Archives For February 28, 2013

Six years ago, the video “Shift Happens” (2007) was featured at our school’s professional development day. I clearly remember one take-away:

We are currently preparing students for jobs that don’t exist using technologies that do not exist in order to solve problems we don’t even know are problems yet.

The video was created by Karl Fisch, and modified by Scott McLeod. The slides provided statistics on the rapid exponential growth in population and in information, highlighting the differences between the present and what was successful in the past, specifically England’s position on the world stage in 1900. Several slides are alarming in calling attention to the building tsunami of information available to students with examples such as ” there is more information in a week’s worth of the The New York Times than what an average person knew in the 1700s”. Since 2007, there have been several updated versions of “Shift Happens” uploaded to YouTube; there have also been many imitations.

I thought of this video this week when I drove past a sign on a large office building: Strategic Information Technologies.

“What does that mean?” I asked my friend Catherine, “Is the technology stategic because of geography? Strategic because of a choice of software or hardware?” I continued, “I don’t know what a ‘strategic information technologist’ does…Is this one of the unknown new jobs were are ‘preparing’ our 21st Century students to take?” I referenced the video.

“That’s ridiculous!” Catherine responded, “The people who ‘prepared’ us for the 21st Century were not worried about what new jobs would be available in our future. In fact,” she continued, “they taught us what they knew…what they thought we should know, and we are doing just fine.”

I was startled. Could a “Shift Happens” video place a misguided emphasis on adjusting skills and content in order to prepare students for the unidentified problems they don’t even know are problems yet?

“After all,” she continued, “We are the generation that created these new technologies that we didn’t know would exist today.”

When I reflect on her statement I think about how my favorite teachers in grades K-12  (Sister Ella, Mrs. Rowland, Miss Montessi) were not obsessed with preparing me for some unidentified job in the future. Instead, their collective obsession was to prepare me with basic skills and content so that I could be a productive member of society  I was taught to think, to read well, write well, speak well, know math, appreciate history, recognize science, and, since I attended Catholic school, recite my Catechism.

Perhaps, educators cannot predict the future for their students, but educators can address trends. For example, in 1957, the American public began to reconsider how the role of public education may contribute to winning the Space Race with the Soviets once Sputnik had been released. The investments in education made as a consequence resulted in increased scientific advancements and many spin-off technologies. In contrast, however, predictions such as those at the 1964 NY World’s Fair of a future with flying cars, jet packs, vacation trips to Mars and beyond, underwater cities, and robot laborers have never came to fruition.

Similarly, Karl Fisch’s video alerted educators to the rapid changes in education and the global implications in preparing students for the real world. He wrote:

“…it’s a different world out there. A world whereanyone’s ideas can quickly spread if they happen to strike a chord.”
This was certainly true of the “Shift Happens” video which had great success without “a large company or a huge public relations effort to make an impact.” Fisch continued:
This is just one of the reasons that I believe our schools need to change. They need to change to reflect this new world, this flatter world, this information-abundant, globally connected, rapidly changing, technology super-charged world that they are going to spend the rest of their lives in.

Fisch made no silly “predictions” like those at the NY World’s Fair. Instead, his video served to bring attention to trends that require an increase in the skills of  communication and sharing information.

In order to communicate and to share, students from grades K-12 must think, read well, write well, and speak well regardless as to what predictions are being made about new industries or technologies. In trying to anticipate the future, educators must not discount how the generations of students who learned these important skills became the graduates who are now responsible for evolving changes of the present.

Shift is not an entirely new enterprise on the world stage, for example,  the Renaissance, the Enlightenment, the Reformation, the Industrial Revolution are all examples of global “shifts”. In the six short years since the “Shift Happens” video, Facebook has replaced MySpace as the world’s most formidable social network; Twitter has evolved into a powerful communication tool. The role of educators is not  to predict the next Steve Jobs or Bill Gates or company that will spawn new jobs or dominate an industry or the next “shift”. Instead, the role of educators must be to continue to teach those skills of thinking, reading, writing, and speaking well that contributed to the “shift” that is happening for our students.

There is no surprise that “Shift Happens”, and the students who are prepared to think, to read well, to write well, and to speak well will not be surprised either.

There is always a “first mover”, the one who starts the action. A creator.

But is this creator an artist? Or is this creator a scientist?

A recent broadcast on National Public Radio puts the evidence solidly in artist’s corner. This evidence is in the form of the 3-D Doodler, a new device featured on Marketplace as an invention funded through Kickstarter. The 3-D Doodler is a thick pen not unlike a glue gun that exudes a ribbon of thin plastic that hardens into the shape being drawn. There was a team of scientists and engineers who created the 3-D Doodler.

The video demonstrates how the 3-D Doodler operates like a pen that continues to write even after it is lifted from a surface allowing the writer to operate without a canvas. There are no limits to the size of the creation; the only limit is the supply of plastic. Oh, and the power source.

But, a crayon does not need a power source. A crayon only needs a hand and an imagination. Especially if the crayon is the beautiful color purple.

Before the 3-D Doodler, there was Harold and the Purple Crayon

Crockett Johnson’s Harold and the Purple Crayon was first published in 1955, and was voted one of the “Top 100 Picture Books” of all time in a 2012 poll by School Library Journal. Loved by children of several generations, Harold’s creativity endures.

Screen Shot 2013-03-27 at 9.40.03 PMHis story begins,

“One night, after thinking it over for some time, Harold decided to go for a walk in the moonlight.”

On the right hand side of the first page, Harold’s distinctive large round head and wide eyes are turned expectantly to a blank space in the top right corner of the page. Clenched in his right hand is a purple crayon; he has just completed a full page drawing of intersecting lines on the opposite page.

