Strings Attached: One Tough Teacher and the Gift of Great Expectations is a memoir that reads like a coming-of-age novel about two young girls who meet while music students, then reconnect as adults when their former teacher’s younger daughter goes missing.
The authors, Joanne Lipman and Melanie Kupchynsky, are a journalist and a violinist, respectively, and Kupchynsky is the elder daughter of the aforementioned “one tough teacher”, and the sister of the missing young woman, Stephanie, who also grew up to become a music teacher.
I love music. I love singing, and plinking around on the piano or strumming a guitar, but I’m good at neither singing nor playing. The lessons I took as a child and a teenager were minimal, offered by kindhearted folks at church, or by persevering teachers at school. I was that student who thought she wanted to be better, but never had enough perseverance or patience to actually put for the effort to be better.
Writing and storytelling, however—those I did want to improve. Hours passed before I realized, especially if a writing session was going well, or if I was absorbed in studying or researching, or simply reading for entertainment. I didn’t need someone standing over me with a stern look, a stick, and an eye for the clock, because I was motivated all by myself.
But what happens when uncertain, shy, and even seemingly untalented students encounter a loud, particular, demanding teacher who is determined—by shout, by thwack, and by sparing praise—that they are going to succeed?
Mr. K’s subject, of course, was music. But the lessons he taught his students are universal: about resilience, and the power of optimism, and achieving success. And about humor, too, not that he was necessarily trying to be funny.
It’s hard to imagine a Mr. K in today’s world. Parents would be outraged; administrators would be pressured to fire him. Yet he was remarkably effective. His methods raise the big issues we grapple with now ourselves, as parents. Are we too soft on our kids? How do we best balance discipline with praise? How hard do we really want our kids’ teachers to push them? And if our kids do complain, how do we know when—or if—to interfere?
The latest research on kids and motivation, it turns out, comes down squarely in Mr. K’s corner. Recent studies show that overpraising kids makes them less confident and less motivated.
One study of fifth-graders—kids the same age as Mr. K’s beginning string students—is especially striking. Psychologist Carol Dweck and her colleagues divided the children into two groups and gave each a simple test. One group was then praised for being smart, and the other for effort. The result? The “smart” kids became far less confident, while the group praised for hard work became more confident, performed better, and in subsequent tests was eager to take on more challenging tests.
“The whole point of intelligence praise is to boost confidence and motivation, but both were gone in a flash,” Dweck noted… “If success meant they were smart, then struggling meant they were not.”
The concept that hard work trumps innate ability is at the core of current thinking about business success, too…
…(R)eal experts don’t want soft teachers: They want tough ones. Unsentimental ones. Ones who give them “painful” feedback.
We couldn’t imagine a more accurate description of Mr. K. (Foreward, xv-xvi)
Back in the 1970s and 80s, I was one of those kids praised for intelligence rather than effort, and came to equate difficulty with failure or stupidity. Or, horror of horrors, no talent.
…(T)o Mr. K, there was no such thing as an untalented kid—just a kid who didn’t work hard enough. You are going to fix this problem, he said when he diagnosed whatever was wrong, and there was never any question. Of course you would. It was just a matter of trying and trying and trying some more. He yelled, not because we’d never learn, but because he was absolutely certain that we would. (p83)
Joanne comes from a nice, middle-class family that Melanie envies, while Melanie grows up with an invalid mother and a driven father, who essentially becomes a single parent when his ailing wife can no longer live at home. She plays piano, and he violin, and he passes that skill to their daughters—whether they want to learn or not.
As for his school students, well, they adapt—sometimes humorously. Once, in his Ukrainian accent, he denounces the group’s “cheeken plocking”, and a rubber chicken flies from the back and lands at the podium.
One day, Joanne’s parents drag her to a recital. She’d rather go to the fair or read Harriet the Spy.
I yawned and fidgeted in my seat as the first few groups played, daydreaming about frozen custard and Ferris wheels. But I was jolted back to reality by a commotion on the stage. Mr. K was clomping across the floor—my, could he do anything without making a racket?—looking for something. I watched as he noisily dragged over a podium to the center of the stage.
(The) quartet drifted out from the wings: three teenage girls and Melanie, Mr. K’s daughter. Melanie was wearing a smock dress and shiny black shoes with ankle socks…Melanie’s red hair was even shorter than mine, and her jagged bangs looked the way mine did that time I got hold of my mother’s scissors and started snipping away… .
Melanie was tiny, so it was a good thing she had the podium to stand on. Hauling herself up the two big steps and positioning herself on the top of the box, she lifted her little violin with a theatrical flourish. The other violinists looked toward her expectantly. Michele, who so easily lorded her authority and wisdom over me at home, was gazing at this little girl with respect. She sure never looked at me that way. (pp 58-57)
Eventually, Joanne braves Mr. K’s furious methods, learns the viola, and joins the quartet, playing with Melanie and her sister, Stephanie, who plays the violin.
Melanie recalls a performance:
I can feel how nervous Steph is. She and Joanne play alone for the first few notes. Steph’s bow is wobbling. I suck in my breath and hold it, trying to will her to be calm.
…(M)y dad is right. We are ready, and after the first few measures we settle in to doing what we have done so many times before. The music flows. The audience seems to recede into its seats, and even my dad fades into the background. We stop thinking about the crowd and focus on the music and on one another. I only have to nod slightly, or glance up from the music to lock eyes for a millisecond with the other girls, and we all lean in to the music, or play softer or louder, or dig in to a passage together. We really are breathing together. We really do feel the music as if we share one brain…
When we get to the end of the piece, we all exhale at once. This is something none of us has experienced before, a secret bond that we’re sure nobody else can understand. The audience is cheering, but it barely matters to us…
When it’s all over, my dad hugs each one of us in turn. He plants a kiss on Stephanie’s cheek…”Go celebrate,” he says. “You earned it.” (pp98-9)
Praise from Mr. K is rare, subdued. When “Again!” and a thwack across misaligned fingers is common, a nod, a quiet “pretty good”, is enough. More than progress, it means a job well done.
