I am very excited and honored to share that the Georgia Council of Teachers of English has selected me as one of two high school English Teachers of the Year.
I have a student whom I just love (well, a lot of them, actually, but I’m going to focus on just the one today). I have taught her for three years. I teach in a small school, and sometimes that happens. When she was a ninth grader, she let me know she didn’t like to read. One day it dawned on me she might really like Stephenie Meyer’s Twilight, so I told her she should check it out—I thought she’d like it. I don’t really remember for sure, but I think she was in tenth grade by that point. She devoured the book. And the next. And the next. She got the last one when it came out.
Yesterday she showed me that she’s reading The Autobiography of Henry VIII by Margaret George. She said, “Look what I’m reading, Ms. Huff. For pleasure! For pleasure!” She watches The Tudors and has developed a real interest in the historical personages depicted in the series. This book is nearly 1000 pages long. I know the Twilight books aren’t skinny, but I admit I was impressed. She is excited about next year and the opportunity to take a Shakespeare course. In short, whether she’s a voracious reader or not, I don’t know, but she is a reader now. So am I taking credit for that? Heck yes, I am (/Napoleon Dynamite voice). In all seriousness, I made a suggestion. It seemed casual at the time, but it did have an impact in that my student did read and love the book I suggested for her. But I didn’t do anything, really. The book did.
Tom mentions using fun fonts to make boring content exciting (and has particular ire for Comic Sans). I have been known to use fun fonts, but I hope I graduated from using them to disguise boring content many years ago. One of the main issues I had with a recent word processing assignment I did for one of my grad school classes is that it was intended only to see if I could do a variety of different tasks in Word rather than make something attractive, interesting, and substantial in Word. The resulting document looked like an aesthetic mess to me because I had to single space, double space, triple space; use three different fonts; prove I could bold, italicize, and underline text; and manipulate images for different effects. I didn’t wind up with a document I could use for anything later. In fact, I was embarrassed by how it looked (I was following the directions to the letter). The content was not an important part of the assignment. I wound up riffing on what I was currently doing with Beowulf in my classes and putting a bunch of Beowulf-related pictures in the document. I suppose I proved I can use Word to manipulate images and text, but I don’t think the assignment proved I can use it well to create a document that has substantial content and an attractive design.
That said, I don’t use Comic Sans because I teach high school, and I consider it an elementary font, but I don’t have any particular hatred for it. Still, I think Tom’s larger idea is that some of us create documents that are crammed full of proof that we can manipulate images and text, but that contain little substantial content. In the interest of full disclosure, though I labored over this decision, you can download a PDF of the document I created here, but I removed my required heading because I think it’s the polite thing to do. I also removed the file name from the footer because even though my files cannot be accessed except by my teachers and me, I don’t want to give folks who are interested the encouragement to try to break into my files. By the way, inserting the file name in the footer of only the last page was the only new thing I learned in doing this assignment. How useful a skill is it? I don’t know. We’ll have to see.
Tom also skewers using technology to make a boring assignment interesting. Too many teachers fall prey to this trap with Power Point. I have seen more Power Point presentations that make me want to tear my eyes out! I would much rather listen to someone talk without visuals at all than view a poorly designed Power Point. I think this guy captures Death by Power Point really well:
And this guy shows how you can use it effectively to enhance a presentation:
I liked what Tom said about “digital native/digital immigrant” terminology. I have yet to meet more than a handful of students who know as much or more about technology than I do, and that’s not boasting — it’s an observation. Granted, I think I know a bit more than the average teacher, but everything I know I taught myself by playing around with it. I haven’t worked with too many students who are willing to play around with a bit of code or a piece of software to see what happens. To my discredit, I admit sometimes (a lot of times), I take the easy way out of showing them instead of letting them struggle with it a bit. How much better would they learn if I asked them to teach themselves a bit? Likewise, teachers labeling themselves digital immigrants can be a way of giving themselves a pass on being ignorant about technology. I’m not saying teachers all need to be Vicki Davis (though she’s wonderful and it would be great if more of us were on her level), but I think we’re past the point at which it’s OK to be a complete luddite.
