Showing posts with label Leah Apple. Show all posts
Showing posts with label Leah Apple. Show all posts

"A View from the Wreckage": My student, Leah Apple, takes us inside a night of Amtrak terror

Monday, June 8, 2015

I have written often of my student Leah Apple. Of her work in my memoir class. Of her hip-hop kids of West Philadelphia. Of the evening she came for dinner and taught me all about dance and language in a far-away place called Kinmen.

But this weekend, dear Leah has spoken for herself about the terror she endured as a passenger of the ill-fated May 12 Amtrak train. She speaks of chaos. Of live wires. Of a police car and a surge of hospital guests. She speaks of seeking order.

Please read her words here. Her first published words about something that cannot happen again.

I am so, so glad you are here among us, Leah.

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Leah Apple, my beautiful student, shares her dance as a Fulbright Scholar on the island of Kinmen

Wednesday, August 20, 2014



The great privilege of teaching extraordinary students is that the semester of writing, reflection, and talk marks only the start of an involving conversation.

Last evening, Leah Apple, the hip-hop dancing Fulbright winner who enrolled in my second nonfiction class at Penn and whom you met here in a Philadelphia Inquirer story, came for dinner, bringing with her tales of her time in Kinmen, near the People's Republic of China. In a remote niche of that island, Leah met and taught English to children with whom she soon fell in love. Inevitably, they fell in love with her. Dance, "the universal language," became core to Leah's curriculum as she and her fellow Fulbright scholars prepared the children for a first-ever island flash mob.

This short film, shot and produced by Leah's friend Jonah Stern, tells the story of remote classrooms, willing children, and a young woman with a boundless soul.

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Roommates/Max Apple: Reflections

Thursday, December 5, 2013

So sometimes I do things backwards. I know all about Max Apple (of course!), I read Max Apple stories, I do an actual reading with Max Apple (courtesy of Lisa Zeidner and Rutgers-Camden), I occasionally say hello to Max at our University of Pennsylvania (where he is a full-time faculty member famous for his wisdom), and then I have his Fulbright-winning daughter, Leah, in my memoir class, and then I write about this daughter's passion for dance and kids, and then I attend an event in which Max's son, Sam, who is also a writer and who also teaches at Penn, practically puts me on the floor with laughter as he straightfacedly reads "God's Workshop" (read it here, but be forewarned), and then I go home and order one of Max's famous books, Roommates.

Which was published in 1994.

Which was endorsed by my friend Rosellen Brown.

Which I read this morning.

Which, like everybody else who has ever read Roommates, I loved.

It's not a book that needs a Beth Kephart drumroll. It's not a story that could ever be invented. It's a true tale about a grandson and his grandfather (nearly fractious, incurably inseparable) and the life they live as roommates. Not just through Max's childhood, but through Max's years at the University of Michigan as well, when Rocky, 93, rules with an iron fist and a Yiddish tongue. Roommates as Max (secretly) falls in love. Roommates when Max finally settles down with the woman he loves, and the whole bunch of them move to Texas for Max's teaching job. Rocky grows older, Max's family grows larger, and Debby, Max's so-alive wife, begins to see two of things when there is just one. It's the beginning of a disease no one can stop, and Rocky, now 103, steps in and steps up—irascible, loving.

I know this story happened long ago. I know that time moves on and books freeze things and that there will always be that disconnect when reading autobiography and memoir. Still, I read this book and saw the story unfold in this very right now. I felt it—deeply. I believed it—wholly. I understood its lore.

It's a 1994 book that feels as if it were written yesterday.

Here's a scene I love, when Rocky decides that he, too, has a story to tell, a story that might make the struggling family some extra cash:

I shook his hand and hugged him. He moved away.

"Let me congratulate you. It's no small thing to write ninety-five pages."

"When it's in the magazines and they pay you, then you'll congratulate."

He didn't fool me. Even a hundred years doesn't cover an author's pride. He didn't know what fiction was, had never heard of any bestsellers, and in money anything beyond a hundred was a fortune. But he did know from sitting all those hours with his face an inch from the page that one word makes the next one possible and that even when it's all true, the ways in which the truth collects itself into a story can be as tricky as lies.

He drank a cup of coffee and sat down to squint at the television. "It's not as easy as I thought," he said, "but making a good dough is even harder."


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Are MOOCs really the future of academic discourse?

