Joyce’s Ulysses as a Catalog of Narrative Techniques for MFA Candidates
(The following paper was presented at the Southwest Popular/American Culture Association Conference in Albuquerque, New Mexico, Feb. 26, 2022, moderated by Yasminda Choate, Seminole State College.)
I must say regarding the title of this talk: what it lacks in cleverness it at least makes up for in near-childlike self-explanation. I’m going to discuss why focusing an entire course on a single daunting text like Ulysses is worthwhile, at least in the setting of an MFA program; and I’m going to offer some specific suggestions for reading focuses and writing assignments. (It’s not one of those papers you run into at conferences sometimes, a paper that purports to be about how waxed fruit influenced the writing style of Gertrude Stein, and ten minutes in the presenter hasn’t yet mentioned waxed fruit, Gertrude Stein, or writing style, or, for that matter, writing.)
First some further context: I teach in an MFA in Writing program that has both on-campus and online courses of the two traditional varieties: workshop and literature. I teach online literature courses exclusively. Nevertheless, I do think this course, or this kind of course, could work just as well in-person. I have the luxury of designing my own courses. Maybe three years ago, I decided to pitch a course with a singular focus: James Joyce’s legendarily difficult novel Ulysses. My thinking was that it would be a great text for discussing a wide array of narrative techniques, all gathered together in one unruly place. Also, for people planning to be fiction writers (meaning probably novelists) and perhaps wanting to be college teachers themselves, being familiar with the book that many consider the greatest English-language novel of the twentieth century, if not of all time, would be beneficial—if for no other reason than to avoid embarrassment at some future department mixer.
I’ve now taught the course several times (four?), and it’s scheduled again for this summer. From my perspective it’s been a success, and also a blast to teach. Student evaluations support my perspective. (Pro tip: I call the course “Joyce’s Ulysses” to try to avoid confusion; nevertheless, I do get the occasional student hoping to take a deep dive into Homer—which would also be a great course.) The course attracts students with a variety of motives, but a common one is that they’ve tried reading Ulysses before—and have had to limp, defeated, from the field of battle (a nod to Ulysses’ first publishers, Jane Heap and Margaret Anderson). Or, often, it sat on a shelf, untouched, glaring arrogantly at its owner for years. Now, with some guidance and the motivation of a grade hanging in the balance, they hope to slay the beast, or at least land a scratch.
I can relate. I’m among those who tried and failed a few times to read Ulysses before finally getting through the text in its entirety. So as a recovering Ulysses failure, I can speak to the students on their own level of self-loathing, and offer them the sort of encouragement they need to not drop the course after seeing the reading requirements. When I started teaching Ulysses we had eleven-week sessions; then the program was revised to offer eight-week sessions. The book was a bear to teach in eleven weeks, so eight is extra challenging. Yet doable.
We look at two episodes per week, and tackle an inhumane amount of material the penultimate week, episodes 16, 17, and 18; that is, Part III, “Eumaeus,” “Ithaca,” and “Penelope,” some 150 pages—which isn’t unusual in a typical grad course, but it’s 150 pages of Ulysses, capped off by Molly Bloom’s nearly punctuation-free, stream-of-consciousness monologue. To accommodate the move from eleven weeks to eight weeks, I basically cut Part I, the three opening episodes that focus on Stephen Dedalus, and begin in earnest with Leopold Bloom starting his day in Episode 4, “Calypso.” I provide a summary of those opening episodes and encourage students to read them even though they aren’t required per se.
I stress—again and again—that our purpose is not to unlock all the literary mysteries of the novel. Joyce specialists (of which I am decidedly not one) devote whole careers to the book, or only individual episodes. Rather, we want to achieve a basic understanding of what happens in the book, yes, but more importantly we want to lift the hood and see what Joyce was up to in individual episodes, and in the structure of the novel as a whole. In other words, we’re reading the novel as practicing writers, not as literary scholars. I hope to spark an interest in Joyce so that later in life students may feel warm and fuzzy enough about Ulysses to return to it, and to engage with other Joyce texts. Typically I do have a few students who’ve been bitten by the Joyce bug by the end of the session, and they ask for recommendations about where to go next, unaided. Finnegans Wake?, they sometimes ask. God no. I generally recommend Dubliners, and even more specifically “The Dead,” which is available in stand-alone critical editions if a reader is so inclined.
Another piece of advice I offer at the outset: The novel features a cast of thousands, and trying to synthesize all of the characters into your gray matter for easy recall later is probably one of the reading habits that leads to so many normally successful readers giving up in a hailstorm of self-condemnation. Instead, I say, there are just three main characters—Stephen, Bloom, and Molly—so keep an eye out for them. As long as you have a sense of what they do in the novel, from episode to episode, until you reach the Promised Land of “Yes” at the end of 18, then you’re doing just fine.
(We do get into some literary analysis, and one of the aspects we talk about is the novel’s unusually encyclopedic nature, and that Joyce didn’t intend, probably, for it to be read like a typical novel. There’s just too much data to try to hold in one’s head from start to finish. I will admit that in spite of reading the novel from stem to stern at least twice, and some sections multiple times, and even having published about it, plus taught it multiple times, it’s not uncommon for me to read an article or hear a presentation on the novel, and think, “That happens in Ulysses? Really? That sounds interesting.”)
Students are required to write weekly discussion posts based on the episodes, and I give them something concrete to glom onto. I share with them the famous Ulysses schemas, the Gilbert and the Linati, and ask them to write about how two of the elements operate in the week’s readings. Again, I don’t pretend that this an approach that will help them penetrate to the core of the novel’s meaning. Rather, as writers we’re looking at ways that Joyce tried to unify eighteen episodes, or chapters, that use increasingly experimental techniques of storytelling and shift point of view frequently. The schemas are one method, as are the running parallels with Homer’s Odyssey (which are often hard to spot even when one knows to look for them). Another unifying element is Joyce’s attention to chronology, with the narrative unfolding in more or less accurate time over 24 hours. Finally, there is Joyce’s attention to the point of obsession regarding the geography of Dublin in June 1904.
The novel is famous for its stream-of-consciousness narration, which nowadays isn’t exactly revolutionary. Joyce is, however, a master of the technique so a closer examination of almost any episode can lead to a fruitful discussion of how it’s working in detail. “Penelope,” of course, is the example par excellence of interior monologue. To mimic the randomness of one’s thought process, Joyce uses almost no punctuation for more than 30 pages, a section broken into only eight “sentences.” Nevertheless, we can isolate specific thoughts and images. How does Joyce manage it, without the traditional use of punctuation?
Every episode offers a multitude of techniques that could be of value to fiction writers, but in the interest of time here are some approaches that stand out to me.
Episode 4, “Calypso.” The opening three episodes, focused on Stephen Dedalus, establish a realistic chronological approach in the novel, from the start of Stephen’s day at the Martello tower to his meeting with Mr. Deasy to his walk along the strand. Then, abruptly, in this fourth episode time is reset to around 8:00 as we’re introduced to Leopold Bloom. From then on time in the novel unfolds consistently. The lesson: Don’t be afraid to break your own rules.
Episode 6, “Hades.” Bloom takes a carriage ride with three men who are also attending Paddy Dignam’s funeral. Bloom is both part of the group and yet set apart from his companions because of his Jewish heritage and being seen as a quasi-foreigner. This feeling, of being alone in a crowd, is exquisitely human and has obviously been explored by writers and artists throughout history, but no one does it better than Joyce in this iconic episode. The lesson: How to create a character who is both accepted into a social circle while simultaneously being excluded from it.
Episode 7, “Aeolus.” Bloom visits the Freeman newspaper offices, where he has a series of encounters, including with Stephen for the first time in the novel. This episode initiates Joyce’s more overtly experimental techniques as he breaks up the narrative with frequent headline-like insertions throughout. These headlines were a relatively late addition to the episode as it was published without them in The Little Review. Lesson: Don’t be afraid to play with narrative techniques and step from behind the curtain as the storyteller.
Episode 9, “Scylla and Charybdis.” Here Stephen expounds on his theory regarding Shakespeare’s Hamlet in the National Library with a group of fellow literati. His theory has been alluded to previously in the novel. Intertextuality—bringing other texts to bear on the narrative’s primary text—happens frequently in Ulysses. Indeed, Homer’s Odyssey serving as a structural apparatus is itself intertextual. But the use of Hamlet as a well-known literary figure (perhaps the best-known literary figure) to amplify the novel’s own concerns about parent-child relationships, among other issues, is worthy of careful study. Lesson: Bring other texts into conversation with your own narrative.
Episode 10, “Wandering Rocks.” In this scene our attention wanders between a host of different characters and objects. Very little happens in terms of advancing the novel’s plot, but Joyce brings together many of the characters and items of significance we’ve already encountered. Many see this odd episode—with its cinematically sweeping point of view—as a way to tie the earlier (more conventional) chapters of the novel to the later (more experimental) chapters. Lesson: Chapters can have principal objectives other than to advance the plot or evolve characterization; they can serve more purely artistic functions.
Episode 12, “Cyclops.” We join Bloom in Barney Kiernan’s pub, but from the point of view of a new anonymous, first-person narrator. Besides the switch in POV, Joyce also plays with various prose styles, including Irish mythological, legalistic, journalistic, and biblical. This episode, then, breaks two cardinal rules young writers often learn in workshop: to be consistent when it comes to (1) point of view and (2) voice. Without warning, Joyce switches from third- to first-person, and then injects some thirty different prose styles into the telling. Lesson: Know the rules so that you can break them; or, the only rule when it comes to telling a compelling story is that there are no rules.
Episode 14, “Oxen of the Sun.” Joyce takes the technique of Episode 12—the use of multiple prose styles—and goes even further by emulating the evolution of the English language, from its Latin/Germanic roots to Anglo-Saxon to Chaucer to Shakespeare to Defoe to Lamb, and many more. The plot advances at the Holles Street maternity hospital, but it does so via this history of the stages of the English language. Lesson: Have fun. Don’t be afraid to toy with voices and styles within the same piece.
Episode 15, “Circe.” We find ourselves in Nighttown, Dublin’s red-light district, but now the storytelling mode is dramatic. The episode unfolds as a play script, complete with character names and stage directions. The lesson: Go ahead. Begin in one mode and switch to another; then back again, or whatever you feel like doing.
Episode 17, “Ithaca.” Bloom and Stephen walk to Bloom’s residence, an important plot advancement, especially in light of the novel’s Odyssey subtext, but now it’s told via a series questions and answers, resembling, most say, either catechism or Socratic dialogue. Lesson: Why the heck not?
And like Bloom, we return to Episode 18 and No. 7 Eccles Street.