“There wasn’t any moon, and Harold needed a moon for a walk in the moonlight.”

On the next page, standing on his tiptoes in his full bodysuit, Harold draws a slice of the moon.

“And he needed something to walk on.”

Bending over, Harold draws a straight line and “sets off on his walk taking his big purple crayon with him.” Harold travels through a forest, past a dragon, on the ocean, to the beach, up a mountain, in a hot air balloon, through a maze of city buildings, until he finally finds his way back into his bedroom through an open window. At the end of the story, Johnson displays the sophisticated word play that makes the story so much fun to read aloud. Harold is in his bedroom, where he:

“…made his bed. He got in and he drew up the covers.”

Get it? He “made” the bed? “Drew” up the covers”? Johnson was a genius. An artistic genius.

The success of Harold and the Purple Crayon was extended by Johnson in a number of sequels. Harold’s imagination allowed him to travel through numerous landscapes:

  • Harold’s Fairy Tale 1956
  • Harold’s Trip to the Sky 1957
  • Harold’s Circus’s 1959
  • Harold’s ABC 1963

The series gave rise to a video puzzle game, Crayon Physics. However, the artist Harold was not limited by the laws of physics. The crayon was not bound to wear and tear. The canvases were large and blank and ready for a creator.

The new 3D Doodler can also be used to write on a large blank canvas. However, this new technology is seriously limited by the need for a power source and a continuous supply of “ink.”

In deciding the case of which came first, the artist or the scientist, the evidence is illustrated quite literally in doodles. These doodles are in purple, not plastic. Harold is a first mover whose imagination continues to inspire. Sorry, 3D Doodler, in this landscape of creation, Harold the artist comes first.

“[WamogoAll] If you want to see our cow give birth right now..” was the tagline for the e-mail in my in box last Thursday afternoon. I teach in a “Ag-ed” or  agricultural education school in the Northwestern Corner of Connecticut, so the contents in the e-mail were not surprising:

Screen Shot 2013-03-21 at 12.00.48 PM

The ability for me to watch the live birth of this calf from my office in another part of the building was certainly an example of how 21st Century learning is fully integrated for students and staff alike. Under the direction of our administration and with the support of our Board of Education, our small district has taken the integration of technology very seriously, and in four short years, we have gone from chalkboards to Smartboards, from pencil to netbook, and from worksheets to flipped classrooms. There is technology used in every classroom in every discipline every day.

One of the buzzwords in education is the work authentic, and teachers work hard to make connections from the content in class to the real world.

In order to be accredited as a school offering 21st Century skills, a school must offer authentic experiences. The schools are rated on:

The curriculum emphasizes depth of understanding and application of knowledge through:

  • authentic learning opportunities both in and out of school
  • informed and ethical use of technology.

Teachers’ instructional practices support the achievement of the school’s 21st century learning expectations by:

  • applying knowledge and skills to authentic tasks
  • integrating technology.

The Wamogo High School program with its chapter of the National FFA Organization and Agricultural Education accomplishes both with authentic educational experiences supported with technology.

I paid closer attention to the video monitor as the noise from the barn came over the computer’s speaker.  I watched as students gathered around the stall, and then saw Lori, the animal science teacher, jump in to calm the cow and rearrange the straw for bedding. Suddenly, three or four students and the culinary arts teacher  formed a line behind the cow, and in an unrehearsed routine, began helping Lori with the birth. I took a screen shot.

Screen Shot 2013-03-21 at 12.35.50 PM

The first “pull”!

“Pull,”Lori urged, and I saw there was a gentle movement from the line-up behind the cow. I took another screen shot.

Screen Shot 2013-03-21 at 12.35.37 PM

The second “pull!”

“Pull”, Lori cried again, and the movement became more obvious.

Suddenly there was a jostle, and the gap between the cow and the line of helpers became larger. All eyes were on the calf laying slick and newborn on the hay. I took another screen shot.

Screen Shot 2013-03-21 at 12.36.28 PM

…and the new calf sits in the hay.

A few minutes later, there was came a breathless and garbled announcement over the speakers from a student about “… here”; there was no need for clarity. Given our students’ familiarity with texting, everyone knew what had happened anyway.

The combination of technology (Ustream, screenshots) in broadcasting and recording the birth of the newest member of the agricultural program with old-fashioned “hands on” physical labor illustrates 21st Century authentic learning.

I posted several of the screen shots on Twitter. Almost immediately I was retweeted by UStream; in seconds, Wamogo had gone viral!

Cow and calf meeting for the first time.

Cow and calf meeting for the first time.

There has been a seamless integration of technology into the vocational agriculture program at my high school. The students who participate in the program are involved in a time honored occupation, an occupation responsible for civilization as humans moved from roles of hunter-gatherers to farmers. They just know how to Tweet, post, email, blog, Instagram, Facebook, Tumblr, or stream a live TV feed to show what they know as well!

Wamogo's newest "student"

King Philippe III – he is her 3rd calf and this is a royal names themes year.

PS: Oh, and the maple candy made by the students is ready to sell; they just tweeted a picture:

pic.twitter.com/urOTXJpaUK


If I had a choice of vanity license plates, I might consider one that marked my recent experience as a volunteer on an educational accreditation team.

NEASC PlateEducational accreditation is the “quality assurance process during which services and operations of schools are evaluated by an external body to determine if applicable standards are met.”