As an addendum to Tom’s admonition about “faking it,” as he did, I can say only that when you genuinely like and understand something the students like, and connection is genuine, it’s wonderful. I don’t pretend to be up on everything my students listen to, but the ones who like classic rock know I’m a pretty good resource, and if they have a question, they ask me. That’s genuine interest. I can talk about my passions, and Tom is right — that’s what students are interested in seeing — not that I like what they like or that I’ve latched on to the latest trend in education. I can remember vividly the occasions when I saw my teachers’ passions shared and finding what they had to say intriguing even if I didn’t necessarily share that passion. A good case in point was a recent class of my own that was derailed by a passionate discussion between a visiting teacher and me about why it is important that “Han shot first.” Truly, the students couldn’t have cared less about the issue (we are going to study Star Wars in that class beginning next week — it’s my Hero elective class), and most of them haven’t even seen the movie (!!!), but they remarked later on how interesting the discussion was. I felt like a failure after letting my class go off on such a long tangent (we discussed The Iliad very little that day), but perhaps it will be valuable in some other way down the road. At any rate, they saw two individuals talk about an issue they both knew a lot about and felt really strongly about, and I think their interest in studying the movie is piqued. And I suppose we were both certainly really ourselves in front of the students.
If you want to a see a teacher who is passionate about what he does and uses technology effectively not only to create handouts that are informative and attractive but also to have his students create thoughtful presentations with Power Point, you need to check out my friend Joe Scotese’s site. He blows me away. To me, Joe is a perfect of example of avoiding the shortcuts Tom discusses in his post. At any rate, Tom’s post resonated with me so strongly that all I could really do was agree at the time. After spending a couple of days thinking about it, I decided that for all the reasons I have discussed, Tom’s shortcuts shortchange our students, and they don’t make us good teachers or help our students learn.
When I talk about certain works of literature, I can hear the words of my own professors coming out of my mouth. I truly received a good English education at my college, and I look back in fondness at my college classes, perhaps none more so than the very last one I took, Twentieth Century American Poetry, which was the last class Coleman Barks taught at UGA before he retired.
Coleman Barks is probably best known for his translations of the poetry of Rumi, but he is a fine poet in his own right, and he was a great teacher.
Perhaps he made it a practice every time, but perhaps it was because we were the last class — I remember he asked us to submit our own poems and he had them made into an anthology for us. I wrote one about my great grandfather that he found kind of dizzying, but to be honest, it really captured my feelings as I watched a man who I wasn’t personally close to, but who was important to my family, slowly dying of Alzheimer’s and diabetes.
We read only one female poet in that class: Adrienne Rich. I remember we tried to talk about that omission, but he didn’t seem as concerned as we were. I think he just picked what he liked.
It was a great class, and I remember the day of his last lecture, he was crying as he walked quickly out the door — he was trying to hide his tears from us.
And then he slept through the final exam. I didn’t know he’d slept through. I think we were told there was a a problem with a flight. We waited. And waited. Another professor stuck his head in the door, ascertained the situation, then left to find out what was going on. He returned to tell us that we should just write Coleman letters about what we thought of the class. So we did.
I didn’t realize until this very day, which is at this point over 10 years later, that Coleman wrote a poem about us. Wow, I didn’t know he felt that way about us or the final exam. I’m so glad I found it.
Laura Diamond at the AJC’s education blog Get Schooled discusses a sticky problem: teachers who use poor grammar in communication with parents.
Many of us admit we have poor grammar and horrible spelling skills. So why do so many of us get concerned when we see these same faults in teachers?
Can you respect a teacher with poor grammar? Do you worry he or she won’t be a good teacher?
OK, so I admit I make typos on occasion, and I’ve even done it on handouts or assignments. If I catch them I correct them, but there have been times when I haven’t caught them because I didn’t proofread carefully. However, when I send e-mails to parents, I always proofread carefully. I am acutely aware that parents will have little faith in an English teacher who makes grammatical mistakes, and if my children had such a teacher, I would be concerned. I suppose my answer to Laura Diamond’s question depends on how bad the mistakes are. If I see an obvious typo in a teacher’s communication to me, I’m forgiving. If I see embarrassing grammar mistakes that indicate the problem is not proofreading but knowledge of grammar, I do question whether or not the teacher can be effective. Engaging students is great, but if you don’t have good communication skills, how much knowledge are you going to be able to impart? Honestly, good communication skills apply to everyone, and all teachers ostensibly have college degrees; therefore, I don’t think it is expecting too much to insist that they be able to communicate using proper grammar.
