Category Archives: #vted Reads

#VTED Reads: Care Work with Dr. Winnie Looby

Welcome, listeners, to another episode of vted Reads: talking about books by, for, and with Vermont educators. In this episode… we own an oversight.

On this show, we are dedicated to breaking down systems of inequity in education. We administer flying kicks to the forehead of intersectional oppression! But we haven’t yet talked about disability.

So in this episode, we fix that, as we chat with Dr. Winnie Looby, who coordinates the graduate certificate in disability studies at the University of Vermont. Dr. Looby also identifies as a person with a disability, which is important, listeners, because the rallying cry of disability advocacy has long been “Nothing about us, without us.”

So we’re here, we’re clear, and we’re talking about “Care Work: Dreaming Disability Justice,” by Leah Lakshmi Piepzna-Samarasinha. Let’s limber up those kicking legs, folks, and talk about how disability too, is an equity issue.

I’m Jeanie Phillips, and this is Vermont Ed Reads. Let’s chat.

Jeanie: Hi, I’m Jeanie Phillips, and welcome to #vted Reads. We’re here to talk books for educators by educators and with educators. Today I’m with Dr. Winnie Looby. And we’ll be talking about Care Work, Dreaming Disability Justice by Leah Lakshmi Piepzna-Samarasinha. Thanks for joining me Winnie, tell us a little bit about who you are and what you do.

Winnie: Yes, so my primary function, I guess is I work at UVM as a lecturer in disability studies, and also in foundations. And then I’m a coordinator for a program under the Center on Disability and Community Inclusion. And I’ve been working there for about four or five years.

Jeanie: And so excited to have you with us to talk about this subject. One of the things I’ve become aware of recently, is these two schools of thought about how we talk about people with disabilities or disabled people, do we use identity first language, like, disabled person? Or do we use people first language like people with disabilities? And I wondered if you had any thoughts about that?

Winnie: Yeah I think, from what I’ve absorbed, I think it’s kind of context specific. Say, if you’re talking to an individual who chooses to identify as an autistic person, that’s the language you use when you’re talking with them. But say, if you’re talking to a government official, or somebody else like that, the politically correct thing to say now is person with a disability. So that’s the language that you would use. But then say, if you’re within an activist circle, you might say disabled people disabled person. So it really kind of requires us to be deep listeners um to figure out what exactly might be the appropriate thing to say in that moment.

Jeanie: I really appreciate something I’ve heard from other people I’ve had on the podcast as well. This like ask people ask people how they want to be referred to. And I think we had Judy Dow who’s in an Abenaki scholar on and she said, you know, we talked about do people who want to be referred to as indigenous or Native American or Indian or, and she said, ask them, and think about tribal affiliations and things like that, as well. And so it’s really helpful for you to frame that, again, ask people how they want to be referred to. Thank you for that. So this book, and so our author frames, access, disability access, in this way, “access as service begrudgingly offered to disabled people by non disabled people who feel grumpy about it.” And she wants us to shift to a different definition of of access to “access as a collective joy and offering we can give to each other.” And I was just really inspired by the move from one to the other, and what it might take for us as educators as schools, higher ed and K to 12 and pre K as well, to embrace this shift as a challenge to move from begrudgingly giving people access and being grumpy about it to creating opportunities for collective joy.

Winnie: Yeah,I think I like that a lot. Because you have to be creative to do that. Right? If you yourself, don’t identify as a person with a disability or disabled, you might not know what people need. And if you want to include everybody, then you actually have to care about them as a human being before any of the other stuff. So I’ll say for example, with my students in my classes, I had quite a few students who had disabilities and had accommodations, and they were kind of shy to share what they needed with me. But on the first day, I say, Well, you know, consider what we’re talking about, it’s important to me that you feel you have access to, to, you know, the readings, to watch films, all that stuff. So if something’s not working, you have to tell me so that we can, we can make it more inclusive.

Jeanie: Right, so what I’m hearing from you, Dr. Looby, is that we need to be informed by others what they need and embrace that information, moving it from, I guess I have to ask you what you need to make this work from you, to like, I really need you to help me help you learn.

Winnie: Exactly.

Jeanie: And I think about K to 12 schools I can probably even place myself back when I was a school librarian and thinking, Oh, we’re going to go on this field trip, and then realizing it’s not going to be accessible to the kid who has mobility issues, say, and then instead of begrudgingly say, well, I guess I can’t do that field trip; finding ways to create this collective joy, and how do we make sure that everybody is able to have fun?

Winnie: Right, right, exactly. I think an important part of that, too, is the modeling that you’d be doing for that student and the other ones. So say, that student, you know, over the course of their lifetime, they can take in a lot of negative messages, whether that was an educators intention or not, they might feel like they’re too much trouble, or they’re not being included because of their disability. So it’s modeling for that student that yes, you’re important part of the class, and also for their peers, and that this is how you work with people and you include them, you don’t just say, Well, today, you’re just going to watch a movie at class in somebody else’s classroom, but more we care that you’re here.

Jeanie: That’s a beautiful thing to think about the modeling not just for the student with a disability, but also for the rest of the class about what it means to be a community, what it means to take care of each other. So the other thing that our author really gets at that I found really interesting is this idea that, that when the disability rights movement started it really invisible, invisible ized people who were I’m actually going to read her words, because she says it so well.

The Disability Rights Movement simultaneously invisiblized the lives of peoples who live at intersection junctures of oppression, disabled people of color, immigrants with disabilities, queers with disabilities, trans and gender-nonconforming people with disabilities, people with disabilities are who are houseless.

And she asked us to notice that ableism is intertwined with white supremacy and colonialism. And I’m gonna just confess here that I’ve been doing a lot of work over many years to think about my privilege, but ableism is something I’ve been able to ignore for a really long time. It’s something I’ve really recently been thinking, been considering is where ableism shows up in me and in my life. And so I really appreciated the way she sees these as intertwined systems. And I wondered if you had any thoughts on that?

Winnie: Yeah, yeah. I would say it gets me thinking about what do we consider normal, right? In our, in our broad culture, what do we call normal, we turn on the television, what’s a normal family? What’s a normal person look like? Right. And so I talk about race in this way too that if the only message you’re taking in is one kind of person, or people, and that leaves out a lot of other people. And so questioning the things that you’re taking in and the things that you’re assuming, I suppose. And I would say too that, it’s important to kind of take the shame away from that. Because without that input without somebody consciously saying to you in school, this is what ableism is, right? Or unless you’re, you know, before now, if you didn’t really feel the need to actively seek it out, of course, you wouldn’t know. Right? So the idea is that, you know, it comes to your consciousness, and then you’re aware of it. And then you’re also kind of, to me, it kind of opened up the door to lots of other things I hadn’t thought about before. That the analogy I can think of is, you know, the Matrix movie, where there’s a blue pill and a red pill or something like that. And the guy says, you can take this pill and learn what the world is really like. Or you can take this one and just stay with the way it is, right? And so I feel like once I’ve been exposed to oppression of any kind of other people, it’s opening myself up to understanding other people, rather than just staying kind of where I’m comfortable.

Jeanie: It makes me think about, you know, an increasingly problematic thing about our society is how segregated we are for people, unlike ourselves. Can we see that politically? Right, we see that in terms of racial segregation, we see that in terms of communities where there are lots of queer folks and communities where there aren’t. And then we also see that in terms of ability, right, that because of the way our societies are organized, I don’t currently have a friend in a wheelchair. I do have a friend with mobility issues, who considers themselves disabled. But I have to really seek out perspectives of people who are not able bodied who are not like me, and our world makes it harder and harder to do that.

Winnie: Yeah, I would say, well, mass or mass culture does, right. Our movies that are blockbusters, the ones that feature disabled people are always people who were kind of helped by somebody able bodied rather than having their own agency, right. I think it’s, I don’t think in and of itself, it’s a bad thing to seek things out, you know, to listen for, like, I learned so much in reading this book. I actually got it when I went to the Disability Intersectionality Summit in 2018. First time I went, and Leah was a speaker there, she actually her book had just come out. And she was reading a chapter from it. And just being in that talk, and in that environment, I thought, people can actually make the world more accessible if they really want to, I mean, I hadn’t seen such accessibility in my entire life. I mean, there were like these, these great badges where you could choose a color green, yellow, or red, green meant you were open to having random conversations with people. Red meant, please don’t talk to me. Yellow meant, maybe depends, right? So you’re respecting a person’s kind of social anxiety in that moment, there were pins that say, you know, here are my pronouns, you wouldn’t have to necessarily announce it. Here it is on my my chest. There were there were live captions, which I’d never seen before where in that moment, somebody’s typing in a large screen. what’s being said, there was somebody who actually opened up the event, acknowledging that the college that we were at, we’re at MIT, that it had been placed on ancestral lands, right? So owing, you know, giving respect to that piece. I mean, all of these things had been thought through very purposefully, very carefully. And there was even like a room where, you know, if you were completely overwhelmed with everybody, you can go and draw and have quiet time, right? I mean, just, they thought of everything. And I was really, I thought, why can’t everything be like that? It’s not that hard. Really thought about, it’s not that hard.

Jeanie: Well, so two things come up for me is one is I’m probably just thinking about using myself as an example again, right? Like, I have lots of friends of color. I have lots of friends who are different than me in different ways. But maybe I’m assuming I’m making assumptions about who they are. And and our world makes it hard sometimes for people to share their disability or to write like without making it complicated, because if, for example, if I had a disability, I might not want to share it, because I don’t want people to feel sorry for me or to pity me or to feel like they had to do things for me or to assume I don’t have agency. Yeah, that those stereotypes themselves get in the way. And that stereotypes I hold that everybody’s like me also gets in the way.

Winnie: Yeah,yeah, I think well, for myself, my own experience, I mean, I’m disabled. I use a chair sometimes, sometimes not. But I do catch myself in these ableist moments where I’ve internalized a lot of negative messaging, to say, if I want to be seen as competent at my work, I can’t share that, you know, I feel sick today. Or if I want to be seen as a strong and not lazy person, I have to leave my chair in the car and exhaust myself walking around the grocery store. I mean, you, you, you internalize a lot of messaging, whether people mean it or not. You don’t want to be treated differently. You don’t want people to kind of talk down to you because they think somehow that’s helpful. I don’t know. So yeah, it makes it it’s hard to feel like you can share who you are with the broader public. But then I’ve also found that on those days when I’m feeling brave, and I just don’t care what other people think those are the best days when I can just kind of let that go, and just do what I need to do without thinking about it.

Jeanie: Hmm, I really appreciate that. Thank you so much for sharing your personal experience in that way. Do you have advice for someone like me, we’re gonna get back to the book, do you have advice besides reading this book for someone like me, who’s really working their edges around their own ableism and trying to be to learn more.

Winnie: I would say reading personal narratives. So things that people have written or expressed about themselves, performances, whatever it is, and there’s lots of that out there, where they talk about their life’s path. And then you can see the great variety in what people have been through, you know, it could be a lot of intersectionality there with like, you know, socio economics, race, where they lived, language, you can see kind of the huge variety in what the disability experience can look like. And so then, for myself, at least, the more I read, the more curious I am about other people. And the less I assume that I know anything about them, which also is could be scary and intimidating. And maybe you feel like you’re gonna make a mistake. At the same time making those mistakes is, you know, like Leah talks about real Disability Justice is messy. It’s not like everything goes just so.

Jeanie: Yes, I love that section of the book. And what you’re making me think about, is for me, especially, but I think for a lot of people reading is a real act of empathy, and reading, #OwnVoices stories by people with disabilities is really helpful to building empathy and understanding about what the world’s like for someone who’s different than you. It creates what routines into what Bishop calls a window into somebody else’s experience or even a sliding glass door where you can really have under the answers step into their experience.

Winnie: Yeah, I found that the stories, people’s personal stories are what sticks with me when I try to think about, what am I going to talk about around disability injustice and inequality, I think about the individual people that I’ve met or read about.

Jeanie: Yeah, well, the other thing that Leah shares our author, Leah shares is this acknowledgement that the gains made in disability justice have been largely on the shoulders on the through the work of, of multiply-marginalized disabled people. So queer, black and brown, people with disabilities have really led the way. And it made me think about what that might look look like in our educational institutions. And it reminded me of a say that saying nothing about us without us is for us about being not doing for but being in solidarity with I guess my question, if I can formulate one, that is what does that look like in an educational institutions? What does that look like for people when they want to engage? We’re gonna get to the messiness of disability justice, but what does it look like to be shoulder to shoulder with instead of trying to make change for?

Winnie: I think, for me, it starts with respecting the agency of that other person. Seeing them as you know, having a complete other life that has nothing to do with me. And that my work as an ally would be to not stand in the way, you know, not speak for anybody not do anything for them, but offer myself as somebody who is there if they’re needed, right? I can be a gatekeeper in a positive way where, for example, of the last couple years of my job I’ve a lot of, I’ve gotten a lot of cold calls and emails from folks who are looking to work in this field. And those messages have been coming from other bipoc folks who are disabled. And I thought, wow, that means that I have a really important role in playing right here. Like even if I can’t directly do something for them or open a door for them, that they see me as somebody who could possibly be somebody they could talk to, about, you know, their future career. or goals or anything like that is a really powerful, important kind of role that I can play. And so I think, you know, teachers, in my experience with I have four kids, and three of them have disabilities. And so my kids, when they had the most successful time they had in school was when their classroom teacher, really respected who they were as people. And the child, my, my child felt that respect, really, I mean, it wasn’t like, if they really felt that the person cared about what was happening for them.

Jeanie: It wasn’t grudgingly given.

Winnie: Right, right. And kids can tell when you’re faking it. I mean, you’re trying to just be nice, and you’re not genuinely caring about how they’re feeling in that moment. So I think like listening to parents, especially parents, from marginalized groups, about, you know, they’re the experts on their own child, right. And as that child grows up, they’re going to need to learn how to advocate for themselves. And so encouraging that, you know, helping them to pull that out and say, This is what I need. I need help. I think a lot of messages kids get in school is that they shouldn’t need to ask for help.

Jeanie: I have so many follow up questions. But I think just returning to the book, you reminded me of a section of the book, where Leah talks about asset framing, versus deficit deficit framing. And, you know, this is this is a concept that crosses beyond ability and disability, Gloria Ladson, Billings, has told us for a long time that one of the most powerful things we can do for our learners, is to see them with an appreciative lens to see their strengths and skills and not focus just on deficits and struggles. And we know that’s a huge lever for equity, it’s a huge part of being culturally responsive in the classroom. And I really, still hear students with disabilities discussed with a deficit lens a lot. And, and the author writes, “able-bodied people are shameless about really not getting it that disabled people could know things that the abled don’t, that we have our own cultures, histories and skills, that there might be something that they could learn from us. But we do and we are.” And what you just said about your children’s experience in the classroom and your own experience as a scholar, made me think about the shift towards an appreciative lens for people with disabilities. And I wondered if you had any insights to share with us about how that happens, or what that looks like?

Winnie: Well, again, it’s it’s seeing the whole person, right? That I just had a conversation with somebody the other day about how, in one way or another, you could have an impairment, right, like needing glasses means that my eyesight is imperfect. If you look at it that way, everybody has a little bit of something that isn’t perfect, right? There is no perfect. An impairment becomes a disability when the environment is not there to support you. And what you want to do, or what you need to do, right, there’s not something inherently wrong with the person because they have a disability, there’s something wrong in the environment, in the social attitudes that they have to absorb and kind of do something with.

Jeanie: Some friends recently recommended a podcast that I listened to. And I’m not going to remember the person’s name, but I’ll put a link in the transcript. It was an On Being podcast and it was about asset framing. And the idea of asset framing really was what this person’s aspiration is? And what’s the obstacle to that? So instead of seeing them as the obstacle, what are the obstacles or them as the problem? What’s the thing they want to accomplish? And what’s the thing getting in the way of that? And so that removes the problem from the person to the environment, just like you’re saying, but there’s this other side of it, too, which is that there are things we can learn really big things we can learn from people with disabilities because of their experience of the world. So it’s not just that we don’t see them as a deficit, but also that we see their assets and their strengths and the things that they can teach us. Do you have examples? Do you have ways people might think about what they can learn the what the author calls the cultures and histories and skills and the ways that we might tap into that and open ourselves up to learning from people with disabilities?

Winnie: Well, one way I guess, is to I know, a state organization the Vermont Center for Independent Living. They’ve had public forums around different topics. And so one might be, you know, health care access, like something, something like that. And so inviting people with disabilities to come and share. This is what’s happening for me, this is what I’ve had to do to work, work my way around that. And it can be so gosh, it’s just, it’s hard to describe, especially with like, state, institutional things, I think she mentioned, like, social security and disability insurance and all that kind of stuff. Disabled folks have a lot of that in common. And, again, listening to people and their own personal experiences, I mean, just just really paying attention, not just saying, oh, you know, that person’s just complaining, or, Oh, they’re, you know, hypochondriac or, Oh, it can’t be that bad. You know, like, I think people of color have heard hear that a lot. Very similar messaging. I think it has to be, there has to be a willingness to realize that you don’t know everything. I think teachers are hesitant to say when they don’t know, or they’re not sure, or they made a mistake. I think you can start there.

Jeanie: I really appreciate that. I think for me, one of the tension points is–so I’m going to use Outright Vermont as an example. One of the programs that Outright Vermont offers in schools that I think is really powerful as they have queer kids come and sit on a panel and answer questions and talk about their experience in schools. They used to, I imagine they still do, but when I was in school, they, you know, we have in common it was really powerful for people. The tension for me is about like, it’s not really their job to educate me. And so how do we learn from and with without expecting people with disabilities or people of color queer folks to do the work for us? So, there’s a real tension for me about like being open and I think that’s why your suggestion earlier about seeking out personal narratives that people have written, seeking, seeking out books like this one is really helpful, right? Because that’s out there. And I’m not asking people to do additional labor. And so I guess I’m just wondering how do you grapple with that tension, the both and of like, I want to learn from you, and I don’t want you to have to do a ton of work for me to learn like I should be doing the work.

Winnie: Yeah,I think well, one thing I learned through my scholarship a few years ago, I did some research around culturally responsive research, like how you might be a researcher, academic who wants to do research in a community, that community might be disabled, BIPOC, intersectional, lots of different kinds of ways. How do you do that in a way that’s respectful and they don’t feel exploited? Right? Think about what’s in it for them. Right? Those kids that come on to a panel most likely wanted to because they want to practice speaking up for themselves to practice self advocacy to practice leadership. Right? So saying, Okay, if I want to learn something specific from this specific person, I have to think about, well, what is what’s in it for them? Right? What is that, that I really want? Is it that I’m being nosy and just want to know details about their lives? Or is it do I want this kind of mutual exchange of information that benefits us both equally in some kind of way?

