How Reading Can Shape a Life

 

The Phantom Tollbooth 1This week I’m heading off to Spain for a do-it-yourself cycling vacation. Several friends and colleagues urged me to blog from there, and while I certainly might if the beach, the bike trails and the tapas aren’t beckoning, their urging got me thinking about why I’m doing this—as in , why am I spending more money than I should to fly to a place I’ve never been to before, where they speak a language (Catalan) I don’t know a word of, to ride from 20 to 60 miles a day in unflattering spandex, with no sag wagon behind us to help us up the hills rather than, say, remodeling my kitchen or going on a clothes-buying spree? There are probably several factors in my psyche that might explain what at times feels like a crazy thing to do, but as I started mulling the why question over, I think it has to do with reading.

OLYMPUS DIGITAL CAMERAThe great Russian writer Tolstoy once said that literature is always one of two basic stories: either a person goes on a journey or a stranger comes to town. The novel I wrote was of the latter kind, with the stranger being the young Rudyard Kipling who came to Brattleboro, Vermont, with a pregnant wife, hardly any money, and the seed of a story that would eventually become The Jungle Book. But as a reader, I seem to gravitate to the former. As a child, for instance, my favorite fairy tale was Hans Christian Anderson’s “The Snow Queen,” where brave little Gerta travels to the land of ice to rescue her dear friend from the clutches of the Snow Queen (and which inspired two great recent children’s books, Breadcrumbs by Anne Ursu and Ophelia and the Marvelous Boy by Karen Foxlee).

And then there were all those classic journey books I couldn’t get enough of: A Wrinkle in Time, The Chronicles of Narnia, The Hobbit, The Phantom Tollbooth. Thinking back to those books now, I realized that each book’s main characters were on some sort of a quest, whether intentionally like A Wrinkle in Time’s Meg, who longed to find her missing father, or unintentionally like the children in The Lion, the Witch and the Wardrobe who accidentally stumbled into a portal to a magic land. And reminded of that, I found myself wondering if I, too, was on a quest—and if so, a quest for what?

Evan S. Connell StoriesThat question led me back to my bookshelf where I searched for a story by the writer Evan S. Connell I remembered reading many year ago. The story was called “The Walls of Avila” and it was about a group of men from the Midwest who’d been childhood friends. All of them had stayed in the town they’d grown up in except for one named J.D., who’d spent more than a decade wandering through Europe, North Africa and the Middle East. When J.D. comes back for a brief visit, the others regard him with a mix of bafflement and judgment. They can’t understand why he’d chosen to live the itinerate way he did, even when he tries to explain it, as the narrator of the story recounts here in the passage I’d been l looking for:

He had explained that the difference between our town and these other places he had been was that when you go walking down a boulevard in some strange land and you see a tree burgeoning, you understand that this is beautiful, and there comes with this knowledge a moment of indescribable poignance in the realization that as this tree must die, so will you die. But when, in the home you have always known, you find a tree in bud you think only that spring has come again.

I don’t think I seek out foreign places to be reminded that I’ll die; nor do I think you can’t find those moments in your own backyard, as another journey book character Dorothy discovered after spending some time in Oz. But I do think those moments of “indescribable poignance” are what I’m after on my journeys whether they’re to a foreign country, a classroom or a book: I want to be in the presence of something beautiful that speaks to fragility and the endurance of this amazing world of ours.

BicycleAs for the traveling by bicycle, I can actually pinpoint the exact moment I decided I wanted to do that. And it came from reading, too. Beyond phonics worksheet I don’t really recall anything from my elementary years that resembles real reading instruction. But in sixth grade my class used an SRA reading program, which meant that during ‘reading’ we’d each go to a box on the windowsill and pick a color-coded text on a piece of cardboard to read and answer questions about. I remember the colors—teal and ocher—more than the actual texts. But there was one I vividly remember about the American Youth Hostel organization, which described how you could travel from hostel to hostel in amazing places by bicycle. From that a life was born.

I imagine I’m not the only one whose life feels shaped by reading. And while, with all those adventures ahead, I might not get to blogging, I would love to read other readers’ stories about how reading shaped their lives. So share a story by leaving a comment. And now I have to go.

The Phantom Tollbooth 2

 

Keeping Creativity Alive in the Classroom: A Grab Bag of Resources & Ideas

Grab bagAs we head into June, much of my time seems devoted to tying up loose ends and reflecting back on the year. And with loose ends and reflection in my mind, I’d like to share four resources I discovered over the school year that I couldn’t seem to find a home for in another post.

