Alexander, Yorick, and – hard upon – Ophelia.

In handling Yorick’s skull, Hamlet revives the poor fellow’s “infinite jest [and] excellent fancy” (5.1.186), memories of such fond “pitch and moment” (3.1.86) as to “reactivate” (Pinar, 2017a, p. 4) his own childhood, even momentarily. Such specific remembrances educed by Hamlet (which is to say, by Shakespeare) expose the springe of kairos; ultimately, certainty is beyond our capacity, rough-hew it[4] how we will. Colloquially, this might seem obvious (i.e. “the best laid plans…” and so forth, and no one person apparently able to pick the right lottery numbers each week). Yet the extent to which we consider ourselves masters of our own fortune is, for Hamlet, presently in the graveyard, a kind of epiphany, “a spiritual (re-) awakening, a transformation” (Baumlin & Baumlin, 2002, p. 180).[5] He decides that yielding himself over to “divinity” (5.2.10) is wise as compared to the folly of trying to control what was never within his grasp to begin with.

He does not give up any freedom so much as give over to dependence, which of course is a leap of faith. Shakespeare poses a question of allegiance – to obey, or not to obey – further compounded by which allegiance – obedience to father, or to Father; to free will, or to fortune; to an unweeded garden, or to what dreams may come – all these are the question.[6] Shakespeare has Hamlet “reconstruct” (Pinar, 2017a, p. 7) his conceptions of allegiance and obedience during the exchange with the Gravedigger, which hardens Hamlet’s resolve yet also enables him to come to terms with his tormenting dilemma over fealty and honour. By the time his confrontation with Claudius is inevitable,[7] Hamlet’s decision to “let be” (5.2.224) “[marks his] final transcendence of deliberative action in worldly time” (Baumlin & Baumlin, 2002, p. 180). Thus is indicated the subtle dominance of the third temporal concept, aion, “the fulfillment of time” (Baumlin, 2002, p. 155), a circularity like the uroboros, the serpent swallowing its tail. As such, aion signifies what is boundless or infinite, neither more nor less than eternity.

Oddly enough, these three concepts, in concert, can seem both time and place,[8] describing a “spatial-temporal sequence … from point, to line, to circle”; from “natural to human to divine orders” (p. 155). I am not fixed to the idea of a “sequence,” but the general composite still shapes my response to Hamlet’s most famous question of all.[9]

 


Let go. Learn from the past, but don’t dwell on it.

left (past)

Let it work. Anticipate the future, but no need to control it.

later (future)

Let come what comes. Every possible decision will still yield consequences.

Let be. Pay attention now to what is now.

The readiness is all. (5.2.222-223)

lasting (present)

The rest is silence. (5.2.358)

(a clever double-meaning here: “the rest” = either past regrets and future anxieties or else the undiscovered country, death)


 

As I take them, these four “Let…” statements amount to sound wisdom, like trusted advice from teacher to student or parent to child. As a student and child, myself, writing this paper, I faced some question of certainty – the same question, strangely enough, that we ask about curriculum: what is worth including? By the same token, what is worth omitting, and from there, what will also be otherwise left out or unmentioned? Whatever we decide, one thing is certain: we can neither cover nor even conceive it all, which of course was my original problem. In fact, knowing as much as we know can even shed paradoxical light onto how much we remain in the dark. Eventually, as my Dad recommended over the phone, I simply needed the courage to make a decision and go with it, and even with his voice in my ear, I knew my own advice with my students had always been the same.

Hanging up, I reasoned further that any feedback I did receive – from peers during revision or from my professor’s formal evaluation – would illustrate how effectively I had collated and communicated my message. Beyond that, say revising the paper for publishing, I would have some ready direction. And there it was, I realised, staring me in the face, curriculum in a nutshell: conversations, decisions, actions, evaluations, reflections – all these, in relation to me as I wrote this essay, amounted to a lived curricular experience of my very own.[10] My curriculum, like this essay, does not simply pose the straightforward question about what is worth including. That question is insufficient. More particularly, my curriculum, like this essay,[11] prompts me to consider what is worth including in light of the audience, the topic, what is already known about the topic, and whatever aims exist in further pursuit of the topic.[12] Succinctly, my curriculum – all our curricula – is contextual, multitudinous, and a question of – questions of – what is particularly worth knowing about any topic of study under the sun: “Why this, why here, and why now?”[13] That is the question.