Teachers are also our models. When I was young, it never occurred to me that a teacher could be wrong about a fact. If my teacher said it, I thought it must be so, and when I was presented for the first time with evidence to the contrary, I remember questioning the accuracy of that evidence! I don’t think teachers need to be perfect, but they do need to be aware of how much stock students put into what they say and do, especially in elementary school.
Have you encountered this problem? What’s your take?
Last week, I participated in a Teaching Shakespeare Mini-Institute with the Folger Shakespeare Library. If you ever have the opportunity to participate in one of Folger’s institutes, seize the opportunity. You will not only learn great practical methods for teaching Shakespeare and learn about Shakespeare and his plays, but you will also develop professional ties to amazing educators from all different backgrounds.
Much of the Teaching Shakespeare Mini-Institute’s methodology will be familiar to teachers who use Folger’s popular Shakespeare Set Free series. Our focus was on Romeo and Juliet and A Midsummer Night’s Dream. We began the first four days with a lecture from either Barry Gaines, professor at the University of New Mexico, or Christy Desmet, professor at the University of Georgia. We also had curriculum sessions twice a day, seminar discussions, and performance classes taught by Laura Cole from the New American Shakespeare Tavern and Caleen Sinnette Jennings from Folger. Our culminating project was performance of a scene on the stage of the Shakespeare Tavern, which was an amazing experience. Here is a video of my group’s take on the scene when the Mechanicals in MND are receiving their parts from Peter Quince.
We all went to the Shakespeare Tavern to see Laura as Beatrice in Much Ado About Nothing, which was a great experience. The actors were kind enough to stay late for a Q&A with all of us, and the Tavern was generous with great seats. If you live in the Atlanta area (or even just Georgia or nearby) and have never been to the Tavern, do yourself a favor and go. You will not be disappointed. Laura was brilliant, and the rest of the cast was also a delight.
I had an amazing time, learned a lot, and made new friends. I am still processing everything I learned, so please be patient as posts about the experience will come out as I think it through and make connections.
Here’s a picture of all of us on the stage at the Shakespeare Tavern. Click the image to see a larger version.
I e-mailed my adviser at Virginia Tech with a question about registration. She wrote back in what I thought was an unnecessarily irritable way because I had used the wrong e-mail address to contact her, and because she was upset about that one detail, the tone of her whole reply made me feel as though I had bothered her when I was only trying to seek help. I didn’t get a positive first impression of the person who will not only be my adviser through this program, but also who will apparently be teaching all my classes, and it made me think about how teachers unwittingly start off on the wrong foot with students, leading to self-consciousness and insecurity on the students’ part. I know in my case I immediately felt discouraged about my decision to go to Virginia Tech, but I am hoping perhaps she was cranky for some other reason and won’t make a habit of snapping at me when I have questions. It can be hard to be patient when you’re a teacher, and the students asked something you just answered five minutes ago, or they could find the answer if they just read the handout, and it can be hard to put ourselves in the shoes of our students. We should really try, though. It’s hard to be vigilant about each interaction we have with students, but it is so easy to tear down and so hard to build up. I would hate for my students to have the kind of first impression of me that I have of my professor.
I wrote this last night thinking of submitting it to the Faculty Room, but I realized I misunderstood our focus question, and I didn’t want my post to go to waste. Thus, here are my thoughts on some choices teachers ought to have about their profession and environment.
Teachers have differing degrees of choice in their educational experience, depending on a variety of factors: where they live and teach; who their administrators are and what their philosophies are; what access they have to technology and other tools; and what kind of support they have from the district and community.
I think teachers ought to be able to design their own professional development based on their needs and interests. Too much of our professional development does little to enhance our learning and teaching. Furthermore, teacher certification agencies ought to examine these self-designed professional development plans and approve them (or not) for staff development or professional learning units. The two single most beneficial professional learning opportunities I have undertaken—a course in Mel Levine’s Schools Attuned and a self-directed study and subsequent establishment of a professional learning community centered around Grant Wiggins and Jay McTighe’s Understanding by Design—will not count even one PLU credit towards certificate renewal, but you’d be surprised at the insipid courses I have taken that will.
