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As a weapon in the hands of the restless poor

Learning to Save Your Life

Posted: 2015-10-23

This article from Harper's, September 1997, tells how Earl Shorris started the remarkable Clemente Course, a 10-month course in the humanities at the college level, to people living in economic distress. An inmate at Bedford Hills explained why Plato's Allegory of the Cave is critical reading for poor people:, 'The ghetto is the cave. Education is the light. Poor people can understand that.'

Read what happens when the first group encounters the Socratic method: It was the beginning of a love affair, the first moment of their infatuation with Socrates. Later, Abel Lomas would characterize that moment in his no-nonsense fashion, saying that it was the first time anyone had ever paid attention to their opinions.

Read what happens when students visit the Temple of Dendur at the Metropolitan Museum, encounter poetry, argue about logic, and more and more and more.

You can read an update on The Clemente Course here.

Read this and then fight for the right of students in public schools to have 'a moral alternative to the street'-- access to a curriculum that can change their lives--instead of being locked in a curriculum that will keep them imprisoned. Shorris posits the study of humanities as a foundation for getting along in the world, for thinking, for learning to reflect on the world instead of just reacting to whatever force is turned against you. He posits the humanities as one of the ways to become political--not political in the sense of voting in an election but in the broad sense.

Common Core downgrades fiction as a way of stopping kids from becoming political in this broad sense.


Rich people learn the humanities in private schools and expensive universities. And that's one of the ways in which they learn the political life. I think that is the real difference between the haves and have-nots in this country. If you want real power, legitimate power, the kind that comes from the people and belongs to the people, you must understand politics. The humanities will help.



Earl Shorris was a regular contributor to Harperâs Magazine from 1972 until his death in 2012. In 1995, he founded the Clemente Course for the Humanities, a ten-month-long academic program designed to provide college-level literature and philosophy classes to low-income students in New York City. In this essay, published in the September 1997 issue of the magazine, Shorris tells the story of the programâs first two years. There are now twenty-four Clemente Courses operating in the United States. NPRâs report on the Harlem location, which aired in May 2015, can be found here. NPR gave it a good title: 'Learning fpr the Sake of Learning.' They might have called it 'Learning to Save Your Life.'

I feel very proud that the only publisher to support this effort was the independent, employee-owned W. W. Norton. They publish my husband's books.

Shorris's blockbuster book is Riches for the Poor: The Clemente Course in the Humanities





By Earl Shorris



Next month I will publish a book about poverty in America, but not the book I intended. The world took me by surprise--not once, but again and again. The poor themselves led me in directions I could not have imagined, especially the one that came out of a conversation in a maximum-security prison for women that is set, incongruously, in a lush Westchester suburb fifty miles north of New York City.



I had been working on the book for about three years when I went to the Bedford Hills Correctional Facility for the first time. The staff and inmates had developed a program to deal with family violence, and I wanted to see how their ideas fit with what I had learned about poverty.



Numerous forces--hunger, isolation, illness, landlords, police, abuse, neighbors, drugs, criminals, and racism, among many others--exert themselves on the poor at all times and enclose them, making up a "surround of forceâ from which, it seems, they cannot escape. I had come to understand that this was what kept the poor from being political and that the absence of politics in their lives was what kept them poor. I don't mean "political" in the sense of voting in an election but in the way Thucydides used the word: to mean activity with other people at every level, from the family to the neighborhood to the broader community to the city-state.



By the time I got to Bedford Hills, I had listened to more than six hundred people, some of them over the course of two or three years. Although my method is that of the bricoleur, the tinkerer who assembles a thesis of the bric-a-brac he finds in the world, I did not think there would be any more surprises. But I had not counted on what Viniece Walker was to say.