Jeanie: That’s helpful. And it reminds me of a section of but we are jumping, by the way listeners all over this book all over different sections of this book. But one of the sections of this book that really, I think was most interesting to me, was about, trying to find this specific quote, was about mutual aid. And so, in one of the chapters, the author talks about this voluntary reciprocal exchange of resources and services for mutual benefit, she goes on to say mutual aid as opposed to charity does not connote moral superiority of the giver over the receiver. White people didn’t invent the concept of mutual aid. Many pre colonial black, indigenous and brown communities have complex complex webs of exchanges of care, and this idea that I think so Often, in our society, we have this like white savior notion, or what you’re talking about is like this, when you were saying earlier that their characters with disabilities in movie say, and so often it’s about this able bodied person who comes to the rescue, right? And it totally means that in that storyline, they’re devoid of agency, right? The person with a disability is devoid of agency. And so this idea of mutual aid, is more than a nod is sort of honoring that we need each other. And that in communities, we take care of each other. And I wondered if you had thought about what mutual aid might look like in an educational institution in a school in a community? Yeah, or if you have any examples?

Winnie: Yeah, I can think of one example. I remember when I first started my doc program, there was an article we read about schools, public schools in say, pre-desegregation, right. So the article was saying that Neighborhoods and Schools kind of lost something with desegregation when kids had to be bused to different schools, because before then the school had been this hub of community, right? The teachers might live right down the street, and parents would know each other. The kids knew that there were adults around them that cared about their well being. I think that there is a deep desire for a lot of people to feel more connection than they do. In general, and I think if we can cultivate that in earlier ages in school, and to say, to kids, it’s okay to need other people to say to parents, that it’s okay to ask for what you need or to be, you know, demand what you need from the teachers and the principal and whoever it is, and that it’s okay for teachers to make mistakes, you know, it’s okay, for, it’s okay for that struggle to happen. Because without that, that means that we’re not even trying.

Jeanie: Ireally appreciate that. And so it makes me think that this book made me think a lot about rugged individualism and self sufficiency, it made me think that that’s something like we value as American society, right, rugged individualism and self sufficiency are sort of baked into how we think we’re supposed to be in order to be successful. And it gets in the way of asking for help from others. And it kind of creates a culture where you’re ashamed to ask for help. And recently, two things happened in my own life, that’s, that helped me that this book spurred new thinking about and one is that, um, some friends had a complicated pregnancy and a baby that needed some NICU support and, you know, they were so it was such a joy for me and some other friends to cook for them and provide some self care items, you know, it’s COVID. So a baby shower wasn’t really an option, but we like sort of threw together this, like, Here, take this and make yourself a baby shower. And my job was to provide them with meals for the freezer. That was my role I like to cook and, and they were so like, totally lovely in their, like, Oh, this is too much, we so appreciate it. And I was like, really, it’s a joy to do it. Like there’s reciprocity in this that I felt real joy in giving. So that’s one example. And then just the other day, I got an email from somebody saying, Hey, I’m gonna have surgery, and I’m gonna need some meals. And I’m gonna need some people to take me to appointments, and I’m calling on you as a group of friends. And here’s my meal train. It’s the first time I’ve ever received a meal train from somebody who set it up for themselves. And I was like, that is the baddest thing I’ve ever experienced. Like that is the coolest, like most empowered thing, that you set up a meal train for yourself, you’re my hero. And just thinking about that. The power in saying, I am not a rugged individual, I’m not self sufficient. I need people who care about me. I’m willing to ask for your help and receive it. And I know that I’m giving you a gift as well. I know that you want also to do something to help me. And that, that that reciprocity is a gift for you. And I just, I don’t know, I can’t stop thinking about how that’s the bravest thing that I’ve seen somebody do in a long time. And it made me wonder what would it look like if we like kicked self sufficiency and rugged individualism to the curb in schools and focused on creating communities of care where we can ask for and give the things we needed or that others needed. I was really wordy. Thank you for bearing with me. Dr. Looby. Any thoughts on that?

Winnie: Yeah, I think, Well, for me, the great place to start was to see that they call it the myth of meritocracy, right that we pull ourselves up by our bootstraps to be successful. And that’s not the case at all. Right? That that was set up by people who wanted you to work for no money, and work yourself into the ground and leave the workforce if you got hurt on the job, people who don’t care about you, right? So if you think about that, thinking, it doesn’t serve anybody except for people who make a lot of money off of what you’re doing.

Jeanie: Right? And it hides, it’s like hides all the privilege that people call on when they so-called lift themselves up by their bootstraps.

Winnie: Exactly, you know, this person that’s a friend of my uncle gave me an internship someplace, right, or, you know, there were these, oh, God I could get into a whole thing about, like, financially for, for folks of color, starting off with how there’s generational wealth that we don’t have, a lot of our communities do not have. And so when you say you can afford to buy a house, you’re buying a house with money that your great grandpa had saved, My great grandpa worked, you know, at a railroad, he didn’t have that kind of money to give me. So thinking, pulling apart all those assumptions that we make about how the world is supposed to work, I think kind of frees us up to be more generous and compassionate.

Jeanie: Well, and so when I read this and started thinking about this, I was thinking, oh, one of the like, paradigm shifts, or Aha I had is that disability justice, I’m almost ashamed to say this out loud, but I’m gonna be really vulnerable and say that that disability justice isn’t an extra an add on, it might be the very way to pull us towards a more liberatory future it might be. And it makes me think of to Dr. Bettina Love, who says, If you really want to work towards liberation, listen to queer black women. Right. And so this like sort of adds, like, people furthest from justice are actually the people who can help us see a clear path to justice.

Winnie: I like that. Yeah, I think I think we made some great points about, you know, the ingenuity that you have to have to be able to kind of survive in the world the way that it is, when you have multiple marginalized identities. The, I don’t want to say grit, that’s not right, the word but the, I guess, being comfortable with feeling out of place. And pushing past that anyway, like being in my doc program. I was the only person that looked like me in my cohort. And it was really uncomfortable that first semester, but then I also thought, if I can get to the finish line, I can open up the door for so many other people, right? Even if they just see me on the website, and my picture that I went through the program that will give somebody kind of a boost to feel like that’s that’s for them as well.

Jeanie: Well, and I know you’re making a difference, because a friend of mine is black, and is taking a class with you or took a class with you. And you are the first black person he had had a class with in our doc program.

Winnie: Oh, wow. Yeah.

Jeanie: And that’s huge for him. Right? That would be huge for me, too. I unfortunately, have not yet taken a class with you, Dr. Looby, but maybe in the future. So I think you’re right about that. But it also makes me think, Okay, I’m gonna take this to Vermont schools. But it makes me think about interlocking systems of oppression of which ableism is a part. And I think that often is really easy in our society to pit oppressed groups against each other. And I’m going to give you an example. In Vermont, for example, when we’re talking about equity, which I talk about schools with all the time, I will often hear the this this comment, we should be focusing on poor kids because those really are the most marginalized kids in Vermont schools. That’s the comment I’ll hear. That’s not my words. Those are a paraphrase of the words I hear. And that really gets my dander up. Because it’s a way of glossing over or ignoring racism, sexism, homophobia, heteronormativity and ableism and the intersections of them that just by focusing on class, we’re ignoring all these things that poor up poor kids might also be experiencing. And and that’s mean that works to maintain power and privilege, right? Like when we pull them apart and say we’re just gonna focus on class. We’re actually not even alleviating the problems of classism, because they’re so interlocked and intersecting.

Winnie: Right. Right. Right. I always, I always wonder why folks put it that way. Right. Is it coming from their own discomfort? I think about we call it the dog whistles you hear on in the media about when you say diversity, you mean black people? When you say urban, you mean, you know, these coded words that everybody in that circle would know what you mean, instead of just saying what you mean? I think that’s where it comes from, you know, this individual kind of, well, if I say that it’s not on the table, that it’s not, and we don’t have to look at it. Right, that I’m the leader here. And I’m saying that this thing is the most important thing, these other things don’t matter. Because I don’t want to look. I mean, nobody would ever say it that way. But that’s actually what’s going on, right that like, in my, I worked as a para long, long time ago. And I noticed the dynamics in school were that the principal wasn’t in charge. It was the teachers who had been there the longest who were in charge, right? They set the tone for the culture of the school. But nobody wants to talk about that openly. But like you kind of have to pull apart. Why is it like that? Who said it‘s like that? Who set the rules in that way and why?

Jeanie: You’ve got me now visualizing this image of a knotted up ball of string. And if we just untangle the knot, that’s about classism, we still have a bunch of knots, right. And often before we get even get to that knot, they’re a bunch of knots we have to go through. And so seeing it as a an interlocking system of knots, as opposed to like, Oh, if we just focus on classism, and people often say, Well, you know, Dr. King, at the end of his life was only focused on classism when I was like, only? like, you know, like, I think it’s a little more complicated than that. Right? And so I think,

Winnie: capitalism,too, I think.

Jeanie: Yes, yes, yes. I’m seeing the intersections of these things. Isn’t extra, it is, it is the thing, right? It’s the it’s the way forward. And I think disability justice movements, as Leah points out, have been really led by people who are multiple marginalized in a ways that see those intersections that experience the intersections of not just ableist systems, but also classist, homophobic, heteronormative, sexist and racist systems. And so I have a clearer sense of how the things all fit together just based on our experience. That’s what I read from Leah.

Winnie: Yeah, yeah, I think so too. I think so too. I had um, I thought also, I’m still thinking about this person that thinks class is the only thing I think, also that folks want the shortcut, right to say, this will get done faster if we just look at one thing. So let’s just talk about that one thing right now. Or I think true, transformative change doesn’t work like that. It has to be this kind of constant chipping away. Constant spreading awareness, constant self inquiry. I mean, it’s not something you just kind of get done with and then everybody’s fine. It has to be purposeful. And connected. It just it just has to.

Jeanie: Yeah. But there’s a scholar I really love named Vanessa Andreotti, she’s from Canada. And she uses this thing called the Heads Up framework. I can’t tell you what each of them stands for, ‘H’ is hegemony. The one that always sticks with me the most is the easy solutions, right? And easy solutions, which I think we all want, because we want to solve the problem, right? Is actually a red herring, right? Like, they’re often a sign that we’re not actually dealing with a real problem. An easy solution is often not the is almost always not the answer. And as you alluded to earlier, and as we talk a lot, working towards justice is a messy, messy system. It’s a messy process because these aren’t simple problems that we’re solving, right. And they’re also not only systemic, but they’re also the way that the systems we live in have shaped who we are and how we show up how we are in the world. And I was listening recently to a Hidden Brain episode, I’ll link to in the transcript about what happens when change decision making from ethics, like our moral decision making to financial, to sort of this, which a lot of our decision making in our current capitalist world is really financial. And it shifts the part of the brain it works. And we make decisions that don’t help us make better decisions. And in fact, so often, the example they use is if an after-school program charges you, if you get paid, charges you a fine if you’re late picking up your kids, and they set for a lot of people, they’re just like more people were late because they felt like they could just pay the fine. So it had the opposite impact.

And I think a lot about the decisions we want kids to make at school, we turn to this sort of financial decision-making, right like through a token economy. And we say, well, you get a reward if you do this thing, or you’ll get a punishment. If you do this thing. Instead of saying this is the right thing to do. This is the way we take care of each other, let’s be our best selves. And so gosh, I just went on a long tangent, but my point was, I did have one doctor, maybe I did. I guess my point was that these easy solutions often shift us into our worst selves, right, and we want this quick way of fixing something wrong. Really what we need to do is grapple with whom do we want to be? How do we want to be in this world? What kind of moral-ethical person how do we want to show up? And I think you keep reminding me that there’s no single easy pass through all this injustice, we just have to wade in and get messy. Thank you for bearing with me and that nonsense I just spoke.

Winnie: oh, that was great. That was great. That was great. I’m really enjoying how you’ve been processing all of this really, I usually process through my own personal experience, it’s how it kind of lives in me. So if I’ve personally experienced it, or somebody close to me has, then that’s the thing that I’m going to anchor myself to. I find that, you know, in higher education, say, I just went through this whole process of getting my contract renewed as a lecturer. And so in that process, you’re supposed to show all the things that you’ve been doing with your time, in the last four years, you know, like the ideal is to have, you know, when you get out of PhD school, the idea is to find that tenure track job, right? tenure track, meaning that you prove yourself over seven years, then you have this job for the rest of your life, right? They’re not really concerned about what kind of work you do after that. Right, you’re just gonna, you’re just gonna, you know, work really hard to get that piece of cheese or whatever it is. And what I’ve found in the last four or five years is that I don’t really want that cheese, I want to actually get stuff done. Right. And actually getting stuff done means that I have to let go of a lot of other extraneous stuff. So for me, it’s like labels, it’s it’s money. It’s all those things, right?

Jeanie: Figuring out what really matters to you.

Winnie: Yeah

Jeanie: And that often goes against I mean, tenure track really is a it’s part of that meritocracy. It’s part of a capitalist system. It’s like credentialing, right? Like, who did you publish enough to get tenure? And so deciding that how you want to be in the world matters more, the things you want to accomplish matter more.

Winnie: Right now, right now, I’m actually working on a book that is from my dissertation. And I decided that like, you know, I spent four years learning all these $20 words. Now I’m going to unlearn it so that this book can actually be read by regular people.

Jeanie: What’s your book about?

Winnie: Oh, I did this great action research project around self perception, self esteem, social emotional learning in the arts, and how creating inclusive learning environments for students kind of helps kid peer relationships. It supports You know, the learning of kids with disabilities where they can show what they know in lots of different kinds of ways, not just by taking tests. And then it also enriches the whole school culture to become more of a caring, open minded, flexible kind of culture. And so I talked about Well, so far, I’ve been writing it for like three years now. I spend a lot of time trying to make the research relevant to real life. To why is it important to understand how meritocracy works? Why is it important to understand why it’s important to engage with families around their own children?

Jeanie: Dr. Looby, your book feels like one I really have to read and want to read and can’t wait to read. I hope that when it’s published, you’ll come back and talk to us about it on the podcast.

Winnie: Absolutely. Absolutely. I’m hoping to be done with it before another couple of years.

Jeanie: Well, we don’t wait patiently until then. But the world needs your book, I think. Yeah. What are the things that when you when you said the things we need to understand, like you said meritocracy, and why we need to understand these things in order to do a better job in schools. It made me think about some of the things that were really hard to read about in Leah’s book. And one of those was this history of ugly laws in the United States. It’s really painful. And so I’m just going to quote her, she says, “the ugly laws on the books in the United States, from the mid 1700s, to the 1970s 1970s, stated that many disabled people were too ugly to be in public, and legally prevented disabled people from being able to take up space in public. These laws were part of a system that locked up or criminalized all kinds of undesirable people, indigenous folks, poor folks, people of color, queer folks, and disabled folks.” And so it made me think about all these other laws that we don’t often talk about, but that have lasting implications in our world. So it made me think about eugenics, for example, which in Vermont, as well as elsewhere, sterilized, and institutionalized people considered delinquent or defective, many of them poor, indigenous, or disabled. And it made me think about other kinds of laws like redlining, that, you know, profited or benefited privileged white folks, while denying those benefits or privileges to people of color who maybe also fought in wars or right, or who were looking to buy homes, right, the same American dream. And I think about and I’m sure we can name countless other laws and statutes that play out in this way, that means some people have privileges, or are not allowed to have privileges. In this case, the privilege was being allowed to be in public taking up space in public, and that folks where it made people who able bodied people uncomfortable. And so we created laws for that. And it was just horrifying to me. And I think those things still play out in schools, right, like those the ramifications of that still plays out in systems of education in the way students with disabilities are treated. And I wondered if you had thoughts on that?

Winnie: Yeah, yeah, the connection I’m making with school is, I remember not ever seeing a child with disability in my school, in the 70s. I know that where they are now I know that they were there. But then I had no idea. And I wonder, I get down to the real feeling behind why that’s necessary. I think, even though disability has been, you know, one in four people in the world, has a disability. Right. There’s plenty of people that we know that won’t ever talk about their disability, because of the stigma involved. And I think I think the reasoning behind that, that shutting away or that pushing away is this kind of fear that life is unpredictable. That, you know, you can’t control everything, you can’t have rules for everything. You can’t. You can’t control your mortality. You know, I don’t think people like that. Right. They want to know that the world is exactly the way that it was when they woke, you know, went to bed last night. They don’t want change, I think, I mean, might be controversial to say it but I think that’s partly why folks are so, so eager to get back to normal with COVID. Right? Even though statistics are showing us that we’re not done with it yet. People really really, really don’t want to wear a mask like like that’s that’s a really small, really small thing that you have to give up to benefit other people. It just to me it kind of gets at this fear about what you can’t control what you can’t fix. You know, what’s unpredictable about just the way the world works. I think that’s kind of I can’t say it’s good or bad. I just think it’s a human tendency to, to say, I’m more comfortable with things that are are knowable that I understand that look like me that sound like me. And anything other than that really throws me off.

Jeanie: As you spoke, our listeners can’t see this because they’re listening, but you put air quotes around normal. Oh, yeah. I really appreciate that. Because I think what you’re reminding us is that with those air quotes, what I read from that, and I’ll ask you if I got it right, is that normal is a myth that normal doesn’t exist that normal. In many ways, I took the next leap and thought, well, normal is what we used to keep the status quo as it is, and the status quo doesn’t serve all people.

Winnie: Exactly. Exactly.

Jeanie: And I did a podcast with my friend Emily Gilmore about the End of Average which really describes why this norm reference to this norm normal really is, is related to averages, right? Doesn’t serve any of us, none of us are really normal, right? And so that this notion of normal, and this privileging of this notion of normal, is problematic just because it doesn’t exist, it’s reusing, right? It’s using statistics to describe people, and that just doesn’t work. There’s a fallacy. It’s very hard, it’s that.

Winnie: Well, it’s also it’s also defining this kind of mythical ideal, right? That if you have a normal body, whatever that is, that means that you look a certain way. You feel a certain way about yourself, like our I think our like beauty industry is all around “I want to be that ideal. But it doesn’t exist, right? It’s keeping people’s kind of aspirations to have the thing up. So like, say, what do you call it? My grandparents used to call it keeping up with the Joneses. Where are you know, you have a neighbor that gets a new pool, though, you have to have a pool they get a new car, you have to have a car? What is that all based on? And who is that serving other than the people who you’re buying from? Right?