Teachers should have some input in the hiring process of new colleagues. After all, we will be working closely with new teachers, and it stands to reason that we will work better with colleagues with whom we share philosophies and goals. The best schools I have worked in have always given teachers some say regarding which teachers are hired. In the past, I have been interviewed by full panels, including a prospective department chair and colleague as well as administration, and I have also participated in a hiring process that requires the department chair to observe a sample lesson taught by the prospective teacher. I think this kind of input has made me feel more comfortable about being interviewed as well as selecting potential colleagues.
Teachers should have some input into the courses they teach, including opportunities to write curriculum. Many schools have a form of hierarchy based on seniority, and I think this is fair. In addition, teachers should have some autonomy in selecting topics for study or emphasis, too. I admit I am an English teacher, so to me it seems natural to be able to select novels for study. I understand that math teachers don’t have the option to decide not to teach quadratic equations if they don’t like them that much. However, teachers should also follow a curriculum or standards to ensure that all students receive a good, comprehensive education, and I think many if not most teachers should be able to write a curriculum plan that addresses the essential knowledge and skills in their subject matter.
If teachers are afforded the opportunity to shape their professional learning, select their colleagues, and write the curriculum, I think we will find much happier, more collegial and professional educators. I have had some opportunity to do all three, and it has made a difference in how I feel about my work. Ultimately, teachers must be trusted. Teachers who are not trusted will not have opportunities to design professional learning—they won’t challenge themselves to grow. Teachers who are not trusted will not select their colleagues or write curriculum because they might make poor choices. If teachers are not trusted to make these decisions, however, why do we trust them with our students at all?
In our high school literature studies, we often stick to tried and true classics, which is fine. There are very good reasons why these books are classics. But what if you want to read something newer, but somehow related to a classic? What if you want to extend learning for your students and want to choose a similar book? What if your students must read a certain number of books to fulfill state objectives (Georgia’s GPS require students to read 20 books a year) and you want to steer them toward books related to others you have studied?
Ahab’s Wife by Sena Jeter Naslund
Read it with Moby Dick by Herman Melville
What it’s about: In a small passage in his chapter, “The Symphony,” Melville’s Captain Ahab tells Starbuck about his young wife. As God fashioned Eve from Adam’s rib, so Naslund from Melville’s brief description creates Una, who begins her own narrative no less memorably than Ishmael began his: “Captain Ahab was neither my first husband nor my last.” Una’s story is every bit as fascinating as that of her husband. She meets and rubs shoulders with such ninethenth century luminaries as Margaret Fuller, Maria Mitchell, Frederick Douglass, Nathaniel Hawthorne, and Ralph Waldo Emerson. The book is a lush garden of literary allusion, from Spenser’s The Faerie Queene to Homer’s Odyssey.
Why students should read it: Naslund’s Una is one of the literary characters you will wish you could meet in real life. She is vibrant and real. Students will learn a great deal about mid-nineteenth century life and history from reading the book, too. The prose is gorgeous literary fiction.
A Thousand Acres by Jane Smiley
Read it with King Lear by William Shakespeare
What it’s about: Larry Cook, a farmer in Zebulon County, Iowa, decides to divide his thousand-acre farm among his three daughters, Ginny, Rose and Caroline, insisting he is saving them an inheritance tax. The daughters do not want him to do this, but Larry possesses a single-mindedness that will not be crossed. When Caroline objects more firmly, she is cut out of the deal. The family gradually implodes under Larry’s seeming madness, a suit to get back his land, and Ginny and Rose’s competition for the affections of neighbor’s son Jess Clark.
Why students should read it: This Pulitzer-prize winning novel closely mimics the plot of King Lear, but gives Lear’s daughters some depth — while Goneril and Regan are “unnatural hags,” Ginny and Rose have good reasons for hating their father, and Caroline is not the unflinchingly honest daughter that Cordelia is. Students will see quite clearly how Shakespeare’s timeless stories and themes still apply to readers today. Students will be fascinated by how Smiley takes a quintessentially British author’s story and makes it profoundly American.