It is considered bad form in prison to speak of a person's crime, and I will follow that precise etiquette here. I can tell you that Viniece Walker came to Bedford Hills when she was twenty years old, a high school dropout who read at the level of a college sophomore, a graduate of crackhouses, the streets of Harlem, and a long alliance with a brutal man. On the surface Viniece has remained as tough as she was on the street. She speaks bluntly, and even though she is HIV positive and the virus has progressed during her time in prison, she still swaggers as she walks down the long prison corridors. While in prison, Niecie, as she is known to her friends, completed her high school requirements and began to pursue a college degree (psychology is the only major offered at Bedford Hills, but Niecie also took a special interest in philosophy). She became a counselor to women with a history of family violence and a comforter to those with AIDS.



Only the deaths of other women cause her to stumble in the midst of her swaggering step, to spend days alone with the remorse that drives her to seek redemption. She goes through life as if she had been imagined by Dostoevsky, but even more complex than his fictions, alive, a person, a fair-skinned and freckled African-American woman, and in prison. It was she who responded to my sudden question, "Why do you think people are poor?"



We had never met before. The conversation around us focused on the abuse of women. Niecie's eyes were perfectly opaque--hostile, prison eyes. Her mouth was set in the beginning of a sneer.



"You got to begin with the children," she said, speaking rapidly, clipping out the street sounds as they came into her speech.



She paused long enough to let the change of direction take effect, then resumed the rapid, rhythmless speech. "You've got to teach the moral life of downtown to the children. And the way you do that, Earl, is by taking them downtown to plays, museums, concerts, lectures, where they can learn the moral life of downtown."



I smiled at her, misunderstanding, thinking I was indulging her. "And then they won't be poor anymore?"



She read every nuance of my response, and answered angrily, "And they won't be poor no more."



"What you mean is--"



"What I mean is what I said--a moral alternative to the street."



She didn't speak of jobs or money. In that, she was like the others I had listened to. No one had spoken of jobs or money. But how could the "moral life of downtown" lead anyone out from the surround of force? How could a museum push poverty away? Who can dress in statues or eat the past? And what of the political life? Had Niecie skipped a step or failed to take a step? The way out of poverty was politics, not the "moral life of downtown." But to enter the public world, to practice the political life, the poor had first to learn to reflect. That was what Niecie meant by the "moral life of downtown." She did not make the error of divorcing ethics from politics. Niecie had simply said, in a kind of shorthand, that no one could step out of the panicking circumstance of poverty directly into the public world.



Although she did not say so, I was sure that when she spoke of the "moral life of downtown" she meant something that had happened to her. With no job and no money, a prisoner, she had undergone a radical transformation. She had followed the same path that led to the invention of politics in ancient Greece. She had learned to reflect. In further conversation it became clear that when she spoke of "the moral life of downtown" she meant the humanities, the study of human constructs and concerns, which has been the source of reflection for the secular world since the Greeks first stepped back from nature to experience wonder at what they beheld. If the political life was the way out of poverty, the humanities provided an entrance to reflection and the political life. The poor did not need anyone to release them; an escape route existed. But to open this avenue to reflection and politics a major distinction between the preparation for the life of the rich and the life of the poor had to be eliminated.



Once Niecie had challenged me with her theory, the comforts of tinkering came to an end; I could no longer make an homage to the happenstance world and rest. To test Niecie's theory, students, faculty, and facilities were required. Quantitative measures would have to be developed; anecdotal information would also be useful. And the ethics of the experiment had to be considered: I resolved to do no harm. There was no need for the course to have a "sink or swim" character; it could aim to keep as many afloat as possible.



When the idea for an experimental course became clear in my mind, I discussed it with Dr. Jaime Inclán, director of the Roberto Clemente Family Guidance Center in lower Manhattan, a facility that provides counseling to poor people, mainly Latinos, in their own language and in their own community. Dr. Inclán offered the center's conference room for a classroom. We would put three metal tables end to end to approximate the boat-shaped tables used in discussion sections at the University of Chicago of the Hutchins era;[1] which I used as a model for the course. A card table in the back of the room would hold a coffeemaker and a few cookies. The setting was not elegant, but it would do. And the front wall was covered by a floor-to-ceiling blackboard.