Jeanie: Yeah, our our feelings of inadequacy really do serve people who want to sell us something, right? We joke about that at my house. I’m like, why there are certain times in my life or certain days, certain periods of exhaustion or frustration where some email advertisement really can get me and I have to step back and say, oh, I need that thing. I just feel bad about myself at the moment. And that thing, that shiny thing is, is a way to that I think will make me feel better. But it doesn’t really, right.

Oh, yes. And one of the things that Leah pointed out in the book is that it’s really short sighted of us not to be looking for disability justice, because so many of us as we age will experience some kind of disability. That by the way, self interest isn’t the only reason that we should engage in disability justice. But she does point out that like, and you sort of allude to that too that. It’s our our lack of desire for change that keeps us where we are, and our lack of understanding that we could face as our people we love people in our own families in our own lives can face disability, it’s really short sighted of us not to not to clear the way so that all people can take up space and be valued and and be acknowledged and identified with their strengths. There’s one more concept I want to talk about in this book before we move to close. And that’s this idea of care webs. Would you do you think you could define care webs?

Winnie: TThe way I understood it was that you I love how Leah talks about it, where it’s it’s people with disabilities who are all supporting each other, right and pulling in allies where they’re necessary. And not so much doing things for each other, but really just caring about what’s happening with somebody else that like she talks about how isolating it could be, to have a disability, right? That if you feel like you can’t talk about it at work, or you know, you’re feeling, you know, vulnerable around how you’re treated within your family or anything like that, that it’s important to have these other people who understand at least somewhat of what your life is like, to kind of alleviate that isolation. So I think like a great benefit is the actual, like, somebody’s going to help me cook and do my laundry. But I think for me, the important part would be that that social connection piece.

Jeanie: I really appreciate that. And there’s a page in this book, and I’ll put an image of this in the transcript that says questions to ask yourself as you start a care web or collective and keep asking messy again, code word messy. And so it starts with these really practical things like what is the goal of your care web? Who needs care? And what kind, but it moves towards these other things? Like, how you how will you celebrate and make it fun? Or what’s your plan when conflict happens? Or, and this is one of my favorites. And I’ve talked about this in other places, not around disability, but are you building in ways for disabled folks to offer care instead of assuming that only able bodied people are carers? And I’ve talked about this with the book Piecing Me Together of who do we think gets to give and who gets to receive? And how do we create opportunities for everyone to give and receive, because we all have something to offer, and we all need each other? And so if we’re just one, otherwise, we fall into the charity model again, right? We fall into the white savior model, again of like, oh, look, I get to be the hero, as opposed to mutual aid model of we’re in this together. And we’re creating communities where there’s reciprocity, and where we take care of each other.

Questions to ask yourself as you start a care web or collective, and keep asking.

Winnie: Yeah, I would say the leadership piece is important. Where say, you’re an able bodied person who wants to do something with Disability Justice, well, it wouldn’t really start with what you think or what you feel. You know, you need to follow the lead of the folks who are most affected by this thing, right? It’s, I guess, for me, it feels like kind of obvious that that’s what you would do. I think, because it cares. I care about understanding people as individuals in their own path. And I spend a lot of time in self reflection, just because I feel very responsible to my students.

Jeanie: What I hear you saying is that we need to center relationships. And that those and the inference I’m making is that when we center relationships with individuals, we can use the knowing them and their voice and their experience to understand the problem with systems. Yeah, I hear you correctly, when that’s what?

Winnie: Yep, exactly, exactly. Yeah. There’s a section in her book, which talks about, was it emotional intelligence, where how folks with disabilities understand the idea of like, pushing past what your limits are, because there’s something that you want to do or need to do they understand that they understand that the difficult conversations you have to have with whatever bureaucratic office there is that has some kind of control over your life. They, they, they get it. So having those folks in your life is important to kind of keep keep your sanity to keep you kind of motivated to move forward.

Jeanie: So that touches on I guess there’s one thing I wanted to really point out from the book, and it’s this notion that of freedom dreaming, I’ve been thinking about freedom dreaming a lot. And I’ve been thinking about you know, Ibram X. Kendi and Jason Reynolds point out that racism was created via imagination, and it’s gonna take imagination and creativity to uncreate it or to fix it. And, and so Leah says “sick and disabled and neurodivergent folks aren’t supposed to dream, especially if we are queer and black or brown. We’re just supposed to be grateful that the normals let us live.” And it makes me think about what’s it look like to to, to center aspirations and dreams for All people. I guess that’s also the opposite of charity. Oh, look, we’re being nice to you, you get to survive, as opposed to like, what are your dreams for the world? And how can those dreams help inform my dreams for the world?

Winnie: Yeah, um, well, I have, I think I have kind of an analogy that relates. In my I teach a class on race and racism in the United States. And the first couple of weeks, we spend time thinking about our own identities before we talk about any history, any anything else. Who, what makes us who we are? Where do we grow up? What languages do we have? How important or not is religion? What’s our gender identity? All those things about ourselves, right? And then connecting that with do I or do I not understand how race and racism works? Why might that be? Oh, if I went to, you know, this affluent boarding school where there weren’t people of color, of course, I wouldn’t have learned very much, right? And so in that moment, you’re saying, Okay, I’m going to give up control that I know everything that I know anything about this thing, whatever it is, and then I’m going to take pleasure in having those conversations with people who have been through those things, right, taking away the shame and the the feeling of like, you know, I have to make up for what my grandpa did, right? Take away that and say, how do I learn about other people for who they are? How do I grow as myself? In what I’m learning? How do I keep learning, it’s not like, cultural competence is going to be this end goal. Because there isn’t really one, there’s always more to learn. I mean, I said, I learned so much from his book, things that I didn’t know before, you kind of have to be open to that. So creativity requires being able to say you don’t know, being vulnerable, thinking, you know, following the lead of other people who wouldn’t necessarily get the lead, usually, right? Being willing to kind of just up end the way you think things work. To make it something else, you can’t you can’t follow the same playbook, you have to completely throw it out the window and create a different one.

Jeanie: Oh, my gosh, that was so helpful. What you just said that such a like helpful way to wade into the mess. And although I have a gazillion other quotes and ideas from this book, my last question for you was going to be what advice do you have for teachers who want to, you know, join the Disability Justice fight, if you will, and celebration? The all the things that disability justice is, what steps do you have for them to wade into that mess a little bit to start to get messy around their thinking, and you just sort of nailed it with that, but I’ll leave it for you to add any other advice you have for teachers, for educators?

Winnie: Yeah, I would say beyond, you know, self reflection, right, and talking to people with disabilities talking to kids about what they want, right? What they need, talking to their families about their experiences. Beyond that. There’s tons of resources around, you know, Universal Design for Learning, where you’re going to learn about colors, there’s lots of different ways to do that, right? Through music through sound through tactilely, you know, not just reading, you can do lots of different things. So, for a teacher to kind of see that as a creative challenge, a positive creative challenge, where if I want every single person in my classroom, that I don’t know everything about them, right? If I want to have them feel included and want to come to school, what does my classroom have to look like?

Jeanie: I love that it reminds me of a phrase we sometimes use at the Tarrant Institute called planning for the margins like start, don’t start with the middle what most kids need, start with the margins and playing with them in mind. I’d love to embed some of your resources and ideas about universal design and other things into the transcript. Dr. Looby, thank you so much for taking time to talk to us. Thank you for bringing this book to my attention. I learned so much I have so much learning left to do. I just so appreciate this conversation with you. All all of the expertise you bring and I cannot wait to talk about your book with you.

Resources from Dr. Winnie Looby:

Winnie: Thank you, thank you. I really enjoyed this too.

Jeanie: Thank you.

[embedyt] https://www.youtube.com/watch?v=Y2PD4n7qyxw[/embedyt]

#vted Reads: The Other Talk

Jeanie:  In this episode, I sit down with educational phenoms Christie Nold and Jess Lifshitz.  And we’re joined by Brendan Kiely, Author of The Other Talk: Reckoning with Our White Privilege.

Now, you might be wondering what The Other Talk actually is.  As many of you know, black people and other people of the global majority frequently have to have “The Talk” with their children about how to survive when they’re stopped by police in America.  That’s right, when they’re stopped by police.  It’s the talk about how to survive that experience.  Parents often draw the meat of it from their own experiences of brutality and loss.  But what talk do white people have with their children?  Lovely listeners, this episode goes out to everyone who believes in young people, as Jess Lifshitz puts it, more than they believe in adults.  Don’t get us wrong, adults, you are salvageable.  But boy, there is work to be done.  I’m Jeanie Phillips, and this is #vted Reads; a podcast about books by, for and with Vermont educators.  Let’s talk.

Thank you so much for joining me, Brendan, Christie, and Jess.  Tell us a little bit about who you are and what you do.

Brendan:  Well, I’m honored to have been chosen to go first.  So well, it’s great to be here.  Thank you.  I’m Brendan Kiely, the Author of The Other Talk: Reckoning with Our White Privilege and other novels, including Co-Authoring, All American Boys with Jason Reynolds.  It’s really great to have an opportunity to talk about issues and ideas and heartfelt feelings that I care deeply about. I hope to ground this conversation as often as possible in the notion of lived experience as opposed to an intellectual exercise about the damage that racism causes in our country. And I say that, because I’ve been thinking a lot about how often I didn’t think about my own lived experience when I was thinking about conversations about race and racism in America.  So that’s why I’m sharing that.

I also just have to share, since we’re also talking about books that I’m currently reading is The 1619 Project and I’m just taking it in chunks at a time and I’m not trying to read it all at once.  I’m going in between other reading, as well.  But it feels like maybe the single most important book to read right now as a grounding point and as a as an effort to say, we all should be reading this.  This should be canon in our educational experience.  And when I’m taking a break from that, I’m reading Love and Other Poems by Alex Dimitrov which is just beautiful.

Jeanie:  Well, thank you so much for that.  How about you, Christie?

Christie:  Everyone, it is so great to be here and be here with all of you.  My name is Christie Nold.  I use she/her pronouns and I am zooming in today from Abenaki Land here in Vermont.  I am a white educator in a predominantly white school that is less than five miles from my childhood home, which is by intention and design.  And so, I’m excited to be part of this conversation and talk about one of the things that I read in the wonderful book, The Other Talk about what it means to have my whiteness show up with me every day at school.

And what I’m reading right now is from the wonderful Mr. Tom Rad from Twitter, Raising Ollie: How My Nonbinary Art-Nerd Kid Changed Nearly Everything I Know.  And one of the things that I love so much about this book is that on the face of it, it is the story of this one incredible kid, but in the depth of it really is truly a story about education and who it serves and who it doesn’t and why.  I’m really challenged to think differently and deeply by Tom in this text.  And it’s pulling at some of my heartstrings around public education, which I so deeply believe in, but what happens when that public education isn’t serving every kid.  So, it’s a great book to challenge my thinking and I certainly recommend it.

Jeanie:  Thank you so much, Christie.  Jess?

Jess:  Hi.  I’m Jess Lifshitz.  I am coming in tonight from near Chicago sitting on Kickapoo, Peoria, and Potawatomi Land.  I use she/her pronouns.  I teach fifth-grade literacy.  And then you said, we’re supposed to say who we are and what we do, and my first thought was mostly I’m just trying to survive each day, which I feel like captures a lot of what we’re doing right now.  In terms of what I’m reading, just minutes ago, (and this is true, I’m not just trying to suck up), finished Stuntboy, in the Meantime, written by Jason Reynolds, and illustrated by Raul the Third and it is a beautiful book in all the ways.  I just finished it tonight, but I book talked it to my students earlier today.  And they could not get to it fast enough.  And if you haven’t read it, I highly recommend it.  It is beautiful to look at and it is a beautiful story.  So that is what I just finished.

And then as I’ve been walking to try and deal with the world, I’ve been listening to an audiobook to Clint Smith’s How the Word is Passed.  And I feel similarly to how Brendan was speaking about The 1619 Project, that is how I’m feeling about Clint Smith’s book as well.  He actually reads the audiobook, and he has such a melodic voice that he’s saying these hugely transformational, powerful things.  He sang them in this beautiful voice as well.  And he speaks so much about how education has been used and abused in the past in order to try and – or attempt to cover up our racist history.  And it leaves you feeling angry about that, but it also leaves you feeling like then we can use education to do better.  And so those themes really connected to The Other Talk as well.  So that is what I’m reading.

Jeanie:  I just couldn’t agree more with Jess, with your sentiment about that book and it made me think about how I love that book so much and it’s so reflective as Clint Smith is visiting places.  And Brendan’s book similarly is so reflective as he revisits his memories.  And so, the memory I’m going to start with is what you start with at the beginning of the book.  What’s it like to be friends with Jason Reynolds?  I mean, I would die to be friends with Jason Reynolds.

Brendan:  Well, you have to remember too that we became friends before really either one of us had much of a career.  And it’s a different kind of story to be a part of a process of a career evolving and growing and a person too who evolves into the role that he plays.  And so, I think it’s so funny.  I mean, I giggled as you asked the question because I obviously get asked that question all the time.  And I love it because I love him.

And I’m so grateful that his mother and I swap letters when we are in the same town, we take time so that we’re just ourselves and away from all the public.  And it feels like exactly what we set out to do when we sat down to write All American Boys.  We had rules that we came up with.  And Jason offered the first rule, and I almost want to cry repeating it right now, because he said, “The first rule has to be the friendship always comes first no matter what happens in the business.”  And that is true to this day.  And it’s recently been his birthday, so happy belated birthday man.

Jeanie:  I love that.  Thank you for fielding that.  I needed to start with something a little softer, because the question I had as my first question is not.  So, I’m going to throw that out there next.  You write about what it means to be white in America and I know that Jess and Christie and I think about that a lot.  But you have some quotes in here from page 23 said,

Living as a white person is white privilege.

And then a little further on page 27, you say,

We, white people are getting away with something that we know is wrong.

And I was strongly reminded of a podcast conversation with Dr. Helms on the Teaching While White podcast about white racial identity development.  So, I went back and listened to that.  And I’m wondering if – maybe all three of you but starting with Brendan- could talk a little bit about your own racial identity development and how you came to understand yourself as white.

Brendan:  I really appreciate grounding the conversation in this way, because I think people and white people in particular are often afraid to begin to have a conversation about their own, and our own racial identity because it’s so strange.  It’s not part of the talk that we often have when we talk about racial identity at all.  And I think that’s part of the problem.  It’s been masked in some ways even though the construction of race as we all know is a construction that’s for our benefit as white people.  And so it seems so insidious that the motivation for it is so well hidden and the result there is then a kind of invisibility or a disconnect from my own racial identity.

So, all that’s to say, thinking about my own racial identity, then it comes in moments of shock and shame and guilt and messing up and recognizing, my gosh, this is tied to my racial identity.  So, for example, shortly after Barack Obama was elected president, I was in a conversation with a group of friends that a house, the room was a multiracial mix of people.  And in particular, the folks in the room who were black were listening to me speak about how I kept using a phrase like, the poor guy, the poor guy, and not realizing how it landed in the ears of some of the folks who were celebrating Barack Obama, not just for the election and for his policies, but for who he was as a member of a community that they felt a part of.  And I went on to claim something to the effect of, well, Barack Obama is more my President, I’m more Barack Obama or something like that than I am George W. Bush or some phrase like that.  And not speaking intellectually and not recognizing the difference of lived experience in the room.  I share that anecdote because that wasn’t all that long ago.  I mean, now it’s a little bit long ago, but it wasn’t all that long ago.  And I was a shameful adult to be not being aware of myself in the room in that way.

And I feel like that’s the process from when I was younger that there are moments that I was shocked into some awareness of my white racial identity and that I will be tomorrow and the next day as well.  And that it’s a road of growth.  And I’m curious to hear what Christie and Jess have to say, because I’m not in these kinds of conversations often with other white folks, I’m not often into engaging and sharing in this way and I think that’s honestly part of the problem.

Christie: One of the things that I love so much about Dr. Helms model is the way she talks about it as statuses which I feel like I just heard in your anecdote, this idea that it’s not a linear process, but rather these statuses that a person might drop back into.  And that leaving one status doesn’t mean you won’t revisit it again later.  And there’s that first encounter status that status as you described of this idea of shock.  And this is Christie, by the way.

And one of the things I – that’s – it’s being in that status that I think I remember most often.  Some of the other statuses aren’t always as clear to me.  But a moment from that status that I remember fairly clearly is also a more recent moment, after the murder of Trayvon Martin, in which I was reflecting with a white friend about how that could have been one of our students.  And I was really stuck on this idea of Trayvon and his murder and how just the horrific nature of it all.

And my friend very quickly responded, “It’s far more likely that we are teaching future Zimmerman’s than teaching a future Trayvon,” given the fact that so many of our students in the district that we were working in together at the time identified as white, identified as students of privilege and although Zimmerman himself doesn’t identify in that way, when thinking about racial violence, so many of the folks who go on to perpetrate that violence are white body people.  And so it was that moment of transition for me from thinking about these outward facing conversations which I’d been involved in from a very savior narrative place and hadn’t quite realized until that moment switched toward a more inward facing conversation of what does it look like, what would it look like if my work were with and among white folks to disrupt that cycle of violence rather than tending to this idea of savior of potential victory to violence.  And so, as you were talking, that was the story that was coming to my mind and thinking about my white racial identity and this idea of ideally movement out of or at least certainly recognition of times when I’m sitting within some white savior complex.

Jess:  It’s so interesting, because I was taking notes to get ready tonight.  And I also identified the moment of Trayvon’s murder as one that was transformational for me.  And of course, it is hard to admit that it took such a tragic, horrific event to get me to that point.  But for me, there was what I remember so vividly was actually hearing black mothers speak about the talk that they gave to their specifically sons is what I remember.  And I remember realizing that I didn’t know that.  I didn’t know that that talk existed.  And when I started to unpack that, I realized how very much by design my world was kept very white.  And not because I have racist parents, I have lovely, wonderful parents who made choices in these racist systems that kept my world so white.

And so, for me, it was a moment that made me realize how many voices my life was lacking.  And it started me on this sort of journey.  And where it took me was online to Twitter and allowed me to find the voices that had not been a part of my life.  And just the – it’s why I say no one has an excuse to not seek out stories from a wide variety of people any longer, because for as much as – as problematic as social media is, it also allows us access to all sorts of voices and all sorts of lives.  And for me, that’s where the journey started is really finding voices like Val Brown’s and Dr. Sonja Cherry-Paul and Dr. Debbie Reese.  And hearing perspectives that were never given to me in school and that it was by hearing how my whiteness and the whiteness of others impacted people’s lives.  That’s what started my own racial identity and understanding, because you’re right, we don’t have these conversations.