A quick word or two on other kinds of writing assignments one might assign, besides the weekly posts tied to the schemas. For their final project, I have students try their hand at one or more experimental techniques they’ve encountered in the book, creating their own original scene. It’s a two-part assignment. There’s the creative writing itself; then there’s an analytical element in which they identify the episodes and techniques they used as inspiration, quoting and citing from the novel as needed.
In the original eleven-week version of the course, I attempted an ambitious midterm paper. I had students access an episode as it first appeared in either The Little Review or The Egoist (using the Modernist Journals Project online), and compare it to the 1922 book version, identifying Joyce’s revisions and speculating as to why Joyce may have made the changes (almost always additions) that he did. That is, what did he gain through revision? I think it’s a terrific assignment, but, as I say, ambitious, and students were not terribly successful with it. It is perhaps too labor intensive when up against the amount of reading students have to do just to keep pace with the syllabus. So when we went to eight-week sessions, I dropped the assignment. My main purpose was to emphasize the importance of revision and how much care Joyce took in revising his work. I think it’s a potentially fruitful exercise, and maybe given a longer time frame and the right students, it could be a reasonable assignment. (By the way, I did the activity myself, based on Episode 9, “Scylla and Charybdis,” and the brief article was published at Academia Letters—if you want to see an example of what I have in mind with the assignment.)
It’s especially interesting to be teaching Ulysses during its centenary year—an event that will add even more resources from which one might draw (not that there was a shortage previously). If you teach in the right circumstances, I encourage you to consider a course on Ulysses. Or if not that large, loose, baggy monster, maybe another long, challenging text. I’ve thought about War and Peace, but in eight weeks that would be quite a battle. I welcome suggestions.
An open letter to school board members
School boards have been in the process of deciding what to do about school come mid-August, and essentially they’ve weighed three options: full attendance; full remote; or some hybrid combination in between. In my mind — and the minds of thousands of other educators — it should be a simple decision. By far the safest approach — the approach that would prevent students and adults from becoming infected at school — is full-remote learning. Yet many school boards are not opting for remote learning.
Allow me to make my case for remote learning. First, though, let me say that I began teaching in 1984, in East Moline, Illinois. After a few years I moved to Mt. Vernon, Illinois, where I taught for more than a decade before being recruited to come to Williamsville, Illinois, in 1998. So I’m embarking on my 38th year in the classroom, my 23rd here at Williamsville. Earlier this summer I put in my notice to retire in four years, so if I make it I’ll retire in 2024 with 42 years in the classroom.
What is more, while here in Williamsville the school board essentially paid for me to earn a pedagogically based Ph.D. from Illinois State University. Presumably their generosity was based at least in part on the idea it was a sound investment because they could avail themselves of the knowledge and wisdom I accrued in earning that quite rare degree.
Thus, I don’t think of myself as an expert in very many things, but after 38 years and a doctorate I believe I’ve earned the right to call myself an expert when it comes to schools, classrooms and kids. You wouldn’t want me rewiring your house, or grooming your dog, or organizing your stock portfolio — but when it comes to teaching school and working with children, I encourage you to pay attention.
There’s been talk all summer of “returning to school safely” — but the concept is a fairy tale. A lot of people seem to think that if we expand teachers’ roles to include becoming makeshift nurses, custodians and juvie prison guards, we can somehow prevent COVID-19 infection in the school.
We can’t. I’m sorry, but it’s true. Children are going to become infected. Some will have serious medical complications. Some will die. Adults in the building, especially teachers, will become infected. Some will have serious medical complications. Some will die.
Rather than going through all the reasons we won’t be able to keep schools free of Covid, let me, instead, point to the parable of professional sports. Various professional sports leagues have returned to action this summer, or tried to. Perhaps it began with the PGA golf tour in June, but then there were the hockey players of the NHL, and most recently Major League Baseball. Professional sports leagues, individual franchises, and the players themselves have unlimited resources to keep athletes free of COVID-19, and yet they haven’t been able to.
Every league had essentially the same strategy: Get athletes inside a Covid-free “bubble.” Test them for the virus constantly (in some cases twice a day). Isolate them from the general population (train in isolation, eat and sleep in isolation, travel in isolation). Have their environments professionally sanitized every day. And quarantine anyone in the bubble at the first sign of a Covid symptom.
Professional golf went one tournament before players and caddies started testing positive for Covid. Pro hockey players were experiencing an infection rate five times the average population. And we’ve seen in the last couple of weeks what’s been happening in Major League Baseball: multiple outbreaks and canceled games.
Doctors believe the problem is the very first step: Getting athletes inside the bubble free of infection. It appears nearly impossible. With people being asymptomatic or pre-symptomatic, even with the most rigorous screening by professional medical personnel, someone with the virus is going to slip through. Then you have the situation of others being, in essence, trapped inside the bubble with a teammate or fellow competitor who is highly contagious.
So professional sports teams, with all their resources, can’t prevent the spread of infection. But somehow masked schoolteachers are going to provide an impenetrable shield against COVID-19 armed with thermometers, spray bottles and paper towels. The assertion would be comical if it weren’t deadly serious.
To repeat: The idea of a “safe” school is a fantasy.
Another important point — and again let me remind you this is coming from somebody who’s spent nearly four decades teaching school — has to do with quality of instruction. A lot of people advocating for in-person instruction are basing their argument on the premise that in-person instruction is superior to remote instruction. Under normal circumstances, I would wholeheartedly agree. But these circumstances are far from normal.
Teaching, in the best of times, is exhausting. We love teaching, but it wears us out physically, mentally and emotionally. Now, many teachers (including me) are being asked to teach both in-person and remotely, plus pitch in to monitor students’ health, and to clean desks, doors, cabinets, keyboards — wherever kids have been. Even still, kids and adults are going to have to eat and drink during the day, removing their masks for several minutes. Schools are considering building “mask breaks” into the schedule because it will be difficult for children and adults to wear masks for several hours without interruption. Moreover, maintaining social distancing at all times will be impossible.
Nurses who have been dealing with the novel coronavirus since March have been reaching out to schoolteachers with advice on how to avoid becoming infected and how to avoid bringing the virus home to their families. Besides masks, of course, teachers should wear face shields, goggles or at least eyeglasses, they recommend. Teachers should have separate work clothes and home clothes, including shoes, and their work clothes and shoes should not be allowed inside their homes. They recommend having a safe space, like the trunk of their car, to store their work clothes and shoes. They say that every day work clothes should go directly into the washing machine, and teachers should go directly into the shower. Directly. Every day.
So here’s the thing: Between the extra duties, the extra precautions, and the extra worries, teachers who are teaching in-person will be burned out by mid-September. Even if they haven’t contracted COVID-19 (and many will), they will be physically, mentally and emotionally wiped out. And the year is only getting started. Then what level of quality instruction will teachers be able to provide their students, in person or remotely? Within a matter of weeks, in-person faculty will more closely resemble the cast of The Walking Dead than enthusiastic and energetic educators.
It’s worth remembering, too, that we are only just beginning this fight. Life, including school life, won’t return to pre-Covid normal until people are vaccinated against the virus. The hope is that there will be a safe and effective vaccine by late 2020 or early 2021. But that’s just the first step (and an enormous one it is). Then the vaccine must be mass produced. Estimates vary between epidemiologists, but somewhere between 150 million to over 200 million Americans will have to be vaccinated in order to establish herd immunity. Meanwhile, a system for distributing and administering the vaccinations will have to be created (none exists presently). (link)
Therefore, even after the vaccine is found, it will take many months to vaccinate the numbers of people needed to establish a threshold of infection that would allow us to return to “normal.” In other words, educators will be dealing with COVID-19 well into the 2021-2022 school year, if not beyond. Decimating your faculty through overwork, over-worry, and infection within the first few weeks of this school year simply isn’t logical.
Defeating Covid is a marathon, and beginning school with a four-minute-mile pace is a flawed strategy. Teachers can make remote instruction effective — if we have the time, the energy and the support.
(Image is from a school in Germany, found here at CNN.com.)
Critical thinking, conservatism and a personal conundrum
I have a confession: I’ve been feeling anxious since the start of the school year. I haven’t slept especially well. I’ve had digestive issues. I developed a case of shingles. I’ve had trouble concentrating, and I’ve experienced some uncharacteristic lethargy (which I attribute to a mild bout of depression). Here’s the problem, I think: I’m a schoolteacher and I’m being evaluated this year. I don’t blame the Danielson Framework directly, but I do blame it for contributing to my anxiety.
This is my thirty-fourth year in the classroom, teaching mainly senior English classes (meanwhile I’ve also spent about twenty years teaching undergraduate and graduate courses in literature and writing — I have an MA and a Ph.D. in my subject area). Pre-Danielson, evaluations were kind of a nuisance, but all in all a positive experience. They would end with me sitting in my evaluator’s office discussing teaching strategies, underscoring things that seemed to work well and identifying an area or two where some tinkering may be in order. For twenty-plus years, I’d leave the office with an “excellent” rating, some food for thought (largely generated by my own self-reflection), and a sense of well-being because I was perceived as a valuable part of the school community. In short, I believed my evaluator was glad I was in the classroom.
Then came Charlotte Danielson and the Danielson Framework. Profit-driven school reformers and the legislators in their pockets embraced the Framework because of its proclivity to find fault with teachers. It was originally designed, after all, to be used with first-year teachers, so of course finding fault (that is, finding areas that need improvement) was one of its chief goals. It is rife with hairsplitting adjectives, adverbs and verbs that invite evaluators to select between categories (“distinguished” versus “proficient” for instance) that are separated by a razor’s edge. For example, right off the bat, in Domain One, “Demonstrating Knowledge of Content and Pedagogy,” evaluators are tasked with differentiating between a teacher who “displays extensive knowledge of the important concepts in the discipline and how these relate to one another and to other disciplines” (Distinguished) and a teacher who “displays solid knowledge of the important concepts in the discipline and how these relate to one another” (merely Proficient).
How does one quantitatively distinguish “extensive” from “solid” knowledge? How many whats are in an extensive understanding, and how many whats are in a solid understanding? Both teachers must show how these bits of knowledge relate to one another, but the distinguished teacher also shows how these bits relate to other disciplines. As an English teacher, I’m not sure what is meant by “other disciplines.” Under the umbrella of English are slightly smaller umbrella areas like literature, composition, and linguistics; and under each of these slightly smaller umbrellas like American literature, versus British literature, versus world literature; then we have Colonial and Native American literature, nineteenth-century literature, twentieth-century literature, and so on. Or does “other disciplines” strictly mean, from an English perspective, things like history, biology, psychology, and physical education? If one discusses character motivation in a piece of literature, is that not touching on psychology? If one discusses setting, could that not touch on history?