[1] Under the guidance of Robert Maynard Hutchins (1929â1951), the University of Chicago required year-long courses in the humanities, social sciences, and natural sciences for the Bachelor of Arts degree. Hutchins developed the curriculum with the help of Mortimer Adler, among others; the Hutchins courses later influenced Adlerâs Great Books program.



Now the course lacked only students and teachers. With no funds and a budget that grew every time a new idea for the course crossed my mind, I would have to ask the faculty to donate its time and effort. Moreover, when Hutchins said, "The best education for the best is the best education for us all," he meant it: he insisted that full professors teach discussion sections in the college. If the Clemente Course in the Humanities was to follow the same pattern, it would require a faculty with the knowledge and prestige that students might encounter in their first year at Harvard, Yale, Princeton, or Chicago.



I turned first to the novelist Charles Simmons. He had been assistant editor of The New York Times Book Review and had taught at Columbia University. He volunteered to teach poetry, beginning with simple poems, Housman, and ending with Latin poetry. Grace Glueck, who writes art news and criticism for the New York Times, planned a course that began with cave paintings and ended in the late twentieth century. Timothy Koranda, who did his graduate work at MIT, had published journal articles on mathematical logic, but he had been away from his field for some years and looked forward to getting back to it. I planned to teach the American history course through documents, beginning with the Magna Carta, moving on to the second of Lockeâs Two Treatises of Government, the Declaration of Independence, and so on through the documents of the Civil War. I would also teach the political philosophy class.



Since I was a naïf in this endeavor, it did not immediately occur to me that recruiting students would present a problem. I didnât know how many I needed. All I had were criteria for selection:



Age: 18â35.



Household income: Less than 150 percent of the Census Bureau's Official Poverty Threshold (though this was to change slightly).



Educational level: Ability to read a tabloid newspaper.



Educational goals: An expression of intent to complete the course.



Dr. Inclán arranged a meeting of community activists who could help recruit students. Lynette Lauretig of The Door, a program that provides medical and educational services to adolescents, and Angel Roman of the Grand Street Settlement, which offers work and training and GED programs, were both willing to give us access to prospective students. They also pointed out some practical considerations. The course had to provide bus and subway tokens, because fares ranged between three and six dollars per class per student, and the students could not afford sixty or even thirty dollars a month for transportation. We also had to offer dinner or a snack, because the classes were to be held from 6:00 to 7:30 P.M.



The first recruiting session came only a few days later. Nancy Mamis-King, associate executive director of the Neighborhood Youth & Family Services program in the South Bronx, had identified some Clemente Course candidates and had assembled about twenty of her clients and their supervisors in a circle of chairs in a conference room. Everyone in the room was black or Latino, with the exception of one social worker and me.



After I explained the idea of the course, the white social worker was the first to ask a question: "Are you going to teach African history?"



"No. We'll be teaching a section on American history, based on documents, as I said. We want to teach the ideas of history so that--"



"You have to teach African history."



"This is America, so we'll teach American history. If we were in Africa, I would teach African history, and if we were in China, I would teach Chinese history."



"You're indoctrinating people in Western culture."



I tried to get beyond her. "We'll study African art," I said, "as it affects art in America. We'll study American history and literature; you can't do that without studying African-American culture, because culturally all Americans are black as well as white, Native American, Asian, and so on." It was no use; not one of them applied for admission to the course.



A few days later Lynette Lauretig arranged a meeting with some of her staff at The Door. We disagreed about the course. They thought it should be taught at a much lower level. Although I could not change their views, they agreed to assemble a group of Door members who might be interested in the humanities.



On an early evening that same week, about twenty prospective students were scheduled to meet in a classroom at The Door. Most of them came late. Those who arrived first slumped in their chairs, staring at the floor or greeting me with sullen glances. A few ate candy or what appeared to be the remnants of a meal. The students were mostly black and Latino, one was Asian, and five were white; two of the whites were immigrants who had severe problems with English. When I introduced myself, several of the students would not shake my hand, two or three refused even to look at me, one girl giggled, and the last person to volunteer his name, a young man dressed in a Tommy Hilfiger sweatshirt and wearing a cap turned sideways, drawled, "Henry Jones, but they call me Sleepy, because I got these sleepy eyes--"



"In our class, we'll call you Mr. Jones."