And the last thing I’ll say is I often share this story that when I do identity webs with my students, and my students, I teach in a district that is mostly white, high socioeconomic status.  And so, when we start unpacking identity, it’s often the first time my fifth graders have had these types of conversations.  And I begin by sharing my identity with them.  And I put on there that I’m a lesbian and at this point, no reaction.  It’s sort of like, yeah, okay, no big deal.  I then say that I’m white.  And there is this audible gasp and you’re like, really, that’s what you’re surprised by that you didn’t know.  But they had – they are so not used to hearing people name, race as a facet of identity.  It’s like if we can’t even name it without gasping, how can we start to really understand how our whiteness is impacting others?  And so, we use that, right?  We unpack that.  Why are you gasping?  What did I just say?  How are you feeling?  And why are you feeling that way?  And it’s really a powerful moment.  So, to watch young people start to wrestle with that is a powerful thing.

Jeanie:  Brendan, did you want to say something?

Brendan:  I was just responding to Jess’s comments, because there are so many moments where, whether it’s Jason and I presenting together or I’m presenting on my own and I’m telling a story and I launch into the phrase, “White Boy”, that is the moment of gasp in a predominantly white auditorium.  Sometimes if it’s not a predominantly white, and it’s predominantly non-white, it’s more of sometimes chuckle, sometimes something else.  But its recognition, because of course, like that naming and knowing and witnessing my whiteness is so common for people who are not white.  And I appreciate your use of the word impact a number of times, because I think for me also part of the thinking about my white racial identity is a question of accountability, because my racial identity by default affects other people’s lives.  And so, I just appreciate what you both were saying and forgive me sweeping back in there, but it was just so visceral, it’s so real.  I feel that too.

Jeanie:  Well, and it’s a perfect segue to my next question which is that I probably like many people listening grew up – many white people listening grew up as a white person with a sense that being not racist meant that you didn’t talk about race and you wouldn’t say that race didn’t matter, right?  And I no longer believe that.  But it’s still really common when I was in a school library to hear kids say things that I still found in your book over and over again.  And so, I appreciated that your book, one of the many things I appreciate it is that it forces us to focus on reality that the way that race matters in our world.  And you invite us as white folks to be reflective about our own experiences through a lens of race in a way that I think we’re not accustomed to.  And I wondered if you might read a little bit starting on page 34.  Do you have a copy of the book with you, Brendan?  Do you have a copy of your own book?

Brendan:  Yes, I do.

Jeanie:  I’m looking down…

Brendan:  I have too many copies.

Jeanie:  I’m looking down at the second paragraph to the bottom.  And it starts, “But one thing I do know for sure is that.”  And I wondered if you could read up to the end of that little section on the top of page 35.

Brendan:

But one thing I do know for sure is that I have to tell all my stories now more truthfully– by always including my whiteness and asking how it plays a role.

And I get it, it can feel weird– really weird. Hard, maybe. It can even hurt.  But even if it hurts a little… yup, we still have to give it a try.  We still have to go there.

And just to be clear: talking about being white, talking about white privilege, isn’t anti-white.  It’s just being honest.  If I’m honest with myself– about being white– I can learn; I can grow. I can do better.

Because that’s what I want to do: do better.

Jeanie:  I really appreciate that framing.  And I wonder if we could talk a little bit about what your hopes are for when kids are reading this book.

Brendan:  I’d be curious actually to throw that to Jess and Christie if you don’t mind, because you’re in a position to be with those young folks more immediately than I am.  And I’m envious of your situation, I used to teach, and I no longer do, and I missed the classroom.

Christie: One of the things that I have actually been wondering about gets back to this question of audience.  I was curious as you were writing who you might have had in mind.  And I went back and forth around this.  One of the things that was on my mind was this line that I got from Dr. Leilani Sabzalian who in talking about indigenous communities, she names this idea of outward facing work, that is the amount of time and energy that indigenous folks and researchers have to spend convincing people outside of community that there is a problem and that their lives and experiences matter.  And she describes the way in which so much effort and energy goes into proving or providing evidence that there’s little energy left for the inward facing toward community love and celebration.

And I found in your text lots of moments where it was and here’s the evidence, let me show you the evidence, here’s the overwhelming evidence.  And so, I went back and forth in my own mind between are you writing for for young people, for young white people potentially who already see and might understand their whiteness and might understand race as a social construct?  Or were you writing for a white student who might be rejecting that and are providing evidence?  Or are you hoping that this book becomes an umbrella that could hold both of those students within it?  And so, I’m going to toss your question right back potentially, because when I sat with your text, I kept thinking in my head, this is the perfect book for X student.  And then I’d read a little further and think no, no, no, this is the perfect book for YA students.  And so, in my mind, this whole time has been this question around who you imagined picking up this text and engaging with it.

Brendan:  Jess, do you have anything you want to add before I respond?

Jess: No, go ahead.

Brendan:  Okay.  I appreciate that.  I’m often a fan of switching from either or to both and I am going to do that again here and I’m going to go even further, because the idea – I hope the book works as a kind of not unlike how with our – we were talking about the statuses and how you can move in and out in – when you’re grappling with your white racial identity as a white person.  I think that there are times in which no matter how much you already have an instinct for or an understanding of the impact of white privilege and the world around you, evidence is helpful sometimes even just to arm yourself in conversation with others.  And so, I personally found that I wanted to accrue that kind of evidence in a way that wasn’t just assumed but was concrete in a way that if I were talking to family members as I do every Thanksgiving.  I would have some concretes as opposed to just emotional outbursts, which is usually where it starts and ends.

In addition, I think there’s also a kind of moments where people who are just being introduced to it can access it through emotion.  And so it isn’t about evidence, as much as it’s about anecdotal stories and here’s me messing up, maybe you have had a similar situation.  And it doesn’t make us horrible people, it makes us worse people if we know it and then don’t reflect on it and don’t try to do anything about it and not make the mistake again.  But it doesn’t make us horrible people to not know and make mistakes and not knowing it’s the then knowing that’s important, I think.  And how we – Jess, as you mentioned before too, begin to seek out the wisdom of others in a way that we may not have had before. And so for me, I’m hoping that the book works in that kind of push and pull and back and forth.  And there are some moments of the book that would work for this particular white student and other moments that would work for another white student.

Now, I clarify that by saying these different white students, because, yes, primarily, it’s a book for an assumed white audience in the same way that the talk that we referenced earlier, the talk that Jason’s mother gave Jason was not even assumed, it was directly a conversation about black identity and interactions with law enforcement.  But also, that talk expanded, right, it’s not just about law enforcement, it’s about his existence in a day-to-day world.

And so, while I primarily am trying to do something similar for white students and white families, I also hope that on some level it can also be a book that for readers who are not white like me and my family, there it can be an opportunity to say, this is someone who has listened to that thing that I said, this is a moment of somebody who has heard.  As some of my friends and I have discussed, when you hear the call to action, do you just keep it inside or do you do something about it?  And so, for example, in conversation with Renee Watson, she and I have talked about this quite a bit that that call to action demand some public action and acknowledgement of having heard it.  And so, my hope is that the book also offers that opportunity for non-white readers as well.  That’s a leap.  That’s a leap I understand.  And again, primarily, the book is to open up those conversations with white readers.  So, I hope that answers your question, because I think the initial question and the compounding more complicated follow up to it, I love, so thanks.

Jeanie:  Thank you for that, Christie, thank you for deepening the question.  And now, I’m going to lob it to Jess and ask, what are your hopes for kids who read this book?

Jess: I will be honest that it is hard to find hope these days in the educational space, I think just in the universe space.  This book made me hopeful.  And I don’t say that because the author is sitting right here, I mean, many miles away, but via Zoom.  And I had a very emotional response to the section that you just read.  And I think the part that I responded to is this trust you have in young people and the whole book read that way that you trust that young people can handle discomfort.  And so much of the pushback that we’re hearing from white folks right now is this need to protect comfort and it’s connected to so many things, right, mask wearing, the teaching of accurate history, all of those things.  And it’s – this needs to protect comfort.  And what you start to wrestle with in the part you just read is this idea that it’s okay to feel discomfort, especially when that discomfort comes from a reckoning, an awakening, a recognition of the fact that you were born into a system that you have benefited from.

And I often think about how all those folks who are screaming about protecting kids from discomfort maybe have never had the privilege of witnessing children when they start to finally understand what’s been hidden from them, right.  When – as a fifth-grade teacher, I have watched as children for the first time recognize the privilege.  When they recognize they’re not lucky, they’re benefiting from a system that was designed to operate.  So, it benefited them while taking away from others.  And it is empowering.  Kids are empowered, because once they recognize they’re part of a system, they realize they can change it, they can work to change it, that they’re not these helpless bystanders.

The discomfort comes when they realize all the adults around them have been keeping the truth from them, because they wouldn’t say it’s because they don’t trust them to deal with it, right.  I like to think it comes from a place of love and desiring to protect your own child.  But when there is a righteous anger that comes when kids start to see the truth and then that anger is often followed by this empowered feeling of, okay, so you’re telling me that this is the way things are, let’s figure out how we can change it.  And I think so much of this book speaks to that that constant refrain of you have to understand it so that you can understand how to make it better.  And that makes me hopeful, because I believe in young people way more than I believe in adults these days.  And this idea that if we can help them understand things, they want to change them and I believe they will, because certainly no one taught me these things as I was growing up.

So, what do I hope for kids?  I don’t know that my fifth graders are ready to tackle the book themselves.  But I hope that the adults around them read it.  And I hope it inspires them to trust children.  And I think there are certainly pieces of it we can dig into together.  But my hope for kids is that they have adults around them who trust them the way Brendan has trusted his audience in the book.  So, it left me very hopeful.  That’s my long answer.

Brendan:  No, I really appreciate that, because there are so many more anecdotes that I can share about young people that I’ve met all across the country, whether it’s in Anchorage, Alaska, or parts of Florida, or other students – the students that I met in Baton Rouge, or whatever the case may be who have that instinct for, what do we need to know so that we can do better.  And that they’re kind of hungry for that which has been hidden from them or any access to more information.

I mean, this might sound odd, but I feel like the same instinct for one’s want to belief in a kind of – in magic as a young person, right, is a search for a kind of truth, is a search for something out there that can provide solutions to the problems that I feel all the time around me.  And what feels really negligent on the part of adults in our country right now is to deny kids access to the very tools that – and information that can help lead to that fairer society.  So, I’m with you 100%.  Let’s trust them.  I don’t see another way out.  I mean, there was that – I don’t know if you saw that article in the Washington Post last summer that was about all the hubbub in Traverse City, Michigan.  And The New York Times interviewer interviewed a second grader and the second-grader who was white was grappling with what she had learned about racism.  And she said, “Although it hurt to hear about it and learn about it, it made me want to learn more so that I could do more.”  If a second grader can do this, then God, can’t we as old broken people, I guess?

Jess: I actually, really appreciate that you say there were so many more anecdotes of children taking action or young people taking action that you wanted to put in.  I actually so appreciated that the action chapter didn’t come until the very end.  I think it was maybe chapter 20, because I think the mistake so many white adults make is that rush into the action.  I think we saw that.  I think this extreme pendulum from the summer of 2020 to the summer of 2021 with evidence of the danger of white folks rushing to action to check it off a checklist.  Well, what do we do?  How do we fix it?  Without doing all the understanding first and that the action comes from understanding.  And I felt like your book, the way it was structured, I actually really appreciated that the action didn’t come until much later on.  And yes, I think you could fill many volumes of the beautiful actions young people did.  But the power of the book was really – well, let’s get to the understanding that leads to that action.

Brendan:  I really appreciate that, because that was the point.  And to undergird all action with four chapters of listening first, because the listening is, I think, an action.  And it’s the action that at least folks like me need to do a lot more before I engage in any other of that public action after I’ve heard that call to action.  But speaking of listening, Jeanie, I see you hovering by the microphone.

Jeanie:  Right, totally hovering.  Before you get to listening, though, you do this really important paradigm shift.  And I actually took pictures of these pages and the cover and sent it to my friend Erika Saunders, because she’s the person who said to me, “You know, white privilege is a rather sanitizing phrase.  It covers up all sorts of evils.”  And then you really articulate it really well.  And I’m going to read from page 60.  I’m going to read this time, because I’m a librarian and I love that.

When I was growing up, I was taught that racism denies.  It denies people their voting rights, their access to more valuable housing, their ability to compete for higher-paying jobs.  The list of things racism denied was long– it is long.

But I never looked at it the other way around– I was never taught to look at it like this: if racism disadvantages some people, then it also advantages others. Think about it:

If one person is denied more valuable housing, another person gets it.

If one person is denied a higher paying job, someone else gets it.

And if you deny one person something, you’re giving the advantage to another person. Or privileges, right.  And with racism, the denials give those advantages to– you guessed it– white people.  So, the privileges go to white people… and we are right back to white privilege.

And I think that’s really important given what Jess said, is that we talk about racism in this generic way.  But we never talk about how it impacts us as white folks, how we are complicit with it.  And I really appreciated that you shift that paradigm.  And I wondered if you could talk a little bit about that comes really early in the book, before the listening, way before the action and I wondered if we could talk about that as a group a little bit.

Brendan:  Yeah, I really appreciate that, because I grappled with the term white privilege in and of itself, because I often think that it sanitizes the extreme horrors of white supremacy and a culture that is so good at making its white supremacy, because that is imbedded, encoded into our legal system from the inception of our Constitution.  And so, I grappled with using that term, because I think it’s important to name white supremacy.  And because I want the book to be an invitation for folks who may be wrestling with it, I was consciously making a choice to use a term that I felt like was more widely understood and even if it’s challenged or whatever it might be, it might not feel as threatening as naming it as white supremacy.  And I have heard criticism about that.  And I really hear it and take it to heart, but I made the choice that I wanted to share that with you all to see what you think too.

But I also wanted to think about it in a way where you could talk about advantages as privileges, because I also want to use the term privilege that white folks who are not economically advantaged often, they’d rub-up against that word privilege and they say, well, I’m not privileged.  But I wanted to talk about what social privilege looks like that has nothing to do with economics.  And so, I felt like it was a term that I could go in both directions with it in a way that – and talk about it.

And as I mentioned in the book, I wanted to use the phrase from Claudia Rankine, like, it’s just white living, it’s living as a white person.  And in earlier drafts that actually littered the text a lot more, but it became pretty redundant, and you have to cut some things.  But I’m curious.  I’m curious what everybody else thinks about that.  I really appreciate this question.  So, I’m curious to hear your thoughts.

Christie:  One of the things that I’m thinking about goes back to that idea or question of audience and what it means to provide an onramp for folks who are entering into conversation. And a good friend and mentor of mine, Paul Yoon, talks about this metaphor of a flower opening or closing.  And in his work, he talks about the need to allow for that opening in order for anything to penetrate and get through.  And that, even in moments where he wants to be brutally honest and use language in its most precise form, he’s recognized that if that same language closes a person off from being able to hear that important message, then he’s lost his potential for that audience.  And so, it’s tricky, because in your book, you do such a beautiful job talking about how language impacts our ideas, impacts our behaviors, impacts how we move through the world as white folks and so there is this desire or need for precision of language and there is the desire or need for onramps.

And I think that in some ways, the older the person the more gradual the onramp has been, in my experience, the more gradual that onramp is needed.  So, when I think about, for example, my previous work mainly with sixth-graders, their walls of white supremacist construction were still really porous.  They hadn’t solidified yet.  And so, it was easier to penetrate through, because they didn’t have this sense of unlearning that my graduate students who are teachers needed to do when confronted with the exact same material.  And so, when confronted with this idea of race as a social construct, my sixth graders were like, “Cool, it’s like gender. Moving on.”  My graduate students were like, “Wait, biology, phenotype, what?” And so, it just makes me think about for your text that the onramp that I want to offer and provide for folks, I – in some ways, I wanted this text to be in the hands of adults more than young people, because I almost think that young people in that I’ve encountered could handle a more brutal onramp.  I think you offer a really kind, compassionate and thoughtful onramp for folks.  So, it makes me think about Liz Kleinrock’s Start Here, Start Now and how clear in her author’s note she was about that text offering onramps for educators who are coming into the work.

And I do feel that that has been missing a bit from what’s available to folks.  I see a lot of 201, 301, 401 type of texts, I don’t see as many 101 texts that are honest and authentic, and that I feel comfortable putting in people’s hands.  And I think this to me was that beautiful onramp that folks can take into the conversation to then continue through.

Jess:  That I agree with Christie.

Brendan:  It connects us everything you said earlier though to Jess when you were talking about teachers and we were talking about the audience for the book, as you were saying Christie.  And honestly, one of my hopes is that it’s really read by a lot of teachers.  That’s exactly what I mean it’s a book that’s published, it’s a YA book. But the hope is that it’s read by the people who work supposedly for and serve young folks the most.  And it’s interesting, because I like the term onramps and I like the idea of that flower opening, I think that’s a beautiful image and I hadn’t heard that before and I really appreciate that.

And I’m thinking about a white boy that I met in Orlando, Florida who after reading All American Boys was grappling with the stories that his family had told about his white grandfather who was a cop in the Bronx, in the 1970s.  And if – even for him, I think, if I had been too precise or the novel had been too precise or in the presentation at the school had been too precise, it may have closed down an opportunity for him to arrive at the – at what he shared with me after the presentation, which was, why can’t two things be true?  Meaning, my family says we have to talk only about him being a hero, only he’s a hero, he’s a hero, he’s a hero.  What if he was a hero for some and not for others, and possibly was the villain in other people’s stories?  Can’t he be both?  And that’s a 17-year-old boy who was grappling with just the real complexities of life.  And I feel like if you create onramps and not to say, and you should be ashamed, and you should be – you should feel guilty and you should feel horrible and you should stop talking to your family, like that doesn’t get us anywhere when he can now be a more active member and maybe over dinner conversation can help complicate that story in a loving way with more family.  And I think that’s the hope is that that’s to me what the other talk is about.  It’s about creating the expansive sense of what that white racial identity is and how it’s impacted the lives of people in our communities, but also ourselves in our families.  So, I really appreciate that so much.

