Conclusion: I Like NPR More Than NPR Likes Me

My biannual losing submission to NPR’s Three Minute Fiction follows. English teachers should write, so I do.

“Timestamp”

Timestamp:::

Hello? Hello. There’s, I don’t know. I’m going to try you again later.

Timestamp:::

I couldn’t – I think I tried you earlier. I’ve just lost track of time. I keep getting this machine. I just wish this was a conversation. It’s – I guess the machine tells you when this is.

Timestamp:::

I’m sorry.

I/

Timestamp:::

Listen: Maybe a story will help put this into perspective. Years ago, I think, we were in Gstaad and the wind came up suddenly. This was winter. Anyway, the wind came up suddenly and although it hadn’t snowed in what seemed like several days, the limbs of trees around our chalet stirred and flooded the air with crystalline glitter. I said the wind came up, but it came down, suddenly, with a rushing sound like a train passing through a local station, but then up again, maybe as cold pressed over warm air and rebounded. When the wind came down, then up, lifting the snow off every light surface, it stalled. Neither of us breathed for I don’t know how long and the air was solid. We were frozen in that moment in cut glass hanging in a windowsill framed in southern light. I don’t know, do you/

Timestamp:::

Look, that wasn’t Gstaad at all, but I think Les Gets or Vevey. Where are you? It’s funny. Not funny, but strange to dictate to you like this. Mediated. What time is it there? Jetlag. Jetlag is like a fat floppy bunny incubating my brain. I guess bunnies don’t incubate anything.

Maybe that actually makes more sense as a description for jetlag with the error about bunnies, but/

Timestamp:::

Your answering machine is demanding. How long is the time window for leaving a/

Timestamp:::

There was another time, maybe you remember, in the Alps, near one of those funny huts with beautiful shutters and boozy coffees in warm wooden rooms, above tree line. So much of the Alps is above tree line. Not like the Rockies, which are much higher, but which line their flanks with lodgepole and spruce. Anyway, the hut. I can’t remember when it was, exactly, but we were climbing on skis near a ridgeline when the snow came. Did I leave this story already? Did I tell you this? Perhaps you remember. Maybe I’d better/

Timestamp:::

I was remembering the alpine hut and snow falling over snow above tree line. The story doesn’t matter. It’s the dislocation of losing all definition. I could see you, clearly, above me. How far? Impossible to know, but I could see you. I couldn’t reach you, but we spoke, wondering – up? Down? Which way was which? We’d pick a few turns down and fall over slowly, simply lost within our inner ears, balance collapsing into itself without external cues. We had only the memory of the ascent to guide us back down, not even very far – 600 meters? But we doubted, slipped and slid, sure of the encroaching moment of weightlessness, when our skis would slip off into whiteness with nothing beneath/

Timestamp:::

I wonder with what voice your machine crows back the time of this call? Female, male, brash, muted? What time is it there? It doesn’t matter. I don’t even know what time it is here.

Timestamp:::

I was recently in the desert. It feels recent. Nighttime shocked with its cold, but the stars pierced the darkness and the Milky Way stretched overhead, at least from here to there, wherever you are, whatever the clock reads in that place.

This is no way to have a conversation.

‘Scuse Me, While I Kiss This Guy!

In the annals of misunderstandings, maybe my favorite is the “Purple Haze” syndrome. Mishearing lyrics or poetry even has a terminology: mondegreen. I remember, hilariously, a friend making this mistake in real time; so awesome is the memory that I doubt its existence, like snipe hunting or cow tipping, a signifier masking misadventure.

In fact, so pervasive is Purple Haze syndrome, some believe it to be based on fact, even naming their mondegreen websites after the lyric as they ironically explore the possibilities that the whole paradigm of their site is, in fact, bankrupt.

But that’s not what I want to write about.

Sometimes, even when we say what we mean, it gets misheard. Misunderstandings arise as language bubbles through emotional and physical filters like stress and our cochlea. Saying what we mean exactly, then, is essential, especially when we are instructing children or offering feedback.

A student came into my classroom yesterday, venting: “I just don’t know what she wants from me!” What is she hearing? What is being said? There’s almost no way of knowing.

I’m working on condensing a general use  6 Traits rubric to 4  traits based on feedback from my English department. People seem generally happy with it so far, though some colleagues found it too specific. I’ve been processing that, and I believe I have come to an understanding that specificity expresses expectations. An analytic rubric should express expectations for product. As such, an analytic rubric must be specific.