Thursday, May 16, 2013


Not along ago, my friend Trey Popp wrote a thought-provoking piece in the Pennsylvania Gazette about MOOCs—massive open online courses. Trey enrolled, he persevered, he researched, he wrote. He made us think about the future of education.


MOOCs again take center stage in this week's issue of The New Yorker, where Nathan Heller asks, Has the future of college moved online? Under the guise of research, I stopped to read the piece in full. To think again about a topic that, in many ways, unnerves me.

MOOCs can, of course, be wonderfully supplemental; I've eyed a few courses myself. It can provide, for many, access to ideas and knowledge that simply didn't exist (for those many) before. There are plenty of barriers that get thrown down in the path of those wanting to learn—financial, physical, geographic—and for these hundreds of thousands, millions, even, a MOOC can be life raft material. It can equalize. It can secure.

But as a teacher in a small, crowded classroom on the University of Pennsylvania campus, as a mere adjunct who learns, time and again, that it's not the material I obsessively prepare that matters most, but the spontaneous combustion inside the teaching moment, I worry that the MOOC concept—taken too far, taken to unwarranted extremes—will slowly diminish that which I value most, and what my students (ask them) value, too.

The errant conversation. The tangential. The nonlinear. The relationships—real, non-crowdsourced—that build over time. In my classroom, I watch the postures and faces of my students. I see what they are hiding behind or wanting to express or struggling through. I show up early because I know that one, at least, will be showing up early, too—not to talk about the course, per se, but to talk about the bigger things that they are working through. Private and personal things. Internet aversive things. Nothing they'd ever want another soul to "like."

I teach memoir and literary profile. My students write weekly, read books, are read to. They do the work, and they grow as writers, but what matters perhaps even more is how they grow as people. How, through the writing work, they come to know themselves and broaden the way they think about others. How they allow language to release them, even relieve them. My students enter the room as strangers to one another other, and whether they are Wharton enrolled or bioengineers, future veterinarians or English professors, super geniuses who have essentially skipped through school or students from other lands just learning English, they forge a community that would not exist without the scratched table, the box of cookies, the breeze blowing through the velvet curtains.

All the while I'm learning, too. I'm forging the same life-long bonds. Taking the train to NYC to attend the engagement party of a recent graduate. Sending love to a once student/new mom. Helping students from two years ago publish today. Figuring out how I can get to New Orleans to see my Katie G before she heads to medical school. Writing about my Leah (above) and her own ambitions with children in the Philadelphia Inquirer. Writing recommendation letters and whispering in people's ears.

I do these things—I love to do these things—because my students are real to me, because I know them, because I've watched them, because I've given them room to be not just their academic selves, but their whole selves, because they have become my second family. They are, by and large, young. They are one person each on a large urban campus. They're struggling with others or struggling with themselves, and it means a lot to them (again, I say, ask them) that someone on that campus knows their name, or notices that they're absent, or sends an email:You can do better. Try again.

MOOCs, well managed, can do a lot of good. But let's make sure, as the future of education unfolds, that that other kind of good—that essential, human good—is not ultimately de-valued. Let's not forget what we have the responsibility to teach (good judgment, quiet reflection, attention to others, attention to one's self), along with the terms, the forms, the structures.

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featuring my Fulbright-winning student and CityStep in today's Inquirer

Saturday, April 27, 2013



Leah Apple once sat in my memoir classroom at Penn beguiling us (beguiling me) with beloved New Yorker excerpts and her own languid, slyly self-revealing sentences: But a childhood of moving across the country from day school to day school had disillusioned me: the concept of a best girl friend was something that transcended my realm of possibility, and that I feared would always elude me. She was a world traveler, a hip hop dancer, a young woman who, in so many ways, transcended, a sophomore who that summer would go to teach in Santa Fe, and when Leah won the Fulbright earlier this year I got that happy feeling teachers get when one of their own is recognized for who they are.
In addition to all Leah has achieved academically, she co-executive directs CityStep, a student-run program designed to bring dance, mentorship, and opportunity to the young of West Philadelphia. Recently, over Kiwi yogurt, I had a chance to talk to Leah and her co executive director, Philene, about this program that has, in Leah's words, "saved her life at Penn." A few days later, after my own memoir class had ended for the year, I joined some of the students as they rehearsed for this weekend's show. 
These are the photographs.
This is the story. 
This is my privilege at Penn.
"CityStep Presents: Intramural" performs Sunday at 3 PM at the Iron Gate Theater, 3700 Chestnut Street. If you see Leah while you are there, give her a hug for me. Tell her how proud I am.

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