Category Archives: lesson planning

I’m Taking Bets

How well do you think students will be able to follow these directions?  This is what they’ll find on their Blackboard pages while I’m away in DC next week:

There’s a lot here; please read it all carefully.

For your final paper, you’ll produce a researched essay in which you state and support a position on an issue of your choosing.

I would suggest (strongly) that you craft your position around the issue that you researched for the analysis paper, since most of your research for that topic is already done.  If you decide that you want to veer off in a different direction or go in-depth with an aspect of your analysis that you didn’t have time or evidence to pursue in your last paper, however, you’re more than welcomed to do that.

As part of your pre-writing work, please read ALL of the “Debate about Animal Rights” and the “Debate about the Death Penalty” essays in your text (4 essays, pgs. 422-454).  Please note the organization of these essays, the ways in which the authors emphasize and support their main points, the way the opposition is addressed, and how the essays conclude.  Work on identifying not only topic/purpose/audience, but also strategy; HOW does the author craft his or her essay to achieve the desired effect on the reader (what IS the desired effect on the reader)?  How are the essays similar, and how are they different?  Which essays were most compelling to you, and why?  BE SPECIFIC; point out passages or strategies that you found especially effective and articulate the differences and similarities you find in the essays.

Please note, also, the language that each of the authors employs; what is the general tone of each of the essays?  I have noticed that our class is still struggling to find a professional tone; I’m not asking you to become someone you’re not – to change your voice entirely while you’re writing – but I do expect you to know – and to be able to employ – a professional, academic tone when such is required.  That means using the correct words in the correct ways, crafting complete, complex, and coherent sentences and paragraphs, and being able to organize your thinking into a sustained and thoughtful essay that is easy to read and understand.

That means drafting.  At some point during the week, you need to connect with AT LEAST TWO of your classmates to workshop your first draft of this essay.  Please come to class on the Tuesday we return (the 29th) with a complete SECOND draft – along with the notes and feedback from your classmates – you will be graded on this – and be ready to workshop.  Note the attachments above; use them to help you give thoughtful, careful, and meaningful feedback to your peers (author’s note; here, I attached three PDFs; one that articulate the purpose of peer review and two that offer different strategies for both giving and receiving (and using) feedback).

Please also continue to read and critique opinion pieces from the newspaper, and to listen to analysis from NPR.  Listen to the strategies, notice the language, and pay particular attention to introductions, support, and conclusions.  Providing evidence of these pre-writing exercises will count toward your crafting grade (see below) and will help to make your writing stronger.

 

Come to class on the 29th with all of your pre-writing (including your first draft and all your revisions) and a complete, printed copy of your second draft.

 

These papers will be graded on three components:

Craft  20/100 – the paper shows strong evidence of a command of writing as a PROCESS.  The writer provides plentiful evidence of “behind the scenes” work by articulating a clear topic/purpose/audience, showing evidence of careful and engaged pre-writing activities – including significant exposure to professional examples of the genre – and engaging in a vigorous and attentive workshop and revision practice.  Significant and substantial revisions are evident from first to final draft, and the author is able to both offer feedback to others and engage critically with his or her own work using peer feedback and employing critical reading skills to his or her own writing.

 

Content 60/100 – the paper is well written and complete.  The introduction is engaging and thorough.  The organizational structure establishes relationships between and among ideas and events, presents a logical progression of ideas, and is unified and complete: the paper maintains a consistent focus on the topic.  Credible, relevant evidence is provided to back up the author’s claims, and the opposition’s best counterpoint is addressed clearly, accurately, and fairly.  The author provides sufficient background for the reader to understand the “so what” questions and does not assume facts not in evidence.  The author demonstrates a solid grasp of the complexities of the issue, and is able to present a logical, defensible position to a neutral reader.  The conclusion is logical, reasonable, and satisfying.