Well, maybe that is the question. The essence of this question, this curricular particular, lies in kairos, the concept of opportune timing or occasion that “signals the need to bring universal ideas and principles to bear in historical time and situations [i.e., deductively] and, thus, calls for decisions [requiring] wisdom and critical judgment” (Smith, 1986, p. 15). We can only note what matters to us once we have a reference point. And since nothing occurs in a vacuum, any detail can be potentially informative, so we must learn to pointedly ask not, “In what way(s) do I already know what I’m looking at?” but rather, “In what way(s) do I not know what I am looking at?” which tends to be deductive. Typically, curriculum begins inductively, with what someone already knows, and we all know plenty of things. But we generally bring to bear only what we deem relevant to the moment. By the same token, someone who knows what is relevant to the moment has a kind of prescient “mechanism” (Christodoulou, 2014, p. 54) for spotting what will likely be of use.[14] So curriculum is a means of determining, if not discovering, in the moment what works. It is, therefore, also a means of coming to know ourselves.

As we develop confidence and self-esteem, and dignity, we grow to feel that we have something to contribute, that we matter, all of which prepares us for helping others. Curriculum helps us to sort out our values and beliefs,[15] which provide a frame-of-reference in order to select and, later, to measure our day-to-day efforts. Of course, none of this happens immediately; we need time to grow more self- and other-aware, each kairos experience filing in alongside the rest, like a crowd of ticket holders. I can only wonder whether Shakespeare might have characterised curriculum as something akin to being held over for an indefinite engagement. In any event, we never stop learning – may our auditoriums ever sell out – as we continually induce as well as encounter influence. But how deliberately do we do so? Maybe that is the question.

 

Click here for the Bibliography

Click here for Pt III. A Scripture of Truth

 


Endnotes

[1] As Baumlin (2002) notes, “For the student of prudentia, time reveals itself as golden Opportunity rather than as fickle, devastating Fortune” (p. 141). Certainly, Shakespeare and his Elizabethan audiences were feeling such debate permeate their own lived experiences, a dram of an idea that, once diffused, might only thereafter suffuse.

[2] According to Claflin (1921), “‘opportunity’ in Shakespeare means more than it does now [in the 20th century]; it is closer to the original force of Latin opportunus, and means ‘a specially favourable occasion’” (p. 347). Curiously enough, however, as I searched a concordance of Hamlet (Crystal & Crystal, 2002), I found no usage of “opportunity” whatsoever and only three of “chance,” most notably that of Hamlet to Horatio: “You that look pale and tremble at this chance…” (5.2.334) in reference to the dead and dying at the play’s closing. Of further interest is the concordance’s report that Shakespeare used “opportunity” throughout his entire catalogue of poems and plays only sixteen times as compared to “chance,” which he used 114 times.

[3] Kiefer (1983) examines Fortune at length as one colour in Shakespeare’s palette for his characters, noting of King Lear: “In no other of Shakespeare’s plays do characters invoke Fortune so insistently [or] so frequently at pivotal points of the action” (p. 296).

[4] Read either “certainty” or “our capacity,” here, in place of “it”; either works just as well. The line from the play I have paraphrased, of course, because the original antecedent is “our ends” (5.2.10) in place of “them” (5.2.11). However, where I have changed the diction of the thought, as a matter of perspective, the meaning remains intact. The implication that we – in essence – play God might not be nearly so alien for Shakespeare’s audience as to their feudal predecessors. By contrast, to postmodern audiences these days, the notion of a divinity standing apart from our own free will and shaping our ends might be the more alien concept.

I might finally point out that Shakespeare, as his creator, is Hamlet’s god, of a kind. But that analogy does not last long under scrutiny since Hamlet, being a fictional character, has no sentience, free agency, or tangibility, and actors who portray him are left with prescribed dialogue and beliefs.

[5] Because I am ultimately discussing what Shakespeare did, his characters being only conveyances as such, I was tempted to complete this sentence with a line from Macbeth, as follows: “The extent to which he considers himself master of his own fortune, presently in the graveyard, is laid plain for Hamlet, leaving him to conclude only that ‘…all our yesterdays have lighted fools the way to dusty death’ (5.5.22-23).” The key difference, of course, is that Hamlet decides against being a fool whereas Macbeth seems all too keen to excel at it. Where Hamlet best demonstrates a respect for “divinity [shaping] our ends,” Macbeth better represents the rough-hewing bit, which makes him a far less redeeming character in the end. So, upon reflection, it seemed prudent to stick substantively to just the one play. Thank heaven for endnotes, I guess.