Then there’s the whole issue of explicit versus implicit display? How obviously must the relationship be made in order to count as being connected? And wait a second — isn’t the whole idea for the students to be making the connections themselves? Is the teacher who draws the connections explicitly doing the intellectual work for the students? Isn’t it better to lead the students to the point where they can make the connections themselves? How exactly will the evaluator be able to determine who among a hundred different souls made (or will someday make) connections thanks to a particular teacher’s efforts? Therefore, perhaps the teacher who isn’t demonstrating connections is the more distinguished teacher. Maybe Sister Charlotte has it all bass ackwards. Right? (After all, she has extremely limited classroom experience.)
Let’s toss into the chaotic mix the fact that the evaluators tasked with making these Solomon-like decisions almost certainly, statistically speaking, aren’t qualified to teach the subject themselves (they were, say, a drivers education teacher and now they’re evaluating an Advanced Placement chemistry teacher, or they were a choir teacher and now they’re evaluating an art teacher). Also, even with pop-in visits to the teacher’s classroom, they’re still only observing teachers less than 1% of the time they spend with students during the course of the school year.
Wait, you argue, teachers being evaluated under Danielson also have to provide documentation, that is, “artifacts” that demonstrate their abilities in the various Domains. When Danielson first came along six years ago (as far as my world is concerned), teachers would overwhelm their evaluators with hundreds of pages of artifacts, which still only told a tiny sliver of their story in the classroom. Understandably, evaluators weren’t able to wade through all the paperwork — to say nothing of their ability to understand it in any meaningful sort of way. (I certainly couldn’t look at a six-inch stack of handouts from the chemistry teacher or physics teacher or French teacher or P.E. teacher and be able to determine if it all meant they were Distinguished versus Proficient [versus Basic versus Unsatisfactory].)
After that initial round of Danielson-style evaluations, a lot of districts went to a slim-downed approach whereby teachers would only have to give their evaluator the bare minimum of artifactual evidence of their teaching ability. Great. But, hold on, isn’t the idea of providing artifacts designed to compensate for the copious gaps left by their evaluators observing their teaching less than 1% of the time they spend with students? The ridiculously thick binders of documentation only told a tiny portion of the teacher’s professional story, and now the big improvement is that teachers are allowed to provide a tiny portion of the tiny portion. Granted, the amount of material is much more manageable, but does it a give greater or lesser insight into the teacher’s professional skills? Yes, reading only the first few pages of James Joyce’s Ulysses is a more manageable task than reading the whole 650-page novel of dense, experimental prose — but should one be in a position of authoritatively passing judgment on the book? (Side note: Censors used to think so.)
Thousands of teachers find themselves in the anxiety-producing situation of having their livelihoods depend on the assessment of an evaluator who isn’t qualified in their subject area and who has significantly less classroom experience, who’s using an instrument designed by someone with even fewer qualifications and even less experience, mandated by legislators who have no qualifications and no experience. It’s a wonder any of us can eat or sleep at all.
Two years ago, I found myself in fairly serious trouble with my superior. The incident happened after my evaluation was completed (just). I received an “excellent” (our version of “distinguished”), but it was no sure thing; and with the shadow of the incident of two years ago still stretching its gloom over my teaching life, I have no idea what to expect this time around. It’s a complicated story and it’d probably be unwise to get into the details, but I believe it all boils down to the fact that my overarching goal as a teacher has always been to coax my students into being critical thinkers. Every day, sometimes by microscopic degrees, I’m trying to prod my students toward becoming critical thinkers, or better and better critical thinkers.
To think critically one must at one’s core question literally everything. Nothing can be sacred; that is, no subject, no person, no movement — nothing — can be beyond critical analysis. With the rise of the Alt-right and Trumpism, we have seen the most extreme conservative elements in our society emboldened. The media cover the most eye-catching examples: dramatic rallies, violent attacks, policy shifts at the state and federal levels, and so on.
But the rise of extreme conservatism filters into our everyday lives, and conservatism is antithetical to critical thinking. For conservatives, there are sacred subjects: God and guns, for example, the concept of American exceptionalism, and, perhaps most sacred of all, conservatism itself. Throughout my career I have encouraged my students to question everything — all ideas, liberal and conservative, all people and their most heartfelt opinions, including me and mine. Extreme conservatives don’t want that sort of academic environment for their children. They don’t want their children critically analyzing conservatives’ sacred subjects — and teachers who encourage such analyses are considered antagonists.
I’m sure extreme conservatives in our communities have always felt this way, but from my perspective it’s only been since the rise of the Alt-right and Trumpism that they’ve been emboldened to attack individual teachers whom they see as part of some ill-defined liberal conspiracy to indoctrinate their children with unwholesome, impure and downright dangerous thoughts. My methods, however, are not designed to imprint certain kinds of thoughts on students’ brains, liberal or otherwise, but rather to enable students to develop their own ideas based on legitimately generated data — thoughts which may run contrary to my own way of viewing the world, and that’s just fine with me. Nothing brightens my day more than a student showing me a new way of seeing things.
I am not someone who seeks out and enjoys confrontation — most teachers, I would say, are not. But I find myself in a professional and personal conundrum: Do I remain true to my overarching mission of fashioning my students into lean, mean critical-thinking machines, or do I avoid conflict by kowtowing and treating certain topics as untouchable because conservatives consider them sacred? Once those walls of untouchability are erected, their confinements spread like a cancer through the anatomy of critical thinking. In fact, critical thinking ceases to exist.
What is more, teachers in the humanities, and especially teachers of older students in the humanities, are unfairly at risk to come under attack by conservatives. Teachers in the sciences and vocational areas are not duty-bound to engage controversial subjects. Conservatives don’t concern themselves with the way geometry theorems are taught, or which method of accounting the business teacher advocates, or the proper way to apply lacquer to a freshly constructed cabinet.
Life, on the other hand, is different for English teachers. How does one teach To Kill a Mockingbird without entering into discussions of racism? Or Heart of Darkness and considerations of colonialism? Macbeth and ill-gotten political power run amok? How does one teach logical fallacies and propaganda techniques, and avoid contemporary examples related to “fake news” and “alternative facts”?
My seniors graduate to schools like Cornell, Notre Dame, DePaul, Northwestern, and University of Illinois to name a few. They are considering careers in medicine, the law, engineering, psychology. As undergraduates and graduate students they will be in direct competition with peers who have come out of academic environments immune to conservative meddling. My students’ critical-thinking skills must be as finely tuned as I am capable of making them, but in recent years I have been hamstrung with the knowledge that bringing up the wrong topic in class or allowing students to pursue certain lines of inquiry could jeopardize my career. For the material we’re studying I think of apt comparisons to current events, but hold my tongue. Before, a lively and thought-provoking discussion could have ensued. Now we quietly move on to the next page of text.
Compounding the problem is that the complexly nebulous Danielson Framework can be manipulated to find teachers to be whatever evaluators want them to be: from rock star to ne’er-do-well — it all depends on what boxes an evaluator feels like checking: Does a teacher demonstrate solid or extensive knowledge of concepts? To be clear, it’s not simply a matter of ego. What difference does it make, one might ask, whether a teacher is judged this versus that according to the Danielson rubric?
Here’s the answer: Republican legislators have been chipping away at tenure and seniority laws and at teacher unions, and they’ve been successful in Illinois and elsewhere at weakening the webwork of laws to the point where a veteran teacher could be terminated in favor of a less-experienced one if their evaluation shows them to be lacking. It’s all under the pretense of giving school boards the ability to replace old, underachieving teachers with young go-getters. But it could easily be used to replace an expensive teacher with a cheaper one, a trouble-making teacher with a more docile one, a liberally minded teacher with a more conservative one — or a gay teacher with a straight one, a teacher of color with a white one, a female with a male, a Muslim with a Christian, an agnostic with a believer.
Charlotte Danielson herself noted that the biggest problem with her own Framework is the misdirected way evaluators are applying it to their teaching staff. In fact, she recommends that her Framework not be used once a teacher has achieved a particular professional status (tenure perhaps?).
The Danielson Framework, combined with the rise of extreme conservatism have opened the door to a world where ability, experience, dedication and old-fashioned hard work can be rendered moot by a series of checks on a computer screen. This new reality is what’s been weighing on me since the start of the school year, and I know I’m not alone. My posts about the shortcomings of the Danielson Framework and how the Framework is being used in education have attracted around 200,000 readers and hundreds of comments (practically all of them in support of my views) — some posted to my blog, but others sent to me via email or Messenger, or spoken in person, because many, many teachers want to avoid the public viewing of their opinions. They are afraid of reprisals.
This has become the world in which we teach.
I have reached the end of this post. My finger, in essence, hovers over the “Publish” button. My anxiety spikes. My gut takes a turn or two. Will posting this help anyone or anything, or is it merely adding another nail to my coffin?
(Note: Stock teacher image found here.)
The myth of ‘best practices’ in education
Last Wednesday I began my thirty-fourth year as a schoolteacher. To be sure, teaching has changed in those years, kids have, too — although neither as much as one might think. There is one thing, however, that has been amazingly consistent: the number of people who, year upon year, insist that I and my peers adopt a method which they bill as a “best practice” — some technique that they know will improve my teaching because, well, how could it not? It’s a best practice.
Not once — in all those innumerable workshops, inservices and presentations — has a purveyor of a best practice offered a shred of evidence that what they’re promoting will actually lead to better (let alone, the best) teaching. It’s always offered under the implied guise of common sense. It’s the epitome of the logical fallacy of begging the question: Dear Teacher, accept the fact that what you’ve been doing (whatever it may be) hasn’t been as effective as what I’m about to tell you to do. Trust me — I’m a presenter.
And teaching is, allegedly, an evidence-based profession. Schools claim that what they’re doing is “evidence-based,” but oftentimes, if there is something like evidence out there, it’s contrary to what’s being prescribed. On the one hand, I don’t really blame folks for not presenting the evidence to support their claims of the effectiveness of the practice they’re advocating, because (as I’ve written about before) testing in education is fraught with problems. It’s extremely difficult, if not impossible, to generate data which can be reliably analyzed. In any given testing situation, there are simply too many variables to control, and many of them are literally beyond the control of educators. Students are not rats confined to the tiny world of a lab where researchers can effect whatever conditions they’re studying. Imagine scientists sending their rats home each night and asking them to return the next morning for continued research; and periodically the group of rats they’ve been studying are replaced by a whole new group of rats whose histories are a total mystery. (Apologies for comparing students to rats — for what it’s worth, I like rats … and students.)
All right, so I don’t blame purveyors of best practices for not presenting their (nonexistent) evidence; however, I do blame them for suggesting, implicitly, that evidence does exist. It must, right? Otherwise how could they say some technique, some approach is “best” (or at least “better”)?