Additionally, being specific demands that we make decisions about what good products or outcomes are. Too often, the hidden curriculum of what a teacher likes or wishes for filters through a rubric, leading to grades in the end. Student gets grades, tries again next time. A solid analytic rubric communicates expectations, ideally in language the student understands and has practice with. The hidden curriculum or expectations will still exist somehow, but the student can be empowered to improve in a creative cycle through solid feedback and reflection based around a good analytic writing rubric, for example.

Even when expectations are clear, the student has to apply them and get to know the expectations personally, through their own writing (or other performance) and through their personally significant mental models. Until then, pieces of a complex rubric will be mini-mondegreens, limiting student learning and agency.

We’ve got to be specific and clear. We’ve got to be repetitive when it matters. We’ve got to engage in cycles of attempts and feedback. And we’ve got to give students experience with the expectations to internalize them meaningfully. Because even when we do, someone is going to hear something differently.

Now, excuse me, while I…

The Tale of My Blankie – from “Gears of My Childhood”

For whatever reason new, first time parents make decisions that seem, in retrospect, hilarious, my parents bought for me a white baby blanket, waffle fabric like old fashioned long underwear with a synthetic silken border. A melange of vomit and other bodily fluids, dirt, foodstuffs of all kinds, pet hair, and Play Dough slowly, almost generationally melded into a gray Earth tone no bleach could penetrate. White was their choice, but experience turned the blanket into the color of a November Ohio sky.

I have no actual memory of the synthetic silken portion of the blanket. According to my parents, I immediately set about tearing it off, so the frayed, soft edges of cotton are what I recall. I’m not surprised I hated the snaggy, slick feel of polyester silk; I hate synthetic fabrics still. Once altered and mine, the blanket became a constant companion and the basis of a narrative that still shapes not only how I learn, but how I interact with the world.

Somehow, the blanket became wedded to an imaginary, invisible friend named “Ghost.” Today, I can see that Ghost allowed me to weaves stories through my daily activities, processing in words and imagining worlds within worlds. When I first read Seymour Papert’s “Gears of My Childhood” essay introducing Mindstorms: Children, Computers, and Powerful Ideas, I thought “Oh, it’s books for me.” Books and stories have been at the center of my life for as long as I can remember, but of course the stories came first – those read to me and invented by me.

Even today, watching my 4 1/2 year old daughter spin stories of play and possibility, I see the power of narrative to hammer experience into something comprehensible. In learning anything, I try, observe, reflect, and revise reflexively. Experience teaches, and narrative contextualizes the teaching intellectually and emotionally, in the way that we feel stories.

As I grew older, the blanket and I curled up on heating grates, couches, into corners, and in bed, endlessly reading. I read early, and continued reading. I’ve never really stopped. Growing up soaked in fiction led to an internalizing of narrative structures, and for better or worse, I recognize narratives unfurling in the world around me as a result. I explain ideas through stories. I see the inner narratives of people around me and their effects. I write stories. I am insufferable at the movies, often identifying the entire plot arc before the ice melts in my Coke and usually explaining my prediction to the groans of my wife.

Like Papert explains in his essay, the affective nature of narratives for me is anchoring and positive. Like Papert, nobody told me to read or love reading; in fact, people often begged me to stop or read less. When I write, I disappear somehow, absorbed. I still love imagining worlds, people, situations, reactions, causes and effects. The love that I have for narratives is engrossing. When I can build a narrative around an experience or through an experience of classroom learning, I succeed. When I can’t, I fail.

Through history, biological sciences, and some mathematics, I connected and made relationships with the subject matter, internalizing, revising, and building interpersonal narratives. When this process failed or was broken for me by teachers, I disconnected from the material intellectually and emotionally.

Beyond school and more importantly for my life today, my early experiences in the outdoors were regular and intense, leading to a very close relationship with the natural world. When I get to choose my leisure activities, they are outdoors or creative, like photography. Through these activities, I dream stories. I sit at night, quietly imagining the next time I run a rapid or snowboard through a tightly wooded glade, visualizing. Outside, I relax and my mind whirs through stories. Inside, like Wordsworth and his daffodils, I often drift off to a Colorado mountainside or a Slovenian river.

So why a blanket? Attachment to a material object is an attachment to memory, and my memory is story, image, and a marriage of the two. Imagining a friend based somehow on the blanket is my earliest memory of making stories, constructing narratives. The stories we tell ourselves are the foundation of our identity. I process the world through stories and conceptualize of complex relationships between ideas, objects, and people as narratives. Further, I see narratives in my mind’s eye, experiencing them, feeling them. The blanket is the genetic object behind my relationship to narratives.

