Preparing for classes rouses up the guilt again. I teach writing, but I don’t do what I tell my students to do. I plagiarize, in a sense, all the time. I don’t read articles; I skim them enough to make them seem read. And when I write, I really don’t consider any of the items that my textbook says to consider when considering audience.
Scorn not the plagiarist. If you are not plagiarizing, you are not reading; you are not bringing ancient music to our modern hearts. Or at least, that’s what I tell myself, as I browse through books looking for something someone wrote that I can put in my sentence, to cast the glory into it and dart a kind of luster into it that I could never fabricate on my own. I tell my students not to plagiarize, but I do it. If I haven’t knitted in some of the poets, the way the psalmist weaved through some of Moses (Botha 1) into Psalm 119,  I haven’t really said anything, and certainly haven’t said anything that is commonly thought but never so well expressed.
And I have a two hundred second rule for reading articles. I allow myself two hundred seconds per article and look for what argument the writer is making (fortunately, this is almost always in the beginning of the paper), then for what kinds of words they use, and based on those two data points, I decide whether or not I will look for any good quotes in the article. Then I cast almost all the articles aside, like lords lain low. And yet I tell my students to do diligent research, not to be lazy, and to carefully consider what they are reading. I console myself with Hegel, whose words I skew to mean that one should read “prefaces and first paragraphs” (43), and only those. 
And finally, I ignore large segments of my textbook, which right now is Bullock, Brody, and Weinberg’s Little Seagull Handbook. For example, they suggest that in considering audience, we consider which audience we want to reach, their background, their interests, demographic information, what they “already know—or believe—about [my] topic,” and the like. I skip all this, and only take the last suggestion: “How can you best appeal to your audience?” (W-1c 3). And I answer it the same for everything I write: I can best appeal “by patterning of sounds.” Everything else about my audience, which I am always telling my students to consider—faithfully referring them to the second book of Aristotle’s Rhetoric—I ignore it all. I only care that the members of my audience have a “Dr. Seuss gene” and they are caught by patterns of sound.
And of course, I would never advise my students to do anything like this. How would I dare? For what am I doing? Teaching them to chant the music like a tale of little meaning though the words are strong? Or training them all to be Shakespeare, who “was not a genius” but rather “he learnt techniques, he learnt tricks, and he learnt them well” (Forsyth 1). It often seems like I am lazily and lotus-like laboring to bleed out all the “staleness of imagery” and “lack of precision” that Orwell feuded with. But meanwhile, I know that “the will to produce citizenship through the teaching of writing is strong” (Wan 28) and that since it is probably also true that “the teaching of writing involves the teaching of ethics and ethical language practices” (Duffy 230), I ought to spend all my time ensconcing my students in citizenship and ethics, or at least grammar. So I do this. I do this for their practicing of writing what I would not ever do for myself. And meanwhile, at a few moments during the sixteen weeks, like attempted flashes onto the inward eye, I slip unconscious crooks into the psyches of my students, hoping they will be enchanted into the poets, and after class, turn to them. For don’t they already do this in their music? Isn’t it true that a human being “is an instrument over which a series of external and internal impressions are driven, like the alternations of an ever-changing wind over an Æolian lyre, which move it by their motion to ever-changing melody” (Shelley)?
Unresolved on this, I go to prepare for classes again, a hypocrite, pondering all these things weak and weary. And I consider that I am a poser, consoled only by the thought that not all my colleagues are such actors. That I am in a noble profession, in a place where, as the poet says, “walls come down, / valleys rise, / bridges stretch outward” (Kurtti 9).
 The full quote: “By alluding to, borrowing from, rephrasing, and reinterpreting segments of the Torah, Prophets, wisdom literature, and Psalms, the author of Psalm 119 created a new authoritative text by replicating and re-contextualising what must have been considered to be authoritative texts in his day” (Botha 1).
 The full quote: “Should anyone ask for a royal road to Science, there is no more easy-going way than to rely on sound common sense and for the rest, in order to keep up with the times, and with advances in philosophy, to read reviews of philosophical works, perhaps even to read their prefaces and first paragraphs” (Hegel 43).
Botha, Philippus. “Interpreting ‘Torah’ in Psalm 1 in the light of Psalm 119” HTS Teologiese Studies / Theological Studies 68.1 (2012).
Bullock, Richard, and Michal Brody and Francine Weinberg. “Writing Contexts” in The Little Seagull Handbook. Norton 2017, pp. W1-5.
Duffy, John. “The good writer: Virtue ethics and the teaching of writing” College English, vol. 79, no. 3, 2017, pp. 229-250.
Forsyth, Mark. The Elements of Eloquence. Penguin, 2013.
Hegel, G. F. W. Phenomenology of Spirit . A. V. Miller (transl). Oxford U Press, 1997.
Kurtti Pylvainen, Sandra. “Close Reading.” English Journal, vol. 104, no. 4, 2015, p. 9.
Orwell, George. “Politics and the English Language ” orwell.ru. Retrieved from http://www.orwell.ru/library/essays/politics/english/e_polit/.
Shelley, Percy. “A defense of poetry ” PoetryFoundation.org https://www.poetryfoundation.org/articles/69388/a-defence-of-poetry.
Wan, Amy. “In the name of citizenship: The writing classroom and the promise of citizenship” College English, vol. 74, no. 1, 2011, pp. 28-49.
Addison, Joseph. “The Spectator No 421. Thursday, July 3, 1712.” The Spectator. Retrieved from http://web.mnstate.edu/gracyk/courses/web%20publishing/addison421.htm.
McKay, Claude. “Invocation” in Selected Poems. Dover, 1999, p. 23.
Poe, Edgar Allen. “The Raven” in The Selected Writings of Edgar Allen Poe. G. R. Thompson (ed). Norton, 2004, pp. 58-61.
Pope, Alexander. “An essay on criticism.” PoetryFoundation.org. Retrieved from https://www.poetryfoundation.org/articles/69379/an-essay-on-criticism.
Shelley, Percy Bysshe. “Song to the men of England” in English Romantic Poetry. Stanley Appelbaum (ed). Dover, 1996, pp. 149-150.
Tennyson, Alfred Lord. “The Lotus-eaters ” PoetryFoundation.org. Retrieved from https://www.poetryfoundation.org/poems/45364/the-lotos-eaters.
Wordsworth, William “I wandered lonely.” PoetryFoundation.org. Retrieved from https://www.poetryfoundation.org/poems/45521/i-wandered-lonely-as-a-cloud.
Wordsworth, William. “Scorn not the sonnet” in English Romantic Poetry. Stanley Appelbaum (ed). Dover, 1996, p. 58.
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