 

Style 20/100 – the paper is written in a consistent, accurate academic voice, and sustained awareness of audience is evident throughout the paper.  The author is in control of the vocabulary of the paper; all of the words mean what the author intends, and word choice is precise, artful, and appropriate to the writing task.  All sentences are complete, and all paragraphs are cohesive (one idea per paragraph).   Sentence structure varies according to the writer’s need and are consistently clear, logical, and enjoyable to read.  Evidence is cited in proper MLA format, and the Works Cited page is formatted correctly.  The author does not employ rhetorical questions, personal pronouns, or faulty logic.

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Filed under about writing, concerns, lesson planning, Teaching, writing

Quick Hit: Getting Ready

So!  I start teaching at the two community colleges the Tuesday after Labor Day.  Next Tuesday marks the start of staff meetings.  Of course, both colleges are holding important, orientation-type meetings for new adjuncts on the SAME DAY, but I was lucky that the staff meetings at Not Local Community College (NLCC) end in exactly enough time for me to hop in the car and make my way to Local Community College in time to make it to the meetings there.

Phew!

I’ve just about got my syllabi put together.  I’ve found myself stressing most about the schedule part of the document; I tend not to schedule out a semester’s worth of classes just because experience has taught me that scheduling is a pointless exercise; the first two days go as planned, generally, but then the class takes on a life of its own.  I don’t want to spend a lot of time and energy on a plan that I’m going to abandon in the second week of classes.  If I abandon the idea of mapping out every last class meeting, I can say with some confidence that my syllabi are ready to be printed.

Neither of the classes I’m teaching (college composition and developmental writing, which is essentially pre-comp) are particularly challenging for me to teach; I’ve done it many times before, and I have more than ample materials and facility with the process to make it work.  I’m going into two entirely new environments, however, and I think that’s what’s accounting for the mild case of low-level jitters I’m experiencing lately.  I’m sure that, once I get a feel for what the respective colleges are like (and get to know my colleagues and supervisors a bit better), I’ll fit right in.

So, that’s my professional life at the moment.  What are YOU all up to?

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Filed under doing my own homework, lesson planning, little bits of nothingness, self-analysis, the good ones, The Job, writing

The Post I’ve Been Promising

So!  I promised you all a post that recounted my experiences at Classical Private School.  I’m sorry I’m only getting to it now; I’ve been preoccupied with the (soul-sucking) job hunt and have kind of been avoiding thinking about CPS a whole lot.

The last thing I wrote about, if memory serves, is that I’d agreed to teach a writing workshop as a volunteer for six weeks.  After a heart-to-heart with Dr. Wong, I discovered that CPS had no budget and couldn’t pay me (or, Dr. Wong assured me, she’d have hired me by that point).  She gave me the impression that she was fairly confident that their budget for the 13-14 school year would be sufficient to bring me on board, though, so that was encouraging.

In any event, I taught the writing workshop for the six weeks.  It was a little bumpy because the kids weren’t sure what the expectations were; some of them were under the impression that it was a required course while others were sure it was a volunteer deal, so I didn’t get consistent attendance.  Two of the kids were convinced that they didn’t NEED any writing instruction (though Dr. Wong made a point of assuring them that they did) and one boy spent most of the time goofing off (there’s always one!), but the rest of the group did really well.  Once they were reassured that I wasn’t teaching grammar, they kind of got into it (the adults in the school kept insisting on calling it a “grammar class” until I corrected them in front of the students – yes; I’d be teaching grammar, but it was a writing workshop.  The focus was on the writing process, not on grammar, per se).

I pulled out some of my more successful lesson plans for the course; we did a unit about the basics of the writing process (topic, purpose, audience!) and about the different rhetorical situations one encounters (you need to know topic, purpose, audience before you start writing so you can be sure you’re addressing yourself properly to the situation and the reader).  We reviewed some of my more stunningly awful emails (that’s ALWAYS a popular lesson).  We played the synonym game.

After I got them used to the idea that writing is a process and that it’s okay (good, even!) to start out really, really badly, we wrote.  I had them write personal narratives (tell me the story of your name) and, I think, it went very well.  The kids work-shopped their papers with each other (using some very clear and specific guidelines I supplied for them; workshops are only effective if you know how to do them, and they had never done them before meeting me) and ran through several drafts of their papers.  What was most fun was that a bunch of them didn’t really know their name story, so they had to go home and ask about it.  When I came back after we’d started these papers, a couple of kids were excited about the things they’d learned, and they reported that they really enjoyed the writing once they felt they had a good handle on what they wanted to say.