Papert claims “Anything is easy if you can assimilate it to your collection of models. If you can’t, anything can be painfully difficult.” My experience as a teacher and a learner supports this claim. I feel lucky to have a diverse and useful set of mental models for learning, but each gets processed reflectively through an internal narrative. From my earliest important material object to my career as an English teacher building literacy and writing skills with children, roots from this genesis of learning through narratives spread broadly, connecting it all into a (mostly) coherent whole.

Language, Image, Editing, & Bias: A Quick Case Study

Chuck Norris and his wife Gena recently published a video urging their fellow conservative Americans to get out and vote to end an “attack” on freedom during this “tipping point” election, because “quite possibly, our country as we know it may be lost forever if we don’t change the course in which our country is headed,” which is “the direction of socialism, or something much worse.” Action on the part of Christian evangelicals is urged by the Norris couple in order to head off disaster. Via a series of quotes from Edmund Burke and President Ronald Reagan, the couple paint a goal of fighting the “triumph of evil,” keeping “freedom” from “extinction,” and avoiding “the first step into a thousand years of darkness.” Pathos aplenty drips from this video, stoking fears among their audience of evil, the other, and left-wing politics. Check it out for yourself.


The language employed in this piece is inflammatory, and often delivered by proxy through out of context quotations. Apocalyptic at times, I thought. Which was why I was a bit surprised by the kid-glove treatment given Chuck Norris by Bill O’Reilly on his Fox News show. It is no surprise that the two share a common political condition, but the soft-serve question and lack of a follow-up question by O’Reilly are quickly subsumed by a series of images – boarded up houses and storefronts – flashed over Norris’s unsupported claims about Obama’s economic policies create a clear tone with obvious implications laid down over a discussion devoid of hard facts (insofar as they still exist today!). This could be the basis of an interesting deconstruction and comparison exercise a la the IB Language and Literature curriculum.

http://video.foxnews.com/v/embed.js?id=1834875062001&w=466&h=263

Watch the latest video at <a href=”http://video.foxnews.com”>video.foxnews.com</a>Some questions to guide students may be as follows:

  • What is the purpose of the “Chuck Norris’ dire warning” video?
  • Who is the intended audience of the Norris video?
    • What words or phrases inform your answers above?
  • How are quotes used in the Norris video?
  • How would you describe the relationship between Chuck Norris and the interviewer in the Fox News video?
    • What words or images support your answer?
  • Does the Fox News piece suggest a viewpoint on the part of the media maker for the topic being discussed?
  • How does the Fox News video use images with speech? Why?
  • What sorts of arguments are laid out in the two videos?
  • In a well-written response, support, defend, or qualify the following statement: The media makers behind these two videos hold independent views on the topic of the 2012 presidential election.

 

Language and Identification

On a recent, totally engrossing Radiolab episode focused on color, Homer’s use of color in “The Odyssey” and “The Iliad” illustrated a startling fact: not once in either epic does Homer use the word “blue.” Dawn is rosy-fingered, the sea wine-dark, nothing blue. In fact, they later visit the Himba tribe in Namibia who have no word for blue, who struggle to differentiate a sky blue square from a computer monitor otherwise full of green squares (the official BBC link is here). The Himba people have fully functional color vision, but their brains aren’t seeing blue. Why not?

One hypothesis mentioned in the piece is that a culture must synthesize a color before naming it, and as teachers have been known to say – to name it is to know it. Differentiations of shades, of colors, demand parsing an abstraction. As in deconstructing language or writing, terminology helps apply labels to abstractions, just like blue for the curious deep safety of green-minus-yellow. When students struggle to see what needs improvement in their writing or even in their ideas, language helps. All too often, schools approach writing instruction haphazardly or formulaically, because it is so challenging a task.  I have seen the power of a set of language and common, basic rubrics in action, like those adapted from “The Six Traits.”

Over the past few weeks I have seen students form novel neologisms and contort common words like “flow” into descriptors for what they wish to create in their writing. This is my failure; I should provide a useful rubric for students to practice with, grow comfortable with, and apply to their own writing for personal growth. Once students begin to see distinct zones in their writing for improvement, they can learn independently through playing with their writing. If a student can’t name a fragment or a run-on sentence, she can’t find them, or fix the problem. If a student can label distinct parts of her organizational structure, or identify strategies for improving her sentence fluency, she cannot be stopped from learning and making improvements as she sees fit.