The reality is, best practices are a myth. Forget good, better, best; let’s turn, instead, to effective versus ineffective (and even that paradigm is nebulous). Effectiveness must be considered on a case by case basis. That is, we want all students to benefit as a result of our efforts, but what works for Bobby versus what works for Suzie on any given day at any given moment, for any given skill or knowledge acquisition, may constitute completely opposite approaches; and tomorrow the reverse may be true. And quite honestly, whether an approach is effective or ineffective may be unknowable, in the moment and even in the long term. The learning takes place in the student’s mind, and the mind is a murky, complicated place. Hopefully the skill or knowledge is identifiable and assessible (via a quiz or test or paper or project), but it may not be, especially in the humanities, which are more concerned with creative and critical applications than in the sciences or the vocational area, where right-or-wrong, black-or-white distinctions are the rule rather than the exception.
Generally the purveyor of a best practice is able to communicate the technique in a few bullet points on a handout or a PowerPoint, but the differences — the vast differences — between grade levels, subject matters, demographics of students, backgrounds and knowledge-levels of teachers, etc., etc., etc. make such simplistic declarations ridiculous. Imagine going to an agricultural convention and telling an assembled group of farmers that you have for them a best practice, and here it is in six bullet points. You’re welcome. No matter what they’re growing, where they’re growing it, what sorts of equipment they have at their disposal, what the climate models are suggesting, how the markets are trending — This is it, brother: Just follow these six steps and your yields will be out of this world. Trust me — I’m a presenter.
The farmers would be nonplussed to put it mildly. Plug in professionals from any other arena — business owners, attorneys, medical doctors, engineers — and the ridiculousness of it (that a single set of practices will improve what they’re doing, regardless of individual situations) becomes clear. It’s so clear, in fact, I can’t imagine any presenter doing it — telling a room full of surgeons, for instance, to do this one simple procedure all the time, no matter the patient’s history, no matter their lab work, no matter how they’re responding on the table — and yet it happens to educators all the time.
Almost without fail, techniques that are presented as best practices are observable. It’s about what you say to students or what they say to you; what you write on the chalkboard; what you write in lesson plans or curricular outlines. It simplifies the process of evaluating teachers’ performances if the evaluator can look for a few concrete actions from every teacher, from kindergarten teacher to calculus teacher, from welding teacher to reading teacher; from the teacher of gifted students to the teacher of exceptional students. It makes assessment so much simpler if everyone is singing from the same hymnal.
I deliberately used the word performances in the previous paragraph because so often that’s what evaluation boils down to: a performance for the audience-of-one, the evaluator. We often hear the term “high-stakes testing” in the media (that is, standardized tests whose results have significant consequences for test-takers and their schools), but we have also entered into a time of “high-stakes evaluating” for teachers, performance assessments which impact their literal job security. Teachers quickly learn that if their evaluator claims x, y and z are best practices, they’d better demonstrate x, y and z when they’re being observed — but quite possibly only when they’re being observed because in truth they don’t believe in the validity or the practicality of x, y and z as a rule.
In such cases, teachers are not trying to be insubordinate, or mocking, or rebellious; they’re trying to teach their charges in the most effective ways they know how (based on the training of their individual disciplines and their years of experience in the classroom), and they disagree with the practices which are being thrust upon them. Teachers do no take an oath equivalent to doctors’ Hippocratic oath, but conscientious teachers have, in essence, taken a personal and professional vow to do no harm to their students; thus they find themselves in a conundrum when their judgments about what’s effective and what isn’t are in conflict with the best practices by which they’re being evaluated. For teachers who care about how well they’re teaching — and that’s just about every teacher I’ve had the privilege to know in the last thirty-four years — it’s a source of stress and anxiety and even depression. More and more teachers every year find that the only way to alleviate that stress in their lives is to leave the profession.
Again, much of the problem is derived from the need for observable behaviors. I like to think my interactions with students in the classroom are positive and effective, but, as a teacher of literature and especially as a teacher of writing, I know my most important and most valuable work is all but invisible. My greatest strengths, I believe, are in developing questions and writing prompts that navigate students’ interactions with a text, and (even more so) in responding to the students’ work. When a student hands in an essay based on a prompt I’ve given them about a text, it is essentially a diagram of how their mind worked as they read and analyzed the text (a novel, or story, or poem, or film) — a kind of CAT scan if you will — and my task is to interpret the workings of their mind (in what ways did their mind work well, and in what ways did their mind veer off the path somewhat) and then, once I’ve interpreted their mind-at-work, I have to provide them comments which explain my interpretations and (here’s the really, really hard part) also comments which will alter their mental processes so that next time they’ll write a more effective essay. In short, I’m trying to get them to think better and to express their thoughts better. (I should point out that to do all of this, I also have to possess a thorough understanding of the text under consideration — a text perhaps by Homer or Shakespeare or Keats or Joyce or Morrison.)
It’s the most important thing I do, and no one observing me in the classroom will ever see it. If my students improve in their reading and thinking and writing and speaking — largely it will be because of my skill to interact with them productively, brain to brain, on the page. The process is both invisible and essential. This is what teaching English is; this is what English teachers do. And we are not unique, by any means, in the profession. Yet our value — our very job security — is based on behaviors that are secondary or even tangential to the most profound sorts of interactions we have with our students.
I know that purveyors of best practices mean well (for-profit educational consultants aside). They are good, smart people who sincerely believe in what they’re advocating, and frequently a kernel or two of meaningful advice can be derived from the presentation, but we need to stop pretending that there’s one method that will improve all teaching, regardless of the myriad factors which come into play every time a teacher engages a group of students. It makes teaching seem simple, and teaching is many, many, many things but simple isn’t one of them.
(Image found via Google Images here.)
An Interview with John Paul Jaramillo: Little Mocos
I’ve known John Paul Jaramillo for several years. Shortly after my first novel, Men of Winter, came out, John Paul interviewed me for a video journal that he edited. He also had a book out, a collection of stories titled The House of Order (Anaphora Literary Press, 2011), which, I discovered, had garnered John Paul much praise and several accolades. Fast forward to, I believe, 2014. John Paul shared with me a manuscript for a book he’d spent quite a bit of time writing and revising (and revising). It was a novel of sorts, comprised of more than thirty interconnected stories and vignettes, a complex family saga that unfolded over decades and multiple generations.
John Paul’s main interest was getting my feedback on the manuscript. I had relied on John Paul’s opinion and expert eye more than once, sharing my own work with him as well as work by some of the authors I was publishing via Twelve Winters Press. I was interested in doing more than giving him feedback on his book; I very much wanted to publish it. I think he was genuinely surprised. We were having coffee at Wm. Van’s Coffee House in Springfield, Illinois. It was summertime so we both had a bit more time on our hands than we normally would during the academic year. We sat there over our coffees talking for a long while.
My sense was that John Paul had worked on the book for so long and had received so much advice, so many critiques, he wasn’t sure any longer quite what he wanted the book to be. So I asked him to take a few months, perhaps enough time to let some of that advice fade away, and figure out exactly what he wanted to publish. The book did go through some changes, including a title change, before he submitted the more or less final version of the manuscript, which I then assigned to one of the Press’s talented and dedicated editors, Pamm Collebrusco, who worked with John Paul to finalize (now) Little Mocos for publication.
I fell behind the publishing schedule I’d hoped to adhere to, but John Paul was consummately patient. We finalized a book cover this past winter; then this summer we were able, at long last, to make available to the world Little Mocos, a novel in stories, available in hardcover and digital editions.
It’s become a tradition that when I publish an author’s work, I also give them some interview questions. What follows are John Paul’s unedited responses.
My sense is that Little Mocos had a long gestation. When you and I first discussed the manuscript it had a different title, and you talked about a few incarnations of the text. Would you talk about the writing and development of the book?
I’ve been working on this particular book Little Mocos and a grouping of stories for five years I believe. I have always known my writing process is incredibly slow and meandering. I often say it is a mis-perspective that writers have an ease with words and language, because I feel it is the opposite—writers struggle to capture the right words and structure. I have an idea and I like to give myself the time to follow that idea and see where the language or my thoughts take me. I don’t think I am the kind of writer who just sits and executes the outline, premise or story—I have to take time and find the story arc and premise and find the surprises. I have to think and re-think and find the ideas rather than drive them. Also I think I am the kind of writer that is always looking for the better angle into the story in terms of means of perception. So there are drafts on my computer in third person and first person and just different experiments to find the right way to approach the stories I want to tell. Drafts that include or exclude different characters. Fragments that fail and fragments that succeed. Writing and drafting a book is incredibly difficult, and taming that and coming to terms with that takes a long while. Also an editor friend and mentor of mine Jennifer C. Cornell has given me advice and guidance to tweak the book to the current organization. I always need help and I am always second-guessing the manuscript as well as my choices.
At one point you were calling the book “a novel” and then altered that to “a novel in stories.” As a writer I’ve been struggling a bit with those labels myself on a particular project. What do you think the difference is, and why did you ultimately decide on the latter label?
I feel as though I work in a way to send stories out to get feedback from editors. So my work is intentionally worked out in bite-size chunks. Also I think I am a minimalist so always trying to do more with less. And most publications or lit websites I admire are looking for short pieces—one needs to be a bit more experienced and known for a novel excerpt I believe. I usually label something a short story rather than a chapter though I believe a chapter and a short story are similar in many ways—they both have a beginning, middle and end. I also seem to float back to the same “universe” of characters and that keeps them together. I often say the material comes how it comes and I follow it. I hear stories or read stories about Colorado and just try and get them re-imagined and down into bite-size chunks for publication. I’ve always advised my students to create relationships with editors who publish similar work and I’ve tried to submit and gather feedback from Latino lit publications to help with revision and these aesthetic choices. I guess simply the label “novel-in-stories” or “composite novel” or even “novella” comes back to the writer’s decisions and style.
I mean I’ve always known I have a sort of disjointed sort of style. I have always written smaller stories following the same characters, and I’ve always felt these smaller stories as “complete and autonomous.” Interrelated enough yet at the same time creating a complete whole. Creating a story arc the way a novel would. And I’ve never liked fiction too on-the-nose. I like a rougher feel to the writing. Like punk music or something. But as it comes down to the wire on revisions and I get closer and closer to turning over the manuscript to the publisher I struggle with labeling the work a novel-in-stories, composite novel or just plain stories as well. Making decisions is difficult.
The one guiding organizational principle to the book is thematic but also follows the same characters and quite nearly stays in a similar place. The family I am writing about has a family tree that is broken and winding and shattered and so the structure should mirror that. Astillarse, one character describes in the book, or splintered.