The first is Cecil, the Pet Glaciera delightfully quirky picture book written by Matthea Harvey and illustrated by Giselle Potter, that someone recommended to me a while ago. It sat on my bookshelf for quite some time before I decided to try it out as a read aloud in a third grade class this spring. And it turned out to be a wonderful book for engaging students in the process of meaning making that Dorothy Barnhouse and I explored in What Readers Really Do.

Cecil the Pet GlacierThe book is about a girl named Ruby who, unlike her unique but self-absorbed parents (mom makes tiaras and dad creates topiaries), wants only to be normal. The class’s teacher wasn’t sure that her students would know what a tiara or a topiary was, let alone a glacier, and she also wondered if they’d get a book about a child who was embarrassed by her parents. She was game, though, to try it out and so we decided not to front-load any vocabulary but see how much the kids could figure out. This meant that many at first thought that the strange white object on the cover might be a package containing a pet. And while some thought that on the page below Ruby hoped that no one from school would see her because she was playing with dolls, others wondered if it was because she was didn’t want anyone seeing her parents, who had been shown on the page before dancing the tango through the topiaries in tiaras.

Cecil Illustration

We continued reading with those questions about Ruby’s motives and her parents in mind, with the students continually revising their ideas as they encountered new details. And that allowed the students to not only ‘get’ what a glacier was but what they thought Matthea Harvey was trying to show them about parents, relationships, growing up and what it means to be different and normal.

The second resource is connected to my love affair with visuals that I wrote about here and here: a wonderful website called The Creativity Core, where high school teacher Daniel Weinstein shares some of the visual mind maps his students have created in both his class and others. Many of these can be used as great mentor texts for note-taking, which as this student’s mind map about mind mapping says can be “a dull and boring process that often leaves students drooling on their books.”

Mind Mapping Mind Map

Instead, mind maps invite students not just to copy but to think about where and how they’re writing down what in ways that can help them own and retain the content they’re learning more deeply. Here, for instance, is an example of a student’s psychology class notes where, in addition to capturing the main ideas of different schools of thought, she demonstrates true understanding of the content by the way she’s posed the question at the top of the page “Why did the woman kill the man?”, then answered it by applying the different perspectives, such as “The id took over,” which you’ll see at the bottom of her notes for the Psychoanalytic perspective.

Pyschology Mind Mpa

And here’s a mind map one of Daniel Weinstein’s student made that captures the writing advice Weinstein gave the class in a way that I think shows how much it’s valued. (Makes me wonder what students and teachers might include in a mind map of things they heard me say!)

Writing Advice Mind Map

The power of creativity is also on display in the third resource I’d like to share: the new ebook from my friends at the Opal School in Portland, Creating Possible Worlds: The Teacher’s Role in Nurturing a Community Where Imagination ThrivesThe book documents a year-long study of seeds that was facilitated by preschool teachers Lauren Adams and Caroline Wolfe. The project was framed around a series of questions that the teachers explored as the children explored seeds. And while these questions evolved as the project did, all were connected to the teachers initial inquiry questions:

“What is our image of children and how do we, as teacher-researchers deepen our understanding of our values through reflecting on our daily practice and decision-making in the classoom?

What are the elements of a classroom culture that supports playful inquiry and sustained curiosity? And what is the teacher’s role in this?

What habits of heart and mind are being practiced and embodied by both the children and the adults through this experience?”

Throughout the book the teachers share their thoughts about these questions—and what new questions these thoughts raised—while also sharing their children’s thinking about seeds. Here, for instance, are two children exchanging some of their ideas and questions:

Creating Possible Worlds Page

I love the one child’s questions—”What’s inside? A tree is inside?”—and the way the other makes sense of the world by using figurative language—”This one is like the inside of a tulip” and “It’s where the baby plant comes out. It’s like the belly button of a bean.” But it reminded me of a study Sir Ken Robinson shared in his Ted Talk “Do Schools Today Kill Creativity?” The study tested young people’s ability to think in divergent or non-linear ways, which is key for creativity. Ninety-eight percent of the age three-to-five children who were tested could. Yet those numbers dropped precipitously the older students were. Only 32% of the age eight to ten tested children could, and of the test subjects who were between the ages of 13 and 15, only 10% were able to think in non-linear ways. Sir Ken attributes the drop in numbers to an educational system that’s too often driven by single right answers. But anyone who’s concerned with these numbers might want to take a look at what Opal’s teachers discovered as they pursued their questions.