Across the curriculum, if students and teachers share a basic functional vocabulary for writing, we will all see anew, see kernels amidst the chaos, see something hiding right now before our very eyes, obscured by the blindness of our minds. Language can begin to unwind the blindfold. We should let it.

I Flip the Classroom, Sort Of

I maintain deep and abiding distrust of the “flipped classroom” model, because I see it largely as just the same boring lectures with more time to drill, baby, drill in the standardized testing-focused classroom. However, I see the possibilities of refining and recording moments of direct instruction for students via video lectures. Since I am missing two days of my IB course this week due to an adventure day with grade 10 and an IB conference (oh, sweet irony), I decided to revisit the mini-lecture from today and record the rest of the instruction I would try to give individually or in small groups as kids worked over the next two classes via screencasting. The focus of the series is “Essay Skills,” focusing on dissecting a prompt, writing a thesis statement, and organizing an outline while revising a thesis statement.

I used Jing and put the videos together in Camtasia Studio, thanks to a free 30 day trial. I managed to complete all of the screencasting, but then found that I only had the audio for the first two pieces of three. I was aiming for around 15 minutes total in length for all three videos and that should be about right. I’ve really doubted how useful this model would be for kids in the reading and composition classroom and am interested to hear student feedback after my return. I’ve embedded the videos below and welcome any feedback.

 

 

Subtext is Engaging

Twice today I was captured in a classroom conversation about very different texts – one a short story, the other a persuasive essay on language, culture, and identity. In both cases, students began the discussion with their own ideas from a short exercise focusing on small sections of texts followed by small group discussions. Observing their small group discussions, I found they were all on track, sharing ideas revolving around important literal ideas and meanings. When we brought it back to the entire class for a conversation, ears pricked up when we began to circle ideas and meanings existing in the subtext, created through subtle mechanisms from a single word choice, to elusive concepts like tone.

As a few glassy expressions caught glints of interest, I was reminded of why I have so much fun with critical literacy. Students know something is going on here, and they want to dig in and uncover the dirty truth, or tricks, girding so much of communication. Always, a student or two discovers a funky bit jutting out of the surface of a text and, with a little focusing from me or from a peer, they start excavating until they uncover a critical piece of the subtext. You know they’ve grabbed something essential when vehement opposition springs up in a small group; there is always a naysayer. Once we get into an entire class setting, if I manage to ask the right questions and not blow the whole thing open, ruining the fun, it’s an amazing sight to see heads start nodding and kids start rushing to ask questions, or share an idea as the layers peel away.

Subtext – everywhere and nowhere. Man, it’s fun when they get after it.

The Power of a Common Functional Vocabulary

I worked closely with a number of colleagues this week to prepare curriculum for a new IB English course, IB Language A: Language and Literature HL in full jargony regalia. During the course of our efforts, a cloud descended as we discussed strategies for grading an internal assessment done early in the students’ first year. I spoke of grading and scoring, another colleague used grading and marking, and our third colleague used all three. As such, great confusion arose as we sought to decode what, exactly, anyone was talking about at any given moment. When I spoke of scoring, I meant using IB rubrics to put IB-dictated numbers on a piece of work with corresponding feedback, but by grading I was referring to the letter grade we would assign to specific scores on the IB scale. Perhaps you’re already confused.

Any debates over the merits of grading and/or externally assessed courses like IB/AP notwithstanding, this time-sucking, frustrating conversation ended in laughter as we figured out how we had linguistically tied ourselves in knots. If we had a pre-defined, shared set of function words referring to specific teaching practices distinct from one another, the conversation would have shed 28 minutes of slowly escalating befuddlement and we could have made a decision and moved on. This is no different for students. In content areas or skill acquisition, teachers should agree on a common set of nonnegotiable, essential vocabulary that allow students to function within the discipline and stick with those. In the composition classroom, we have dozens of ways – generally inexact – of referring to concepts like voice or organization in writing and students must adjust and catch up year by year in the absence of a shared, explicitly taught set of functional vocabulary agreed upon by consensus. In reading and literacy instruction, dozens of like terms have bred, begetting myriad crazy labels for processes simple and complex. The truth is that it doesn’t matter what words we use as long as the definitions are clear, shared, taught, and regularly applied. Of course, many academic contexts or subject areas have common functional vocabulary, so it’s silly to force kids to learn “order of operations” as “fun with figurin'” in fourth grade, only to confuse them in fifth grade when the teacher uses the standard terminology.

The idea is to get past linguistic hurdles, give knowledge and skill steps clear, common labels whenever necessary, and move on to the doing of learning. In our conversation, we lost half an hour to inexact functional language – not Earth shattering, but a solid lesson in the power of a common functional vocabulary!