My book features a composite structure from what Chapter 1 from The Composite Novel—a book I read once by Margaret Dunn and Ann Morris—classifies as the following: Setting—(all my work takes place in the old neighborhood); Protagonist—I follow the Ortiz family; Collective protagonist–the family and neighborhood in different time periods and perspectives; Pattern/patchwork—identical or similarly themed stories focusing on trouble, problems, work/joblessness, etc.
I know some of the elements of the book, for example the character Cornbread Vigil, are pulled directly from history, while others, I presume, are purely fictional. In your writing process how did you negotiate history and fiction, and I suppose those gray areas in between?
Cornbread Vigil is a character based on a man named Ray Baca who is pretty infamous in Colorado—his name appeared in the newspaper quite often. He was a local criminal from my old neighborhood of Pueblo, Colorado, who folks often talked about. Mostly they talked about how they were afraid of him. My Grandfather talked about him since he robbed some local places. He was a person who had multiple crimes attached to him and he was the kind of person who always seemed to get out of trouble—petty crimes and thefts. He became somewhat of a local infamous character but also a weird folk hero/character. In my mind he represents the complex place I was raised and also the moral problem young Latino males perhaps face growing up. The violent expression that is sometime nurtured. I had so few literary or teacher heroes growing up but my heroes were “around-the-way” kinds of heroes at least when I was very young.
I think in much of my writing I try to take these stories from the paper and try to imagine or re-imagine them. To try and make sense of them, especially the darker or the more senseless stories. It felt as if this Baca criminal was from the same place I was from and I always found that to be very interesting. He always represented the myths and flavor of Colorado, and I wanted to re-create and re-imagine his story and how it merged with some of my own family.
You and I have discussed some of the difficulties presented by using Spanish and Spanish slang in the text, particularly when it came to dealing with editors and finding a publisher. Could you discuss some of the issues that you encountered?
I try to create relationships with Latino lit publications—with editors more sympathetic to the use of Spanish in a manuscript. This seems to be a very American issue. I always try to write the way folks talk in Southern Colorado and they speak Spanish and I guess Spanglish would be the term. A blending of Spanish and English—incorrect Spanish and incorrect English. But I have a collection of emails and responses from editors who were pretty aggressive in wanting me to take out the Spanish or to make the stories somewhat of a caricature of how folks speak in Colorado. Perhaps it was my fault for not knowing the publication well enough. There are so few Latino publications. I guess I want to represent but not sell-out anyone from my old neighborhoods.
Also though there is a professional dimension where Latinos who speak fluent Spanish will question my decision to omit or to use italics with Spanish in the stories. One writer I admire has Spanish italicized in all of his work and yet criticized me for my decision to italicize in my last publication. The idea being the language is not foreign so one shouldn’t italicize it. Until only recently I have become confident enough to edit what I choose in my own manuscripts and fight for more of my aesthetic choices. I see the whole problem as just working with presses who are sympathetic or understanding of these representation issues or not. I’ve received complaints from some editors and emails from some readers who say I’ve captured the way folks in Colorado speak accurately. So perhaps this is also an issue of representation of place as well as representation of the Spanish language in stories.
Little Mocos covers similar territory to your first book, The House of Order. In fact, one of the stories in Little Mocos is titled “House of Order.” How do these projects connect? In what ways does Little Mocos extend or perhaps complicate some of the elements in The House of Order?
The House of Order was a collection of stories published in differing publications and collected in somewhat of a linear narrative structure though missing quite a bit of backstory to the families and relationships. Little Mocos is the fuller story. Readers of The House of Order didn’t read it as a collection of stories but read it as a novel and this book is the novel bringing in many similar stories that have been tweaked to act as a portion of a larger story rather than to just act as a standalone story. There is more time and room to explore the family and legacy only hinted at, I think, in the collection of short pieces. I wanted to tell the fuller and larger trajectory of the story here. I very much see this novel as a continuation and sequel of sorts to that earlier book.
Little Mocos is divided into six parts which vary considerably in terms of length. What was your organizing principle in determining how to fit the various stories together? Ultimately do you feel satisfied with the structure of the book, or is there anything that still nags at you in the middle of the night?
I have a hard time telling a linear story. Also like many other writers, Leslie Marmon Silko as the greatest influence on me, I wanted to tell a story that was not linear but more at liberty with the timeline. The timeline or the structure is circular almost. Later in the book the narrator is criticized for overly thinking on past events in the story and I think that is similar to me. I am drawn to family stories and family history and my mind is rarely in the moment but racing in time to backstory and I wanted that feel in the book. I like to recreate moments of simply sitting and recounting the past. I am not so much interested in linear stories, I guess, but stories that represent the complexity of past and present relationships. I feel that I carry my family with me and the movement in time from section to section is my way to recreate that in the structure. Also I am more and more interested in this idea of legacy and family spirits that mold an individual. I feel I carry my Uncle and Father who have passed away with me in my everyday decision-making as well as in the genetic similarity of appearance and personality. Family trauma is always at the heart of my stories and the stories I like to read and so again this is my way of re-creating that familial dimension to a daily life.
I do very much feel satisfied with the structure though I’m drafting new stories all the time I wish could’ve found their way into the final manuscript—drafts that fill-in certain characters’ back story. I’m always drafting and note-taking on the Bea character and the Tio Neto character though I know they won’t find their way into the fuller story because of deadlines for turning in drafts. I guess what keeps me up would be exploring more stories with these characters and including all of them in one manuscript.
I know your teaching takes up a lot of time and energy. How do you balance teaching and writing? How does teaching and working with your students inform and energize your writing?
I teach composition and literature and I keep a blog on teaching and writing, so this is something I think all writers who work in schools may struggle with—the balance of time. I teach many classes to pay the bills and also teach creative writing. And I think all of my classes represent my thinking about the written word and also books I admire. I think as a writer I am perhaps a bit more skilled to teach about form or structure of writing as well as meaning. I have an MFA in creative writing instead of an MA or PhD and so I feel I might speak differently about writing and reading than say someone who studied literary criticism theory. I often say I have a degree in writing rather than in the study of writing since I see myself as a creative writer first and foremost, rather than as a researcher, teacher, or critic. Writers rarely think about meaning or theme and yet most classes and most instructors lecture on dominant themes and dominant interpretation, and I am more interested in how the writer or the character is represented in the work. I think there is a large distinction between what a work is saying and how the work is constructed. As a writer I am rarely thinking about what I am trying to say and more and more interested in how to construct a more dynamic experience for the reader. I like the idea that perhaps I can bring a different perspective on writing as a writer than say a lit scholar.
Other than finalizing Little Mocos for publication by the press, you’ve been done with the book for quite awhile. What else have you been working on? Is writing fiction your only interest, or have you explored other modes of writing?
Little Mocos in many ways is a love letter to my father’s side of my family. The last story in the book is about my mother’s family. While Little Mocos is an entire book about my father and his relationship to his brother and father, I have a whole manuscript of material I’ve been working on that follows the relationship between my mother and her father. Again I am interested in family legacy and family trauma. This manuscript is tentatively titled Monte Stories or Mountain Stories as my mother’s side of the family is from the San Luis Valley in Colorado and that is where most of these stories take place. I am more and more obsessed with my mother’s father and his life in the San Luis Valley. Recently I’ve had a story from this manuscript featured at La Casita Grande Lounge—a website for Chicano and Latino literature. I have a good dozen of these stories I am slowly hoping to build into another book taking place in the same Colorado universe of characters.
I have also been working on a collection of creative non-fiction essays. Most of my favorite fiction writers are also my favorite essayists. I hope to turn more of my blog post son teaching and writing and on the Colorado steel industry into essays. I am also hoping to write more memoir-styled essays. Essays that read as short stories but driven more by facts. I have always written little fragments of reviews and recounting of experiences on my blog and I hope to conduct more interviews and also gather more of these essays for a non-fiction collection. I am interested in the steel industry in Colorado and its history as well as the subject of being a Latino male in the teaching profession.
John Paul Jaramillo’s stories and essays have appeared in numerous publications, including The Acentos Review, PALABRA: A Magazine of Chicano and Latino Literary Art and Somos en Escrito. In 2013 his collection The House of Order was named an International Latino Book Award Finalist. In 2013 Latino Boom: An Anthology of U.S. Latino Literature listed Jaramillo as one of its Top 10 New Latino Authors to Watch and Read. Originally from Colorado, he lives in Springfield, Illinois, where he is a professor of English at Lincoln Land Community College. (Author photo by Polly Parsons)
The paradox of uniformity
Nearly a year ago I posted “Danielson Framework criticized by Charlotte Danielson” and it has generated far more interest than I would have anticipated. As of this writing, it has been viewed more than 130,000 times. It has been shared across various platforms of social media, and cited in other people’s blogs. The post has generated copious comments, and I’ve received dozens of emails from educators — mostly from North America but beyond too. Some educators have contacted me for advice (I have little to offer), some merely to share their frustration (I can relate), others to thank me for speaking up (the wisdom of which remains dubious). To be fair, not everyone has been enthusiastic. There have been comments from administrators who feel that Charlotte Danielson (and I) threw them under the school bus. Many administrators are not devotees of the Framework either, and they are doing their best with a legislatively mandated instrument.
Before this much-read post, I’d been commenting on Danielson and related issues for a while, and those posts have received a fair amount of attention also. Literally every day since I posted about Danielson criticizing the use of her own Framework the article has been read by at least a few people. The hits slowed down over the summer months, understandably; then picked up again in the fall — no doubt when teachers were confronted with the fact it’s their evaluation year (generally every other year for tenured teachers). Once people were in the throes of the school year, hits declined. However, beginning in February, the number of readers spiked again and have remained consistently high for weeks. Teachers, I suspect, are getting back their evaluations, and are Googling for information and solace after receiving their infuriating and disheartening Danielson-based critique. (One teacher wrote to me and said that he was graded down because he didn’t produce documentation that his colleagues think of him as an expert in the field. He didn’t know what that documentation would even look like — testimonials solicited in the work room? — and nor did I.)
It can tear the guts out of you and slacken your sails right when you need that energy and enthusiasm to finish the school year strong: get through student testing (e.g. PAARC), stroke for home on myriad learning outcomes, prepare students for advancing to the next year, and document, document, document — all while kids grow squirrelier by the minute with the advance of spring, warmer weather, and the large looming of year’s end.