I served as a volunteer on a panel for the New England Association of Schools and Colleges (NEASC), an agency that provides accreditation services  – Pre-K through university for more than 2000 public and private institutions in the six state region.  NEASC  Panels are composed of experienced chairpersons and volunteer teachers, administrators, and support staff who visit schools according to a set schedule. According to its website:

In preparation for a NEASC evaluation, all member schools must undertake an exhaustive self-study involving the participation of faculty, administrators, staff, students, community members, and board members.

The key word here? Exhaustive.

Exhaustive in preparation for a NEASC visit. Exhaustive in being hosting a NEASC visit. Exhaustive in being a member of the NEASC team that visits.

But first, a little background. In order to serve as a volunteer, I had to leave several lessons on Hamlet, my favorite unit, with my substitute. So, when I understood the level of professional discretion required for a NEASC visit, I felt a curious connection to the Ghost, Hamlet’s father, who likewise abides by an oath.  On the ramparts of Elsinore, he tells Hamlet:

But that I am forbid
To tell the secrets of my prison-house
I could a tale unfold whose lightest word
Would harrow up thy soul, freeze thy young blood,(1.5.749-752)

I may not say what school I visited nor may I discuss any part of the actual accreditation discussion by members of my team. So this post will speak only as a self reflection of the process and a few moments of recognition on how accreditation works.

List, list, O, list! (1.5.758)

Sunday morning at 9:30 AM, the team members were already hard at work organizing piles of documents prepared for our visit. We were organized into pairs, two members to work on each of the seven standards, 14 members of the team and two chairpeople.

There was a working lunch before the entire team went to the school for a prepared presentation. This presentation was the high school’s opportunity to quickly familiarize us with their school’s culture and present their strengths and needs that they had determined in the (exhaustive) self study.

Madam, how like you this play?(3.2.222)

Returning to our hotel, the lodgings provided by our hosting school, the work began in earnest. We looked through bins of student work to see if they met the standards set by NEASC.  We looked at all forms of assessments, lesson plans, and student responses. We recorded our findings well into the night, and finally left the work room at 10 PM.

…to sleep;/To sleep: perchance to dream (3.1.65-66)

On both Monday and Tuesday, the team was up early to return to the school (7:00 AM), and the team split up individually or in groups to spend a school day conducting interviews with faculty, staff, and students. Facility tours, lunches shared with students in the cafeteria, and opportunities to “pop-into” classes were available. There simply was no “unobligated time” as we worked steadily in the work room at the school. Here we would record our findings before returning to the school hallways.

Were you not sent for? Is it
your own inclining? Is it a free visitation? Come,
deal justly (2.2.275-276)

Both Monday and Tuesday evening sessions were long as team members furiously documented their findings into a report that will still need editing and revision.  We had worked from 6AM-10:30PM with time allotted for meals and one hour respite in order to call home or check on my own school’s e-mail.  Closing my eyes, I thought how much,

My spirits grow dull, and fain I would beguile
The tedious day with sleep. (3.2.226-227)

An early Wednesday morning work session let us polish the report and present our final conclusions to other members of the team. Finally, the votes as to whether the team would recommend accreditation or not to the school were tallied, and we marched into the school library to meet the faculty and staff a final time. We were leaving a report for them to:

suit the action to the word, the word
to the action; (3.2.17-18)

The chair gave a short speech indicating the tone but not the contents of our report, and then, according to protocol, we left as team, not speaking to anyone from the school, nor to each other. Staying silent, I thought

Farewell, and let your haste commend your duty. (1.2.39)

The experience provided me with insights into the strengths and weaknesses in the educational program of my own school, and I am eager to share ways that can improve instruction with my fellow faculty members. Our school is scheduled for a visit in the spring of 2014 by a NEASC accreditation team.

As professional development, the experience was positive but physically demanding and intellectually challenging. The chairs’ use of technology (Google docs, Livebinders, Linot) allowed for efficient sharing of information on seven standards: Core Values and Beliefs, Curriculum, Instruction, Assessment, School Culture and Leadership, School Resources, and Community Resources. Awash in papers and digital materials for 16 hours a day, I wondered how any previous teams using only hard copies had collaborated successfully.

Additionally, as I looked at the various standards of instruction, I also found myself wondering about the consequences of implementing Common Core Standards (CCSS) and the growing reliance on standardized testing in evaluating teachers and assessing student understanding. Will the current form of regional accreditation adjust to measurements that will be implemented nationally? The United States is broken into five regional accreditation districts, however, if students meet the national standards, how will these regional accreditation panels be used?

Finally, our four day “snap shot” coupled with a the school’s own exhaustive self-study could not address all of the arbitrary elements out of a school’s control, but the process is far more informative and meaningful than any standardized test results that could be offered by the CCSS. Consider also that the financing of a school seriously impacts, for good or for ill, all standards of measuring a school’s success. The intangible “culture” surrounding a school and the fluid landscape of 21st Century’s technology are other arbitrary factors that impact all standards. We even encountered a “snow-delayed” opening as if to remind us that a capricious Mother Nature refuses to allow for standardized measurement!

I only hope that my experience in informing another school in order to improve their educational program will prove beneficial. I know that when the team comes in the spring of 2014, that that they will do as I have tried to do:

 report me and my cause aright…(5.2.339)

The rest I now need requires silence.

003-Great-Gatsby

Charles Scribner’s and Son issued the first hardback edition in April 1925, adorning its cover with a painting of a pair of eyes and lips floating on a blue field above a cityscape.

The Great Gatsby film is coming out soon….” the English teacher said to me, “Can you believe Gatsby is almost 90?”

Wait, 90? The Great Gatsby is almost 90? That debonair, handsome American icon we met in his 30’s could be well over 100 years old?

“He had one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced, or seemed to face, the whole external world for an instant and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself.”