The one big hiccup was that, one afternoon, I was completely usurped in a really disrespectful and inconsiderate way.  I drove an hour each way to get to this place.  Keep in mind, as well, that I was doing this as a volunteer.  Well, one afternoon, I arrived and was asked if I would mind if Dr. Palmer interrupted my class for a few minutes to let the kids know about an elective he was going to be launching in the coming weeks.  Of course I don’t mind, so I say so.  Well, Dr. Palmer walks in five minutes into my class (we’d barely gotten started) and proceeds to take up more than my hour talking about the course he was designing around the acoustics of electric guitars.

Seriously.  I sat there waiting for him to finish, and I ended up having to leave well before he was done.  I was furious.

Beyond that, though, it went well.  The kids reported, in their evaluations, that they learned quite a lot about their own writing process in the short time we spent together.  They offered suggestions for what they’d like to know more about (were we able to spend more time) and expressed some satisfaction that they were noticing that writing felt a little less ominous to them for our having worked together.

I was sent off after my last class with a small offering to help offset my gas expenses, a coffee mug, and a CPS mouse pad.  Though Dr. Wong was not in the building that day, the Dean of Students offered me what I thought were heartfelt thanks and an eagerness that we maintain communications.  I left feeling pretty confident that someone would be in touch to offer me a position in the fall.

I haven’t heard a thing from any of them since.

Seriously.  Crickets.  No calls, no emails, nothing.

I’m not going to call them.  At this point, I’m reasonably sure that if they could have hired me, they would have, and I’m not in a position to accept a long-distance volunteer teaching gig.  I’m disappointed, though; CPS wouldn’t have been a perfect fit for me, but I think that I could have done some pretty significant good there.

I wish them all the best going forward.  Maybe our paths will cross again sometime.

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Filed under about writing, analysis, colleagues, composition, critical thinking, failure, I love my job, Learning, lesson planning, rhetoric, Teaching, Teaching Writing Seminar, The Job, writing, Yikes!, You're kidding...right?

Improving My Argument

*A continuation of the Counting My Chickens series*

I’m soliciting advice on how to present a particular argument.  Your input would be most appreciated.

improve your argumentimage credit

I am prepping to give a writing workshop at CPS on Friday, and I was going through the folder of information Dr. Wong gave me a few weeks ago when I first visited the school.  In it are fliers about the grading system, the dress code, tuition, things like that.  Included in the packet is the school’s handbook, and in that handbook is a whole section about “Respectful Language.”

Oh, boy; here we go….

I’ve written about how I feel about “colorful language” a number of times (notably here. There are other posts, too, I’m sure, but I don’t have the patience to look them up right now).  I feel – and have always felt – as though it’s my job as a teacher to give kids a strong command of their language – ALL of their language – and to teach them when it’s appropriate to use which rhetorical strategies.  Sometimes, and particularly when we’re engaging in creative endeavors, a particular of class of words is required to get across the true tenor of one’s meaning.  Those words exist for a reason, and part of my job is to make sure my students understand both when they need to employ them and when the rhetorical situation allows for it.

Like a fucking lady

image credit

The upshot of the section in the handbook is that if you have a strong enough vocabulary, you don’t need to utter imprecations.  I’m sorry, but I just don’t buy that, and I’m trying to figure out a way to present that case in a way that is clear, logical, and defensible.  If I’m going to be asked to join this staff, I cannot have a limitation placed on what I can and cannot accept from students in terms of their own self-expression (and, not for nothing, “blasphemy” is listed as a no-no, as well.  Insert derisive snort here).
I have success with my students because I work hard to build an environment where they know they’re safe to explore what they really think and feel, not just what they think they’re expected to think and feel.  I work hard to create a truly judgment-neutral zone in the classroom so that kids can dismiss their inner critics and stroll out on limbs of thinking they’re not certain will support their weight.  I want them to dig under their proverbial beds, to open their proverbial closet doors, and to peek at their proverbial boogeymen, and to trust that I’m going to be there to help them find a way to get those ideas out of their heads in satisfying ways;  the only way I can do that is if I let them know that – at least in this class – they’re free to express themselves as authentically and as openly as they’re able to.  Sometimes (often, in fact), that expression is raw and painful and ugly, and that HAS TO BE OKAY.  Sometimes, the only way into a really great idea or a profound self-discovery is through the fucking wars, and that HAS TO BE OKAY.

