What major federal policy has every president from Lyndon Johnson to Barak Obama agreed on? Answer: Advancing educational opportunity as a path to societal equality. They may have differed on how to expand schooling, but not that it was a goal to be achieved in order to reduce social inequality. Why then have the results not lived up to the promise? The answer is simple according to Fredrik deBoer: schooling can never produce social equality––not because we don’t spend enough or because teachers aren’t good enough. It’s because not all people are academically talented.

Marshaling studies that expose the raw underbelly of schooling’s failures on top of insights from his personal experience as a teacher, and capping that off with a measure of behavioral genetics, deBoer concludes, “as long as our education system creates winners, it will also create losers.”

She didn’t do an MFA in Creative Writing, let alone a PhD. She didn’t even have a BA in it. Or in English. And yet Jane wrote the initial draft of Sense and Sensibility when she was 18, and had finished Pride and Prejudice by the time she was 20. Astonishing? Yes. So how did she do it? Did she follow the advice of the self-appointed writing gurus—who tell you that if you can’t do a degree in the subject, you need to attend expensive conferences, join writing groups, get professional editors? No, none of that. So how on earth did she learn her craft?

By reading and writing. I’m not an Austen scholar, but I know that in the late eighteenth century England’s public libraries had not yet been founded, so it’s fair to assume that most of her reading was done in her father’s library.

I recently read the book Words as Eggs by Jungian analyst Russell Lockhart. The idea for the work, and the chapter from which the title comes, originated in one of Lockhart’s dreams. A voice in his dream said, “Do you not know that words are eggs, that words carry life, that words give birth?” (92). Lockhart later points out that this dream revelation isn’t exactly new in the larger scheme of things. In the beginning, it’s rumored that God spoke the world into existence: “the word is seed and gives birth to life and living things” (92). As eggs, words are constantly delivering new ideas and thoughts, filling our minds with possibilities and worlds we otherwise wouldn’t have access to.

A writer, I’m fascinated with anything to do with words and how they inform, form, and reform our surroundings—and us.

In Chances Are . . . the latest novel by Richard Russo, three friends are getting together on Cape Cod 44 years after they celebrated having graduated from college at the same location. Worthy of a full-length novel? Not until you discover that the co-ed who joined them on the prior occasion was never seen again after leaving the sea-side cottage the morning they all departed for unknown futures.

A mystery? Yes, but in the hands of Richard Russo what we have is so much more than a whodounit. Russo’s skill at bringing the depth of his characters’ beings to the surface and hooking us on them is what makes him unique among modern novelists. He is able to keep us as much interested in these average guys as does our anxiety to learn what happened to young Jacy.

Writing a memoir can be a most rewarding experience––one your family and friends will thank you for having done. A memoir is your opportunity to leave concrete documentation of your life in a form that is easily accessible to present and future generations.

Every family has stories. That’s human nature. But all too often people have questions about the past they wish they had answers to when someone important to them is gone. You may have felt that way upon the passing of a parent, sibling or other significant person in your life. Don’t make your offspring wish they knew more about your family background or how you met your spouse or why you moved to a certain city.

Here are some reasons you might want to write your memoir:

• To share your life’s story with your offspring, other relatives and friends.

I was fortunate to have piano lessons when I was a girl. In Canada, if students are learning classical music, teachers usually follow the Royal Conservatory of Music progression from grades one through ten and utilize the books for each level. These lessons include theory as well as musical scores for students to progress in. 

Very early, I decided that classical was not my preference, and, after I’d completed four grades of the Royal Conservatory program, I convinced my mother to send me to a teacher who could help me learn pop tunes. That involved learning how to chord so when I used sheet music of popular songs, I only had to read the right-hand score, improvising with my left hand using chordal variations.