F. Scott Fitzgerald began writing his great American novel in 1922, with some of the elements surfacing in the story “Absolution” in the June 1924 issue of the magazine The American Mercury.  During the years 1923–1924, Fitzgerald, his wife Zelda, and their baby daughter, Frances “Scottie”,  traveled from New York to the French Riviera, where the novel was finished. Fitzgerald went through several revisions between 1923 to 1925 before the  novel was finally published.

According to Brant Mangum in a publication from Virginia Commonwealth University: 

Fitzgerald’s ambitious goal as he approached the composition of The Great Gatsby was to “write something new–something extraordinary and beautiful and simple + intricately patterned.”

The reaction of the critics was harsh; one early review ran with the headline:

 “F. SCOTT FITZGERALD’S LATEST DUD.”

Praise, however came from recognized writers T. S. Eliot, Edith Wharton and Willa Cather. Ten days after the book came out, Maxwell Perkins, Fitzgerald’s editor, sent the telegram: “SALES SITUATION DOUBTFUL EXCELLENT REVIEWS.” The first printing of 20,870 copies was a slow seller; Scribner’s printed another 3,000 copies four months late and finished the run. According to an article Living on $500,000 a Year: What F. Scott Fitzgerald’s tax returns reveal about his life and times by William J. Quirk in American Scholar over 12 million copies have been sold, with approximately 300-400 hundred thousand sold annually. However, Fitzgerald never did match his famous protagonist’s wealth:

“Royalties from The Great Gatsby totaled only $8,397 during Fitzgerald’s lifetime. Today Gatsby is read in nearly every high school and college and regularly produces $500,000 a year in [F. Scott Fitzgerald’s daughter] Scottie’s trust for her children.”

Fitzgerald died young, age 44, in December of 1940.

“His estate was solvent but modest—around $35,000, mostly from an insurance policy. The tax appraisers considered the copyrights worthless. Today, even multiplying Fitzgerald’s estate by 30, it would not require an estate tax return.”

He did write other novels, stories, essays, but The Great Gatsby remains his most important addition to the canon. So why call this work the great American novel?

Jonathan Yardley makes his case by calling attention to the distinctively American elements in the novel in the Washington Post book review Gatsby”: The Greatest Of Them All (1/2/07) writes:

In an extraordinarily compressed space — the novel is barely 50,000 words long — Fitzgerald gives us a meditation on some of this country’s most central ideas, themes, yearnings and preoccupations: the quest for a new life, the preoccupation with class, the hunger for riches and “the last and greatest of all human dreams…”

Our contemporary American obsession with celebrity and wealth is obvious to students who are assigned The Great Gatsby. Our nation’s economy  from boom through a recent recession, echoes the experience the heady times of the  Roaring 20’s before the Great Depression. The narrative style is engaging and packed with imagery. Anyone who spent time in a high school literature classroom over the past 50 years can recall taking notes on Fitzgerald’s metaphors and complex symbols. Mangum discusses these in his essay:

 The green light, which carries meaning at every level of the story–as Gatsby’s go-ahead sign, as money, as the “green breast of the new world,” as springtime–is strategically placed in chapters one, five, and nine. The eyes of T.J. Eckleburg “brood on over the solemn dumping ground,” which is the wasteland that America has become (514).

The appeal of Jay Gatsby’s character is explained in a chapter in America: A Self-Made Country by political commentator Chris Matthews. He writes:

“The reader, like Nick Carraway, comes to like this guy. We love his dream  because we have, all of us, shared something very much like it. Gatsby for me is undeniably the great American novel. We celebrate its hero and his “heightened sensitivity” to the promise of life. his “extraordinary gift for hope”, his “romantic readiness” because we as a country share every bit of it” (20).

The final passage of the novel is Fitzgerald’s commentary on the American dream. Nick’s final stream of consciousness:

“Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter—tomorrow we will run faster, stretch out our arms farther. . . . And then one fine morning—
So we beat on, boats against the current, borne back ceaselessly into the past.”

Such imagery naturally lends itself to the movie screen, and The Great Gatsby has had more than its fair share of remakes:

  • 2000:  Mira Sorvino, Toby Stephens, Paul Rudd (made for TV)
  • 1974: Robert Redford, Mia Farrow, Bruce Dern
  • 1949: Alan Ladd, Betty Field, Macdonald Carey
  • 1926: Warner Baxter, Lois Wilson, Neil Hamilton 

Now, the latest version is coming May (2013), when the Australian film director Baz Lurhman will put his spin on this American story:

Once more, Jay Gatsby will be glamorously immortalized in his youth; this time digitally mastered rather than in celluoid.

However, should someone want to try an even newer genre in order to experience a 21st Century Gatsby, there is the Nintendo Great Gatsby Game that can be played on a computer. While Gatsby is fixed forever as young and ambitious, he now is also amazingly spry for his years! ( “to jump, move arrow keys together right and left”)

For an “Old Sport”, Gatsby wears his age well.

This post completes a trilogy of reflections on the Connecticut Academic Performance Test (CAPT) which will be terminated once the new Smarter Balance Assessments tied to the Common Core State Standards (CCSS) are implemented. There will be at least one more year of the same CAPT assessments, specifically the Interdisciplinary Writing Prompt (IW) where 10th grade students write a persusive essay in response to news articles. While the horribly misnamed Response to Literature (RTL) prompt confuses students as to how to truthfully evaluate an story and drives students into “making stories up” in order to respond to a question, the IW shallowly addresses persuasive writing with prompts that have little academic value.