Christie:  One of the things you have me thinking about is a recent interview with Clint Smith to get back to Jess’s comment about his text earlier.  He talks about this idea of white folks using history as a kind of family heirloom and that when history becomes an heirloom, this thing that’s passed down and is untouchable, the harm that can come from that.  And what I’m also reflecting on as your speaking gets back to the initial question around white folks speaking with other white folks, I don’t expect my friends of the global majority to have the patience that offering an onramp might require.

I am at no time and I see like lots of nods in the Zoom conversation that the listeners can’t see of like that particular role that I believe white folks can play in the intra-racial, right, those conversations among white people to offer the grace, the patience to sit together in that shame, in that guilt, in those different statuses and not ask that that sitting with happen, the part of our friends who are black, brown, indigenous folks of color, both in the U.S. and abroad, because I understand that that in that on ramping a lot of harm and messiness can take place and happen.  And it’s my hope that young people in particular, young white people who are grappling with this and developing their own racial identity are met by a compassionate elder in the work or compassionate young peer who can sit together with them through that messiness and keep them going up that onramp and keep them in the work.  And again I don’t hold that expectation of any friends of the global majority.  But I do hope for other white folks listening who might have read the book and be in that place of like, what do I do, I want to do something.  That can I think be a really concrete place to put some time and energy is sitting together with white peers, white colleagues, with young white people in that kind of learning, unlearning messiness of the onramp.

Jeanie:  And I think that that is especially true of white educators in this moment, in this political climate, in this moment we are living in, because I will tell you, it – there have been moments this school year where it has seemed like the work has become impossible.  And when I say the work, I mean the antiracist work.  That is how do we move forward?  How do we move forward when we are under attack with very little support from so many places that have power and privilege and could be supportive?  And what I come back to is the words of I know one of Christie’s heroes and many people’s Carla Shalaby, who talks about the power of collective resistance.  It used to feel like enough to go in my classroom and close my door and do my antiracist teaching and feel good about it.  And it’s no longer working, because one, it’s no longer safe in multiple ways even with all the privilege I as a white educator am wrapped in, it’s no longer safe. And two, it’s not changing the system.  So, then it starts to feel impossible when we get to that handwringing stage which I don’t like.

And I come back to that’s why we keep talking to other white educators, because the way to move forward is to do it collectively, right, to join forces and to stand alongside BIPOC educators who have been doing the work and shouldering such a different heavy burden.  And then as a white educator, what can I do, like Christie said, I can keep talking about it.  And I somewhere wrote down what Brendan said too, that idea of start having these conversations about white privilege and racism all the time, right, be that annoying hand raiser in a staff meeting, keep bringing it up, keep pointing out the problems, keep suggesting a better way, keep sharing the work that students are capable of, because we have to get other white folks to join us.  It no longer feels like enough to me to just go in my classroom and close the door.  I have to bring folks, and when I say folks, I mean white folks into the work with me.  And then collectively we push on admin, we push on school boards to vocally and visibly support us, because that’s how we move forward, right, that’s how we do the work. So, I don’t remember what question I was answering, but…

I just got to – sorry. I know I said you all should do all the talking.  But there are a couple things that are like really bubbling for me.  And one is Brendan brought up this holding of this kid holding like the hero and the can-do bad things.  And I was thinking in your book, especially in chapter six, you really explored the paradox of race that it scientifically doesn’t exist, but that socially it does and has huge impact, right?  And so, in a way that kid – that 17-year-old kid is able to like hold paradox.  And this book really asked kids to hold paradox.  So that’s one thing.

And then I’m thinking just about what you just said and feeling, like, and I am so guilty of this- about the problem with politeness.  How often as white folks we defer to politeness instead of standing up and saying, hold on, wait a minute?  And Brendan, you give a really great example in your book of that inaction.  And how much it takes for us as white folks to stand up and say, what you’re doing right now is racist, like, because we’re so worried about politeness that we forget that they’re harming people in our midst.  And who are we protecting with that politeness?

And then the third thing, and then I’m going to shut up and let you all say your brilliant words, because they bubble up in such interesting ways.  And thinking about this book is such that your onramp really to borrow Christie’s words, your onramp is your humility in sharing your own stories from your youth, again, and from your adulthood, frankly, again and again and being willing to say, my God.  Like, to put yourself out there in this vulnerable way and notice how race and racism shows up in your own life.  And I just have such big appreciation for that, and whether it’s about politeness or about the dawning of paradox, or about just your own experience, I just so appreciated that.  I don’t have a question.  I’m just going to open the floor and mute myself again.

Christie:  I’m trying to remember who I first heard the phrase ‘creative noncompliance’ from, but that is also really coming to mind for me, this idea of the many subversive ways that educators can continue in this moment and within the system.  And so, it calls to mind.  I think one of the sections of the book that stood out to me most was that moment, because I think I recognize myself in it the most, was that moment at the white privilege conference.  When asked to “Stand in solidarity by leaving,” this decision made by a white participant about what this indigenous woman might need or want in that moment.  And then to have that woman say, like, “No stay, I want you to stay.  This is what you meaning white people always do, you get up and leave.”  And it makes me think about something that – and again, I’m trying to call to mind, this comes from another person, this idea that if you – if a person were to walk away from whiteness in one situation, you’re likely to just run into it in the next that there isn’t a walking away from whiteness and yet that is in so many ways what white folks keep doing.

And so, one of the things that I hear from educators who are now (white educators in particular) being confronted with this idea of bans on critical race theory is like, well, I’ll just leave.  And I want to invite white educators who are sitting with that, I’ll just leave sentiment to consider what it looks like to stay in the same way that the woman asked you to stay in that moment.  What does it look like to be in this moment to be subversive to take a risk by teaching what necessarily needs to be taught to our young people?  And I want to be really clear here.  I’m not asking educators to stay in toxic environments that are actually dangerous to them, and to their health and wellbeing.  But what I am asking is in particular for white educators who have privileges within this system, as much as possible to stay and make it better if you’re able.

And again, for folks who are stepping away for reasons of personal health, for reasons of family health, for reasons of wellbeing, for reasons that their school or their environment is too toxic, yes, do those things.  And also, if the reason a person is stepping away is to say the system is too white, and the person stepping away is also white, again, I just want to invite a pause before fully pulling away and a request to really look around and consider that perhaps it is in that place that you can do the most work.  And perhaps that place really needs you.

Jeanie:  It’s okay to call each other in or call each other towards our better selves.  And in fact, a lot of the smart people in our lives who can do that, and we shouldn’t expect people of the global majority our friends who are not white to do that for us.  But we can lean on each other as white folks to pull us into that place we want to be when we slide and slip and slide in our own indoctrination in white supremacy, because we both got that, right?  So, I just wanted to pull out that phrase, loving accountability.

And then I am one of those people who early on in the – what I’m going to call the critical race theory whiplash would say, my goodness, come on, schools aren’t teaching critical race theory.  I’m learning about critical race theory in my doc program.  That’s not what schools are teaching.  Now, I’ve been rethinking that a little bit, because one, I think it’s not very helpful and, two, because it isn’t really accurate.  And so it may be that schools are not teaching critical race theory.  But while reading your book, I was really seeing what schools are teaching is what critical race theory helps us see, which is the ways in which racism is systemic or you used on page 66, the word systematized.

And so, I really appreciated the way you pulled out historical outlines, legal outcomes, your grandfather, I felt a real kinship to that, that’s my own working class grandfather’s story and his benefits from being in World War II.  And you sort of lay out the way in which just like critical race theory would that the nature of racism in this country isn’t about a few bad apples, a few individuals who feel icky things.  It’s really about legal precedent and systems at work to produce the outcomes that are racist.  And I guess that’s what antiracist teachers are doing, right?  They’re teaching accurate history that demonstrates the systemic nature of racism.

And so, I wanted to talk a little bit more than Christie just did about how teachers might continue to do this really important work while preparing themselves for challenges from – in Vermont, what’s happening is anti-CRT folks are calling in to school board meetings on Zoom from like states in the West, right, like – so how can we prepare ourselves for what’s going to happen?  What we know is going to happen, because when you disrupt inequitable systems, people are going to push back.  What might we do so that we’re ready for that?  And Jess, I’m going to invite you to speak first.

Jess:  Me?  So, I think I said most of what I have to say about this earlier on that I don’t have a good, easy answer.  And I think the truth is, I think sometimes educators do need permission to know that sometimes it is too much and there is a threat.  And it is unsafe.  And listen to that too, because I think part of why we need to rethink saying, well, schools aren’t teaching CRT is that it’s really dismissive, because it’s so beside the point.  Nobody cares really if we’re teaching CRT or not.  That was never the point, right?

So, I think we were also unprepared for that argument that we were like that was our first response, like, what you’re talking about?  That’s – I don’t even know what that is.  I’m not doing that.  But again, that doesn’t matter, because it’s again that desire to protect, protect your children, protect their comfort, but also protect the systems you’ve benefited from.  And so, I do want to say that I think sometimes it isn’t safe and to know that and trust that too.  And then we build that collective resistance.

And I will also say this: before I dig in with my students to any conversations about racism or racist systems, we first celebrate the heck out of identity, and we celebrate who we all are as individuals and facets of identity, and we talk about the many parts of us.  And we celebrate so much, because that means more than hanging a rainbow flag on my wall, right?  That doesn’t create a safe space.  What creates a safe space is naming identities. Being able to give space to conversations about all pieces of identity, modeling my own identity and talking about it.

And then once we celebrate identity, then we built on that foundation, because we have these sturdy legs to stand on them, right?  And then we move into how does our identity impact how we move through the world?  And I make it so clear that there are some parts of our identity that in some situations make it harder for us to move through the world.  But that’s not because something is wrong with who you are, it’s because something is wrong with this world, right?  So, I’m not saying that protects us.  But I think it’s sort of contextualizes teaching about systems, because we look at it through a lens of who we are impacts how we move through the world, right?

And so, again, that’s not some magic solution, but it can help when we start there, it becomes a little bit more just what we do here, right?  We just celebrate who we are and we are honest about who we are. It sometimes makes things easier and sometimes makes things harder and we’re going to look at all of that together and there’s space for all of that together here.  So, it can be kind of a good place to go to when it’s starting to feel like, there is nothing I can say that’s going to not be attacked.  And certainly, there will be people who attack but it can kind of cushion some of that.

Christie:  I think, to what both of you are saying, I think one of the great lies that has been perpetuated is this idea that it’s deeply rooted in shame and guilt.  And although there are places in the statuses that one can point to in which a person might be feeling shame and guilt.  And also, I want a name that I can’t control how the curriculum I teach in my classroom lands on my students.  And so, I aim for joy, I aim for opportunities, for lightness, for those breathing moments.  And also, I know that the same lesson can strike five students in five entirely different ways.  And I don’t want to pretend to control for that.  But I do want to offer that I am willing to sit with any student and the authentic reactions that they’re having to what I’m teaching.

And I want to name that in their really beautiful text Radical Dharma which has been foundational to my own understanding.  I just love the way in which Lama Rod Owens and Angel Kyodo Williams talks about the harms of white supremacy to all people across racial identity and society.  And they name really beautifully that white supremacy harms all of us.  It harms people at different rates and in different ways.  So, I don’t want to pretend that the harms of white supremacy that I’ve experienced in my white body are the same harms of white supremacy that friends of the global majority experience.  But I do want to name that I think there are opportunities and ways in which when white supremacy is named, and the harm of it is named that white students, young white people, white professionals, academics, educators, all of us can name the way that this has harmed us too, has harmed our relationship, has fractured relationship, both with people of the global majority and with one another, has harmed our familial lineages in the way in which our families have broken from their ancestry in order to meld itself into this project of whiteness that exists here in the United States.

And I think that there is a real beauty and and joy that can come in naming this universal harm that folks have experienced through this project of white supremacy.  That is to say that critical race theory and this teaching is about restoring and repairing from that harm and moving toward a place of healing.  And as they name in their text, a place of true collective liberation in which it’s about all of us in solidarity moving away from the harms of white supremacy that hurt all of us toward a more bright and beautiful future in which every person can be more whole in their bodies, and in their lives and in their relationships with others.  And so I think my hope is that in teaching the truth, it’s actually a practice of healing as Shawn Ginwright might name.  And that my hope is that it’s a practice of practicing liberation as Dr. Carla Shalaby might talk about.  And so how is it that together as educators and young people, we can practice liberation in our classrooms toward that more whole and beautiful vision, which is not about loading people with guilt and shame, but instead is about actually moving away from those things that harm us most towards something that’s really going to be better for everybody.

Jeanie:  My goodness. Thank you for this joyful and hopeful conversation about this amazing book that I think white folks should read, lots and lots and lots of white folks should read and my dog agrees.  And we only just touched on a little bit of the text.  There are so many more.  I’ve got all these like bookmarks in here where I wanted to quote other sections.  Christie’s got a gazillion post it notes.  We’re only just getting started.  And yet this feels like the perfect place to end.  Christie, Jess, Brendan, thank you so much for joining me to talk about this.  I so appreciate it.  And Charlie does, too.

Jess:  Thank you for having us.  This was a soul-filling conversation.

Brendan:  This is fantastic.  Thanks so much to all of you.  This is great.

Christie:  Thank you, Jeanie.  Thank you, Charlie.

Jeanie:  I’m Jeanie.  And this has been an episode of #vtedReads talking about what Vermont’s educators and students are reading.  Thank you to Brendan Kieley. Did I do that right?

Brendan:  Yes, thank you.  Thank you so much.

Jeanie:  Jess Lifshitz and Christie Nold for appearing on the show and talking with me about The Other Talk.  If you’re looking for a copy of The Other Talk, check your local library.  Thanks to our Audio Engineer Audrey Homan and to Life LeGeros and Rachel Mark for their podcast support.  To find out more about Vermont Ed Reads including past episodes, upcoming guests and a whole lot more, you can visit vtedreads.tarrantinstitute.org.  Follow us on Twitter and Instagram @vtedreads.  This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

[embedyt] https://www.youtube.com/watch?v=jX20wUq1Fhw[/embedyt]

#vted Reads: Community Schools Blueprint with Kathleen Kesson

Listeners, it won’t come as a shock to any of you that with the state of the world as it is many of our systems are at a breaking point, our schools in particular.  But when we are all broken, that’s where the light gets in.  So, as we sit here together in our brokenness, let’s make sure the break is wide enough that we can rebuild with intention, with equity, and with heart.  And for that, we’re going to need a blueprint.

In this episode, we welcome author, educator, and Vermont transplant Kathleen Kesson who talks about Community Schools Blueprint: Transforming Our School Community Partnership.  Kathleen and I talk about the possibilities we see for widening the cracks in traditional schooling by building opportunities for students and communities to support one another in authentic, real-world ways.

Community Schools Blueprint Title Page

There’s lots to celebrate about the foundations of our education system, but let’s face it.  Even before the pandemic, it was already deeply, deeply flawed.  What can we learn from the concrete examples of innovation, a deep human connection we’ve seen emerge during this pandemic?  Who are the people and your can be most wished can pass on their skills and knowledge?  And what opportunities do students in your community currently have to learn those skills and knowledge?  Plus, it’s very likely beyond the time we turned our elections over to middle school students.  Don’t believe me? Kathleen shares how she has seen it in action.

I’m Jeanie and this is #vted Reads, a podcast about books by, for, and with Vermont educators.  Let’s chat.  Thank you for joining me, Kathleen.  Tell us a little bit about who you are and what you do.

Kathleen:  Hi, Jeanie.  Thanks for inviting me to your podcast.  Well, I guess we can start with what I’m doing in Vermont.  I came to Vermont in 1992 as a Director of Teacher Education at Goddard College.  I spent 10 years there teaching at Goddard.  And for about five or six of those years, I had a funded research institute at the University of Vermont.  It was called the John Dewey Project on Progressive Education.  So, kind of a scholar of Dewey’s work, I was fascinated with Vermont, because this is where Dewey was born, and this is where he went to college.

And when I got the job offer up here, I was also intrigued because I knew that Vermont was one of the few places that had no standardized testing mandates at the time and no standardized textbook adoption procedures.  So, I knew that teachers had a lot of autonomy, or at least I assumed that. I was really interested to see how Vermont was putting Dewey’s ideas into practice.  So, I spent 10 years at Goddard.  I did then get recruited by an urban university in New York City to help develop a program for teachers there and spent 17 years doing that.  And I’m now happily retired, back to Vermont where I live in South Barre.  And I do a lot of gardening and a lot of action and advocacy work with various organizations in the state who are continuing to work on implementing a more progressive education, policy, and practice.  So that’s the professional stuff.

I’m a mother of four sons.  Three of whom graduated from Montpelier High School.  I’m a grandmother of three granddaughters.  And just really care a lot about the future of our world and what children are learning and how schools can become more humane and more just.  So, I spend most of my time writing, talking, and working toward those ends.

Jeanie:  Kathleen, thank you for that introduction and also for inviting me into your home.  I just want to say, this is the first in-person conversation I’ve had for the podcast since we went on lockdown at the beginning of COVID.  And listeners, we are both vaxxed and boosted and we’re also at a good safe distance across the table from each other.  But it’s just really lovely to be able to look at your face while we’re having this conversation.

Kathleen:  Okay.

Jeanie:  I love books and reading. So, I always ask my guests what they’re reading right now or if they have any reading suggestions for us.

Kathleen:  Well, aside from my guilty pleasures, which often involve British detective novels that put me to sleep at night, I just received my copy of David Graeber’s, The Dawn of Everything, which is a voluminous work on the history of the world that has been reviewed recently in the Atlantic and the New York Times and The New Yorker.  I’m interested in David’s work because he’s a real advocate of social ecology.  I’m on the board of the Institute for Social Ecology here.  And he’s really taking a new look at the history of the world, basically, and dismantling a lot of our assumptions about human progress and human development and human hierarchies and all that.  So, I’m looking to that.  I’m reading The Hidden Life of Trees because I’m fascinated with all the new learning and scholarship around plants and what we don’t know about plants and animals and sort of the new relationships that are developing among human intelligence and the rest of the world.

JeanieMycelium?

Kathleen: Mycelium.

Jeanie:  Yes, I’m interested in that too.

Kathleen:  And my friend Wendy Williams, who does some work here with the VPN, she lives out in Oakland just gave me a copy of The Color of Law by Richard Rothstein.  So, I’m interested in that.  It sort of follows Michelle Alexander’s wonderful book on The New Jim Crow.  So quite a variety.  I read a lot of partial books for my writing, I find that I pick up things and reread them. I’ve got stacks laying everywhere.

Jeanie:  I know you’ve got your library books there in the kitchen, too.  I noticed those.

Kathleen:  Right.