If I’m going to be asked to teach anything beyond the basics of grammar and business writing etiquette (I can NEVER spell that word right the first time!), I’m going to require that there be nothing off limits for my students to write or say within the walls of our classroom.  I will make certain that they have a very clear and firm understanding of social contracts, and I will continue to reinforce the concept of rhetorical situations and the importance of tailoring one’s message to one’s audience, but I can’t function if I’m to treat an entire mode of expression as taboo.

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Filed under about writing, concerns, critical thinking, ethics, frustrations, General Griping, great writing, job hunting, lesson planning, politics, rhetoric, speaking, Yikes!, You're kidding...right?

New Class Idea: The Ambiguous Hero

I’ve been captivated, almost forever, with the ambiguous hero; the good guy who does bad things (and, conversely, the bad guy who does good things) and what role he plays in our psyche and, in a larger sense, in our culture.

A friend of mine wants to teach a summer class with film, and we were talking about this idea over dinner the other day.  I haven’t been able to let it go, and here’s what I’ve come up with.  I’m going to need some help zeroing in on the specifics – the assignments, the competencies and objectives, that kind of thing –  but here’s what I’ve got for materials so far:

The Dark Knight: the second of Christopher Nolan’s Batman trilogy – this is the one with Heath Ledger as the Joker.  Christian Bale’s Batman is the perfect example, I think, of the ambiguous hero.

A Dry White Season:  This is based on a novel written by a white South African who gets involved in the anti-apartheid movement after someone he knows personally dies in police custody.

Gandhi:  You know this story, and I keep coming back to it as a conversation about civil disobedience and the question of how resistance is characterized on the different “sides” of the debate in question

Gone Baby Gone:  PLEASE tell me you’ve seen this movie!  It’s about a kidnapping, and centers around HUGE issues of “right” and “wrong” and where the law clashes with morality

Harry Potter:  I want to investigate Snape.  The idea of the double agent is always an interesting one.  I’m not sure which film I’d use, though; likely the last one.

Iron Jawed Angels: Another civil disobedience film – this one focuses on women’s suffrage and the outrages that some women suffered at the hands of law enforcement.

Milk:  About Harvey Milk and the early struggle for GLBTQ rights and recognition

Mississippi Burning:  This remains one of my MOST favorite films, mostly because of Gene Hackman’s REALLY complex character.  This scene alone is worth the film:  https://www.youtube.com/watch?v=UlzaBi_QxPw

The Negotiator:  This is the story of a cop who takes hostages in order to reveal corruption in his department – a good guy doing a bad thing for a good reason.

Leon, the Professional:  A hit man who adopts his 12 year old neighbor after her family is killed by a corrupt cop (played terrifyingly by Gary Oldman).  He’s a good guy who does bad things, and we have to reconcile his work with his personality.

Schindler’s List:  You know this one, too, I’m sure.  I think that Schindler started out as a bad guy doing a good thing (though for selfish reasons) and evolved into a good guy.

Shawshank Redemption:  Andy as a wrongly convicted man who becomes a criminal in prison, but who never gives up his humanity.

Tsotsi:  I haven’t seen this one in a LONG time, so I’m not sure if I’m remembering it correctly, but I think it’s about a boy who steals a car and discovers that he’s also stolen a baby.  The film tells the story of what he does after he realizes he’s got a tough choice to make.