Battle Bunny CoverFinally, while I was at NCTE I snagged a copy of Battle Bunnya new book by Jon Scieszka and Mac Barnett, with pictures by Matthew Myers. The book looks like a tattered Golden Book, with sweet illustrations and an uplifting message, that has been defaced and rewritten by the book’s owner Alex, who’s turned the original book’s main character Birthday Bunny into a chainsaw slinging rabbit.

Like all of Jon Scieszka’s and Mac Barnett’s book, Battle Bunny is hysterical, with all sorts of fun details to be found in the illustrations and the margins:

Battle Bunny Page

But here’s what I’d absolutely love to do: use the book as a mentor writing text and let students rewrite a real Golden Book with a partner or a small group to brainstorm the possibilities. Not only would that be enormously fun, but the critical thinking and problem solving opportunities would be huge. And I can’t help thinking that students would also learn quite a lot along the way about things like alliteration, word choice and the power of details in ways that could be lasting.

Of course, this means buying a dozen or more Golden Books and dealing with the ethical question of letting students go at them. But I have to imagine there’s a teacher out there who sees the same potential for learning in this that I do. If so . . . let me know!

Golden Books Belong To Page

On Rigor, Grit, Productive Struggle and What Our Word Choice Means

Word Choice Matters

As happened last year, many of the teachers, administrators and parents who left feedback on last month’s English Language Arts test at testingtalk.org pointed to what they felt were questions that focused on minutiae which, as Brooklyn principal Liz Phillips said “had little bearing on [children's] reading ability and yet had huge stakes for students, teachers, principals and schools.” Most of those questions were aimed at assessing the Common Core’s Reading Standards 4-6, which are the ones that look at word choice and structure. Having not seen this year’s tests, I’m not in a position to comment—though if the questions were like the ones I shared from some practice tests earlier, I can see what the concern was about.

Most of the practice test questions associated with those standards were, indeed, picayune and disconnected from the text’s overall meaning. But I don’t think that means that thinking about word choice and structure isn’t important—only that the test questions weren’t very good. Word choice and structure can, in fact, be windows onto a text’s deeper meaning. Or as my colleagues Clare Landrigan and Tammy Mulligan have suggested, thinking about Reading Standards 4-6 can get us to Standards 1-3, which are all about meaning. And so this week, I’d like to apply Reading Anchor Standard 4—”Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choice shape meaning or tone”—to three key buzzwords attached to the Standards—rigor, grit and productive struggle.

Rigor DefinitionTo me, all three seem to have strangely negative connotations. And in that, I’m not alone. Many educators have pointed out that, if we look up the word rigor in the dictionary, we find definitions that suggest something downright punishing. That’s why some educational writers, such as Stevi Quate and John McDermott, the authors of Clock Watchersdeliberately decided to use the word challenge instead of rigor in their most recent book The Just-Right ChallengeOthers, such as former NCTE president Joanne Yatvin prefer the word vigor, which turning to the thesaurus this time, lists synonyms such as energy, strength, gusto and zing. Either or both of those words seem better than one connected to stiff dead bodies—i.e., rigor mortis. Yet rigor is the word that’s most in vogue.

The word grit is also popular today and is frequently touted as “the secret to success.” Yet it, too, has a whiff of negativity about it. Grit is what’s needed to get through something
Child Refusing Dinnerunpleasant, boring or even painful that someone else has said is good for you—like eating your vegetables or sitting through days and days of standardized testing. And as Alfie Kohn notes in his great piece “Ten Concerns about the ‘Let Them Teach Grit’ Fad,” grit seems connected to a slew of other terms, like self-discipline, will power and deferred gratification, all of which push students to “resist temptation, put off doing what they enjoy in order to grind through whatever they’ve been told to do—and keep at it for as long as it takes.”

Here, too, we could choose another word, like resilience, without the same connotations as grit, but we don’t. According to Merriam-Webster again, resilience focuses on “the ability to recover from or adjust easily to misfortune or change,” not just the stamina or toughness to trudge through it. And as former principal and speaker Peter DeWitt notes in his EdWeek blog post “Should Children Really Be Expected to Have Grit?“, resilience “can coincide with empathy and compassion,” whereas grit seems more about sheer doggedness—and in the case of vegetables and tests, compliance, which may be the word’s hidden agenda.