Fiction, Genre, & Language

A fun episode of On Point with Tom Ashbrook recently featured some writers of fantasy-style fiction novels that have received great acclaim from reviewers. As a not-so-secret science fiction geek, I was stirred a bit by the shock of Tom Ashbrook as he navigated the waters of fantasy creatures in literary fiction, proclaiming that the likes of John Updike would never stoop to such levels before being reminded by his guest of The Witches of Eastwick. Underlying my not-so-secret SF love is my fantasy geekiness, my readings of all of Ann Rice’s novels as a teenager, to say nothing of The Lord of the Rings, anything by Neil Gaiman and Terry Pratchett, and a series of role player fiction novels from England as a child.

Given this context, it is gratifying to hear the subject of genre being discussed in the mainstream media and the blurred margins between genres, or subgenres, like literary fiction and fantasy fiction. I have been particularly interested in the mutable nature of prose since the A Million Little Pieces debacle and subsequent meltdown by Oprah – why did she care so much about the classification of a text she found moving, a text now described by Wikipedia as a “semi-fictional memoir?” While Oprah was clearly run over by this semi, betrayed and hurt, I see opportunity for telling the story-truth explored by writers like Tim O’Brien for decades. While it may have been more honest for James Frey to portray his life story as a fiction piece, I don’t think it matters much if the audience walks away with the message in the end. Additionally, I see all fiction as life experiences twisted and woven into something more true and distilled than the original, broken chain of events. So, if Glen Duncan explores the human landscape through the prism of  werewolf character in The Last Werewolf, that’s literature. Nonfiction is also literature. Literary giants like Kurt Vonnegut, Updike, Shakespeare, Toni Morrison, and Philip Roth all explored science fiction and fantasy elements as ways of uncovering truth about the human experience. As we explore what genre is and isn’t, fuzzy boundaries allow more individual freedom to choose what we love to read and write while still stretching our philosophical conceptions of humanity’s struggles, mundane and timeless.

100 Greatest Nonfiction Books

The Guardian has released great fodder for argument: the 100 greatest nonfiction books. I’m a nonfiction addict – the creative essay, persuasion in all its guises, academic study, education research, society & culture, the arts, history. I have just finished The Psychopath Test by Jon Ronson and am currently reading The Information by James Gleick. I often run fiction, poetry, and nonfiction texts concurrently, and the nonfiction generally turns over more quickly. This list is interesting because it runs from Herodotus to Clay Shirky, who is one of my favorite current thinkers. There are must reads from Sontag’s Notes on Camp to Manufacturing Consent, Chomsky’s arguably most excellent tome, The Selfish Gene by Richard Dawkins (outdone by his epic The Ancestor’s Tale, in my opinion), The Revenge of Gaiam and The Silent Spring in the environmental camp, In Cold Blood, Innocents Abroad, The Souls of Black Folk – the hits just keep on coming. Additionally, there are many titles like Godel, Escher, Bach: An Eternal Golden Braid that have reached cult status and which I have high on my list of what to read next. In literature The Uses of Enchantment and in journalism The Journalist and the Murderer caught my eye as unknowns, as well as The Story of Art, which shares a title with Simon Schama’s awesome BBC and much later produced television series all grabbed my attention.

Why is this list important? Any list represents a smattering of opinion at best, but this may spark conversation about nonfiction, which is a creative and under-appreciated genre, especially in high school English classes. Just today, I had five separate conversations with students who are abandoning advanced English coursework in favor of science and math. If we were teaching engaging, vibrant, creative non-fiction covering areas of student interest per student choice, perhaps we would be more likely to retain interest in more challenging English courses. Of course, higher level IB or AP English courses have debatable value, but I see value in students valuing the study of reading, writing, and communication. Students are not best served when they see English studies as an impediment to their scientific or mathematics careers. But, when they don’t get to see lists like this, how could they know what they’re missing? How could students know until they’ve missed developmentally essential time for developing their skills in examining writing for data, argument, and nuance and for writing fluently and vividly that the most famous and successful mathematicians and scientists are all great authors unless we have them read these books?

Literature includes nonfiction, which means literature is science, math, art, culture – haute and pop (Electric Kool-Aid Acid Test, anyone?), philosophy, and so much more. When English teachers expand their literary choices to include excellent nonfiction, everybody wins and departmental barriers are transcended, exposing the teacher as learner and engaging students in areas of personal interest. Students and teachers deserve a healthy helping of nonfiction and this list is a good starting point.