Unforgiven:  This is a Clint Eastwood western.  Eastwood is a retired gunslinger who gets called back into the life of crime for reasons that he thinks are honorable.  His character is a tough one to suss out, and the film really makes the viewer work for the payoff (plus, it stars Gene Hackman and Morgan Freeman, which makes it that much better).

I was also thinking that I would have the kids read Bel Canto (which asks the “terrorist or freedom fighter” question) and, if they’re given permission from their parents, to look at a couple of episodes of Dexter (a serial killer in a Showtime series who only murders murderers who get away from the legal system).

I think there’s a lot of richness to be mined in this “good guy doing bad things / bad guy doing good things” question, I just need to think about it a bit more before it takes on any kind of substance that resembles a for-credit class.

What do you think?

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Filed under colleagues, critical thinking, doing my own homework, Dream Course, film as literature, fun, GLBTQ issues, Holocaust, lesson planning, Literature, Mrs. Chili as Student, politics, Teaching, winging it, writing

I am SO Confused

Help me suss this out, You Guys.

A month or so ago – I forget when, exactly – a former student contacted me about the possibility of my being her advisor for an independent study in English.  She was interested in a class I taught the last year I was at CHS, and asked if I would be willing to offer her that class as an IS.

I can never say no to a student who wants to learn, but my response to this baby was something along the lines of, “I’ll absolutely do it, but there’s no way in hell you’re getting it past administrative approval.”

She sent me a text message today saying that she’s all set to go; she just needs to fill out the paperwork.

To say that I’m stunned is an understatement.

I have no idea what this arrangement entails.  I’m making the assumption that I’ll just be a mentor for her as she works the program herself (though I will give her the course I designed for another student who took the class as an independent study last year, and I’m sure I’ll be providing her with most of the films and reading materials, as well).  I can pretty much guarantee you that I won’t be paid for the work that I’ll do, but I don’t care about that; a kid asked me for my help and it’s within my power to give it to her, so she gets it whether I get paid or not.

Here are my questions to you; given that I was shown the door (though I have still yet to be told precisely why I was so unacceptable as to be dismissed), is there anything ethical about the school’s decision to okay my being a mentor for this student?  Should I be confused about being fired in June, then being approved as a mentor in January?  How should I approach this?

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Filed under concerns, critical thinking, ethics, frustrations, I can't make this shit up..., I've got this kid...., lesson planning, really?!, self-analysis, Teaching, winging it, Yikes!, You're kidding...right?

Quick Hit: Brainstorming

I just got back from my first viewing of The Dark Knight Rises (oh, believe me; there will be subsequent viewings…).  My brain is positively churning  – seething, I tell you! – with ideas and thoughts and musings.

I’ve decided that the fact that I’m not employed doesn’t in any way keep me from designing classes, and I want more than anything right now to design a class – probably a film as literature course – around the idea of the ambiguous hero.  The Nolan Batman is a fantastic foundation for this course, into which I’m planning to weave Snape (and probably Dumbledore), the Creature from Frankenstein, and Oskar Schindler (though he might be a bit tricky as he was a real person, but I think there could be some critical thinking gold to be mined there).  I’ve also got some Shakespeare characters in mind, as well as Jax from Sons of Anarchy and Raylan from Justified (though, depending on the class level, I may or may not be able to show episodes from those shows, despite the fact they’re on television).

Here’s where you come in, Dear Readers.  Who are your favorite morally ambiguous characters?  These can be from movies, literature, or television; the only requirement is that they exhibit some sort of moral stickiness – so much the better if that stickiness makes them more intriguing or attractive.

Aaaand, GO!

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Filed under analysis, critical thinking, doing my own homework, Dream Course, film as literature, lesson planning, popular culture

Ten Things Tuesday

I don’t know if I’ll make it to ten things, but here are some of the things on my work-related summer to-do list:

1.  Planning.  I’ll be teaching at least three core courses (most likely, English I, III, and IV) and at least two electives.  I need to decide what those electives will be, then plan an overview of the year for each of them.

2.  Writing competencies.  The State has decided to use competencies to determine student achievement, and it’s pretty much fallen to me to write these for the English department for the school.  I’ve already begun the process – I’ve done a fair bit of research into what other schools are doing to measure mastery – but I still have to codify them into a useable rubric.