And then there’s the term productive struggle, which I confess I’ve embraced in the past, as an earlier blog post attests to. I believe completely in giving students time to explore and wrestle with a text in order to arrive at their own meaning because whatever is learned through that process—about that text, texts in general, and the reader himself—will stick much more than if we overly direct or scaffold students to a pre-determined answer. But that word struggle comes with the same negative connotations as the two other words do. The thesaurus, for instance, lists battle and fight as synonyms for struggle, with pains and drudgery as related words. And while I think we can reclaim words—such as turning the word confusion into something to celebrate rather than avoid—I’ve recently started to wonder if we shouldn’t choose a more positive word to get at the same concept, as you’ll see in the twitter exchange I had with two teachers after reading a blog post by the wonderful Annie PaulTwitter Inquiry vs. Struggle

Merriam-Webster defines inquiry as “a systematic search for the truth or facts about something” and unlike the word struggle, which seems mostly connected to hardship and conflict, the word inquiry is connected to questioning, challenge and self-reflection. In fact, it seems to embrace the very habits of mind that NCTE has identified in their Framework for Postsecondary Success:

NCTE Habits of Mind Framework

So what does it say about our culture that the words we’ve chosen to latch on to the most all seem to carry connotations of hardship, toughness and forbearance? Some writers, like Alfie Kohn, see this as simply a new manifestation of the Puritan work ethic—in a time in which it’s become much harder to pull yourself up by your own bootstraps. Others, like P. L. Thomas of Furman University, sees in the “‘grit’ narrative” something much more insidious: “a not-so-thinly masked appeal to racism”, with students of color being tagged as the ones most in need of more rigor, grit and time spent struggling.

In addition to these troubling implications, these three words also focus on student deficits, not on student strengths. And they suggest that we, as teachers, should be like Catwoman with her scowl and her whip, rather than like the Cat Lady who invites children to get to know the kitties. And I can’t help thinking that if, as a society, we chose some of those other words from the NCTE Framework instead—such as curiosity, openness, creativity and engagement—students would engage in productive struggle, even with something deemed rigorous, without explicit lessons on grit. And that’s because . . .

Word Choice Matters 2

 

 

 

 

 

Exploring the Instructional Implications of What We Did as Readers

Naming-new

As I did with my first read-along invitational two years ago, I want to try to notice and name some of the great thinking found in the comments left by readers on this year’s read-along, “20/20″ by Linda Brewer, in order to consider the instructional implications as well as how that thinking work is connected to critical thinking. And to do the latter, I want to share again what’s become one of my turn-to quotes on critical thinking, Francis Bacon’s definition, which seems to me as good as any:

“Critical thinking is a desire to seek, patience to doubt, fondness to meditate, slowness to assert, readiness to consider, carefulness to dispose and set in order, and hatred for every kind of imposture.”

In comment after comment (which you can read too by clicking here and scrolling down), I saw readers seeking, doubting, meditating and considering. By the end, some felt ready to assert and set an interpretation in order, but many wanted to linger and mull over the questions the text raised for them without rushing to make any sort of claim—yet. Or as Victoria wrote, “I don’t like drawing conclusions because there are always so many sides to think about.”

The instructional implications of this seem huge. We currently live in a climate where making a claim—no matter how simple or undeveloped it is as long as it’s backed up with some evidence—seems to be valued more than developing a carefully considered idea, which can’t happen fast precisely because it’s carefully arrived at. If we’re serious about critical thinking then, it seems to me that we need to give students more time to seek, doubt, mediate and consider, knowing that, if we give them that time, what they eventually assert as a claim will be more nuanced and insightful. Anything less, I’m tempted to say, is more about test prep than reading.

If You're Not Confused 2

“Dazed and Confused” by Ketna Patel, with quote from Tom Peters, author of “Thriving on Chaos”

It’s also worth noticing that these readers were questioning because they were perplexed or wanted more. That is, their questions came directly out of their curiosity and their confusion—and those, in turn, came from the fact that they were paying attention. And here again, the implications seem huge.