A Lesson Before Dying by Ernest J. Gaines
Read it with To Kill a Mockingbird by Harper Lee
What it’s about: Jefferson is a young black man who is in the wrong place at the wrong time. Falsely accused of murder, tried by a jury of his white “peers,” and sentenced to death by electrocution by a dismissive judge, Jefferson believes the defense attorney’s closing argument, which compares him to a “hog.” Grant Wiggins (no relation to Grant of UbD fame!), a teacher at the black school in the Quarter, is employed by Jefferson’s godmother to help Jefferson die like a man.
Why students should read it: While To Kill a Mockingbird works because a child who doesn’t understand why certain things should be reports what she sees, this novel works because a jaded, bruised, and downtrodden teacher who is all too acutely aware of the oppression of racism tells us the story of the journey to self-discovery. It’s a powerful book, and through a study with To Kill a Mockingbird would make for interesting exploration into the justice system as it existed in the 1930’s and 1940’s, as well as questions of inequity in education and living conditions. Both teach profound lessons about acceptance and love.
The Ghost Writer by John Harwood
What it’s about: Gerard Freeman is an Australian librarian who lives with his mother — a clingy, obsessive woman afraid above all that Gerard will leave her. His only real friend is a pen-friend, Alice Jessell, an English woman with an injury which confines her to a wheelchair. Though the two have never met, they have been corresponding since they were 13 and eventually fall in love. Intensely curious about his mother’s past after finding short fiction written by her grandmother, Viola, Gerard travels to England to see Miss Jessell and learn more about the darkest secrets of his mother’s past.
Why students should read it: If your students thought Miss Havisham was deliciously creepy and loved the haunted Victorian feel of The Turn of the Screw, they will enjoy Harwood’s love letter to both novels. Viola’s creepy short stories are as delightful as the novel itself and would be good illustrations of the “story within a story” idea that students might encounter in other works, such as Hamlet.
The Poisonwood Bible by Barbara Kingsolver
Read it with Heart of Darkness by Joseph Conrad
What it’s about: Baptist minister Nathan Price takes his wife and four daughters to the Belgian Congo [Democratic Republic of the Congo] to serve as missionaries right before that country’s independence from Belgium. The story is told through the viewpoint of Orleanna Price, Nathan’s wife, and each of his four daughters: Rachel, Adah, Leah, and Ruth May. Africa has a way of getting under the skin of the Price family women, each in a different way, and the book is a grim illustration of America’s own culpability in the devastation of colonialism on the African continent.
Why students should read it: The novel is rich in gorgeous prose and biblical allusion and shows readers a side of colonialism that is an interesting counterpoint to Conrad’s vision in Heart of Darkness. Kingsolver has a gift for creating vivid, realistic characters and bringing her setting into vivid relief (see also her novel The Bean Trees for an example set in America).
The Dante Club by Matthew Pearl
Read it with The Inferno by Dante and/or selections from the poetry of Henry Wadsworth Longfellow, James Russell Lowell, Oliver Wendell Holmes, and the other “Fireside Poets.”
What it’s about: A murderer is stalking Boston. Strange and gruesome crime scenes appear to be coming right from the pages of Dante’s Inferno. The Dante Club, the group of poets engaged in helping Henry Wadsworth Longfellow translate Dante’s work, are the only ones who make the connection — which also makes them the likeliest suspects!
Why students should read it: Students studying Dante’s Inferno will gain an understanding of and appreciation for Dante’s work and the path scholars took to make it accessible for American readers. Pearl’s novel is also an interesting insight into literary Boston following the Civil War.
Possession by A.S. Byatt
Read it with British Victorian poets, such as Robert Browning, Elizabeth Barrett Browning, Alfred, Lord Tennyson, and others.
What it’s about: The relationship between Randolph Henry Ash, a fictional Victorian poet modeled perhaps after Robert Browning, and Christabel LaMotte, is uncovered by literary scholars Roland Mitchell and Maud Bailey, who turn Victorian literary scholarship on its head with their findings.
Why students should read it: I will admit that perhaps you want to recommend this one to your most voracious and enthusiastic readers because it is not an easy read, but it is a rewarding read. Students will be fascinated to learn about the dark, seedy underworld that is literary scholarship when territorial specialists are more concerned with preserving their pet theories than with disseminating the truth about their “charges.” The love story at the center will likely appeal to the resident romantic in high school and college students.