But this post isn’t about any of that, at least not directly. The Danielson Framework and its unique failures are really part of a much larger issue in education, from pre-K to graduate school: something which I’ll call the drive for uniformity. I blame Business’s infiltration and parasitic take over of Education. It’s difficult to say exactly when the parasite broke the skin and began its pernicious spread. I’ve been teaching (gulp) since 1984 (yes, English teachers were goofy with glee at the prospect of teaching Nineteen Eighty-Four in 1984, just as I was in 2001 to teach 2001 — we’re weird like that), and even then, in ’84, I was given three curriculum guides with precisely 180 pages in each; I was teaching three different courses, and each guide had a page/lesson for each day of the school year. Everyone who was teaching a particular course was expected to be doing the same thing (teaching the same concept, handing out the same handout, proctoring the same test) on the same day.
Not every school system was quite so prescriptive. I moved to another district, and, thankfully, its curriculum was much less regimented. Nevertheless, it was at that school that I vividly recall sitting in a faculty meeting and the superintendent uttering the precept “We shall do more with less.” The School Board, with his encouragement, was simultaneously cutting staff while increasing curricular requirements. English teachers, for example, were going to be required to assign twelve essays per semester (with the understanding that these would be thoroughly read, commented on, and graded in a timely fashion). At the time I had around 150 students per day. With the cuts to staff, I eventually had nearly 200 students per day. This was the mid 1990s.
The point is, that phrase — We shall do more with less — comes right out of the business world. It’s rooted in the idea that more isn’t being achieved (greater productivity, greater profits) because of superfluous workers on the factory floor. We need to cut the slackers and force everyone else to work harder, faster — and when they drop dead from exhaustion, no problem: there are all those unemployed workers who will be chomping at the bit to get their old job back (with less pay and more expectations). CEOs in the business world claimed that schools were not doing their jobs. The employees they were hiring, they said, couldn’t do math, couldn’t write, had aversions to hard work and good attendance. It must be the fault of lazy teachers, the unproductive slackers on the factory floor so to speak.
Unions stood in the way of the mass clearing of house, so the war on unions was initiated in earnest. Conservative politicians, allied with business leaders, have been chipping away at unions (education and otherwise) wherever they can, under the euphemism of “Right to Work,” implying that unions are preventing good workers from working, and securing in their places lazy ne’er-do-wells. The strategy has been effective. Little by little, state by state, protections like tenure and seniority have been removed or severely weakened. Mandates have increased, while funds have been decreased or (like in Illinois) outright withheld, starving public schools to death. The frustrations of stagnant wages, depleted pensions, and weakened job security have been added to by unfair evaluation instruments like the Danielson Framework.
A telltale sign of business’s influence is the drive for uniformity. One of the selling points of the Danielson Framework was that it can be applied to all teachers, pre-K through 12th grade, and even professionals outside the classroom, like librarians and nurses. Its one-size-fits-all is efficient (sounding) and therefore appeals to legislators. Danielson is just one example, however. We see it everywhere. Teaching consultants who offer a magic bullet that will guarantee all students will learn, no matter the subject, grade level, or ability. Because, of course, teaching kindergarteners shapes is the same as teaching high school students calculus. Special education and physical education … practically the same thing (they sound alike, after all). Art and band … peas in a pod (I mean, playing music is a fine art, isn’t it? Duh.).
And the drive for uniformity has not been limited to K-12 education. Universities have been infected, too. All first-year writing students must have the same experience (or so it seems): write the same essays, read the same chapters in the same textbook, have their work evaluated according to the same rubric, etc., etc. Even syllabi have to be uniform: they have to contain the same elements, in the same order, reproduce the same university policies, even across departments. The syllabus for a university course is oftentimes dozens of pages long, and only a very small part of it is devoted to informing the students what they need to do from week to week. The rest is for accreditation purposes, apparently. And the uniformity in requirements and approaches helps to generate data (which outcomes are being achieved, which are not, that kind of thing).
It all looks quite scientific. You can generate spreadsheets and bar graphs, showing where students are on this outcome versus that outcome; how this group of students compares to last year’s group; make predictions; justify (hopefully) expenditures. It’s the equivalent of the much-publicized K-12 zeal for standardized testing, which gives birth to mountains of data — just about all of which is ignored once produced, which is just as well because it’s all but meaningless. People ignore the data because they’re too busy teaching just about every minute of every day to sift through the voluminous numbers; and the numbers are all but meaningless because they only look scientific, when in fact they aren’t scientific at all. (I’ve written about this, too, in my post “The fallacy of testing in education.”)
But this post isn’t about any of those things either.
It’s about the irony of uniformity, or the paradox of it, as I call it in my title. Concurrent with the business-based drive for uniformity has been the alleged drive for higher standards: more critical thinking, increased expectations, a faster track to skill achievement. Yet uniformity is the antithesis of higher standards. We’re supposed to have more rigor in our curricula, but coddle our charges in every other way.
We can’t expect students to deal with teachers who have varying classroom methods. We can’t expect them to adjust to different ways of grading. We can’t expect them to navigate differences in syllabi construction, teacher webpage design, or even the use of their classroom’s whiteboard. We can’t expect students to understand synonyms in directions, thus teachers must confine themselves to a limited collection of verbs and nouns when writing assignments and tests (for instance, we must all say “analyze” in lieu of “examine” or “consider” — all those different terms confuse the poor darlings). This is a true story: A consultant who came to speak to us about the increased rigor of the PAARC exam also advised us to stop telling our students to “check the box” on a test, because it’s actually a “square” and some students may be confused by looking for the three-dimensional “box” on the page. What?
But are these not real-world critical-thinking situations? Asking students to adapt to one teacher’s methodology versus another? Requiring students to follow the logic of an assignment written in this style versus that (or that … or that)? Having students adjust their schoolwork schedules to take into account different rhythms of due dates from teacher to teacher?
How often in our post-education lives are we guaranteed uniformity? There is much talk about getting students “career-ready” (another business world contribution to education), yet in our professional careers how much uniformity is there? If we’re dealing with various customers or clients, are they clones? Or are we expected to adjust to their personalities, their needs, their pocketbooks? For that matter, how uniform are our superiors? Perhaps we’re dealing with several managers or owners or execs. I’ll bet they’d love to hear how we prefer the way someone else in the organization does such and such, and wouldn’t they please adjust their approach to fit our preferences? That would no doubt turn into a lovely day at work.
I’ve been teaching for 33 years, and over that time I’ve worked under, let’s see, seven building principals (not to mention different superintendents and other administrators). Not once has it seemed like a good idea to let my current principal know how one of his predecessors handled a given situation in the spirit of encouraging his further reflection on the matter. Clearly I am the one who must adapt to the new style, the new approach, the new philosophy.
These are just a few examples of course. How much non-uniformity do we deal with every day, professionally and personally? An infinite amount is the correct answer. So, how precisely are we better preparing our students for life after formal education by making sure our delivery systems are consistently cookie-cutter? We aren’t is the correct answer. (Be sure to check the corresponding squares.)
Education has made the mistake of allowing Business to infect it to the core (to the Common Core, as a matter of fact). Now Business has taken over the White House, and it’s taken over bigly.
But this blog post isn’t about that.
Here’s my beef with PARCC and the Common Core
Beginning this school year students in Illinois will be taking the new assessment known as PARCC (Partnership for Assessment of Readiness for College and Careers), which is also an accountability measure — meaning that it will be used to identify the schools (and therefore teachers) who are doing well and the ones who are not, based on their students’ scores. In this post I will be drawing from a document released this month by the Illinois State Board of Education, “The top 10 things teachers need to know about the new Illinois assessments.” PARCC is intended to align with the Common Core, which around here has been rebranded as the New Illinois Learning Standards Incorporating the Common Core (clearly a Madison Avenue PR firm wasn’t involved in selecting that name — though I’m surprised funds weren’t allocated for it).
This could be a very long post, but I’ll limit myself to my main issues with PARCC and the Common Core. The introduction to “The top 10 things” document raises some of the most fundamental problems with the revised approach. It begins, “Illinois has implemented new, higher standards for student learning in all schools across the state.” Let’s stop right there. I’m dubious that rewording the standards makes them “higher,” and from an English/language arts teacher perspective, the Common Core standards aren’t asking us to do anything different from what we’ve been doing since I started teaching in 1984. There’s an implied indictment in the opening sentence, suggesting that until now, the Common Core era, teachers haven’t been holding students to particularly high standards. I mean, logically, if there was space into which the standards could be raised, then they had to be lower before Common Core. It’s yet another iteration of the war-cry: Teachers, lazy dogs that they are, have been sandbagging all these years, and now they’re going to have to up their game — finally!
Then there’s the phrase “in all schools across the state,” that is, from the wealthiest Chicago suburb to the poorest downstate school district, and this idea gets at one of the biggest problems — if not the biggest — in education: grossly inequitable funding. We know that kids from well-to-do homes attending well-to-do schools do significantly better in school — and on assessments! — than kids who are battling poverty and all of its ill-effects. Teachers associations (aka, unions) have been among the many groups advocating to equalize school funding via changes to the tax code and other laws, but money buys power and powerful interests block funding reform again and again. So until the money being spent on every student’s education is the same, no assessment can hope to provide data that isn’t more about economic circumstances than student ability.
As if this disparity in funding weren’t problematic enough, school districts have been suffering cutbacks in state funding year after year, resulting in growing deficits, teacher layoffs (or non-replacement of retirees), and other direct hits to instruction.
According to the “The top 10 things” document, “[a] large number of Illinois educators have been involved in the development of the assessment.” I have no idea how large a “large number” is, but I know there’s a big difference between involvement and influence. From my experience over the last 31 years, it’s quite common for people to present proposals to school boards and the public clothed in the mantle of “teacher input,” but they fail to mention that the input was diametrically opposed to the proposal.
The very fact that the document says in talking point #1 that a large number of educators (who, by the way, are not necessarily the same as teachers) were involved in PARCC’s development tells us that PARCC was not developed by educators, and particularly not by classroom teachers. In other words, this reform movement was neither initiated nor orchestrated by educators. Some undefined number of undefined “educators” were brought on board, but there’s no guarantee that they had any substantive input into the assessment’s final form, or even endorsed it. I would hope that the teachers who were involved were vocal about the pointlessness of a revised assessment when the core problems (pun intended), like inadequate funding, are not being addressed. At all.
“The top 10 things” introduction ends with “Because teachers are at the center of these changes and directly contribute to student success, the Illinois State Board of Education has compiled a list of the ten most important things for teachers to know about the new tests.” In a better world, the sentence would be Because teachers are at the center of these changes and directly contribute to student success … the Illinois State Board of Education has tasked teachers with determining the best way to assess student performance. Instead, teachers are being given a two-page handout, which is heavy in snazzy graphics, two to three weeks before the start of the school year. In my district, we’ve had several inservices over the past two years regarding Common Core and PARCC, but our presenters had practically no concrete information to share with us because everything was in such a state of flux; as a consequence, we left meeting after meeting no better informed than we were after the previous one. Often the new possible developments revised or even replaced the old possible developments.