Much has been written about the importance of getting to students to ask their own questions. Yet if your experience is anything like mine, when we teach questioning as a skill divorced from confusion and curiosity, we often get questions that seem mechanical and that students aren’t interested in; or worse, we get students raising questions they already know the answers to just to meet an assignment. If we’re serious about questioning then, it seems to me that we have to welcome confusion into our classrooms, knowing that, as Socrates said, “Confusion is the beginning of wisdom.” And we can start doing that by sharing with our students the fact that we’re often confused when we read, and then inviting students to share their confusion, too.

There are also implications in how these readers dealt with their confusion by creating what Steve Peterson called “maybe-stories.” They attempted to fit the pieces together in order to consider what the writer might be trying to show them, with different readers fitting different pieces together to arrive at different ideas. Most readers began that process by thinking about the characters, though people came up with quite different interpretations—from seeing Ruthie, as Julieanne did, as a “seemingly simple soul,” to Mary Jo Wentz who made me rethink my whole take on the story by suggesting that, far from being simple, Ruthie might have been taking Bill for a ride.

Testing VisionMany, such as Susan, also found the title key to their understanding, though again, readers came up with a range of interpretations about what “20/20″ meant. Karen, for instance, thought the story suggested that “there is no such thing as 20/20″ vision”, while Emily Rietz thought that 20/20 meant “seeing each other clearly in this world.” Others, found themselves focusing on the idea of a journey, in which Bill might be learning something from Ruthie, whether that’s, as Terri put it, a lesson about “reveling in the moment’ or in a more practical (and humorous) vein “to familiarize yourself with your traveling companion before embarking on cross-country adventures,” as Gail Ballard wryly put it. Meanwhile Pat thought about the story through the lens of assumptions, with Bill going from “lump[ing] people into categories” to “realiz[ing] he needed to look deeper.” And Colette managed to circle many of these ideas by focusing solely on the dialogue!

The instructional implications here seem to be that it doesn’t really matter where you start, so long as you notice something and then start questioning and thinking about how it does or doesn’t fit with other details you notice. And that’s a far cry from the text-dependent question approach to close reading, which directs students to something the teacher (or textbook writer) has noticed and then “scaffolds” students until they arrive at the same answer as the teacher or textbook writer. And lest anyone think that students aren’t capable of doing what these readers did without that all that directing and scaffolding, here’s an excerpt from the comment Christina Sweeney left after she took up my invitation to try the text out with her 7th graders:

“I was surprise how quickly students connected the story to the title and began to talk about ways of seeing. Many described Ruthie as imaginative and different, artistic in the way she sees the world. One student even point out the recurring references to ‘eyes’—Bill resting his, Ruthie’s ‘big, blue and capable of seeing wonderful sights,’ the ‘visions’ she has over the course of the story. . . .

Overall they saw the story as being about ways of seeing—that people see the same thing differently and that is, essentially, a good thing.”

Young Girl Hag Optical IllusionAs for me—though I’ve read this story any number of times, all these comments deepened and enriched my understanding of it. And this time around they enabled me to see the story in more than one way at once, like the optical illusion of the young girl and the hag, or those red spots winking by the side of the road, which could be reflectors or Bigfoot—or both.

This ability to recognize and appreciate more than one way of seeing things seems both integral to the story and to critical thinking. Unfortunately, however, it gets short shrift in curriculum that guides students to a single way of seeing things, which is what too much of the supposedly Common Core aligned programs to. Once again, if we’re serious about critical thinking, we could see these programs as impostures (a word which Merriam-Webster says “applies to any situation in which a spurious object or performance is passed off as genuine”) and look upon them with hatred. Or we could arrive at the same conclusion Brette Locker reached as she looked at the wealth of thinking that was generated by simply paying enough attention to become confused: “I don’t need to do much more than this with my Grade Two students in reading groups, do I?”

 

The Secret to Teaching Poetry: Focusing on Feelings

Can You Keep a Secret While I’m a firm believer that poetry should be read throughout the year, I fear I tend to wait until April, when it’s National Poetry month, to write about it—just as many a teacher waits until then to dust off the poetry books. This is a shame, if not a crime, as is the fact that too many Common Core interpretations have all but squeezed poetry out of the curriculum or relegated it to a handful of lessons to tick off Reading Literature Standards 4 and 5.