Jeanie:  Thank you for those suggestions.  Some were on my radar.  But the first one you mentioned wasn’t, so I’m going to be looking for that.  Let’s dig into this Community Blueprint, which, listeners, we’ll make available.  It’s an online publication that we’ll make available on the Tarrant Institute blog, which you can find at vtedreads.tarrantinstitute.org, and we’ll put it in the transcript.

So, in your introduction, you write that Vermont educators don’t want to return to a pre-COVID normal.  And I feel that.  I hear that from educators and from students and families all over Vermont.  You say that now is the time to acknowledge that that normal wasn’t working for all students.  I wonder if you could just briefly in a nutshell describe a vision for the future that would move beyond that normal.

Kathleen:  You said briefly, that’s a challenge.

Jeanie:  Or not so briefly.

Kathleen:  And I’m afraid, I probably wouldn’t phrase it that way, because I hate to make giant generalizations.  And it really is true that there are a lot of people who would love to return to normal right now.  I’m sure because COVID has been so grim.  And people are just so overwhelmed with trying to cope with that.  Normal might look pretty good right now.  But there’s also a number of educators, parents, young people for whom school was not working well, either for – well, for a number of reasons.  For reasons of equity or access, but also, I think there’s a sense among many people that the sort of industrial model of schooling that we really still have right now is no longer well suited to preparing young people for the future that we’re facing.

I mean, COVID may be the tip of the iceberg.  We’ve got major, major challenges facing humanity right now in terms of climate change, in terms of extinctions, in terms of the failure of democracy in many places.  And I think that we could all do a better job of educating young people in ways that will help them survive and thrive in the future.

So, in terms of a vision for the future, well, I would advocate for schools to become much more humane places.  We have to examine all the things we do, like tracking and ranking and grading, the things that cause so much stress among even high achieving kids.  I think that schools could be joyful places.  They could be places that every child wanted to go to every day, because there was so much happening and so many relationships and friendships and positive experiences that we would not have a school dropout rate, we would not have kids with stomach aches who don’t want to go to school.  So that’s my vision is to really make schools places where kids want to be and where parents want to send them.

And I don’t mean to say that schools are terrible.  There are some wonderful, wonderful schools and I’ve visited many of them in Vermont.  But I’ve also worked in Brooklyn, and I’ve seen schools there that are not joyful places, that are not humane places, where the curriculum is absolutely irrelevant to children’s lives, and they don’t necessarily want to be there.  So, I’ve kind of seen the whole range of schooling practices.

Jeanie:  One of the things I’m hearing from you is that even if a school might be joyful, have pockets of joy in it, pockets of humaneness, it still might have pockets of the opposite.

Kathleen:  Exactly.

Jeanie:  And then there’s this other piece that it might be joyful for many, or even most students and still alienate some students.

Kathleen:  That’s certainly true.  I mean, we’ve all been to school.  So, we all remember things like the cliques and the social classes, and the hierarchies and the power relations.  I think we’ve all experienced that.  And schools have not changed that much.  There are still young people who feel marginalized, whether it’s around issues of race or income or sexual orientation or gender.  There are kids who don’t feel welcome in school so that idea of belonging, how can we create environments where everybody feels a sense of belonging?

Jeanie:  Yes, you’re just echoing so much of what some listeners and myself heard at the recent Rowland Conference where Carla Shalaby gave a beautiful keynote.  And the thing that’s echoing for me and what you’re saying is that even if you’re a student who feels a sense of belonging, you’re learning lessons about community and about life when others are excluded.  What you’re learning is that inclusion is conditional and that you might in the future be excluded.

Kathleen:  Right.

Jeanie:  And you might also be learning how to exclude others from the way that school deals with what Carla Shalaby calls the “troublemakers.”

Kathleen:  Yes, that’s certainly true.  And I see this in my own family.  I have a granddaughter who’s a really high-achieving student.  I mean, A+, honor roll, AP classes. She’s a junior in high school.  And she is suffering from so much anxiety and stress and depression around trying to maintain her high achievement that it – she just says, “I was so happy during summer. And then the day school started, I started feeling like this again.”  So, it’s not just kids who are academically underachieving or behind in some way, it’s also the kids who are doing really well academically.

Jeanie:  The kids for whom it looks like school is working.

Kathleen:  Right.

Jeanie:  Yeah, I appreciate that.  So, as you moved through this document, you really spend some time, I feel providing some touchstones for us along the way around some terms like localization and community.  I wonder if you could spend a few minutes talking about what localization is and how you define community, and then also how you draw on that as you move towards this model of a community school.

Kathleen:  I shall do that.  I’ve studied school reform throughout my career looking at 50 years of school reform, even 100 years of school reform.  And there’s been 1,000s of things tried, some progressive, some conservative.  It’s an endless tinkering with the school system.

But the one thing that has emerged for me and partly, this is the work of my good friend, Jean Anyon, who’s no longer with us, her wonderful research on school and social class.  The understanding that school doesn’t exist in a vacuum, it exists within a social, political and economic context and issues of wealth inequality and poverty and increasingly environmental degradation, things like that are sort of central issues in which schooling dwells.

And unless we were to solve the problems of poverty, and these include everything from homelessness to food insecurity, to domestic violence, I mean, the whole host of social problems that are related to poverty.  School reforms are going to continue to be pretty ineffective and we’re going to have business as usual, or we will have normal until we can address the larger social issues.

This is a daunting idea.  How do you change the system that we live in?  Well, I think we’re getting some pretty strong indicators now that the larger system, which I’ll define as sort of a few hundred years of a fossil fuel-based economy with continuous growth at its core and consumerism as one of the higher values is kind of coming to a screeching halt perhaps. We’re realizing that material resources are finite, especially fossil fuel.  We’ve got new technologies on the horizon, but we’re not quite there yet.  And we need to really rethink some of the fundamentals about how we live.  I think we need to rethink what we eat, what we consume, how we spend, how we organize our democracies.  A lot of those things need to be I think carefully thought through to determine if they are actually serving our needs for this future that we’re facing and that we’re really in right now.

I promote the idea of localization.  And I rely a lot on Helena Norberg-Hodge’s work on local futures, partly because this is what I see happening in Vermont.  This is the direction Vermont is moving.  I think many people here have realized the importance of food sovereignty, of supporting local agriculture, of cooperative businesses that attempt to sort of level the hierarchies of who has power, who has control. We have 160 consumer and producer cooperatives in Vermont, all those sorts of localization processes that help us toward rebuilding and revitalizing local communities.

I mean, we talk a lot about people moving away from Vermont and not having enough of a tax base, and needing more business.  But I think we need to really define what kind of business do we want?  What kind of economy do we want?  How can we build on the tradition of town meetings and have a more participatory democracy where citizens actually have some control over their lives and over what happens in their communities?  So that’s the focus on localization.

And the reason that I emphasize it in the Community Schools Blueprint is that I think we also need to rethink the relationship between schools and the community, a lot of which has already happened in Vermont.  There are some wonderful community partnerships happening here.  I think we need to build on this impetus toward both getting young people more involved in their communities and getting community people more involved in the schools.  So that was the sort of emphasis on localization was to really do some thinking about what we value, how do we want to live and how can our schools become better expressions of those values.

Jeanie:  There’s a lot there.  I really appreciate the way that you laid all that out.  When I read Jean Anyon, I don’t remember which article last year, I remember a big takeaway being that schools are expected to fix everything that’s wrong with our society without society having to fix anything on the outside of schools.

Kathleen:  Right.

Jeanie:  And so, this notion that we sometimes have as school being a great equalizer that can enable poor working-class kids to get the education to become middle class, and yet, this is our American dream of school, and yet we know that the reality, the way it plays out statistically is that school reproduces social class.

Kathleen:  Absolutely.  I think that’s kind of a consensus perspective of most educational scholars.

Jeanie:  Yes.  And so, what I hear you saying is, instead of expecting school to fix all that ails us, that community and school need to work together in order to co-create community and school in ways that are more just sustainable, equitable.

Kathleen:  Yeah.  That’s very well put.  And I think there’s a caveat here.  Localization has, in our history, sometimes been provincialism.  We’re not thinking that we’ve got to pull back and reject the sort of larger connections.  What’s happening right now is sort of a – some people call it translocalism.  We are getting both globally interconnected, really connecting with many people in other countries who are sharing these kinds of values, and at the same time developing more of a local focus.

I mean, let’s face it.  Localization was one reason why many people, mostly in the south, but other places too, rejected the school integration in the 1950s.  They said, well, we don’t want to do this and so we’re going to start private schools, whites only academies.  And that’s when the private school, often Christian schools, which often were independent schools, proliferated because local people rejected the federal imposition.  So, we’re in a very new place right now, because I think that we’re having really vital conversations about equity, about racism, about decolonization, about what we need to do to sort of right the wrongs, address the wrongs, repair the wrongs of the past. Part of localization is having those conversations.

Jeanie:  How do community schools address issues of equity? Specifically, how might they disrupt inequities?

Kathleen:  Good question.  When I started researching community schools, I realized, first of all, it’s not a new thing.  It’s been going on for a couple of decades.  And I know that in many cases, community schools were initiatives by sometimes tribal indigenous communities and sometimes city communities where parents really wanted more influence over the schools and the curriculum.  So, it’s been around for a while.  It’s picked up a lot of steam since about 2000.  And my sense is that the community school movement emerged because of kind of a neoliberal consensus that poverty was at the root of the so-called achievement gap.

So, I think community schools are sort of at their core, an effort to remediate some of the core issues that relate to the income gap.  And my understanding is that if you look at the pillars of community schools, the idea of integrated student supports, what kind of supports do students need to sort of help them achieve at higher levels? They talk about expanded and enriched learning time; so, after school programs, summer programs, things like that.  They focus on active family and community engagement.  Although, they do talk about partnerships, and they talk about collaborative leadership and practices.

So many community schools try to do things like develop partnerships with social service agencies so that they can get a dentist for kids who don’t have dental care, more social workers, more counselors, things like that.  They generally are not talking about really looking at the social system as a whole and thinking about ways to really disrupt inequity in terms of discussions like decolonizing education or anti-racist education.  It’s kind of a benevolent liberal approach, I would think to remediating the achievement gap.

I do know that Vermonters who’ve been interested in community schools worked a lot when our legislation was being passed.  We have some recent legislation that is providing funding to at least five districts to initiate pilots in community schools.  And I know that some of the people involved in testimony really were pushing for an increased attention to equity in the community schools.  So, I think Vermont is the only state who has really developed a sense of a real focus on equity as part of the community schools movement.  So, we can see what kind of effect that has.  But the Blueprint really, again, is pointing out the limitations of community schools.  I think they’re a good example of some temporary fixes, some band aids that will be very helpful and may even help with the achievement gap.  But I don’t think it addresses the long-term larger systemic issues that we need to be talking about.

Jeanie:  Yeah.  You early on in that said, so called achievement gap and there are other terms people use for that.  One is opportunity gap, meaning that the way that schools are funded, it means some people have more opportunities than others.

Kathleen:  Right.

Jeanie:  There’s another one called – is it called – there’s something – somebody else uses a term like education deficit, the places where we haven’t really fully invested in education for some kids, like, we have for other kids.

Kathleen:  Yeah.  And I think these discussions about people weighting factors and equalizing funding, they’re all extremely important.  A lot of the discussions around achievement, opportunity and access don’t question the way the curriculum and the learning are structured, or even the content.  It’s really more about how can more people do better with what we have.  I’m suggesting otherwise that we need a radical in the sense of getting to the root of the problem, rethinking of the curriculum itself.

Jeanie:  I really appreciate that.  I just got a chance to see Gholdy Muhammad give a keynote.  She’s written a book called Cultivating Genius that I’ve talked about on the podcast in the past.  And one of the things she said that just really stuck with me is that is a caution about how we talk about students.  And the example she gave was that we sometimes talk about students who struggle.  And she says, I will not start there, I will not start with a deficit approach.

Kathleen:  Right.

Jeanie:  And I’m not going to assume that kids are struggling.  I’m going to ask myself, where is my pedagogy struggling?  Where’s my curriculum struggling?  Where’s the culture of my classroom struggling?

Kathleen:  Right.

Jeanie:  And looking at those things, as opposed to struggling kids, because if we think about it as kids then we think our curriculum and our pedagogy is just fine.  It’s a kid’s problem.  But if we say, hey, this curriculum, this pedagogy isn’t working for all students then that has to change, not the kids.

Kathleen:  Right.  And it could be pedagogy, it could be methods of instruction, it could be the content of the curriculum itself or it could be the structure of schooling.  A child, for example, who’s absolutely uninterested in the topic that the teacher is very interested in may have an attention deficit.  But this may not be a deficit, it just may be that the child is not interested.  So why are we teaching subjects instead of working with children to find out what they’re interested in, what they’re curious about, and designing entire curriculums around the questions that kids have about the world they live in.  I have met remarkable teachers who do this very successfully.  So, it’s not a pie in the sky idea.

Jeanie:  I will say my – I was a Rowland Fellow in 2014.  And that’s what my Rowland fellowship was built around, students interest building, especially in school library and research opportunities for kids to really dig in research and move into actually doing something, about something they were interested in.  One of the surprising findings for me is that interest is itself a skill and that you know people who are really interested in lots of things, they can be interested in just about anything.

Kathleen:  Right.

Jeanie:  And then I also know people in my own life who are interested in nothing.  And that’s also – like, it’s like we almost wear it out of kids.  And so, if you just say to kids, what are you interested in, you might get a lot of blank stares.  It’s something you have to cultivate over time.

Kathleen:  Absolutely.

Jeanie:  And we can help create kids who are more interested in their communities, in the worlds around them in the way that we teach.

Kathleen:  Yeah.

Jeanie:  By teaching them to ask questions, by helping them think about how some thing is relevant to their lives and the lives of people they love by taking them out.  I know in your Community Schools Blueprint, you talk about place-based learning and service learning, getting them out in their communities to see their real-world implications.

Kathleen:  Right.  Well, I think, thinking about the structure of schooling, I have never met a two-year-old who wasn’t interested in the world.

Jeanie:  Yes.

Kathleen:  Perhaps if a child had severe neurological damage or something like that, they might not exhibit a lot of interest.  But those two-year olds want to take it in and learn everything they can learn about how far can I throw this food, how fast will the milk spill.  Toddlers are interested in everything. 100 years ago, I taught three and four-year olds, I loved it, because they were mostly just fascinated with almost everything.

Jeanie:  Listeners, it was not 100 years ago.

Kathleen:  But if you look at the research on interest in school, it peaks in the second grade and then starts to drop off precipitously in the third grade.  Now, I think we need to be asking ourselves why.

Jeanie:  Why, yes.  Well, and that’s what I mean.  I was working with high school kids and upper middle school kids and they’re like, wait, you’re asking me what I’m interested in?

Kathleen:  Right.

Jeanie:  And some of them were really good at listing a lot of things.  And for some of them, that was really hard.

Kathleen:  Right.

Jeanie:  And I think schools dampen their enthusiasm and interest.

Kathleen:  They actually do.  And in fact, I don’t know how many of your listeners might remember John Taylor Gatto.  Gatto was the Teacher of the Year for a couple of years in New York City back in the 80s, I think it was.  He was Teacher of the Year because his kids were so interested.  He was teaching in a very income deprived community in New York City.  And the kids were like getting out with cameras and taking pictures of toxic sites and exploring their community and interviewing people.  And they were absolutely the most interested engaged kids in the world.  So, he won this Teacher of the Year award.  And then he gave a speech at Carnegie Hall and just lambasted the entire educational system for what they were not doing.  And he wrote a lovely little book called Dumbing Us Down, where he sort of laid out in very simple, accessible language his critique of schooling.  And he talked about, well, what we education scholars call the hidden curriculum.  It’s like we think we have one curriculum.  But what is it the kids are really learning?

Jeanie:  Compliance.

Kathleen:  And what he talks about- they’re learning that what they care about doesn’t matter.

Jeanie:  Yeah.

Kathleen:  They’re learning about they have to structure whatever they’re engaged in, in 45-minute intervals.  They have to learn that what the teacher expects and what the authorities expect them to do is much more important than what they want to do.  So, he goes on like that through the whole book.  And that’s really the hidden curriculum of many schools is we’re teaching kids not to care about things.

Jeanie:  Yes, exactly.  Thank you for that.  So, if we envision a community school, just give us like a little snapshot of what a positive community school might look like?  You walk in the door, what do you see Kathleen?

Kathleen:  Uh-huh.  Well, I was fortunate to do quite a bit of research in 2014 when Act 77 first came out.  I was looking at personalized learning programs in various schools.  And one thing to know about Vermont communities are they are a wealth of resources about things that are very important to a vision of a sustainable, localized future.  Vermont communities are full of solar engineers and carpenters and artists and musicians, people doing really, really interesting stuff that kids are very interested in.

So, one place I spent a lot of time was with the Renaissance Program at Twinfield School that had a very early personalized learning program.  Debra Stoleroff, the person who’s run that program for the last 20 years or more would help kids think about what it is I really want to learn, what do I really want to do.  She’d set them up, whether it was at the planetarium, or with a retired engineer, or with a retired anthropologist in the community, or with a blacksmith to learn to do medieval knife making.  And these kids would go off.  There was freedom of movement in and out of school.  It wasn’t a free for all.  Teachers were very connected with what the kids were doing.  There was kind of accountability.  The kids were reporting on what they were doing and creating portfolios.

And I know John Clark well, who was really responsible for early personalized learning out there at Mount Abe.  I didn’t visit the school that much, but I understand it was also similar.  So, it’s kind of labor intensive to really work with kids around what they would like to do it, but it is possible.

Jeanie:  It seems to me that early on in Act 77, this conversation about personalization was a lot about individualization, what individual kids need.  And what I love about this model is that it’s less about individuals and more about communities and how do we do learning together in community that is relevant to our community.

Kathleen:  Right.  And I know you and I have talked about this before, that’s one of my big critiques.  And what I think might have been John Dewey’s critique of personalized learning would be the focus exclusively on the individual and their needs and wants.  And there’s ways in which that fits right in with the current consumer capitalist society.  It’s like, my playlist or whatever I want.  So, I know that we’ve talked about the idea of how do you build democratic schools and democracy while encompassing individual interests.  And there’s many ways to do that.  I know that Andy Barker and some of his colleagues at the City and Lake Semester in Burlington, it’s a public-school option.  The kids are signing up for the City and Lake Semester in a group.  But it’s a democratically run group.  They come up with their own questions.  They are out investigating Lake Champlain, they’re investigating the City Council, they’re following their interests and they’re gathering data and they’re learning all about their local community.  I think that’s kind of an exemplary program.