The Thirteenth Tale by Diane Setterfield
Read it with Jane Eyre by Charlotte Brontë, Wuthering Heights by Emily Brontë, The Woman in White by Wilkie Collins, The Picture of Dorian Gray by Oscar Wilde, Northanger Abbey by Jane Austen, and/or The Turn of the Screw by Henry James.
What it’s about: Margaret Lea, a fan of nineteenth century fiction like Jane Eyre, turns up her nose at the popular books of Vida Winter. Until, that is, her father, a rare book dealer for whom she works, acquires a first edition of Miss Winter’s Thirteen Tales of Change and Desperation. Margaret tears through the book, dismayed to discover the title is a ruse: the book lacks a thirteenth tale. Miss Winter, impressed by Margaret’s writing, contacts her to write her own biography, tantalizingly promising the secret of the thirteenth tale will be hers if she accepts.
Why students should read it: Setterfield clearly loves gothic fiction of the 1800’s, and I have to admit, I finally read Jane Eyre this past fall because of Setterfield’s devotion to the book as expressed through the pages of her own novel. This novel will hook students with its mystery and gothic atmosphere, while enhancing their appreciation for the gothic fiction of the nineteenth century.
Wicked by Gregory Maguire
Read it with The Wizard of Oz by L. Frank Baum
What it’s about: Maguire tells the famous story of Dorothy’s nemesis, the Wicked Witch of the West, through her own words and in a sympathetic light. This answer to Baum’s classic becomes a political allegory in the deft hands of Maguire, who imagines the Wicked Witch to be Elphaba, shunned and rejected from childhood, and fashions a complicated past complete with Galinda (Glinda — her college roommate and friend!), the Winkies, and the Wizard himself.
Why students should read it: Most high school and college students won’t be studying The Wizard of Oz, I suppose, but they will benefit from looking at the other side of the story and examining point of view in narrative. Students will be hooked because of what they already know of this story, but they will stay intrigued by what they learn when Elphaba shares her side.
Reading Lolita in Tehran by Azar Nafisi
What it’s about: Azar Nafisi was a literature professor when the Shah of Iran was overthrown and Ayatollah Khomeini became the leader of the new Islamic republic. She was fired when she refused to wear the veil, but secretly conducted a book club for female students. This book chronicles her stories teaching Western literature both in and out of a university setting. Her focus is on the four books mentioned above and her Middle Eastern students’ responses to and connection with Western literature.
Why students should read it: Not only does this memoir give Western students a different lens through which to interpret literature, but it also gives students a new and deeper appreciation for these four books of the Western canon. The trial of The Great Gatsby was particularly intriguing to me; I shared this section with my American literature Honors students when we studied Gatsby. I also read Lolita after reading this book (thank you Professor Nafisi — it was wonderful).
Do you have other recommendations for books that can be paired with classics?
Today was a professional development day, and we had an interesting guest speaker on the topic of discipline. I wanted to share part of what he discussed today with edubloggers in hopes that we can contribute to the dialogue.
Do you think teaching is harder today than it was for your teachers when you were in school?
Most of my faculty said yes, it is. So did I. Why, I wasn’t sure I could articulate, but I just knew something different exists between teachers and students today that didn’t exist when I was a student myself. Our speaker identified three cultural markers that changed schools and made teaching (and for that matter, parenting) more difficult.
- Columbine. If the last few days with another school shooting in the news have underscored anything, it is simply that our schools are no longer about education first. We are about safety first, and education has to come second. That’s frightening on a couple of levels.
- Monica Lewinsky. The dialogue we have to have with teenagers is different. A sizable contingent of our girls does not believe oral sex is sex, and, surprisingly, our boys are doing little to disabuse our girls of this notion.
- Technology. We can’t keep our students or children from bad information. We used to be able to control what they heard and saw a little better. Now they pick up information they aren’t mature enough to process. The Internet is an amazing, wonderful, useful tool, but we all know it has a dark side that has given our youth access to stuff they frankly shouldn’t see or in some cases (in my opinion) even know about. I wish I didn’t know about some of it, too — I was pretty happy not knowing, truth be told. Our speaker didn’t mention this aspect of technology, but every teacher knows that it has proven to be a temptation for cheating, too.
Obviously, other factors have changed our society and contributed to the way our educational system is today, making our jobs harder than our own teachers’ jobs were.
Why do you think teaching is more difficult today? If you don’t think it is, why not?