[6] Had he fallen clearly to one side, as a subject to his monarch, Shakespeare might very well have sealed whatever freedom he did enjoy; his own response, evidently, was to render unto Caesar, and render unto God, and continue writing plays. Four centuries on, what is there about us, that we might think we are any less susceptible than he was to coming to terms with our finite nature? We live in civil society, by the rule of law under a Constitution, within which are Rights and Freedoms that include the assurance to believe, or not to believe, whatever we decide suits us best. Furthermore, we have the advantage over Hamlet in that his example exhorts us, interminably – just ask my students, remember? Alas, though, poor Yorick.

[7] As Horatio notes, “It must be shortly known [to Claudius]” that Hamlet has tricked Rosencrantz and Guildenstern to their deaths at the hands of England (5.2.71-72), a move by Hamlet in his contest that must certainly harden his uncle’s resolve to have Hamlet dealt with once and for all. Of course, Claudius had sent Hamlet to England to be killed, but in secret, on account of both Gertrude and the public’s love for the Prince (4.7.5-24). However, in dispatching his childhood comrades – and with such calculation (5.2.57-70) – Hamlet has now given Claudius justifiable means to overcome any such favourable opinion as might have benefitted Gertrude’s “son” (5.1.296).

[8] Time and place are what we commonly refer to as setting in English class, which is a curious way to consider eternity.

[9] Seldom mentioned amidst all the consternation is that Hamlet does not actually ask a question. If he had, he might have worded it as, “Is it to be, or not to be?” In that case, we would need to know what “it” means. Alive? Dead? Happy? Sad? Anything goes, I suppose, but then… what would you expect? He might have been asking, “Am I…” or “Are we to be, or not to be?” But where that is still somewhat existential and vague, now we might want to know whether his use of the verb, to be, is more open-ended or copular. I suspect Shakespeare knew enough about a general audience to trust that only the most fastidious grammarians would fuss over particulars such as antecedents and verb tenses in the dialogue. Otherwise, why decide to use the most protean verb in the English language?

[10] As far as lived curricular experiences go, there are many like it – as many as there are people to have them – but this one is mine.

[11] At this early stage, I confess: why struggle writing a paper when I could use the age-old trick of writing a paper about writing the paper? Why…? Because the age-old trick is just that – a trick – and spinning academic wheels stalls any hope of contributing to knowledge, so I would hardly be honouring my responsibility if I tried pulling that off. Still… the paper within a paper got me thinking about Hamlet, which oddly enough had been my original inspiration for this essay. As my students used to say… once you study Hamlet, he just never goes away. How true, how true…

[12] According to Hartmann (2014), it was just such questions that prompted Ezra Klein to leave The Washington Post and establish Vox.com in 2014.

[13] Students in my all courses learned to rue the question “Why?” so much so, one year, that it became a running joke simply to utter “why” as a pat-response, whether as a question, an interjection, a plea, a curse, an epithet – those last two maybe reserved for me, I don’t really know. In honour of their perseverance, and their angst, I named my blog The Rhetorical WHY.

[14] Surrounded by Winkies, confronted by certain capture, only Scarecrow eyes the chandelier above the Wicked Witch, so only he can yank Tin Man’s axe across in time to chop the rope that suspends it. Hardly the grandeur or the gravitas of Hamlet, I realise, but The Wizard of Oz has much to offer pertaining to curricular theory as well as teacher autonomy.

[15] In keeping with the three temporal concepts, perhaps a more suitable metaphor than threading our own needles would be to say we surf a long pipeline. But, this essay being more concerned with curriculum and theatre, any such Hang-Ten imagery is better suited to another time, like connecting curriculum to gnarly waves and bodacious beaches (“Surf’s Up,” 2015). Anyway, certainly no one would ever dream of linking Hamlet to surfing (“’Hamlet’s BlackBerry’,” 2010) in the first place, would they?

A Kind of Certainty: I. An Uncertain Faith

Well, you had to know this one was coming… a meditation upon Hamlet.

This meditation, though, also happens to be a treatise on curriculum. I wrote this essay last year for a course I took with Dr William Pinar, who is Curricular Royalty on top of being a super guy. And, like me, he taught secondary English, so I felt I had a sympathetic ear.

Dr Pinar’s course was driven by chapters he was writing for a book about George Grant, who was (among many things) a philosopher, theologian, educator, and Canadian nationalist. Dr Pinar’s book is about Grant’s critique of time, technology, and teaching.

