Learning from TV

Fordham’s Netflix Academy is a list of free streaming videos on science, history and literature.

Via Walking with Dinosaurs, “my five-year-old already has a rudimentary understanding of evolution (paving the way for many scientific and theological conversations in the years ahead) and has absorbed key vocabulary, to boot (carnivore, herbivore, omnivore, Cretaceous, Jurassic, etc.), writes Mike Petrilli.

What kids were reading in 1914

The California Sixth Grade Reader, published in 1914, is back as an e-book with an introduction by science fiction writer Jerry Pournelle.

The reader is filled with stories and poems such as The Argonauts, The Courtship of Miles Standish, The Inchcape Rock and  Jubal and Tubal Cain.

I read most of these as a kid, though not for school.

Via Instapundit, who writes: “When I was in junior high in the 1970s, I often read the old textbooks from the 1950s, which seemed to be written at a higher level than the ones we were using. When the Insta-Daughter was the same age, she looked at old textbooks from the 1970s, which seemed to be written at a higher level than the ones her classes were using. . . . “

Is this a good Core lesson?

NPR highlights a “good Common Core lesson” designed for the first day of ninth-grade English.

Students review the day’s standards: citing textual evidence and determining meaning of words in context, and how they contribute to tone.

Then they read a short story, St. Lucy’s Home for Girls Raised By Wolves. It’s a magical realist coming-of-age tale.

It meets the Core’s call for complexity and contemporaneity (written in 2007), says Kate Gerson, a former teacher and EngageNY research fellow. It also is in the “canon” because author Karen Russell was a Pulitzer finalist. And she’s young and female, checking the diversity box.

The teacher reads a short excerpt aloud. Then students read to themselves, drawing boxes around unfamiliar words and writing definitions on Post-It notes.

Teachers are told to “get out of the students’ way” and let them struggle through on their own. Eventually students will pair up to “tease out the meaning” of words such as “lycanthropic, couth and kempt.”

Speaking from her own experience as an English teacher, (Gershon) said, the tendency all too often has been to instead spend class time “performing” literature — spelling out the subtext, defining tough words before students have a chance to puzzle over them, and advertising key plot points like the voiceover on a Bravo reality show.

Students finish the day with a “quick write.” They “use evidence from the text to relate the story’s epigraph to its first paragraph.”

Commenter Ajax in Charlotte is unimpressed. “Introducing the state standards and then having kids read silently, circle unfamiliar vocab words, and complete one short answer question is not exactly the most world-shattering, paradigm-shifting lesson plan I have ever seen.”

Doesn’t it sound boring?

“Underlying this lesson is a misunderstanding of intellectual work, writes Diana Senechal. It assumes that “if the teacher is explaining the literature, the students are doing no work.”

Thinking should be the essential work of the classroom. Students can and should look up words at home; in class, they come together to hear the teacher and each other, to pose questions, and to test out ideas. Of course, this can vary: there may well be days when the teacher has students write or work with unfamiliar vocabulary. But it takes discipline and concentration to listen, think, and speak in a whole-class discussion–and the classroom is the best place for such work and leisure.

. . . Can the Common Core really claim to prepare students for college and career when it equates “hard work” exclusively with visible physical activity–such as annotating a text in class? What about the hard work of listening to the teacher and forming a question or challenge?

The lesson also misrepresents teaching, writes Senechal. In the Common Core caricature, “the teacher stood at the front of the room and yakked, while the students passively took in plot points and didn’t learn to read.”

For many years, teachers have been told to be a “guide on the side,” not a “sage on the stage.”

I started ninth-grade English in 1966.  It was a Level 1 class, so everyone read the assignments at home, figured out the new words and came to class ready to discuss the ideas. Our teachers rarely lectured for more than a few minutes, as I recall. (It has been awhile.)  They asked questions and guided class discussions. We did all our writing at home too.

Trigger warning contest

“Trigger warnings” on syllabi — this book may be upsetting — are the latest campus fad, the New York Times reports.

Students want to be forewarned that Shakespeare’s Merchant of Venice deals with anti-Semitism or that Virginia Woolf’s Mrs. Dalloway addresses a combat veteran’s suicide. Fitzgerald’s Great Gatsby includes “a variety of scenes that reference gory, abusive and misogynistic violence,” a Rutgers student writes.

The National Association of Scholars has announced a Trigger Warning ContestWhat should readers be warned about before reading, say, Hamlet, The Republic, Anne of Green Gables, or The Wind in the Willows? Or the classic of your choice.

Readers can submit entries on Twitter, including NAS’s handle and the hashtag #triggerwarningfail.