Why this is so, I can’t say for sure–though for me it’s related to the schools where I work doing less poetry. But I’ve wondered whether the reason why poetry is so absent from the Common Core has to do with the fact that, perhaps more than any other genre, poems ask, even beg, to be felt. Poets want us to feel their words in a way that seems almost antithetical to those Common Core close reading approaches that say that the meaning of the text resides, not in a reader’s heart or mind, by within the four corners of the text. Mary Oliver, for instance, talks about the pleasure readers feel when they “enter the rhythmic pattern of a poem:”

“It takes no more than two or three lines for rhythm, and a feeling of pleasure in that rhythm, to be transferred from the poem to the reader.”

And Dylan Thomas’s definition of poetry goes straight to feelings as well:

“Poetry is what in a poem makes you laugh, cry, prickle, be silent, makes your toe nails twinkle, makes you want to do this or that or nothing, makes you know that you are alone and not alone in the unknown world, that your bliss and suffering is forever shared and forever all your own.”

My experience in classrooms, however, is that if I begin by asking students what a poem is, I get a list of terms of the things poems can have—stanzas, rhyme schemes, similes, metaphors; I’m sure you know all the culprits. But if we begin instead by reading poems Seeing the Blue Betweenwith the question “What does a poem do for a reader?” in mind, we get closer to Dylan Thomas as students start seeing that poems can make us smile or feel sad or see ordinary things in extraordinary ways. Once kids start feeling poems this way, it’s often fun to bring in quotes by poets like Dylan Thomas, which can affirm what students are experiencing and offer new ways of thinking about how a poem affects them—as in, considering which poems make your toe nails twinkle. For younger students I love using quotes from Seeing the Blue Betweenwhich pairs poems with letters of advice to young poets and readers of poetry by 32 renowned children’s poet. And for older students, I have a stash of quotes, such as the ones below:

“What is poetry? And why has it been around so long? . . . When you really feel it, a new part of you happens or an old part is renewed, with surprise and delight at being what it is.”  James Dickey

“Poems are other people’s snapshots in which we see our own lives.”  Charles Simic

“We should read poetry because only in that way can we know man in all his moods—in the beautiful thoughts of his heart, in his farthest reaches of imagination, in the tenderness of his life, in the nakedness and awe of his soul confronted with the terror and wonder of the Universe.” Amy Lowell

Then and only then do I move from exploring what a poem does for a reader to how it manages to do that. And one of my favorite ways of helping students—and teachers—see how poems work their magic on readers is by asking students to think about how a poem is different than a greeting card, such as this birthday card for a mom: Mom Birthday Card And this poem by Judith Ortiz Cofer:The Way My Mother Walker Judith Ortiz Cofer Many students can readily see that the poem on the card is broader and more general—even, we might say, generic—and it more or less hits one emotional note. Cofer’s poem, on the other hand, is highly specific. She writes about a particular mother who we can picture and hear and who is much more complicated than the every mom of the card. Because Cofer’s mother is so complicated, she and the poem seem more real to me than the ‘always’ mom of the card. And while my mom never wore an amulet or lived in a second-floor walk-up, the poem gets me thinking about all the complicated and confusing messages she sent me through the way she put on her lipstick or clutched my white-gloved hand in hers as we hurried through Grand Central Station.

In this way the poem does exactly for me what Simic says poetry does. I see myself in the specifics of Cofer’s poem, despite the fact that all those specifics are quite foreign to me. And this is the magic of poetry—and, I think, of all literature: the more specific and particular it is, the more it taps into universals that enrich, deepen and move us.

The poem, though, is harder to understand than the card, which is why some students say initially say that they like the card better. But focusing on feelings can help us here, too. As a strategy for accessing poems that feel hard, we can ask students to think about what feeling the poem evokes for them—even if they’re not sure why—and to locate lines where they think they feel it. This also works as the kind of rich task I wrote about the other week, as different Anchorstudents pick up whiffs of different feelings arising from different lines. In this poem, for instance, many students pick up fear, which they feel in various lines, though some also feel safety or relief in the last few lines or a sense of the daughter’s pride in the line about the “gypsy queen.”

Anchoring themselves in the poem through these lines, students can then begin to think how these lines and feelings are connected with others by wrestling with the sort of open-ended questions I shared in January. This will ultimately allow them to interpret the poem and then—and only then—to hit Reading Standards 4 and 5. Or put another way, before students can analyze how a poet’s specific choice of words, structure and figurative language shape meaning, they have to feel the affects of those choices on themselves as readers first.