According to the CAPT Handbook (3rd Generation) on the CT State Department of Eduction’s website, the IW uses authentic nonfiction texts that have been:

“… published and are informational and persuasive, 700-1,000 words each in length, and at a 10th-grade reading level.  The texts represent varied content areas (e.g., newspaper, magazine, and online articles, journals, speeches, reports, summaries, interviews, memos, letters, reviews, government documents, workplace and consumer materials, and editorials).  The texts support both the pro and con side of the introduced issue.  Every effort is made to ensure the nonfiction texts are contemporary, multicultural, engaging, appropriate for statewide implementation, and void of any stereotyping or bias.  Each text may include corresponding maps, charts, graphs, and tables.”

Rather than teach this assessment in English, interdisciplinary writing is taught in social studies because the subject of social studies is already interdisciplinary. The big tent of social studies includes elements of economics, biography, law, statistics, theology, philosophy, geography, sociology, psychology, anthropology, political science and, of course, history. Generally, 9th and 10 grade students study the Ancient World through Modern European World (through WWII) in social studies. Some schools may offer civics in grade 10.

Social studies teachers always struggle to capture the breadth of history, usually Western Civilization, in two years. However, for 15 months before the CAPT, social studies teachers must also prepare students to write for the IW test. But does the IW reflect any of the content rich material in social studies class? No, the IW does not. Instead the IW prompt is developed on some “student centered” contemporary issue. For example, past prompts have included:

  • Should students be able to purchase chocolate milk in school?
  • Should utility companies construct wind farms in locations where windmills may impact scenery or wildlife?
  • Should ATVs be allowed in Yellowstone Park?
  • Should the school day start later?
  • Should an athlete who commits a crime be allowed to participate on a sports team?
  • Should there be random drug testing of high school students?

On the English section of the test, there are responses dealing with theme, character and plot. On the science section, the life, physical and earth sciences are woven together in a scientific inquiry. On the math section, numeracy is tested in problem-solving. In contrast to these disciplines, the social studies section, the IW, has little or nothing to do with the subject content. Students only need to write persuasively on ANY topic:

For each test, a student must respond to one task, composed of a contemporary issue with two sources representing pro/con perspectives on the issue.  The task requires a student to take a position on the issue, either pro or con.  A student must support his or her position with information from both sources.  A student, for example, may be asked to draft a letter to his or her congressperson, prepare an editorial for a newspaper, or attempt to persuade a particular audience to adopt a particular position.  The task assesses a student’s ability to respond to five assessed dimensions in relationship to the nonfiction text: (1) take a clear position on the issue, (2) support the position with accurate and relevant information from the source materials, (3) use information from all of the source materials, (4) organize ideas logically and effectively, and (5) express ideas in one’s own words with clarity and fluency.

The “authentic” portions of this test are the news articles, but the released materials illustrate that these news articles are never completely one-sided; if they are written well, they already include a counter-position.  Therefore, students are regurgitating already highly filtered arguments. Secondly, the student responses never find their way into the hands of the legislators or newspaper editors, so the responses are not authentic in their delivery. Finally, because these prompts have little to do with social studies, valuable time that could be used to improve student content knowledge of history is being lost.  Some teachers use historical content to practice writing skills, but there is always instructional time used to practice with released exam materials.

Why are students asked to argue about the length of a school day when, if presented with enough information, they could argue a position that reflects what they are learning in social studies? If they are provided the same kinds of newspaper, magazine, and online articles, journals, speeches, reports, summaries, interviews, memos, letters, reviews, government documents, workplace and consumer materials, and editorials, could students write persuasive essays with social studies content that is measurable? Most certainly. Students could argue whether they would support a government like Athens or a government like Sparta. Students could be provided brief biographies and statements of belief for different philosophers to argue who they would prefer as a teacher, DesCartes or Hegel. Students could write persuasively about which amendment of the United States Constitution they believe needs to be revisited, Amendment 10 (State’s Rights) or Amendment 27 (Limiting Changes to Congressional Pay).

How unfortunate that such forgettable issues as chocolate milk or ATVs are considered worthy of determining a student’s ability to write persuasively. How inauthentic to encourage students to write to a legislator or editor and then do nothing with the students’ opinions. How depressing to know that the time and opportunity to teach and to measure a student’s understanding of the rich content of social studies is lost every year with IW test preparation.

coffeetalkMaybe the writers of the CAPT IW prompt should have taken a lesson from the writers of Saturday Night Live with the Coffee Talk with Michael Myers. In these sketches, Myers played Linda Richmond, host of the call-in talk show “Coffee Talk”. When s(he) would become too emotional (or feclempt or pheklempt ) to talk, s(he) would “give a topic” to talk “amoungst yourselves”.  Holding back tears, waving red nails in front of his face furiously, Myers would gasp out one of the following:

“The Holy Roman Empire was neither holy, Roman, nor an empire….Discuss…”

“Franklin Delano Roosevelt’s New Deal was neither new nor a deal…. Discuss…”

“The radical reconstruction of the South was neither radical nor a reconstruction…. Discuss…”

“The internal combustion engine was neither internal nor a combustion engine…. Discuss…”

If a comedy show can come up with these academic topics for laughs, why can’t students answer them for real? At least they would understand what made the sketches funny, and that understanding would be authentic.