The Iliad: warning – disturbing scene for those suffering sports injuries. #triggerwarningfail @NASorg

Oedipus Rex: warning – prejudicial treatment of alternative family structures. #triggerwarningfail @NASorg

Gulliver’s Travels: warning – size-ist. #triggerwarningfail @NASorg

The top three trigger warnings will be announced on Friday. Each submitter in the top three will receive a copy of NAS president Peter Wood’s book,  A Bee in the Mouth: Anger in America Now (warning: not recommended for the apiphobic).

Why teach poetry

Teaching poetry is important, yet often neglected, writes teacher Andrew Simmons in The Atlantic.

. . . poetry enables teachers to teach their students how to write, read, and understand any text. Poetry can give students a healthy outlet for surging emotions. Reading original poetry aloud in class can foster trust and empathy in the classroom community, while also emphasizing speaking and listening skills that are often neglected in high school literature classes.

“Poetry can become a gateway to other forms of writing” by teaching “precise, economical diction,” Simmons writes.

However, discussing a poem can turn into an “in-class disembowelment of a poem’s meaning,” Simmons concedes.  Teachers are encouraged to teach a “process of demystification” rather than “curating a powerful experience through literature.”

In his poem “Introduction to Poetry,” (Billy Collins) writes:  “all they want to do is tie the poem to a chair with rope/and torture a confession out of it./They begin beating it with a hose/to find out what it really means.”

Teachers should teach “writing, grammar, and analytical strategies” — and help students  “see that literature should be mystifying,” concludes Simmons. Poetry, which resists easy interpretations, is perfect for this. 

When core-aligned kids get to college …

Common Core standards are supposed to improve college readiness, but they’ll leave students even less prepared for college than they are now, writes Peter Wood on Minding the Campus.

The Common Core emphasizes how to glean information from “informational texts,”  he writes. This includes “picture books, novels, poems, YouTube videos, works of history, and speeches by notables such as Abraham Lincoln.”

The trouble is that if you see the written word as mainly a device for conveying information, you miss many other things that writing can do. It stirs emotions; it points to truths beyond itself; alternatively, it conveys lies; it may possess beauty or it may be ugly; it can cause us to ask questions that the text itself does not ask; it possesses implications; it belongs to and participates in a larger context; it taps into secret memories; it rallies us to public causes.

The Common Core “slights” literature, cutting “students off from the foundation of a liberal education.”

Students who know how to read “informational texts,” and to read every piece of writing as though it is an “informational text,” are ill-prepared for Plato’s Republic or Shakespeare’s King Lear. Indeed, they are ill-prepared for Goodnight Moon.

To a great extent, colleges have abandoned their core curricula, Wood writes.

Students these days are lulled with the illusion that they can become “critical thinkers” by studying whatever catches their interest, rather than what their colleges have deemed the most important works. That whole do-it-yourself approach puts a premium on the capacity of college students to read with their eyes wide open and to get to places well beyond the “information” that a “text” lays out.

“Colleges will have to adapt to what the Common Core teaches — and what it fails to teach,” Wood believes. “It teaches a mechanical way of reading that is poorly suited to literature, philosophy, history, and the rest of the liberal arts.  It also fails to teach the math students need to begin a college-level curriculum in the sciences.”

Who needs to read Frankenstein?

Students can discuss a book they’ve never read in the Common Core era, complains Terrence Moore. He looks at the treatment of Mary Shelley’s Frankenstein in The British Tradition, a Prentice-Hall textbook aligned to the new standards.

Of 17 pages devoted to the classic novel, three are written by Mary Shelley. These aren’t from the novel, but from an introduction about writing the novel.  “Advanced readers” who are “interested” might read a “segment” of the novel in order to compare the monster to Shelley’s description in her introduction, the Teacher’s Edition advises. Apparently, nobody else will read even part of the novel.

Two pages of the 17 are devoted to editor Elizabeth McCracken’s stories about “the scary movies she watched as a child, including Frankenstein, Bride of Frankenstein, and Abbott and Costello Meet Frankenstein as well as dreams she had,” writes Moore. Under “Critical Reading,” students are asked what movies McCracken watched as a child.

. . . teachers are encouraged to ask their students what “classic” stories of urban myths, tales of alien abductions, or ghost stories they have heard. Examples include stories of alligators in sewers, a man abducted for his kidneys, and aliens landing in Roswell, New Mexico. Students are asked to write a paragraph on “one of these modern urban myths.”

. . . students are challenged to write “a brief autobiography of a monster.” The editors lament that most monster stories are told from the perspective of “the humans confronting the monster.” They want to turn the tables by having students consider “what monsters think about their treatment.”

Actually, Frankenstein tells much of the story from the monster’s perspective, writes Moore. But students don’t know that because they haven’t read it.

Saturday Night Live parody of Frankenstein merits five pages of the book — two more than Shelley –under “Contemporary Connection.” After discussing the show, the gifted students are supposed to obtain props, costumes and make-up that will enable them to “take roles and do a dramatic reading” of the script.

No wonder there’s no time to read the book.