When he chooses a difficult Brahms piece, Joanne wonders what he could possibly be thinking.
What made him think his orchestra was up to snuff to perform a piece better suited to college symphonies and the New York Philharmonic? (p103)
But she and her sisters gather their instruments and go to the practice room to warm up before the performance. The other quartet members are there, too, but scattered throughout the room as the orchestra struggles to play in time with one another.
“Quartet weel demonstrate proper way to play,” he announced. “Girls, you play.”
The hair on my arms stood up strait. My heart dropped to somewhere in my bowels…
The four of us timidly tried the passage. We were used to looking to Melanie to give us a nod to start, and then to each other as we played. But the other girls were nowhere in my line of sight. As we started to play, they sounded impossibly far away…The notes came out all wrong, the timing out of sync. My heartbeat sounded louder to me than my own playing.
Mr. K scowled. “Again!”
Tentatively, we tried it once more. I was so nervous that my bow skittered along the strings. Melanie sounded louder, more insistent this time, as she tried to lead…from the other side of the room. You could tell the rest of us were straining to follow.
“Again!”
I took a deep breath, mustered my courage, and attacked. This time, the four of us cut through the silence in the rehearsal room with a precision I had no idea I was capable of. Mr. K glanced at the high schoolers arrayed in front of him with a look of satisfaction. “Like that,” was all he said. (p104)
The orchestra wins competitions, as do individual musicians, and Mr. K is acknowledged as an effective instructor. He takes his students to nursing homes, and they play at events, even at the funeral of a classmate.
Generations pass. Those early students grow up and send their children to be taught by him.
Then, one busy work day at The Wall Street Journal, Joanne receives a call. Mr. K. His younger daughter, Stephanie, is missing.
She never misses lessons with her violin students. Where is she? Is she even alive?
How do her family, friends, former classmates deal with life with that terrible question hanging unresolved?
Her mother dies before it is answered. Now elderly and retired from teaching in public school, Mr. K remarries, moves down the street, gardens, teaches a few private students, and compiles a book of poetry written in Ukrainian.
Life moves on, only to be interrupted again, this time by the terrorist attacks of September 11, 2001. Then Mr. K dies.
Gathered to perform at his funeral, former students try to polish rusty skills while exchanging reminiscences.
Joanna:
Across the room I spotted my old classmate Ted Kesler, the boy whom Mr. K picked on so relentessly, who sat at the back of the first violin section. When I thought back to Mr. K at his toughest, Ted always came to mind. I could still see Mr. K forcing him to play alone—”Again! Again!”—while the rest of the kids in the orchestra watched. Ted was a college professor of education now. We greeted each other warmly, but I was puzzled. Why show up for a teacher who tortured him so?
“In some ways, Mr. K was a terrible match for me,” he readily conceded.
But then Ted told me something I didn’t know when we were kids. His mother had died when he was in grade school, before he moved to East Brunswick. His father was a Holocaust survivor who was raising for children on his own; other family members had perished in concentration camps. Mr. K showed his father a respect, a deference, that you didn’t see with the other parents. “Mr. K was hard on me in part because I was lost and aimless and unguided,” Ted said. “You know, he wanted more from me.” What’s more, “the orchestra kept me connected within a community,” he said. “It sustained me. All of those musicians in the group effort kept pushing me forward…That kept me going: the collaborative energy.” (p309)
Mr. K was a youth in Ukraine during World War II. He knew what Ted’s father had survived, and he knew what Ted could overcome.
On his way home one afternoon, he heard something that stopped him cold: the sound of a violin. He was transfixed. The music wafted through an open window and to the street below where he stood, motionless. Inside, a German soldier—one of the occupying forces—was practicing.
The music transported Jarema [Mr. K’s first name]. It took him away from the war, away from the death surrounding him, away from the uncertainty that was his future. It opened up, instead, a world infused with beauty. The music filled him with so much joy that it pushed out the darkness. Jarema yearned to play the instrument, too. It was a revelation, these melodies that lifted him up and chased the demons away. It was an escape. It sparked in him an almost spiritual belief in the power of music to heal.
“I want to learn the violin,” he told his mother.
“You will,” she said. “We will get you lessons.”
She was never able to deliver.
One day, the window was closed. There was no music. There never would be again. The soldier was gone; to another posting or to his death, Jarema would never know for sure. (pp256-7)
Ted was right. Mr. K understood better than anyone the bond music creates among people who play it together. Beyond his bluster—and behind his wicked sense of humor and taste for Black Russians—perhaps that was his lesson all along. (p310)
On sale October 1, 2013, Strings Attached: One Tough Teacher and the Gift of Great Expectations is a story of survival and understanding, perseverance and courage, and most of all love—love for music, love for country, love for a tough teacher who accepted nothing less than the best. It’s recommended reading, not just for teachers or musicians, but also for anyone from any career field or walk of life.
I finished reading this book several days before attempting a review, but the impact is such that, even now, I’m letting the book speak for itself. Although my copy is an ARC (advanced reader copy) with a paperback binding covered in quotes and information rather than the nice image of the final published copy, and although this ARC has spelling errors and missing punctuation, it will remain in my library. After all, just as Mr. K didn’t have the distinguished manner one associates with an orchestra conductor, this book may not have a pretty cover, but what matter is the music, not the face.
About that long-ordered-but-forgotten book? Fatal Enquiry, the latest in the series.
Penworthy Press 