As the Connecticut State Standardized tests fade into the sunset, teachers are learning to say “Good-bye” to all those questions that ask the reader to make a personal connection to a story. The incoming  English Language Arts Common Core Standards (ELA- CCSS) are eradicating the writing of responses that begin with, “This story reminds me of…..” Those text to self, text to text, and text to world connections that students have made at each grade level are being jettisoned. The newly designed state assessment tests will tolerate no more fluff; evidence based responses only, please.

sunsetPerhaps this hard line attitude towards literacy is necessary correction. Many literacy experts had promoted connections to increase a reader’s engagement with a text. For example,

 “Tell about the connections that you made while reading the book. Tell how it reminds you of yourself, of people you know, or of something that happened in your life. It might remind you of other books, especially the characters, the events, or the setting” (Guiding Readers and Writers Grades 3-6, Fountas and Pinnell) 

Unfortunately, the question became over-used, asked for almost every book at each grade level. Of course, many students did not have similar personal experiences to make a connection with each and every text. (Note: Given some of the dark literature-vampies, zombies- that adolescents favor, not having personal experience may be a good sign!) Other students did not have enough reading experience or the sophistication to see how the themes in one text were similar to themes in another text.  Some of the state assessment exemplars revealed how students often made limited or literal connections, for example:”The story has a dog; I have a dog.”

The requirement to make a connection to each and every story eventually led to intellectual dishonesty.  Students who were unable to call to mind an authentic connection faked a relationship or an experience. Some students claimed they were encouraged by their teachers to “pretend” they knew someone just like a character they read about. “Imagine a friend had the same problem,” they were told.   Compounding this problem was the inclusion of this connection question on the state standardized tests, the CAPT (grade 10) and the CMT (grades 3-8). So, some  students traded story for story in their responses, and they became amazingly creative in answering this question. I mentioned this in a previous post when a student told me that the sick relative he had written about in a response didn’t really exist. “Don’t worry,” he said brightly after I offered my condolences, “I made that up!”

Last week, our 9th grade students took a practice standardized test with the “make a connection question” as a prompt. They still need to practice since there is one more year of this prompt before ELA CCSS assessments are in place. The students wrote their responses to a story where the relationship between a mother and daughter is very strained. One of the students wrote about her deteriorating and very difficult relationship with her mother. I was surprised to read how this student had become so depressed and upset about her relationship with her mother. I was even more surprised that afternoon when that same mother called to discuss her daughter’s grade. I hesitated a little, but I decided to share what was written in the essay as a possible explanation. The next day, I received the following e-mail,

“I told M___that I read the practice test where she said I didn’t have time to talk and other things were more important. She just laughed and said that she had nothing in common with the girl in the story so she just made that up because she had to write something. We had a good laugh over that and I felt so relieved that she didn’t feel that way.”

After reading so many student “make a connection” essays, I should have seen that coming!

Good-bye, “Make a Connection” question. Ours was an inauthentic relationship; you were just faking it.

Screen Shot 2013-03-10 at 11.08.07 AMMarch in Connecticut brings two unpleasant realities: high winds and the state standardized tests. Specifically, the Connecticut Academic Performance Tests (CAPT) given to Grade 10th are in the subjects of math, social studies, sciences and English.

There are two tests in the English section of the CAPT to demonstrate student proficiency in reading. In one, students are given a published story of 2,000-3,000 words in length at a 10th-grade reading level. They have 70 minutes to read the story and draft four essay responses.

What is being tested is the student’s ability to comprehend, analyze, synthesize, and evaluate. While these goals are properly aligned to Bloom’s taxonomy, the entire enterprise smacks of intellectual dishonesty when “Response to Literature” is the title of this section of the test.

Literature is defined online as:

“imaginative or creative writing, especially of recognized artistic value: or writings in prose or verse; especially writings having excellence of form or expression and expressing ideas of permanent or universal interest.”

What the students read on the test is not literature. What they read is a story.

A story is defined as:

“an account of imaginary or real people and events told for entertainment.”

While the distinction may seem small at first, the students have a very difficult time responding to the last of the four questions asked in the test:

How successful was the author in creating a good piece of literature? Use examples from the story to explain your thinking.

The problem is that the students want to be honest.

When we practice writing responses to this question, we use the released test materials from previous years: “Amanda and the Wounded Birds”, “A Hundred Bucks of Happy”, “Machine Runner” or “Playing for Berlinsky”.  When the students write their responses, they are able to write they understood the story and that they can make a connection. However, many students complain the story they just read is not “good” literature.

I should be proud that the students recognize the difference. In Grades 9 & 10, they are fed a steady diet of great literature: The Odyssey, Of Mice and Men, Romeo and Juliet, All Quiet on the Western Front, Animal Farm, Oliver Twist. The students develop an understanding of characterization. They are able to tease out complex themes and identify “author’s craft”. We read the short stories “The Interlopers” by Saki, “The Sniper” by Liam O´Flaherty, or “All of Summer in a Day” by Ray Bradbury. We practice the CAPT good literature question with these works of literature. The students generally score well.

But when the students are asked to do the same for a CAPT story like the 2011 story “The Dog Formerly Known as Victor Maximilian Bonaparte Lincoln Rothbaum”, they are uncomfortable trying to find the same rich elements that make literature good. A few students will be brave enough to take on the question with statements such as:

  • “Because these characters are nothing like Lenny and George in Of Mice and Men…”
  • “I am unable to find one iota of author’s craft, but I did find a metaphor.”
  • “I am intelligent enough to know that this is not ‘literature’…”

I generally caution my students not to write against the prompt. All the CAPT released exemplars are ripe with praise for each story offered year after year. But I also recognize that calling the stories offered on the CAPT “literature” promotes intellectual dishonesty.