The series of posts, “A Kind of Certainty,” comprises my final paper, in which I attempt to present Hamlet, the character, by way of the same treatment that Dr Pinar presents Grant. That said, I don’t address technology here (although I do address it here and here), focusing instead upon teaching and curriculum, and granting due respect to the concept of time.

I debated how I might present this essay, whether to revise it into something more suited to the style and structure of my other blog posts. But it just proved far too difficult to change or remove anything without drastic revision, essentially having to rewrite the entire paper, so here it is in academic trim… citations, endnotes, and all – Dr Pinar is a big fan of endnotes, by the by, so that’s the explanation there.

Here, too, is the bibliography.

 


A Kind of Certainty

1. An Uncertain Faith

I taught Hamlet in English 11. During what typically lasted five months, we considered, among other concepts, certainty and faith. One example of mine to illustrate these was to ask a student why she sat down so readily on her classroom chair. She would be puzzled and say something like, “Huh?” My reply was to note how much faith she evidently placed in that chair to support her without collapsing. Then she would laugh, and I would ask further whether she knew the manufacturer, or the designer, but of course she knew neither. Then I would ask how many other chairs that week had collapsed beneath her, and (apart from one, unfortunately!) the reply would be, “None.” My point, of course, grew clearer to everyone as this conversation progressed, so my next question was to the class: “How many people rode in a vehicle sometime this past week?” Once most confirmed it, I would ask the same basic question as that of the chair: how were you certain that vehicle was safe? I was more tactful where it came to car accidents, usually using my own spectacular examples (… I have two). Ultimately, my claim was that we might have as much as 99% certainty, yet for whatever doubt exists, we rely on faith or else we would never sit in chairs, or drive in cars, or whatever else. As my tone grew more grave, so did their nods and expressions, as if we ought to be dropping Hamlet to study car mechanics, or industrial first aid.

My students were typically alarmed when they realised their faith was only as certain as its object, be it a sturdy or rickety chair. Where extremes present themselves rather obviously, even so, in any case of such offhanded faith, we make ourselves collateral. As if we live on credit, certain that all will remain as it has done, we borrow on faith against our future well-being until it comes time, as it says in the fable, to pay the piper. Meanwhile, what seems certain to us we literally take-for-granted, begging the question with impunity, I suppose, since every day the sun continues to rise.[1] Everyday, we overlook the caution, familiar to investors, that past performance does not necessarily indicate future potential, or as they say in the casino, the House never loses.

Maybe we never stop to consider just how loosely we play with certainty and faith in our day-to-day because doing so might mean never again stepping outside the door – no sense everyone being as hamstrung as the Prince of Denmark. Having studied the play as much as I have, I find every one of its concepts up for debate – arrghh – and where certainty and faith can actually seem either opposed or synonymous, that determination depends on yet another concept from the play, perspective. In any case, where it comes to certainty and faith – at least from my perspective – Hamlet is particularly instructive.

No matter your perspective, I would warn students, no matter where you stand or land, the play will then present you with a challenge of certainty, something I called the “Yeah, but…,” which was naturally a source of unending frustration. Conversely, and ironically, it was also a source of certainty since, like Hamlet in duplicitous Elsinore,[2] at least we can be certain that everybody else thinks, shall we say, uniquely, if not differently. Hamlet’s return home to the web of Catholic Elsinore from the symbolic bastion of Lutheran reform, Wittenberg, on account of his father’s death, finds him divided not unlike the Elizabethans comprising Shakespeare’s audience, caught between two branches of Christian belief.[3] The Bard besets his tragic hero with a matrix of inner turmoil – both secular and spiritual, of fealty and faith – a tesseract of beliefs such that Hamlet cannot reconcile any one to another, even as he quakes yet pines for some grand repose. For each possible value he might set down in his tables, his same self-assurance prompts Hamlet to pose questions more profound, rendering him unable to decide about, well, anything. Doubting that anyone can even interpret what it means to exist and, thereby, doubting that concern over living, or dying, or even debating the question is worthwhile, Hamlet, like the actors he so admires, effectively stands for nothing. As such, I admitted to my students, he was hardly an exemplary role model.