And that’s my vision of a program is I think most kids want to be spending time with other kids.  So pure learning is just so essential.  And I think there’s room for individual interests in really robust, well planned group learning situations.

Jeanie:  Right.  And for individual strengths, right…

Kathleen:  Absolutely.

Jeanie: I’m thinking about – you’re bringing up Act 77 and legislation.  It seems to me that Act 1 is also a great leverage point for this, where the work around ethnic studies allows us this opportunity to investigate our communities and who lives here and how is the community working and not working for the people who live there.  And I think about some work that my friend Judy Dow does in Brattleboro where she asks kids, why are the poor houses in the floodplain, right?  Like kids look into whose house is where and why.  And that’s a great ethnic study’s approach to learning about your community.

Kathleen:  Yeah.  And conventional place-based education used to be a lot around nature study.  Then learning about the wildlife and the trees and habitation, all of which is very important.  But the more recent advances in scholarship around place-based education really asked us to investigate a place, who lived here?  Why don’t they live here anymore?  What happened to the people who lived here?  What were the conflicts that took place on this land?  And I think that pushes us into a deep investigation of culture in place that is very consistent with Act 1.

Jeanie:  Yes.

Kathleen:  Yeah.

Jeanie:  So, you’ve given us a little like notion of what community schooling looks like.  And you’ve talked about your own study of education reform.  And I know when I was in library school, I had a professor who said, the problem with school reform is we don’t stick with anything long enough to make lasting change.  We give up on it too soon, which I have to say I’ve seen that in action.  My question for you Kathleen is how do we make this community school movement, especially the kind of community schools that you’re talking about, how do we get started?  What are some early steps?  And then how do we ensure that we keep going?

Kathleen:  Well, I was reading, I think it was in the Digger about a week ago that a group of educators had made a plea to the legislature not to pass any new legislation this year.  And I just think that sort of encapsulates the problem.  Now, teachers can get really frustrated with new changes coming their way every single year.  And some just give up and say, well, I’m not even going to get engaged, because it’s just going to change next year.

Jeanie:  Yes.

Kathleen:  So, I think you’re really hitting on a really important topic.  Obviously, we’re not going to be stagnant.  I mean, when there’s new research or new learning, you have to make some changes.  But I actually think that if the people in the school, the community, the school itself, the leaders of the school, the educators and especially the youth, if they were the ones deciding what do we need to do next, it might look very different from the kind of top down initiatives that really bombard people every year.  Some of them are interesting, some of them are effective, a lot of them are just sort of fly by night ideas.

I think about the new math that they introduced back in the 1950s that nobody understood.  The teachers didn’t understand it.  The parents didn’t understand it.  It was developed by mathematicians in the best universities.  And it was an absolute flop, because it just wasn’t what was suitable for the people engaged in mathematics instruction.  So, I think we have to be very wary of these top-down ideas.

On the other hand, without top-down federal intervention, we might never have had school desegregation or federal lunch programs.  So, I don’t know, I think maybe I’m misplacing my trust.  But I think communities could actually make most of those decisions quite nicely by themselves.

Jeanie:  One of the things that you and I have talked about as an entry event into growing this kind of work in schools is doing a community asset map…

Kathleen:  Yeah.

Jeanie:  Really creating a really thoughtful spreadsheet or database of all of the community partners and invested community members that can be a part of this process.

Kathleen:  Yeah.

Jeanie:  And I think in schools, it’s really easy to sort of reach out to parents and that’s it.  And that assumes that other people in your community aren’t interested in the wellbeing of young people, which is, I think, a false assumption.  It also assumes that other people in your community who are not parents aren’t interested in donating their time and resources or partnering and learning together with young people and educators to make a difference to the local stream or the local policies about whatever is happening in your community.

Kathleen:  Right.  Yeah.  I’ve been promoting this since 2014, when I first learned about the legislation here was that every community needed to map their assets and every community is absolutely different.  Obviously, Burlington, our urban community has lots of experiences that kids can do with businesses and various organizations.  But rural communities have a wealth of assets, people who have lived there for a long time.  Did you ever hear of the Foxfire movement in schools?

Jeanie:  Yes.

Kathleen:  I mean it was just amazing.  Kids in rural Georgia were out interviewing the elders in their community about things like apple cider making and quilt making and just…

Jeanie:  They’ve put out those Foxfire publications, right?

Kathleen:  They put out a magazine which is still going.  They earned enough money from the magazine to build a TV station.  And that was in a pretty remote community.  So, every community has assets.  It just depends on the lens you’re looking through, whether you consider them assets or not.  One time I had some boys helping me in the garden who were in an alternative program for kids who were not doing well in school, okay.  These kids were a wealth of information about tracking, about wildlife, about hunting, about things that I knew nothing about, and they were able to help.  They were able to help me make some decisions about my gardening that were really useful.  So, it kind of depends on the lens we’re using.

But the asset mapping, we did have a project with Peoples Academy where they did some asset mapping, and the students took control of it.  And it was absolutely wonderful.  There’s a little article, I have a link to it in the blueprint written by a student who was very involved in the asset mapping.  So, it’s a wonderful way to figure out who can do what in your community.  And like you said, you’ve got to look past the familiars.  There’s always the familiar business or the familiar people who did this and that and the doctor who comes into school to give a talk.  But you’ve got to really cast the net wide.  And especially, back to this idea of belonging, how do we make sure that everyone in the community feels welcomed, invited and that their expertise is valued in the school?

Jeanie:  Well, and that’s so important that strengths-based lens to community and that we see marginalized community strengths as well.  And we ask folks that don’t normally get asked, whether because of poverty or because of their racial identity what are the strengths in your community and that we really see those with a strengths-based lens.

Kathleen:  Right.

Jeanie:  Because so often marginalized people are further marginalized by school, because we only talk to them about deficits.

Kathleen:  Right.

Jeanie:  I really appreciate that.  And I really appreciate this idea of an asset map.  Do you know of any models that we could put on our transcript for folks to see?

Kathleen:  I’m trying to think if there’s.  I don’t know if there’s a model per se.  But I mean you might interview for example, this young woman from Peoples Academy who wrote the article.

Jeanie:  Yeah.

Kathleen:  I think it’s just a kind of an investigative activity, getting kids out in the community, interviewing business owners, interviewing people who are part of different organizations.  And again, I think this is a different thing about the Community Schools Blueprint.  We have a conventional idea that schools need to partner with social service agencies and with government and with business.  But we neglect the grassroots democratic movements that are really, actively engaged in climate justice work, in anti-racist work.  And they’re more sort of on the edge of what I call the just transition.  How are we going to really make a transition to a better world that’s sustaining and that’s just?  So, I think that partnering with organizations like that and bringing in folks to the school to work on those issues that are really close to children’s interests is important.

Jeanie:  I really appreciate that.  What I found that first year of COVID, when school is disrupted in March, we were planning at the Two Rivers Supervisory Union this big Sustainable Development Goals project.  And we were planning field trips that got totally disrupted.

Kathleen:  Right.

Jeanie:  And so, we reached out and we did Zoom field trips which are way less exciting than being in-person.  But the doors that were opened because of Zoom meant that we had all sorts of people who wanted to talk to our kids.  I think we offered 20 different Zoom field trips that kids could attend based on whatever they were studying.  And they could attend all of them if they wanted…

Kathleen:  Right.

Jeanie:  With people, like one was the Black River Action Project which cleaned up streams, right, in the community where we were.  Some were VINs, like more – the things that come up, like, the things that are going to rise to the top no matter what…

Kathleen:  Right.

Jeanie:  The obvious ones like VINs and…

Kathleen:  Yeah.

Jeanie:  The Champlain Maritime Museum.  But some were more obscure, and it was really interesting getting kids this opportunity to meet with local community members who had interests in different areas.

Kathleen:  Right.

Jeanie:  And it was really memorable for kids.  So that’s coming up for me is that Zoom makes that really possible in ways that it opens access in some ways.

Kathleen:  Right.

Jeanie:  And then the other thing that’s coming up for me as we think about that community engagement piece, it has to do with fear that sometimes we can in schools be afraid of doing things that may rock the boat, or that sort of seem to have a political agenda.

Kathleen:  Right.

Jeanie:  But that itself is a political agenda.

Kathleen:  It is.

Jeanie:  It’s just a political agenda that’s in favor of the status quo.

Kathleen:  Yeah.

Jeanie:  So, what do you say to folks who are like, well, we can’t do that, because what if somebody complains?

Kathleen:  Well, somebody is always going to complain.  I mean, we have such a polarized society right now that I think you can just expect complaints about anything.  I have a piece I wrote for the English Journal that I’ll share with you.  It was based on some research I did in Oklahoma, where I have a lot of ties in a Native American community, a place where there’s about 26 different tribal groups.  And this community is situated on one of the worst Superfund sites in the world, worse than Love Canal, it’s called Tar Creek.  And there was a guidance counselor there who was working with kids.

I’ll try to make a long story very short, who started – most of the kids had lead poisoning, so they were considered with learning disabilities.  But they all started investigating their Superfund site.  This was like 25, 30 years ago.  They got so good at what they were doing that they published a number of books through the Cherokee Nation on what they learned about the Superfund site.  They got the EPA more involved.  They got Harvard University involved in epidemiological studies around lead poisoning.  You would not believe the things that these kids did.  And they were given a Governor’s Award at one point for their investigative expertise.  I write a lot about that, because it’s an example to me of it’s not a politically neutral event to examine a Superfund site or a toxic waste dump.  There are going to be people who do not want those things revealed.

Jeanie:  Right.

Kathleen:  But it is a moral and ethical decision.  And I think we can’t underestimate the capacities of young people.  That’s I think one of the biggest mistakes we make.  I remember when all that stuff came out about lead, lead pipes in schools, and there was a worry about lead.  But the state was throwing up their hands and going, well, we don’t have the capacity to do the testing, we can’t do this, we can’t do that.  I pointed them toward the kids at Tar Creek who had been trained to investigate lead in pipes by government agencies, and who were able to go in schools, who were supplied with the testing kits, who were testing the water themselves.  And I wrote to the science educators here, I put an OP Ed in the newspaper, I said, why don’t we get the kids involved in water testing in the schools.  Well, guess what kind of response I got?

Jeanie:  Yeah, probably not a positive way although…

Kathleen:  Absolutely nothing, no.

Jeanie:  What a way to raise scientists?

Kathleen:  What a way to do it, right?

Jeanie:  Yes.

Kathleen:  You got 100 kids in Vermont investigating the lead in their water.  And who knows what kind of science geniuses we might produce that way?  But no, there was not the slightest bit of interest.  So, I think we do really underestimate kids.  I did take a trip to Cuba in the 1990s.  And I did a lot of interviews with various community organizations and at the University of Havana.  And I was interviewing one middle school teacher.  Now, Cuba is not a haven of democracy, so don’t mistake my words here.  But I said, “Well, how do you get middle school kids involved in the community??”  And the person said, “Oh, that’s easy.  They handle the elections.”

Jeanie:  Right.

Kathleen:  There are municipal elections in Nevada.  And the kids run them.  Here, mostly retired people run them.

Jeanie:  Yeah.

Kathleen:  But the kids were running the election.  So, it’s like, think of all the things that young people could be doing.

Jeanie:  Yeah.  You just said the word that I just opened something I wanted to share.  And this does not sound like it has anything to do with community schools, so bear with me.  I’m on an octo kick because somebody forwarded me a podcast with Sy Montgomery talking about the book, The Soul of the Octopus.  And then that podcast led me to this movie on Netflix called My Octopus Teacher.  Have you heard of it?

Kathleen:  My Octopus Teacher, it’s a wonderful movie.

Jeanie:  It’s wonderful.

Kathleen:  Yeah.

Jeanie:  And so Sy Montgomery, and both of these things really spoke to me. I’m not a scientist, I’m not doing any work with animals.  But it spoke to me about humans and about students and who we think of as learners and who we appreciate as learners and who we don’t.  And so, I’m going to read this quote from Sy Montgomery.  She said,

“We have been blinded to the genius of not only fellow animals, but fellow people for the longest time, just because we think everything has to be just like us. We didn’t even recognize the symptoms of heart attack in women, because we were too busy focusing on men, because the doctors were all men for so long, for example.  So absolutely, I think that is the biggest mistake we are making in the world.  And we’re not just making it in underestimating animals, but we underestimate fellow human beings as well.”

Kathleen:  Absolutely.  And it’s partly because of the way we have constructed the idea of intelligence.  I’ve been doing quite a bit of research into the cultural dimensions of literacy.  So, the dominant culture clearly is a text base culture of literacy.  We rely on books, encyclopedias and the written word.  I love the written word.  I’m a writer.  However, I was reading about aboriginal people and about a Navajo people who had mnemonic ways of categorizing animals and plants in their place, their place of living.  And some Navajo elders had categorized in memory 400 different insects, for example.  And many Aboriginal people because of the song lines, the way that particular sets of information are encoded in different rocks, in different trees and different hills.  And they have ceremonies and rituals that bring this information to light and reinforce it.  So, it’s transmitted through the generations.  So, we would call people illiterate that maybe had incredible forms of information gathering and intelligence building.

Jeanie:  Right.

Kathleen:  So that’s a construct.  It’s our construct in dominant western culture.  We have decided that only people who can read books and write intelligently are literate.  And yet, how many forms of literacy are there that we’re not even aware of?

Jeanie:  Or a Standard American English, right, that you have to speak in a certain way in order to be considered intelligent.

Kathleen:  Right.  Well, I was disabused of that notion spending 17 years in Brooklyn, so…

Jeanie:  I bet you were.  And good for you, you’re a better person for it.

Kathleen:  Yeah.  I definitely am a wiser person for it to really understand the differences in speech patterns and the kind of intelligence that’s encoded in different speech patterns.  And really aware of how – we just need to open our heads up to all these differences; I think and really start to appreciate them rather than sort of place value on certain ones over others.

Jeanie:  Right.  We know that in the greater world, we know that in our biomes that diversity is an asset.

Kathleen:  Right.

Jeanie:  And couldn’t it also be so in our communities.

Kathleen:  Right.

Jeanie:  Yes.

Kathleen:  And I talk about schooling like that.  I think maybe in one of the closing paragraphs of the Blueprint is there’s this idea that we need to standardize, that we need to mechanize, that we need to have a common core of standards, that we need to have a shared curriculum.  And to some extent, I understand the intentions behind that.  But I also suggest that maybe education is more like a robust ecosystem.  And the more diversified and decentralized our schooling becomes, the stronger we might be as a society.  It’s just a thought.  And I imagine, we’re getting to the end of the podcast.  So maybe I can leave you with that thought of diversification and difference may be our greatest strength.

Jeanie:  Well, I really appreciate that.  Would you like to read that paragraph to us to end the podcast?

Kathleen

“We now have the opportunity to reconsider the fundamental purposes of education.  Rather than educate so that a tiny sliver of people rises to the top of the global income chain, we need to educate all people for the art of living well together on a fragile and sacred planet.  We need to emphasize not just academic achievement and high-test scores, but shift our focus to fostering compassion, community, empathy, imagination, insight, friendship, creativity, communication, justice, practicality, pleasure, courage, humor, wisdom, introspection, transcendence, ethics, service, solidarity and the ability to live well within the carrying capacity of our ecosystems.”

Jeanie:  Kathleen, thanks so much for joining me to talk about that Community Schools Blueprint and all of the things we talked about today.  It’s really inspiring.

Kathleen:  It’s been a pleasure, Jeanie.  Thanks.

Jeanie:  I’m Jeanie Phillips and this has been an episode of #vted Reads talking about what Vermont’s educators and students are reading.  Thank you to Kathleen Kesson for appearing on the show and talking with me about the Community Schools Blueprint: Transforming the School Community Partnership.  To find out more about #vted Reads including past episodes, upcoming guests and reads and a whole lot more, you can visit vtedreads.tarrantinstitute.org.  Follow us on Twitter and Instagram @vtedReads.  This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

#vted Reads: Dig

Listeners, I’m going to ask you to bear with me on this one. This is one of my favorite episodes we’ve ever recorded because, in it, you’ll hear students at U-32 school in Montpelier, Vermont, get to bring their questions about the book “Dig”, by A.S. King, directly to the author. 

If you haven’t read it, “Dig” is a powerful young adult novel talking about white experiences of white supremacy in the United States. And from the questions these students brought author A.S. King, it resonates deeply with students as they work to dismantle racism in this country. 

So why am I asking you to bear with me? 

We recorded this conversation over Zoom, and all the students in this episode, along with fabulous librarian Meg Allison, were in their school, so all were masked. Let me draw you a picture, listeners: A.S. King in her attic bower, me in my lovely home recording space, and Meg and her students gathered around a library table in the school library in Montpelier. As the students all come up to the laptop to talk with King, you may hear chairs scraping or shoes scuffing, the laptop being jostled — the whole deal. 

That’s why we’ve also made this episode available as a full captioned video on our YouTube channel, so if that’s more your speed, you have that option available. 

Thanks for bearing with us and remembering how much educators and students have to bear right now. 

I’m Jeanie Phillips, and this is Vermont Ed Reads, talking about what educators and students in Vermont are reading. 

Let’s chat.

https://soundcloud.com/innovativeed/dig?si=672b0036b26547f2b99837fbffbd90e8&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Meg: To be able to talk to the author of Dig! We have spent the last month talking and reading about it, and it has sparked so many conversations. Students are invited to come up and ask a question. Really, thank you so much, Amy, I want the kids to take this away.

Amy (AS King): I have a question, though, for you.  What made you decide to do this? What made you like it, what started this whole thing?

Meg: After I had read this book, I found it like it’s an essential book. It’s an essential book for young people to read. And so, we are hosting book groups here as well. It’s just, I think it actually should be like a part of our curriculum. And I know some of our students are going to talk to you about that. But especially in Vermont, we are a school that flies a Black Lives Matter flag out on our flagpole.

Amy: That’s why I want to move there Meg, that’s why I want to move there.

Meg: We’re a school that successfully raised a student-led campaign to ban the Confederate flag on our campus, not just the parking lot, but on campus. And it sparked conversations in our school. And as we evolve in these conversations towards equity and racial justice, really thinking about like, what is our role as white students, white people, white humans? And in your book, just like Jeanie, and I were speaking before you get on the call, we can’t think of another book that unpacks the roots of white supremacy and the way that you do. So, this is a conversation sparker that we hope continues throughout our building.