Of course the words ‘feel’, ‘feelings’ and ‘pleasure’ are nowhere to be found in the  Standards. But if we hold on to what the Standards do say—that they “define what all students are expected to know and be able to do, not how teachers should teach.”—it seems we’re in the all clear. Or we could just keep it our little secret to share with our colleagues and friends.

Sharing Secrets

In a Time of Standardization, an Invitation to Authentically Read

Milton Avery Reclining Reader

“Reclining Reader” by Milton Avery

Last week third through eighth grade students across New York State took the three-day marathon known as the Common Core English Language Arts Test. And if the feedback left on testingtalk.org, the website set up by some of the best literacy minds in the country, is any indication, it was not a pretty sight. Words like travesty and debacle—and even sadistic—appear with some regularity as do many stories from both teachers and parents about student acting out in various ways to deal with the pressure and stress, such as the parent who came home to find her son beating a bush with a stick.

Many questions were also raised about what these test were actually testing, since careful close reading simply wasn’t possible given the time constraints and few, if any, questions required critical thinking, if for no other reason than that they were incredibly narrow and myopic. Additionally, as I wrote in an early post, many of the teachers leaving feedback spoke about the convoluted and confusing nature of the questions themselves and the fact that many of those questions asked students to discern insignificant or minor differences between several possible ‘right’ answers. And all that reminded me of this  quote by the philosopher Friedrich Nietzsche:

“All things are subject to interpretation. Whichever interpretation prevails at a given time is a function of power and not truth.”

Applied to our current situation, I interpret this as meaning that the whole one-right-answer approach to testing is a function of the vise-grip that powerful corporate interests have over education these days, not on some unequivocal truth. And in addition to adding my voice to testingtalk.org, I decided to push back this week by reviving an idea I tried out in my first year as a blogger: inviting readers to read a short text, this time 20/20 by author Linda Brewer, and share what they made of it, knowing that it’s the diversity—not the conformity—of our interpretations and the particular way we express them that enriches our understanding of ourselves, the text and the world.

Basic CMYKYour task, should you choose to accept it, is not to focus on, say, how paragraph four develops the main character’s point of view or why the author used the word ‘choked’ in line six. Instead I ask you to do what the test-makers seem to consider Mission Impossible: to think about the meaning of the whole story, which will almost inevitably entail looking at the story through the eyes of the characters, the eyes of the author and ultimately your own eyes, as you consider what you think and feel about what you think the author might be trying to show us about people, the world, or life through the particulars of this story. And I invite you to do that by simply paying attention to what you notice in the text and what you make of that.

Then in the spirit of collaborative learning, real reading and community, I invite you to share your thoughts about the story, how you arrived at them and what the experience felt like by either clicking on the speech bubble at the right of the post’s title or on the word ‘reply’ at the bottom of the post, right after the list of tag words. (Email subscribers can used the comment link at the end of the email.) And if anyone wants to try it out on some students, please go right ahead!

Just remember, though, there is no right answer! There is only interpretation and what happens between the mind of the reader and the words on the page. And now here is 20/20 by Linda Brewer:

20:20 by Linda Brewer

Now follow these simple instructions from the poet Mary Oliver:

Pay-attention-be-astonished-tell-about-it-mary-oliver-256832

 

What We Can Learn from Our Math Colleagues: A Look at Rich Tasks

This year I’ve had the privilege of doing some work for an amazing organization called Metamorphosis. Founded by the masterful math teacher and coach Lucy West, Metamorphosis offers content-focused coaching to math—and more recently ELA and science—teachers through an outstanding corps of consultants. And it also operates as a kind of think tank that explores best practices in teaching and coaching, which is where I first heard of rich tasks.

At the first consultants’ meeting I attended, a visiting mathematician Betina Zolkower asked us to form groups to try to solve one of several problems she presented, all of which were examples of rich tasks. Not feeling particularly confident about my math skills (i.e., being terrified), I chose one that seemed relatively easy: to figure out the number of ways you could spell MATH from the following graphic configuration:

MATH Graphic

Different group members approached the problem differently. For me, after staring at it for a while, I took the simple route. I used colored markers to trace the different ways, discovering that there were more ways than I’d initially thought (which is a testament, I think, to what happens when you muck around instead of ponder from afar). And then I doubled the numbers of times each way showed up to account for the bottom.