3.  Interviewing.  I’ve made it pretty clear that I want a different part time teacher next year.  The man who taught this year was well enough – he read books and graded the kids’ work – but he never even bothered to become a part of the community.  Not once in 180 days did this guy ever stay for lunch; he’d disappear as soon as his morning class was over, reappear for his afternoon class, then bolt out of here with only an occasional “see ya later.”  That doesn’t make him a bad teacher, but it does make him a bad fit for the community.  I’m not convinced, though, despite my making requests that he be observed and evaluated, that that actually happened, so it may well be that admin decides to offer him another part time gig.  I’ll argue against it, but I don’t know how well my arguments will be heard.

4.  Rearranging.  I’m not good at moving rooms around; once I get things to a point where they’re both functional and appealing to look at, I tend to leave everything well enough alone.  I’m not sure that I’m making the best use of the classroom space I have, though, so I’m going to bring a couple of outside eyes in to the room to see if I can move things around to make it work even better than it does.

5.  Laminating.  I have a ton of inspirational bits and pieces that I rotate on and off the walls of the room – cards, images I’ve scanned, that sort of thing – that are printed on plain paper.  When it gets humid, all that paper curls, so I need to spend some quality time with a laminator to protect them.

6.  Reading.  I’m reading for my own personal enjoyment again (I’ve taken the Outlander series back up, and am heartily enjoying spending time with old friends), but part of my planning process is choosing which books to read during the upcoming school year.

7.  Cleaning.  We inhabit a nearly 200-year-old mill building that seems to generate its own gunk.  I’m planning to spend at least a whole day after the kids leave taking all the furniture out of my room and vacuuming the shit out of the place.

8.  Re-cataloging.  I have a lot – A LOT – of personal property at this school.  I need to document everything that’s mine, and make sure that I have record of its being mine in the event of loss, damage, or separation.

9.  Organizing.  I have to go through all my files and make sure that a) everything is where I can find it and b) everything that can be scanned and cataloged has been.  I have a lot of great materials that I just don’t use because they’re not convenient to me when I need them.  I need to figure out how to remedy that.

10.  Networking.  I am concerned, because of things that have been happening around here, that there may be a need for me to keep certain options open.  I’m going to review my professional development, look into some more college courses (I’ve been flirting with the idea of a degree in social work), and talk to some of my contacts about the possibility of perhaps stretching a safety net underneath me.  I wish it weren’t so, but wishes aren’t horses, so beggars don’t ride.

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Filed under colleagues, compassion and cooperation, concerns, doing my own homework, ethics, Extra-curricular Activities, I can't make this shit up..., job hunting, Learning, lesson planning, Literature, Mrs. Chili as Student, out in the real world, politics, self-analysis, Teaching, The Job, winging it

Doing the Hard Work

A student of mine approached me soon after we began reading Native Son.  She was concerned by the graphic nature of the novel, and she tried to explain to me that she’d already read a number of “books like this,” so she felt that it would be okay for her to sit this one out.

Native Son is a terribly difficult novel to get through.  There are a couple of really graphic and ugly scenes in the story, but neither scene (nor anything that leads up to it) is gratuitous; those scenes are vital to our understanding of the reality of the main character.  I insisted that she continue in the reading.  I told her that I understood that it was hard to read, but that I thought it was important that she keep at it.

She came to me again this morning, upset about yet another graphic murder in the story.  She had worked herself into tears, and I spent the better part of ten minutes trying to explain to her that a good part of the POINT of this novel is the graphic nature of those scenes and of the lives of the people in the story – those people who find themselves with choiceless choices.  I’m not sure she heard me, though, so I wrote her this note (which I cc’d to her mother, just to give her a heads-up).  My hope is that I hit the right note of appreciating her objections while explaining why I think it’s important for her to keep at it.

Dear Josephine:

    I understand that you’re upset right now, Honey, and I am genuinely sorry for that.  I want you to understand, though, that I think that the work that you’re doing is very important, and that I wouldn’t be asking you to do it if I didn’t think it was something you could handle.