Perhaps the distinction between literature and story is not the biggest problem that students encounter when they take a CAPT Response to Literature. For at least one more year students will handwrite all responses under timed conditions: read a short story (30 minutes) and answer four questions (40 minutes). Digital platforms will be introduced in 2014, and that may help students who are becoming more proficient with keyboards than pencils.
But even digital platforms will not halt the other significant issue with one other question, the “Connection question (#3)” on the CAPT Response to Literature:

 What does this story say about people in general? In what ways does it remind you of people you have known or experiences you have had?  You may also write about stories or books you have read or movies, works of art, or television programs you have seen.  Use examples from the story to explain your thinking.

Inevitably, a large percentage of students write about personal experiences when they make a connection to the text. They write about “friends who have had the same problem” or “a relative who is just like” or “neighbors who also had trouble”.  When I read these in practice session, I sometimes comment to the student, “I am sorry to hear about____”.

However, the most frequent reply I get is often startling.

“No, that’s okay. I just made that up for the test.”

At least they know that their story, “an account of imaginary or real people and events told for entertainment,” is not literature, either.

What better way to celebrate International Women’s Day 2013 but to pay tribute to Canadian author Margaret Atwood? Poet, novelist, lecturer, inventor, tweeter, and celebrity ice hockey goalie, Atwood’s achievements in each of these roles is accomplished with wit, grace, and aplomb.

Handmaid's tale

There are other earlier covers, but this one is my personal favorite.

My Advanced Placement English Literature class just finished reading her novel, The Handmaid’s Tale. The novel is set in the dystopia of Gilead, where in response to political and ecological upheaval, a quasi-Christian theocracy is organized in the eastern section of the United States. Astute Sparknote writers, graduates of Harvard, recognized many of the landmarks in the novel’s setting (the brick wall, the gymnasium) as that of their alma mater, an indication of Atwood’s wry sense of irony. In the novel, fertility is an obsession. Rituals and “ceremonies” are enforced; offenders and outliers are publicly executed or sent to labor in toxic waste dumps. The main character Offred, who had a daughter before the establishment of the Republic of Gilead, is valued only for her ability to reproduce.

Because of the mature themes, The Handmaid’s Tale is often taught in senior high school classes. The title is often suggested on the exam for the open-ended Question #3 on the AP Literature exam which means other schools assign the book. There are always plenty of copies available in the secondary market. Our classroom library has over 60 copies from a variety of library book sales and thrift stores. I have spent under $100.00 in adding this title to our curriculum; I’d like to think that Atwood might be pleased with this “ecological” way to have students read the text despite her loss of possible retail revenue. However, if one wanted a new copy, they are available at Amazon for $10.20 paperback or an audio recording by Claire Danes is available  at Audible.com  for $24.95.

When we discuss the clothing that marks the different “castes” of people in Gilead,  I always use the endpaper story Atwood published in the New York Times Magazine published “When Afghanistan Was at Peace”

Six years after our trip, I wrote ”The Handmaid’s Tale,” a speculative fiction about an American theocracy. The women in that book wear outfits derived in part from nuns’ costumes, partly from girls’ schools’ hemlines and partly — I must admit — from the faceless woman on the Old Dutch Cleanser box, but also partly from the chador I acquired in Afghanistan and its conflicting associations. As one character says, there is freedom to and freedom from. But how much of the first should you have to give up in order to assure the second? All cultures have had to grapple with that, and our own — as we are now seeing — is no exception. Would I have written the book if I never visited Afghanistan? Possibly. Would it have been the same? Unlikely.”

Dutch Cleanser

The combination of the Dutch Cleanser girl with the chador is the inspiration for Offred’s clothing; the story and the visual always sparks a discussion on the symbolic effect of clothing.

My students always argue about the genre of The Handmaid’s Tale. This year there were a number of votes for political science book, others for a dystopian love story; no one said science fiction. Atwood would be relieved; she has always drawn the distinction between science fiction and her writing which she calls “speculative fiction”. Several of my students also read the other books Oryx and Crake and The Year of The Flood that are speculative fiction.

Here is Atwood with her take on the genre of specultive fiction.

The conclusion of The Handmaid’s Tale ends in an allusion to the story of Orpheus and Eurydice:

“We may call Eurydice forth from the world of the dead, but we cannot make her answer; and when we turn to look at her we glimpse her only for a moment, before she slips from our grasp and flees.”

After we finished the novel, the class read Atwood’s poem Eurydice. I asked them what they thought.

  • “There is a sense of longing in both.”
  • “The language is so similar. There is the white curtain…the gauze.”
  • “‘It is not through him you will get your freedom’ is just like
    from and freedom to…that is Offred’s problem”
  • “We could have just read the poem! They’re almost the same!”

One other area of speculative fiction where Atwood has shared her thoughts is on the topic of modernity…and Zombies. In an interview on George Stroumboulopoulos Tonight, Atwood was quite clear on the limits of Zombie stories:

“No zombie story is ever told from the zombie point of view… they’re not narrative…they don’t have language and that impedes one from telling a story.”

Outside of fiction, Atwood has also written about debt. Her non-fiction book Payback: Debt and the Shadow Side of Wealth came from her 2008 Massey Lectures. Not surprisingly, her interest in debt began in from her study of Victorian Literature. In an interview with Suzanne Ellis, CityLine “Margaret Atwood On Payback And The Concept Of Debt”  Atwood discussed how the Victorian stories that are on the surface about love and romance are really all about financial arrangements:

“In [Jane Austen’s] Sense and Sensibility, Marianne can’t marry the love of her life because he needs to marry a rich person. He doesn’t have any money. She’s devastated by that and gets a bad cold,” Atwood muses. “You start following the money in these novels and it takes you to the most amazing places. Where did Heathcliff get the money that he uses to buy Wuthering Heights, or I should say to gamble the owner of it out of it? How does he do that? We’re not quite sure but it’s something pretty shady.”