So, I suggested, to avoid the debilitating trap that befalls the brooding Prince, that of “thinking too precisely on the event” (Shakespeare, 1997, 4.4.41),[4] we must simply and ultimately decide what we believe after having drawn such conclusions from the best available evidence. Easily said, yet is this not exactly what Hamlet is trying to do? Little wonder students find him so frustrating. Then again, I pointed out, all our sighing and huffing is its own judgment call, a very palpable hit borne of the frustration of those who are upset with him. With Hamlet’s inability to decide for most of the play comprising most of the play, and with him chastising his own cowardice and rebuking God-given reason as a consequence (2.2.571-580, 4.4.36-39, 43), a spendthrift sigh of our own is hardly unreasonable. On the other hand, observed one student, well on her way to modern material success, he sells tickets. Unquestionably, yes, Shakespeare made a meal of Hamlet making a meal of things. And, even though he doomed his protagonist from the start, the playwright does release Hamlet from his torturous hamster wheel – mercifully? – just before he meets his grand moment of truth.

Throughout the play, Shakespeare includes what I call “Let…” statements. Of particular significance are the following four statements, presented here in sequential order:

  1. Of Claudius’s machinations, Hamlet tells Gertrude to “let it work” (3.4.205)
  2. Exacting vengeance for his father’s murder, Laertes will “let come what comes” (4.5.136)
  3. Having finally made peace with the certainty of death as well as the uncertainty of what lies beyond, Hamlet tells himself (alongside Horatio) to “let be” (5.2.224)
  4. Later, as Horatio confronts doubts of his own, Hamlet tells him to “let go” (5.2.343)

Alternatively arranged, these statements help comprise, for me, a response to the famous question, “To be, or not to be.”[5] This alternative arrangement derives from a sentence analysis exercise that my students and I would complete while preparing for the play. The sentence is from an essay by Drez (2001) about American pilots during WWII: “There were no souvenirs, but the grisly task of scrubbing decomposing remains from their boots later left a lasting memory” (p. 144). Briefly, the words later, left, and lasting illustrate the creation and the span of the airmen’s memories over time – the future, past, and present, respectively – made all the more ironic since the souvenirs they found were hardly the ones they sought. Using these three words alongside my own interpretation of each “Let…” statement, I have arranged them chronologically out-of-sequence with the play, using instead an interpretive application of temporality as three discrete periods[6] to challenge the common concept of linear time as historical calendar pages or a ticking clock.

 

Click here for the Bibliography

Click here to read Pt II: Curriculum, or What You Will

 


Endnotes

[1] Shame on us for carrying on so fallaciously! At pedestrian-controlled stoplights, we eventually step off the curb believing that drivers have halted their oncoming vehicles rather than carrying on through and running us down. To call the stoplight “pedestrian-controlled” is somewhat of an embellishment on the part of the city engineers, I think, a deferral to who really is favoured, for whatever reason, in the equation. But for the pedestrian to step off the curb is an act of faith, surely, since they abrogate control to the driver who has the car’s capability to accelerate and manoeuvre at his disposal. For that brief moment, only the driver’s motives keep the pedestrian safe. And careful though we are, accidents still happen in such everyday circumstances. Worst of all, as more recent times demonstrate, cars and trucks can be used precisely as weapons of terror against innocent people; the danger I speak of, the giving-and-taking of control, however uncommon, has now been realised. That changes attitudes profoundly.

Security measures, safety audits, protective equipment, government regulations – on and on goes the list of processes and people in which we place our faith, believing with some degree of certainty – or, as often as not, taking for granted on faith – that proper standards are being met that ensure our safety.

[2] Just my interpretation, mind you, “duplicitous Elsinore.” Certainly, you will have your own analysis.

[3] Since the time of those events described in the New Testament, their interpretation has divided Christian belief into myriad denominations, such as those found in both Shakespeare’s play and Elizabethan England: Catholicism and two respective branches of reform, the Protestant Reformation initiated by Martin Luther and the English Reformation decreed by King Henry VIII. I simply use “Christian belief” in a broad sense, wanting to avoid the suggestion that any particular denomination tops some hierarchy, since that sort of debate, here, is beside the point.

[4] For the duration of the essay, I shall refer to quotes from this cited edition of the play.

[5] Regrettably, but unsurprisingly, I’m hardly the first to devise this response to the famous question. Evidently, where my approach differs from other examples (Baumlin & Baumlin, 2002; Critchley & Webster, 2011) is connecting the four specified “Let…“ statements and Hamlet’s closing lines (5.2. 222-223, 358) with concepts of temporality.

[6] A full explanation of the four “Let…” statements and temporality demands its own essay, and I am already deep enough into Hamlet as it is, so for my weary negligence I ask some gracious leeway instead of a challenging “Yeah, but…”. Suffice to say, though, as we might feel this way or that about past or future, we still must inherently live each present moment, such as we are.