    Native Son is a VERY difficult novel to get through.  I know that the graphic description of two of the key events is particularly troubling to you, and I fully appreciate why you feel that way; please don’t think for a moment that I don’t understand that.  What I want you to understand, though, is that those scenes are desperately important to the overall function of the novel.  

    One of the central ideas of this work is the brutality of the life that Bigger (and by extension, other oppressed people) live EVERY SINGLE DAY.  We don’t want to look at the ugliness; we don’t want to look at the desperation and the despair and the fear and the rage that are an everyday reality for people who find themselves in impossible situations with impossible choices.  We, as members of a privileged class – you and I are white, educated, reasonably wealthy people living in stable families in a reasonably safe and clean and well-appointed environment – can say we understand how other people live, but we really don’t see it; we can only imagine it.  It’s uncomfortable when we’re presented – full-on and in our faces – with the hard and cruel and brutal that other people have to live around all the time.  It’s supposed to be uncomfortable; it’s supposed to make you uneasy.  I want for you to use the skills of critical and professional distance that we’ve been practicing all year to take a step back from those scenes.  The point isn’t the graphic descriptions (though I know they’re hard to get around): the point is that Bigger doesn’t believe he has any other choices.

    What are the implications of that fact, and what kind of work can you do with that knowledge?  What kind of spin does that put on your thinking about current events, or about the reality that you and I get to participate in a system that deliberately and brutally excludes entire populations of people?  What does the investigation of Bigger’s reality – of his self-image and his self-esteem, of his prospects and his goals, of his aspirations and his dreams, of his relationships and the ways he believes he’s supposed to behave – do to the ways you think about yourself?  To the ways you think about our collective past?  To the ways you think about our present, and the policies, stereotypes, and assumptions that we continue to create (or to perpetuate)?  

    There’s a lot of really great thinking to be mined from this novel.  I’m eager to get Mr. Carson in to the class to help you all work through the history of the time period – and to see how some of those policies and attitudes are STILL in place today (have you been paying attention to all the racism that’s evident in our current political and national news?  Have you heard of Treyvon Martin and seen all the ugliness that has stirred up?).  This novel is an important one for you to have in your arsenal; I know that you’re angry and upset, but I also know that you’re smart enough to get past that and to do some really significant thinking.

    Trust me, Josephine; I have faith that you’re more than capable of getting through this, and of coming out on the other end with a deeper and more nuanced understanding of race, economics, and politics that will give you a really strong and impressive foundation for a lot of the work you’re going to be asked to do in college.  Remember, too, that I’m around to talk you through all of it; I don’t expect you to do any of this work on your own.

    Warmly,

        Mrs. Chili

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Filed under compassion and cooperation, concerns, critical thinking, I've got this kid...., lesson planning, Literature, politics, popular culture, reading, self-analysis, Teaching

Film and Lit

I’m about three weeks into the new semester, and even though the new Film and Literature class isn’t really off the ground yet, I’m starting to feel really good about the class.

The central focus of the class is systems and the ways in which they work – or not – on both a micro and macro level.  The kids will be reading What Dreams May Come by Richard Matheson, A Time to Kill by Grisham, Orwell’s Animal Farm, and The Sunflower by Simon Wiesenthal and, as each story gets read, we’ll watch films that deal with many of the same big-picture ideas.  The kids will be working on reflective essays that get them to think beyond the plots of the stories and into some of the “so what?” questions the films and stories ask us to consider.

Last week, the kids watched Forrest Gump (a couple of them, surprisingly, for the first time).  Here’s the prompt I gave them:

Consider the interplay between the system and the individual. How do personalities affect the way we perceive the effects of a system on our lives, and in what ways do personalities affect the systems that act upon us? Consider the several characters in the film; how do they deal differently with the same stimuli, and how do their different responses affect the trajectory of their lives, and the lives of others?

How would YOU answer this question?

Tune in later; I’ll give you the Shawshank Redemption prompt….

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Filed under analysis, composition, critical thinking, film as literature, lesson planning, Teaching