The second paragraph of the introduction claims that PARCC will “provide educators with reliable data that will help guide instruction … [more so] than the current tests required by the state.” I’ve already spoken to that so-called reliable data above, but a larger issue is that this statement assumes teachers are able to analyze all that data provided by previous tests in an attempt to guide instruction. It happens, and perhaps it happens in younger grades more so than in junior high and high school, but by and large teachers are so overwhelmed with the day-to-day — minute-to-minute! — demands of the job that there’s hardly time to pore through stacks of data and develop strategies based on what they appear to be saying about each student. Teachers generally have one prep or planning period per day, less than an hour in length. The rest of the time they’re up to their dry-erase boards in kids (25 to 30 or more per class is common). In that meager prep time and whatever time they can manage beyond that, they’re writing lesson plans; grading papers; developing worksheets, activities, tests, etc.; photocopying worksheets, activities, tests, etc.; contacting or responding to parents or administrators; filling out paperwork for students with IEPs or 504s; accommodating students’ individual needs, those with documented needs and those with undocumented ones; entering grades and updating their school websites; supervising hallways, cafeterias and parking lots; coaching, advising, sponsoring, chaperoning. . . .
Don’t get me wrong. I’m a scholar as well as a teacher. I believe in analyzing data. I’d love to have a better handle on what my students’ specific abilities are and how I might best deliver instruction to meet their needs. But the reality is that that isn’t a reasonable expectation given the traditional educational model — and it’s only getting worse in terms of time demands on teachers, with larger class sizes, ever-changing technology, and — now — allegedly higher standards.
Educational reformers are so light on classroom experience they haven’t a clue how demanding a teacher’s job is at its most fundamental level. In this regard I think education suffers from the fact that so many of its practitioners are so masterful at their job that their students and parents and board members and even administrators get the impression that it must be easy. Anyone who is excellent at what she or he does makes it look easy to the uninitiated observer.
I touched on ever-changing technology a moment ago; let me return to it. PARCC is intended to be an online assessment, but, as the document points out, having it online in all schools is unrealistic, and that “goal will take a few more years, as schools continue to update their equipment and infrastructure.” The goal of its being online is highly questionable in the first place. The more complicated one makes the assessment tool, the less cognitive processing space the student has to devote to the given question or task. Remember when you started driving a car? Just keeping the darn thing on the road was more than enough to think about. In those first few hours it was difficult to imagine that driving would become so effortless that one day you’d be able to drive, eat a cheeseburger, sing along with your favorite song, and argue with your cousin in the backseat, all simultaneously. At first, the demands of driving the car dominated your cognitive processing space. When students have to use an unfamiliar online environment to demonstrate their abilities to read, write, calculate and so on, how much will the online environment itself compromise the cognitive space they can devote to the reading, writing and calculating processes?
What is more, PARCC implies that schools, which are already financially strapped and overspending on technology (technology that has never been shown to improve student learning and may very well impede it), must channel dwindling resources — whether local, state or federal — to “update their equipment and infrastructure.” These are resources that could, if allowed, be used to lower class sizes, re-staff libraries and learning centers, and offer more diverse educational experiences to students via the fine arts and other non-core components of the curriculum. While PARCC may not require, per se, schools to spend money they don’t have on technology, it certainly encourages it.
What is even more, the online nature of PARCC introduces all kinds of variables into the testing situation that are greatly minimized by the paper-and-pencil tests it is supplanting. Students will need to take the test in computer labs, classrooms and other environments that may or may not be isolated and insulated from other parts of the school, or off-site setting. Granted, the sites of traditional testing have varied somewhat — you can’t make every setting precisely equal to every other setting — but it’s much, much easier to come much, much closer than when trying to do the test online. Desktop versus laptop computers (in myriad models), proximity to Wi-Fi, speed of connection (which may vary minute from minute), how much physical space can be inserted between test-takers — all of these are issues specific to online assessments, and they all will affect the results of the assessment.
So my beef comes down to this about PARCC and the Common Core: Hundreds of millions of dollars have been spent rewording standards and developing a new assessment that won’t actually help improve education. Here’s what would help teachers teach kids:
1. Equalize funding and increase it.
2. Lower class sizes, kindergarten through 12th grade, significantly — maximum fifteen per class, except for subjects that benefit from larger classes, like music courses.
3. Treat teachers better. Stop gunning for their jobs. Stop dismantling their unions. Stop driving them from the profession with onerous evaluation tools, low pay and benefits, underfunded pensions, too many students to teach to do their job well, and ridiculous mandates that make it harder to educate kids. Just stop it.
But these common sense suggestions will never fly because no one will make any money off of them, let alone get filthy rich, and education reform is big business — the test developers, textbook companies, technology companies, and high-priced consultants will make sure the gravy train of “reform” never gets derailed. In fact, the more they can make it look like kids are underachieving and teachers are underperforming, the more secure and more lucrative their scam is.
Thus PARCC and Common Core … let the good times roll.
Fatal flaws of the Danielson Framework
The Danielson Group’s “Framework for Teaching Evaluation Instrument” has been sweeping the nation, including my home state of Illinois, in spite of the fact that the problems with the Group, the Framework, the Instrument, and even Ms. Danielson herself are as obvious as a Cardinals fan in the Wrigley Field bleachers. There have already been some thorough critiques of the Danielson Group, its figurehead, the Framework, and how it’s being used destructively rather than constructively. For example, Alan Singer’s article at the Huffington Post details some of the most glaring problems. I encourage you to read the article, but here are some of the highlights:
[N]obody … [has] demonstrated any positive correlation between teacher assessments based on the Danielson rubrics, good teaching, and the implementation of new higher academic standards for students under Common Core. A case demonstrating the relationship could have been made, if it actually exists.
[I]n a pretty comprehensive search on the Internet, I have had difficulty discovering who Charlotte Danielson really is and what her qualifications are for developing a teacher evaluation system … I can find no formal academic resume online … I am still not convinced she really exists as more than a front for the Danielson Group that is selling its teacher evaluation product. [In an article archived at the Danielson Group site, it describes the “crooked road” of her career, and I have little doubt that she’d be an interesting person with whom to have lunch — but in terms of practical classroom experience as a teacher, her CV, like most educational reformers’, is scant of information.]
The group’s services come at a cost, which is not a surprise, although you have to apply for their services to get an actual price quote. [Prices appear to range from $599 per person to attend a three-day workshop, $1,809 per person to participate in a companion four-week online class. For a Danielson Group consultant, the fee appears to be $4,000 per consultant/per day when three or more days are scheduled, and $4,500 per consultant/per day for one- to two-day consultations (plus travel, food and lodging costs). There are fees for keynote addresses, and several books are available for purchase.]
As I’ve stated, you should read Mr. Singer’s article in its entirety, and look into the Danielson Group and Charlotte Danielson yourself. The snake-oil core of their lucrative operation quickly becomes apparent. One of the chief purposes of the Danielson Framework, which allegedly works in conjunction with Common Core State Standards, is to turn students into critical readers who are able to dissect text, comprehending both its explicit and implicit meanings. What follows is my own dissection of the “Framework for Teaching Evaluation Instrument” (2013 edition). For now, I’m limiting my analysis to the not quite four-page Introduction, which, sadly, is the least problematic part of the Framework. The difficulties only increase as one reads farther and farther into the four Domains. (My citations refer to the PDF that is available at DanielsonGroup.org.)
First of all, the wrongheadedness of teacher evaluation
Before beginning my dissection in earnest, I should say that, rubrics aside, the basic idea of teacher evaluation is ludicrous — that sporadic observations, very often by superiors who aren’t themselves qualified to teach your subject, result in nothing especially accurate nor useful. As I’ve blogged before, other professionals — physicians, attorneys, business professionals, and so on — would never allow themselves to be assessed as teachers are. For one thing, and this is a good lead-in to my analysis, there are as many styles of teaching as there are of learning. There is no “best way” to teach, just as there is no “best way” to learn. Teachers have individual styles, just as tennis players do, and effective ones know how to adjust their style depending on their students’ needs.
But let us not sell learners short: adjusting to a teacher’s method of delivery is a human attribute — the one that allowed us to do things like wander away from the Savanna, learn to catch and eat meat, and survive the advance of glaciers — and it is well worth fine tuning before graduating from high school. I didn’t attend any college classes nor hold any jobs where the professor or the employer adjusted to fit me, at least not in any significant ways. Being successful in life (no matter how one chooses to define success) depends almost always on one’s ability to adjust to changing circumstances.
In essence, forcing teachers to adopt a very particular method of teaching tends to inhibit their natural pedagogical talents, and it’s also biased toward students who do, in fact, like the Danielsonesque approach, which places much of the responsibility for learning in the students’ lap. Worse than that, however, a homogenous approach — of any sort — gives students a very skewed sense of the world in which they’re expected to excel beyond graduation.
In fairness, “The Framework for Teaching Evaluation Instrument” begins with a quiet little disclaimer, saying in the second sentence, “While the Framework is not the only possible description of practice, these responsibilities seek to define what teachers should know and be able to do in the exercise of their profession” (3). That is, there are other ways to skin the pedagogical cat. It’s also worth noting that the Danielson Group is seek[ing] to define — it doesn’t claim to have found The Way, at least not explicitly. Nevertheless, that is how untold numbers of legislators, reformers, consultants and administrators have chosen to interpret the Framework. As the Introduction goes on to say, “The Framework quickly found wide acceptance by teachers, administrators, policymakers, and academics as a comprehensive description of good teaching …” (3).
Teachers, well, maybe … though I know very, very few who didn’t recognize it as bologna from the start. Administrators, well, maybe a few more of these, but I didn’t hear any that were loudly singing its praises once it appeared on the Prairie’s horizon. Academics … that’s pretty hard to imagine, too. I’ve been teaching high-school English for 31 years, and I’ve been an adjunct at both private and public universities for 18 years — and I can’t think of very many college folk who would embrace the Danielson Framework tactics. Policymakers (and the privateer consultants and the techno-industrialists who follow remora-like in their wake) … yes, the Framework fits snugly into their worldview.
Thus, the Group doesn’t claim the Framework is comprehensive, but they seem to be all right with others’ deluding themselves into believing it is.
The Framework in the beginning
The Introduction begins by explaining each incarnation of the Framework, starting with its 1996 inception as “an observation-based evaluation of first-year teachers used for the purpose of licensing” (3). The original 1996 edition, based on research compiled by Educational Testing Service (ETS), coined the performance-level labels of “unsatisfactory,” “basic,” “proficient,” and “distinguished” — labels which have clung tenaciously to the Framework through successive editions and adoptions by numerous state legislatures. In Illinois, the Danielson Group Framework of Teaching is the default evaluation instrument if school districts don’t modify it. Mine has … a little. The state mandates a four-part labeling structure, and evaluators have been trained (brainwashed?) to believe that “distinguished” teachers are as rare as four-leaf clovers … that have been hand-plucked and delivered to your doorstep by leprechauns.