MATH with Markers2

This method worked but I was aware that there might be a more mathematical way of approaching it, which wound up being needed when Betina upped the ante by asking, “What if the word were OCTOPUS instead of MATH?” Immediately I realized the limits of my method, envisioning a tangle of colored markers too confusing to count. But fortunately one of my group members shared what she’d done. She showed me how each letter (except for the H) could form the word by going two ways, which she was able to express mathematically as 2 to the 3rd power. My conceptual understanding of that still needed a lot of work, but I cannot tell you how excited I was when I realized I could apply what she’d done to the word OCTOPUS without making a magic marker mess. And for one wonderfully energizing moment, I felt smart in math.

MATH with Markers3

If I asked you to think about what a rich task was based on this example, my hunch is that you’d come up with some of the same descriptors found in these links to Metamorphosis and an educational blogger in Victoria, Australia—or in my words here:

  • RICH TASKS are open-ended problems or projects that offer students multiple points of entry and multiple ways of solving, from simple to complex (e.g., my route versus my group-mate’s, which means they offer built-in differentiation).
  • RICH TASKS invite creative and critical thinking as well as reasoning and meta-cognition as students explore the problem and explain how they worked through it to each other.
  • RICH TASKS throw the spotlight on both process and product in a way that helps students better see the connection between means and ends.
  • RICH TASKS promote student ownership, self-direction and engagement while maintaining academic rigor (or as several students I’ve worked with have said, “That was hard but fun!”).

What’s interesting, though, was that when I googled ‘rich task’, all I came up were math sites. And adding the word literacy didn’t really help. There were plenty of links about rich tasks for mathematical or media literacy, and lots that looked at “literacy-rich environments.” But the only one I found that specifically discussed rich tasks in ELA equated them with the kind of performance-based tasks designed by PARCC and Achieve the Core, which are anything but open-ended. In fact, those tasks do exactly what my new friend in Victoria, Australia, says rich tasks do not: They put students in the position of “simply trying to crack the code to predict an answer/solution that has been predetermined as correct by the teacher.”

AfterSo what would a truly rich task in literacy look like? For me, it seems to be a new way of talking about the kind of problem solving I often ask kids to do, which, in one way or another, involves thinking about what an author might be trying to show us or asking us to consider in a scene, a passage, a line, a whole text. Depending on the text, this might also be framed in a slightly more specific way, as I’ve been doing with one of my favorite finds of the year, Gregory Maguire‘s short story “How Th’Irth Wint Rong by haplessjoey@homeskool.guv” from the anthology After: Nineteen Stories of Apocalypse and DystopiaWhether with a 10th grade class that was reading dystopian novels or the participants at one of my sessions for the Literacy Promise Conference, I’ve asked everyone to read the first page and consider the following question: What do you think is happening and why?

HowTh'IrthWintRong1

Considering that question requires all kinds of problem solving: What does the title mean? Why all the misspellings? Who’s Big Ant and Hapless Joey? And where and when is this taking place? Like my math group, different people—whether they were 10th graders or conference attendees—took different paths to come up with different possible answers. I, for instance, along with the 10th graders, didn’t figure out the word Th’Irth until the second page, while some of the teachers in Salt Lake figured it out more quickly. Everyone agreed that the time wasn’t now, some from the detail about the old-timey pen and others from the next page, where Big Ant called homeskool.guv “Brite-time writing. From back in the days of internet and puters.”

As for what happened, many wondered at this point whether there had been some catastrophe (like an atomic war, which, as one of the Conference attendees said, might account for Hapless Joey’s “hairliss skalp”) and/or whether our dependence on technology had come to the point where people no longer knew how to spell. But no matter how readers interpreted this text, everyone was engaged. And just as I felt with the math problem, everyone had a moment when they felt really smart.

I’ll try to share more ideas for creating rich tasks (or enriching tasks you have) later on. But given all these benefits—and the fact that those 10th graders were actually enjoying reading closely—I don’t fully understand why the idea of rich tasks hasn’t had as much traction in literacy as in math. My hunch is that it has to do with narrow interpretations of the Standards and our obsession with outcomes and products—plus the fact that it’s hard to package such open-ended curriculum. But if ELA students can meet the Standards through rich tasks as well as more teacher-directed methods, why wouldn’t we want them to experience the thrill of independently figuring things out?

Thinking_Is_Fun_small_4552