He smiled and slid down in his chair so that his back was parallel to the floor.



Before I finished attempting to shake hands with the prospective students, a waiflike Asian girl with her mouth half-full of cake said, "Can we get on with it? I'm bored."



I liked the group immediately.



Having failed in the South Bronx, I resolved to approach these prospective students differently. "You've been cheated," I said. "Rich people learn the humanities; you didn't. The humanities are a foundation for getting along in the world, for thinking, for learning to reflect on the world instead of just reacting to whatever force is turned against you. I think the humanities are one of the ways to become political, and I don't mean political in the sense of voting in an election but in the broad sense." I told them Thucydides' definition of politics.



"Rich people know politics in that sense. They know how to negotiate instead of using force. They know how to use politics to get along, to get power. It doesn't mean that rich people are good and poor people are bad. It simply means that rich people know a more effective method for living in this society.



"Do all rich people, or people who are in the middle, know the humanities? Not a chance. But some do. And it helps. It helps to live better and enjoy life more. Will the humanities make you rich? Yes. Absolutely. But not in terms of money. In terms of life.



"Rich people learn the humanities in private schools and expensive universities. And that's one of the ways in which they learn the political life. I think that is the real difference between the haves and have-nots in this country. If you want real power, legitimate power, the kind that comes from the people and belongs to the people, you must understand politics. The humanities will help.



"Here's how it works: We'll pay your subway fare; take care of your children, if you have them; give you a snack or a sandwich; provide you with books and any other materials you need. But we'll make you think harder, use your mind more fully, than you ever have before. You'll have to read and think about the same kinds of ideas you would encounter in a first-year course at Harvard or Yale or Oxford.



"You'll have to come to class in the snow and the rain and the cold and the dark. No one will coddle you, no one will slow down for you. There will be tests to take, papers to write. And I can't promise you anything but a certificate of completion at the end of the course. I'll be talking to colleges about giving credit for the course, but I can't promise anything. If you come to the Clemente Course, you must do it because you want to study the humanities, because you want a certain kind of life, a richness of mind and spirit. That's all I offer you: philosophy, poetry, art history, logic, rhetoric, and American history.



"Your teachers will all be people of accomplishment in their fields," I said, and I spoke a little about each teacher. "That's the course. October through May, with a two-week break at Christmas. It is generally accepted in America that the liberal arts and the humanities in particular belong to the elites. I think you're the elites." The young Asian woman said, "What are you getting out of this?"



"This is a demonstration project. I'm writing a book. This will be proof, I hope, of my idea about the humanities. Whether it succeeds or fails will be up to the teachers and you."



All but one of the prospective students applied for admission to the course.



I repeated the new presentation at the Grand Street Settlement and at other places around the city. There were about fifty candidates for the thirty positions in the course. Personal interviews began in early September.



Meanwhile, almost all of my attempts to raise money had failed. Only the novelist Starling Lawrence, who is also editor in chief of W. W. Norton, which had contracted to publish the book; the publishing house itself; and a small, private family foundation supported the experiment. We were far short of our budgeted expenses, but my wife, Sylvia, and I agreed that the cost was still very low, and we decided to go ahead.



Of the fifty prospective students who showed up at the Clemente Center for personal interviews, a few were too rich (a postal supervisor's son, a fellow who claimed his father owned a factory in Nigeria that employed sixty people) and more than a few could not read. Two home-care workers from Local 1199 could not arrange their hours to enable them to take the course. Some of the applicants were too young: a thirteen-year-old and two who had just turned sixteen.



Lucia Medina, a woman with five children who told me that she often answered the door at the single-room occupancy hotel where she lived with a butcher knife in her hand, was the oldest person accepted into the course. Carmen Quiñones, a recovering addict who had spent time in prison, was the next eldest. Both were in their early thirties.



The interviews went on for days. . .

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