Moore, a Hillsdale College history professor, is the author of The Story-Killers: A Common-Sense Case Against the Common Core.

A Common Core lesson gone wrong

In A Common Core Lesson Gone Wrong, Diana Senechal looks at a lesson — featured on LearnZillion — on Wordsworth’s I Wandered Lonely as a Cloud. (It’s the one with the daffodils.)

The lesson has “little or nothing to do with Wordsworth’s poem,” writes Senechal. It could apply to any of a thousand poems.

It also gives bad advice: Students are told to read a difficult poem one stanza at a time, restating each stanza in one’s own words and writing the summary on a sticky note.

That takes students “away from the language of the poem,” writes Senechal. “To restate a stanza is to stop it at the border and say, ‘You may not cross over into my mind with your own goods; you must exchange them for mine’.”

The teacher tells students the poem uses imagery, which lets readers “see the images playing in their minds like a movie.”

Images can “be puzzling, even confounding,” Senechal writes. “They do not make things pat for us, nor do they have to do with sight alone.”

I would have the students take in the language of the poem—without turning it into anything else. Have them listen to it several times, and maybe, on the third time, make note of things they found striking. Some might point to “I wandered lonely as a cloud”; others, to “a crowd, / A host, of golden daffodils.” Some might be drawn to the lines, “The waves beside them danced; but they / Out-did the sparkling waves in glee.”

Many, I think, would find something in the final stanza, maybe in “that inward eye / Which is the bliss of solitude.” After they had brought up specific things that struck them, we could start to look at how the poem fits together as a whole, listening to it again along the way. In particular, we would look at the shift to the “inward eye” in the final stanza.

The lesson is targeting a standard that calls for attention to specific texts, writes Senechal. It reads: “Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including analogies or allusions to other texts.”

However, the standards “are worded generically and thus encourage generic approaches to literature,” she writes. Beyond the Core, there’s a tendency for teachers to teach strategies rather than subject matter. 

Learning patience

Patience is a lost skill in the digital age, writes Jessica Lahey in The Atlantic. And it’s a virtue, she argues.

Many English teachers no longer ask students to read novels, she writes. To “ease homework loads” and make time for “problem- or project-based learning,” they assign short stories and essays. A story can’t replicate the journey of a novel, Lahey writes.

The experience of reading Great Expectations is fulfilling in part because of the wait for answers. My students clamor to know who Pip’s benefactor is and whether or not he will end up with Estella, but when we find out together, after weeks of travel along Pip’s journey, the answers are just that much more delicious.

At Hanover High School (New Hampshire), ninth-grade science teachers spend a month on a forensics unit created by teachers John Phipps and Casey Milender. Students analyze a crime scene, collect data and analyze the information for weeks.

As Milender describes it, “The combination of the quick answers they find in a day, such as in a luminol lab and a blood typing lab, and the more complex answers that take weeks, such as the blood spatter analysis based on geometry, give the kids gratification during the project, but they really can’t draw the larger conclusions until the end, when they put all these pieces together.”

My older son has been wrestling with the challenges of this unit, and the sustained patience, engagement and curiosity I’ve overheard in my carpool have been a wonder to behold.

Learning to wait for the full story before reaching a conclusion based on all the evidence builds “confident and brave thinkers,” Lahey writes.

Is it English? Or social studies?

Mark Bauerlein helped develop the Common Core standards in English. Now he fears the critics are right to say “high-quality fiction, poetry, theater and other imaginative texts” will be crowded out by non-fiction.

Only three literary works — Romeo and Juliet, T.S. Eliot’s The Hollow Men and a short poem about Gandhi by Langston Hughes — appear in the New York City Education Department’s 13 recommended units of study in English Language Arts/Literacy at the high school level, writes Bauerlein, an English professor at Emory.

Meanwhile, the site offers units on DNA and crime detection, “vertical farming,” digital media, European imperialism, great speeches and two on the civil rights movement.

The assigned texts include a speech by Bill Clinton, a Los Angeles Times story on teens and social media, the “Complete Personal Finance Guidebook,” photographs by Walker Evans and an entry on imperialism in the New Book of Knowledge.

Even when a topic is disposed to abundant and superb literary works, the Education Department has failed to include them. The unit on “Rites of Passage” — supposedly to be used in English classes — doesn’t opt for great tales of youth and adulthood such as “Jane Eyre,” “The Red Badge of Courage” or Richard Wright’s “Almos’ a Man.”

Instead, it chooses 10 pieces on teen rituals from The New York Times, USA Today, Fox Business, NPR and other news outlets.

The new standards’ framers wanted students to have “more general background knowledge, more broad familiarity with history, science, art and ideas — all of which would, among other things, enhance literary study,” writes Bauerlein. They called for teaching “foundational works of American literature.” Instead, he charges, New York City’s curriculum designers are turning English into a social studies class.