The book was made into a documentary and released in the spring of 2012. The New York Times critic A.O. Scott opens his film review with the premise of the documentary:

A glance at the headlines from Europe, the news from Washington or this month’s bills will confirm that we live in an age of debt. Debt, a concept at once straightforward and almost metaphysically complex, is a source of personal, national and global anxiety, and forms a link between the individual and the worldwide economic system.

While the film did not receive critical acclaim, Atwood’s ability to connect herself and link to the world through Twitter is often lauded.  She is an avid twitterer with 383,430 followers and over 15,000 tweets of her own. She links to political issues, comments on travels, and gives recipe advice:

Screen Shot 2013-03-08 at 11.06.17 AM Screen Shot 2013-03-08 at 11.07.07 AM Screen Shot 2013-03-08 at 11.08.58 AM Screen Shot 2013-03-08 at 11.09.56 AM

She also is the inventor of the “long pen”, a device that allows her to attend book signings from distances and sign books “virtually”. When she is tired of traveling to sign books, she can now meet her adoring public in virtual space and provide them with an authentic signature. Fortunately, I saw her before the “long pen” at a Barnes and Noble reading/book signing for her short story collection Moral Disorder. She was amazingly articulate; in the 40 minute talk, she never hesitated or once said “um”.

And just when you thought that Atwood could not be more accomplished, she starred in a video explaining “How to Stop a Hockey Puck” for the comedian reporter Rick Mercer. I put the video below. (Too bad her “Dance Party Video” was removed from YOUTube for copyright violations.)

So, on this International Woman’s Day, let’s hear a cheer for Margaret Atwood!

She writes. She tweets. She scores!

Mash-up are usually the blending of music from two or more sources. However a different mash-up was featured in a story by National Public Radio (NPR) where street signs in New York City were rewritten into Haiku poetry, Haiku Traffic Signs Bring Poetry To NYC Streets. This story illustrated how a mashup could be made of a very basic informational text with a strict poetic form. “Caution: Oncoming Traffic” was expanded into a poem of  of 5 syllables/7 syllable/5 syllables of “8 million swimming/The traffic rolling like waves/Watch for undertow.” In the NPR story,

“Traffic warning street signs written as haiku are appearing on poles around the five boroughs, posted by the New York City Department of Transportation. The poems and accompanying artwork were created by artist John Morse.”

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NYC’s Department of Transportation hoped the signs would catch new eyes in order to communicate important information. The unusual combination of graphics and verse on street signs presented pedestrians with additional information, a different point of view. The reordering of information is just one example of how presenting information in a different genre also provides new writing opportunities for new audiences.

Since the English Language Arts Common Core is rattling its standards calling for an increase in informational texts, the 9th grade curriculum is including a non-fiction unit where students choose a non-fiction text of their own to read. The CCSS  require this increase based on:

“…extensive research establishing the need for college and career ready students to be proficient in reading complex informational text independently in a variety of content areas. Most of the required reading in college and workforce training programs is informational in structure and challenging in content…”

Our students may choose a text to read on topics that range from animal or adventure topics to travel or war. There are titles that have been made available in bulk on the secondary market, such as public library book sales or thrift stores and added to our classroom book carts. The books purchased for $1.00 each (see how) include:

  • Girl Interrupted-Keysen
  • Guts-Paulsen
  • Tuesdays with Morrie-Albom
  • The Tipping Point– Gladwell
  • Left for Dead-Nelson
  • Iron and Silk-Salzman
  • A Night to Remember-Lord
  • Hiroshima-Hersey
  • The Teammates-Halberstam

iron and silk Night to remember dog year Tipping

There are also a number of books that deal with animal literature that are stocked on the classroom book cart. Many of these texts will also be available for the senior elective, “Critter Lit”:

  • With Love from Baghdad-Kopelman
  • Tell Me Where It Hurts-Trout
  • Seabiscuit-Hillebrand
  • Winterdance– Paulsen
  • A Dog Year-Katz
  • Wesley the Owl-O’Brien
  • Alex and Me-Royte
  • Modoc-Helfer
  • The Pig Who Sang to the Moon-Masson

Students may chose from these titles or another non-fiction choice though the school library, which also offers the online book shelf Overdrive. The students organize themselves into thematic groups while the unit runs for four weeks (block schedule) with some overlap during the standardized testing weeks. The students spend time reading in class, and they organize themselves into thematic groups. Rather than respond in essays or traditional research papers, the students are given an opportunity to create genre mash-ups.

First, to prepare for writing mash-ups, the students generated a list of the kinds of non-fiction writing they see everyday including:

  • License plate
  • Newspaper article
  • Letter to the editor
  • Ad
  • food labels
  • Menu
  • Directions
  • Q&A Interview
  • Diary
  • Weather report
  • Sports report
  • Billboard
  • Tweet
  • Blog post
  • Directions

Next, the mini-lessons that begin each class are quick( 5-10 minutes) and focus on the characteristics of a particular genre from the list so that students can create rewrite each text in that genre. For example, students review how information is arranged on a food label before creating a “food label” for the books they are reading. Students read billboards and street signs before creating the same.  After each mini-lesson, students write about their text in the assigned genre and use a Google Docs folder to develop a portfolio of authentic writing. The result is a portfolio of mash-ups of informational texts rewritten by students into other genres.

Like the haiku and street sign mash-up, these mashups will still communicate essential information. Students can write about the texts they choose to read in the authentic genres they encounter everyday.

Finally, when April comes around, the students may try writing their essential information in poetry: sonnets, limericks, villanelles and even haikus. After all, April is National Poetry Month!