In my school, it is virtually (if not literally) impossible to receive a “distinguished” rating, which leads to comments from evaluators like “I think you’re one of the best teachers in the state, but according to the rubric I can only give you a ‘proficient.'” It is the equivalent of teachers telling their students that they’re using the standard A-B-C-D scale, and they want them to do A-quality work and to strive for an A in the course, but, alas, virtually none of them are going to be found worthy and will have to settle for the B (“proficient”): Better luck next time, kids. Given the original purpose of the Framework — to evaluate first-year teachers — it made perfect sense to cast the top level of “distinguished” as all but unattainable, but it makes no sense to place that level beyond reach for high-performing, experienced educators. Quite honestly, it’s demeaning and demoralizing — it erodes morale as well as respect for the legitimacy of both the evaluator and the evaluation process.
Then came (some) differentiation
The 2007 edition of the Framework, according to the Introduction, was improved by providing modified evaluation instruments for “non-classroom specialist positions, such as school librarians, nurses, and counselors,” that is, people who “have very different responsibilities from those of classroom teachers”; and, as such, “they need their own frameworks, tailored to the details of their work” (3). There is no question that the differentiation is important. However, the problem is that it implies “classroom teacher” is a monolithic position, and nothing could be further from the truth. Thus, having one instrument that is to be used across grade levels, ability levels, not to mention for vocational, academic and fine arts courses is, simply, wrongheaded.
As any experienced teacher will tell you, each class (each gathering of students) has a personality of its own. On paper, you may have three sections of a given course, all with the same sort of students as far as age and ability; yet, in reality, each group is unique, and the lesson that works wonderfully for your 8 a.m. group may be doomed to fail with your 11 a.m. class, right before lunch, or your 1 p.m. after-lunch bunch — and on and on and on. So the Danielson-style approach, which is heavily student directed, may be quite workable for your early group, whereas something more teacher directed may be necessary at 11:00.
Therefore, according to the Danielson Group, I may be “distinguished” in the morning, but merely “proficient” by the middle of the day (and let us not speak of the last period). The evaluator can easily become like the blindman feeling the elephant: Depending on which piece he experiences, he can have very different impressions about what sort of thing, what sort of teacher, he has before him. Throw into the mix that evaluators, due to their training, have taken “distinguished” off the table from the start, and we have a very wobbly Framework indeed.
Enter Bill and Melinda Gates
The 2011 edition reflected revisions based on the Group’s 2009 encounter with the Bill and Melinda Gates Foundation and its Measures of Effective Teaching (MET) research project, which attempted “to determine which aspects of a teacher’s practice were most highly correlated with high levels of student progress” (4). Accordingly, the Danielson Group added more “[p]ossible examples for each level of performance for each component.” They make it clear, though, that “they should be regarded for what they are: possible examples. They are not intended to describe all the possible ways in which a certain level of performance might be demonstrated in the classroom.” Indeed, the “examples simply serve to illustrate what practice might look like in a range of settings” (4).
I would applaud this caveat if not for the fact that it’s embedded within an instrument whose overarching purpose is to make evaluation of a teacher appear easy. Regarding the 2011 revisions, the Group writes, “Practitioners found that the enhancements not only made it easier to determine the level of performance reflected in a classroom … but also contributed to judgments that are more accurate and more worthy of confidence” (4-5). Moreover, the Group says that changes in the rubric’s language helped to simplify the process: “While providing less detail, the component-level rubrics capture all the essential information from those at the element level and are far easier to use in evaluation than are those at the element level” (4).
I suspect it’s this ease-of-use selling point that has made the Framework so popular among policymakers, who are clueless as to the complexities of teaching and who want a nice, tidy way to assess teachers (especially one designed to find fault with educators and rate them as average to slightly above average). But it is disingenuous, on the part of Charlotte Danielson and the Group, to maintain that a highly complex and difficult activity can be easily evaluated and quantified. In a 2012 interview, Ms. Danielson said that her assessment techniques are “not like rocket science,” whereas “[t]eaching is rocket science. Teaching is really hard work. But doing that [describing what teaching “looks like in words”] isn’t that big a deal. Honestly, it’s not. But nobody had done it.”
It’s downright naive — or patently deceptive — to say that a highly complex process (and highly complex is a gross understatement) can be easily and simply evaluated — well, it can be done, but not with any accuracy or legitimacy.
Classic fallacy of begging the question
I want to touch on one other inherent flaw (or facet of deception) in the Danielson Framework and that is its bias toward “active, rather than passive, learning by students” (5). Speaking of the Framework’s alignment with the Common Core, the Group writes, “In all areas, they [CCSS] place a premium on deep conceptual understanding, thinking and reasoning, and the skill of argumentation (students taking a position and supporting it with logic and evidence).” On the one hand, I concur that these are worthy goals — ones I’ve had as an educator for more than three decades — but I don’t concur that they can be observed by someone popping into your classroom every so often, perhaps skimming through some bits of documentary evidence (so-called artifacts), and I certainly don’t concur that it can be done easily.
The Group’s reference to active learning, if one goes by the Domains themselves, seems to be the equivalent of students simply being active in an observable way (via small-group work, for example, or leading a class discussion), but learning happens in the brain and signs of it are rarely visible. Not to get too far afield here, but the Framework is intersecting at this point with introverted versus extroverted learning behaviors. Evaluators, perhaps reflecting a cultural bias, prefer extroverted learners because they can see them doing things, whereas introverted learners may very well be engaged in far deeper thinking, far deeper comprehension and analysis — which is, in fact, facilitated by their physical inactivity.
And speaking of “evidence,” the Introduction refers to “empirical research and theoretical research” (3), “analyses” and “stud[ies]” (4) and to “educational research” that “was fully described” in the appendix of the 2007 edition (3), but beyond this vague allusion (to data which must be getting close to a decade old) there are no citations whatsoever, so, in other words, the Danielson Group is making all sorts of fantastic claims void of any evidence, which I find the very definition of “unsatisfactory.” This tactic, of saying practices and policies are based on research (“Research shows …”), is common in education; yet citations, even vague ones, rarely follow — and when they do, the sources and/or methodologies are dubious, to put it politely.
I plan to look at the Danielson Framework Domains in subsequent posts, and I’m also planning a book about what’s really wrong in education, from a classroom teacher’s perspective.
’Tis the season–to traumatize young teachers
Illinois has many seasons–bow season, shotgun season … and every March is “traumatizing young teachers” season as school administrators across the state dismiss nontenured teachers, and they’re not even required to give a reason for the dismissal, hence, oftentimes they don’t. Teachers are left devastated, humiliated, and profoundly confused about whether they’ve chosen the right professional path after all.
A few years ago the Illinois legislature, in one of the opening salvos in its campaign to destroy and demoralize educators, expanded the length of time that teachers could be let go without cause to four years, which means that young professionals (or older ones entering the profession later in life) can be dedicated, hard-working teachers who are establishing themselves in their communities and developing collegial relationships for one, two, three and even four years when they’re blindsided by the administrator’s news that they won’t be coming back the following year.
Sometimes, of course, there have been issues raised, and the teacher has not corrected them to the administrator’s satisfaction; and sometimes the school district’s desperate financial situation has led to the dismissal. Too often, though, the young and developing educators are sacked without any warning whatsoever–they’ve fallen prey to the caprices of an administration that has no one to answer to, excerpt perhaps school board members, who tend to know only what administrators tell them since they rarely have direct contact with the teaching staff.
The situation has been exacerbated in the past year by the state’s mandate of a new model for evaluating teachers. It is more complicated and more labor intensive than the tools most district’s had been using. The increased complications and time commitments have not led to a better approach to evaluation, however. They’ve only opened the door for even more nebulous assessments of a teacher’s performance. Teacher evaluation is a rich subject in itself, too rich of a subject to discuss here–but the bottom line is that teaching is far too complex an endeavor to be reasonably evaluated by a single rubric that is used across grade levels, disciplines, and teaching assignments. In fact, it’s insulting to the profession that so many people believe such a model can be devised and successfully implemented. Physicians, attorneys, engineers, business professionals–and politicians!–would never allow themselves to be evaluated the way that a teacher’s worth is determined.
But no matter how simple or how complex the evaluation process is, its usefulness and fairness depend on the sagacity and integrity of the evaluating body. Unfortunately, sagacity and integrity are not prerequisites for becoming an administrator or a school board member. There are good administrators out there, of course, and well-meaning board members; but administrators and board members come in all stripes, just like the human population as a whole. Yet there is no check-and-balance built into the process. Young teachers who are dismissed unfairly, and the professional associations who represent their interests, have no recourse. No recourse at all.
In other words, there is no evaluation of the evaluator, whose sagacity and integrity, apparently, are assumed by the Illinois General Assembly … in all of its sagacity and integrity.
When there is an unfair and unwarranted dismissal, a shockwave goes through the faculty and the student body almost as palpable as an accidental death. Other nontenured teachers become like deer in hunting season and worry that they’ll be next–if not this spring maybe the next, or the next, or the next, or the next. Tenured teachers are angered, saddened and frustrated by the loss of a valuable colleague and trusted friend. It greatly diminishes their respect for their superiors and their good will in working with them. It disrupts students’ focus, and it teaches them a hard lesson about the perils of choosing a career in education. And once a district becomes known as one that mistreats young professionals, word spreads virulently and the best and brightest don’t bother to apply.
Who, in their right mind, would want to work for an administration and board that will dismiss them without reason after a year, or two, or three, or four of hard work and dedication? Who, in their right mind, would chance subjecting their spouse and possibly children to the trauma of a lost job beyond their control?
Young teachers have mainly debt (nowadays from colossal student loans) and very little savings. It’s frightening to be jobless, especially when it’s due to no fault of their own–at least, no fault they’ve been made aware of. Yet teachers must continue to teach for the remainder of the school year, while also looking for new employment. They are often–magnanimously–given the option of resigning instead of being dismissed, but it’s likely a thin disguise that fools no one in their search for another teaching job. They find themselves in very difficult situations when interviewing elsewhere because the question must come up “Why did you leave such-and-such school?” What, then, do they say that won’t compromise either their honesty or their chances of landing another job?
The fact that we as a society allow this devastating unfairness to be visited on our young teachers every spring is just another indication of how little we value education, educators and–for that matter–the children they’ve dedicated themselves to educating.
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