Amy: Awesome. All right, let’s give it to the students. And thank you for that explanation, because I didn’t know where exactly this started. So good morning, guys. How’s it going? How’s Vermont today?

Students: Cold.

Amy: Awesome. Throw questions at me. Ask me whatever you want. I’m an open book, no pun intended.

Elijah: Yeah. So I’m Elijah. And so my question basically comes down to this. So I’m currently talking with English teachers here about putting this book as part of our curriculum because it’s far better than some of the other books we’re reading. But I want to know about your decision to write it as a young adult book?

Amy: Ah, brilliant question. Excellent. Thank you. Nice to meet you, Elijah. Great question.

Well, here’s, here’s the deal. It’s funny. I found myself writing young adult literature. I’ve been writing books for 15 years, and it took me, well, took me 15 years to get published. And so I’d written about eight or nine novels. And at that point, I was getting rejected a lot, because my books were weird. And I am female. And it sounds like a very strange combo. But it’s very realistic for me to explain to you that this book, like this book, will not make me much money come into the future. You know, I’m saying. It’s not, it’s not a business in that way for me, because I am a woman and I write books like this. If I was not a woman, and I wrote surrealist or strange fiction, it would be a little different now. Anyway, shoot, what was my point?

Anyway, so when it came to how I ended up in young adult literature, is that one of my books when I finally got an agent, was very weird. And somebody called him up and said, you got anything weird? And he said, yeah, I got this book. And he sent this one weird book called The Dust of 100 Dogs to this, this editor, but the editor published ya work, young adult work. And so we got on the phone. I had been writing for 15 years thinking I was writing adult work, which I think I am, I think it’s a mix. And I think my main characters are teenagers. And there’s a reason for that. And he, his name is Andrew Carr, the person who bought that first book, and also the person who published this book.

Okay, so we had a bunch in between where I was with different publishers, but I came back home to Andrew, he is, he is my favorite, and he understands me. But we define and he defined at the time young adult work as being about young adults versus for young adults. And for me, my original plan,

when I first wanted to be an author, I was in eighth grade, and I wrote down on a legal tablet that I wanted to help adults understand teenagers better and help teenagers understand adults better.

And I believe that that is exactly what my work does, because if fully formed adults, whether they be grandparents or parents. And if adults would read these books, then they would get a glimpse into young adult literature, not like most things are young adults’ life should say. And like most things teen in our culture, we roll our eyes, right.

And also young adult work can also be, you know, a little bit like snack food in spots. But so can adult work. Like go in any bookstore, there’s snack food everywhere. But then you’ve got your shelves where there’s more, more thoughtful, I don’t know, not more thoughtful everybody, it’s hard to write a book no matter what kind of book you write. But when it comes to why this ended up in young adult, it’s a. because I was there and b. it’s the one place a weird woman can publish, Elijah. Okay, I’m really being serious, I would not be able to publish my surreal books. And like Switch, which came after it, are those sorts of more surreal ideas. If I wasn’t in young adult literature, because women don’t, aren’t usually allowed on that playing field.

But the biggest one is because I care very much about teenagers, the mental health of teenagers. And I believe that your generation, a generation15, if you start thinking you’ve already been thinking about social justice issues you’ve already been thinking about, about equity and inclusion, you’re already thinking about that. My generation doesn’t care.

We’re Generation X. And we’re like, we were losers from way back. We want this to happen, but we seem to have no power or control. That’s how it feels. We’re all in our 40’s and 50’s. So it’s like, for me, the reason I want to love up teenagers so much is because I think the more support that they get from adults, the more likely they are to change the world and continue to move forward. And I just refuse to roll my eyes. I actually write this for teenagers, because I know you’ll understand it. And many adults instead will write a review that said this makes white people feel bad and do not understand how ironic that review is. Now I will shut up. And thank you for that question.

Elijah: Thank you.

Amy: Thanks for that question.

Jeanie: That entire answer was quotable.

Amy: Oh, good. Let’s go to it.

Esther: So. Hi. Hi, my name is Esther.

Amy: Hi Esther.

Esther: And I just wanted to ask about like, kind of like, books we read in school and curriculum and what your take on reading the classics is? I know that in U-32 right now, there’s a lot of debate over which of the classics are acceptable to read in class. A specific example is Heart of Darkness, which was recently removed from the curriculum. And we also wanted to know, just like, where you think a book like Dig could fit into a curriculum, and if there’s a genre of the classics that it could replace?

Amy: Okay, great question. Okay, so I might have an antiquated or controversial view of the classics. And because the classics can cover so many things, like I mean, we are not talking about Shakespeare, we’re talking about largely, I think, dead white men, you know, I think that’s what we’re talking about 20th century and a lot of times, white dudes. I think, I think they fit in, in a weird way.

You know, here’s the deal. I love teaching grammar, so I can break the rules. I love teaching what good writing what acceptable or good writing rules are so that we can break them. And so in a way, I think that we wouldn’t understand a book like Dig if we didn’t have a read-along, if we didn’t have something else, right. So To Kill a Mockingbird is a fantastic example. It’s a beautiful book. I’m sorry, it is. It is now steeped in white saviorism. It’s steeped in so many things that we have words for now that other people had words for then, but we didn’t use them, white people didn’t use them then, you know. But To Kill a Mockingbird is a beautiful story but it’s got problems. We’ll use that that Bo Burnham problematic word. It’s problematic for a bunch of different reasons. However, I think it’s still worth reading as long as we read it with an eye with the lens right with the be able to look at it and then discuss what is problematic about it. So for me, when we read classics, it’s good to be able to look at what’s problematic.

For example, if we read John Updike, which most people don’t. I come from John Updike country, but, you know, we should talk about his problematic representation of women and in fairness most of those books, we should talk about the problematic representation of women and people of color. So it’s good to have a little bit of knowledge of the classics. as for where Dig would fit in, I think it’s nice to read it alongside something. It has been read alongside To Kill a Mockingbird in at least two schools from what I understand. It’s certainly more modern, it’s edgy, it’s going to be tough to get past certain, you know, certain people where we are at the moment, all of our schools but I know here in Pennsylvania, we’re really dealing with this large uptick in book challenges and things like this. So even if there’s a swear word in it, there’s a problem, let alone if there’s any sexuality discussed, or any sort of things like this. But more importantly, if white supremacy is discussed, it’s also getting banned, which is really quite disheartening, but also telling. Let’s be fair, I mean, we know what fight we’re fighting, right? We can say states’ rights all we want when we talk, you know, people like the Civil War wasn’t about slavery, it was about states’ rights. And this is kind of the same thing. It’s like this is about appropriateness because of the books. I don’t think it is if you’re banning books based on the fact that the author is, you know, is black in the case of, say, York, which is just over the river.

But anyway, I think it has a place in schools, and probably upper grades, because of the content. I would definitely say, you know, not to say that ninth-graders can’t read it. But some ninth-graders might not be mature enough to have the discussions that we’re having now. And it’s not no offense to ninth graders, either. I have one, a son, he’s very mature. But I think that it’s upper grades. And I think that it’s, I don’t know, it’s right now being used as a freshman summer read for a good few college programs. And I think that’s a really great way to walk into college to understand what college you’re walking into, to think about your own privilege before you get on a campus is a really great thing to have. So I think that though, that would also transfer to where we could use it in schools. So but as for classics, it’s funny, and there’s some that we really need to let go of. And I think that classics heavy curriculum canon for like, if you’re looking at like 9 to 12. And if it’s if there’s more than 50% classics, I think that we need to rethink that because it’s not, they’re not going to connect as much with today’s teens, more so than even us. Like for me, I could read a book from the 40s and connect more because I still had a phone connected to the wall. I still, I was walking down the street in New York this week. And the amount of times my son and I were like, oh, I wonder what that was. And I just said, Hey, Siri, blah, blah, blah, and ask the question, and she answered it. It’s a different world now truly a different world. It’s not just that we move forward, it’s that it really is a different world. And I think that our literature and our canon needs to reflect that.

Esther: Well, thank you very much.

Amy: Hey, thanks, Esther. Great questions and I’m going on and on. But that’s me.

Maya: Hi, I’m Maya. And a few years ago, we spoke with another author. And she talked about using sensitivity readers before publishing her book. And I was wondering if you have any sensitivity as readers before publishing, because you take a lot of characters and a lot of different perspectives. And yeah, I’m just wondering how you dealt with that?

Amy: I’m very lucky to have the editor I have. Andrew Carr is incredibly conscientious when it comes to all of those things. And we talked about sensitivity readers more than once. The character in the book, Ian, who’s really the only character of color in the book, that was intentional, because I wasn’t talking about race in the way that I you know. I’ve been wrestling with this, I just want to say this, like, I’ve been wrestling with the idea of race and whiteness, and what to do about racism since I was a very young kid growing up where I grew up, because it was very, I luckily had a very anti-racist parents and because I had anti-racist parents, I certainly noticed this stuff more. And, before I graduated high school, I’ve seen people in full Klan robes, you know, you need to understand, in fact, before I graduated high school used to deliver pizza to the grand dragon of the Pennsylvania Ku Klux Klan, so, and to meetings in his house where he had, you know, Nazi flags, and he was also a member of the American Nazi Party and, and had portraits of Hitler and things like this. And so I have been grappling with race a long time, so give me a second. Sometimes my grief brain gives me what was your question again, Maya.

Maya: If you use any sensitivity readers?

Amy: Thank you. Okay. Thank you. Alright so, when it came to Ian’s role, I was terrified when I published this book. Cause I didn’t know if anybody was going to, you know, take the opportunity to run me through the painful machine of Twitter, and other places like that. But we didn’t use a sensitivity reader. I suggested it more than once. Andrew read it. We combed it pretty well. I think he probably had a few people maybe to bounce some ideas, but maybe not. I honestly don’t know. Between the two of us we realized what needed to be done to make sure that it was exactly what we wanted it to be. I tend to not write out of my lane very much. The experiences in the book beyond just Ian are things that either I’ve experienced or are close to me via the volunteer work that I do. I’ve written or I’ve worked with, I’ve worked with a great many survivors and I am a survivor of a great many things. And so because of that, I feel that I can write points of view like Loretta’s family, or Malcolm’s family or Malcolm’s you know, and even just the completely fractured family that the whole family is. I have lived through that. And what’s interesting is that I wrote the book, it came out in March 2019, right.

And in December of 2018, so only three months prior, my entire family was exploded, my birth family. And my own family was had exploded that the year prior, through meddling with, like, it’s funny, I tweeted today something about how we were all taught, we’re taught that a good life is uncomplicated and free of villains.

https://twitter.com/AS_King/status/1466755486754164737

It is not. You will have villains in your life, you will have people in your life that really screw with you, that really stir the pot and can in fact decimate your family. And that is what happened to me. I had one agent decimate both my family and my larger family. So when it comes to sensitivity readers anyway, about those sorts of traumas, I don’t need them, because I’ve experienced them. And I work with people like that. And then I’ve worked with people like that for decades, decades and decades.

Maya: Thank you.

Amy: You’re welcome. Thanks, Maya.

Kristen:  Hello, I’m Kristen.

Amy: Hi Kristen.

Kristen: So, Dig has so many layers and small intertwined details. So I was wondering, like, was your writing process to write the book and how many drafts did it take?

Amy: Oh, boy. Well, Kristen, a trillion drafts, a trillion drafts. So it started okay. The writing process was pretty simple. It was the usual Amy stuff. First of all, I use, I didn’t realize it was surrealist writing that I wrote, like, 27 books before I have a student interview me and told me about the surrealist writing process. But basically, I sit down, I have a feeling, I make a character out of my feeling. I often say basically, that my characters are thesis statements. If you wrote an essay about something you cared passionately about, my characters are those thesis statements personified. Sounds weird, right?

Anyway, so I started writing exactly the order it’s in. Marla and Gottfried and then the Marks brothers, who, you know, are loosely based on people I knew and went to school with. And then I started writing The Shoveler. And then about 60 to 80 pages in The Shoveler,

The Freak showed up and everything and bummed the cigarette off of them and all that stuff from the early scene. The Shoveler stopped telling me stuff. I was like, super bored. I was like dude, you are not even telling me stuff. So I threw the book out. I was like, forget it. I have to start, I have to write another book.

So I started reading another book another week. And it’s it was about this girl named Can I help You. And she worked at the drive-thru at Arby’s, and everything was great. And she goes off with her friend and into the park. And then this kid shows up with a shovel, and he’s shoveling, and there’s no snow and I’m like, that is an A.S. King novel, pull The Shoveler back out of the trash can, and then try and figure out how they all fit together.

So honestly, the early parts I can’t even tell you, like, I don’t even remember when Malcolm showed up. And I don’t know if he showed up in order. I think he did. I think he showed up in order. Suddenly, the book started to come out in order, but I didn’t know where it was going. To give you a good idea of how clueless I am when I write my books, this book took about three and a half years to write. And still at the, like, late two-year mark, I keep notes and track changes for myself. And there was a note next to; I don’t want to give too many spoilers, but there was a note that said, “who is this girl?” And that’s it that was to do with The Freak. Who is she? And then only a few pages later, it said, who’s the fifth cousin? Why do you keep saying five cousins? Who is the fifth one? So that’s how clueless I am in a way as I’m working through a book, right? A lot of that has to do with the fact that I had to pull myself out to teach every month which I’m not sure serves a book and or me very well.

But either way, you know, the layers. I also do really, if you want to see a visual let me just do I have a visual. I have, yeah, let me show you.

A.S. King holding up highlighted text from Dig.
Photo credit: the Horn Book: https://www.hbook.com/story/5qs-for-as-king-feb-2020

I do things like this, Kristen, that and this wasn’t for Dig. This was for the book that followed it: Switch. Dig’s was ginormous. It’s actually, if you go to the there’s a place called The Horn Book, it’s a review site. They have this online, with me holding the one for Dig. But, and Dig had a lot more colors. In fact, I ran out of colors because they only make so many highlighters, right. But each part would be color coded. These are the names of chapters. Okay, so this is just a table of contents. And that’s how I do it, right. So I log the timeline like, because we have to stick into a calendar, right, we still have to do time inside of stories, right? I do all that. But then these are each threads, each one of these are threads.

With Dig it was different points of view. So Marla and Gottfried got a certain color, but again, a different color. So revision is everything. And I’ve always said this all my writers. Revision is the sport. And so for me, that’s where things come together. And that’s what I really learned about the book. So when it comes to how many drafts every day is a draft, like every five minutes is the draft, you know. But with this book, I trusted my gut. That’s the biggest thing, having the confidence to trust your gut. And from there, it was just three years of a mix of everything, writing new stuff, and revising and getting whole new ideas, cutting huge chunks, all of it.

Maya: Thank you.

Amy: Yeah, you’re welcome.

Addy: Hi, I’m Addy. I was curious about the tunnels in Dig, and just like, how they operate like, are they a metaphor for like an actual place? And like, they seem to kind of mean different things to each character. So like, yeah, how does that work in the story?

Amy:  Excellent. So I didn’t catch your name because things glitch out. What’s your name again?

Addy: Oh, Addy.

Amy: Nice. Hi, Addy, all right Addy, tunnels. Funny you say that. Alright, so let’s go straightaway just to the really obvious one. So when The Shoveler, Marla also has it too, when the, The Shoveler talks about things that really stressed him out the blocks of text get smaller and smaller. Okay. So when I was first writing this book, and I wish I had the little notebook near me, but I don’t. When I first started writing this book, I thought that it would be in shapes. Not concrete poetry, really. But I just thought that maybe there’d be shapes and tunnels running along the bottom of it, which is funny because I think that might happen. The book I’m writing right now, a lot of my books have tunnels in them. Because I think we live a lot of our lives underground. And I do believe that’s a quote from another one of my books. But that we live our lives underground, again, because often we’re pretending something isn’t happening when it is happening. And that is a story of my life, which is I don’t want other people to have a lifelike, that’s part of the reason I write. But um, so the tunnels meant different things to different people with The Shoveler and Marla in those parts that were very visual. They were meant to represent anxiety and, and panic. I had suffered from panic disorder for just a small period of time.

And I certainly had situational anxiety for quite a bit of time. And it always felt a little bit like I was in a tunnel that was getting smaller, a little bit like when I first tried and first and last one time tried spelunking, that was the end of that as the as if somebody has shoulders my width? Or with shoulders this wide that is not made to be a spelunker.

But other than that, they really the tunnels represent a great, that’s a great question. Because I mean, there are many in my books that you don’t know that Addy, but like they are in many of my books. Tunnels represent where we live our lives, I think, where we really live our lives, I guess it’s a metaphor for everything, everything from the way we think about ourselves, what we really think of ourselves, what we think we deserve, what we do, what we do behind the scenes to ourselves and to others in our own minds. I think the tunnels might, I think the tunnels might actually be a metaphor for the mind. I don’t even know now that you’ve asked this. I’ve usually asked more, more kind of concrete questions about them, but on a wider level.

Like, I wrote a book called Gloria O’Brien’s History of the Future, and people can people keep mentioning that this week due to the Supreme Court situation at the moment and women’s rights. And in the end, the women, the women who were eventually forced out due to many different laws, forced to live on their own in the forests and eventually fight a war in the tunnels. That’s where they fight the war.

So I think we fight wars in our own minds all the time. You know, I think that’s what the tunnels represent. So one of the funny part about this, about Dig was that sinkhole at the end. And it’s funny because my entire town is built on sinkholes. In fact, our high school is built on a sinkhole. I think that’s hilarious, and that will come into a book one day, but my car really got swallowed by a sinkhole in front of my house a few years ago. And that’s why I got interested in sinkholes. So when that happened and this, you know, I don’t know. And he could look down there and The Freak could find that egg. You know what I mean? And all that stuff. It’s a connection between the terrestrial world where we have to be good people and, and not good people good. We have to look good. We have to look good, right? So in the terrestrial, it’s all about curb appeal. It’s all about what you’re wearing, right. But in real life, I think the real-life is lived in the tunnels. There you go. You just so you just heard me work out an answer to a question and work out my own metaphor right in front of you, because you asked a great question, Addy. But yeah, that’s what it represents. But it also represents anxiety, depression, anything that puts you in a place that’s you that we’re not allowed to talk about. Right? And we’re not allowed to talk about this. And we do now we talk about them, but we people still look at us kind of funny, right? Like, I’m normal. What about you? It’s like, we’re all normal. What’s normal? So, yeah.

Addy: Thank you so much.

Amy: Yeah. Thanks for that question. Eye-opening as always. It’s always eye-opening questions from people that make me understand my own work better. Thank you.

Jeanie: Thank you for mentioning Glory O’Brien.

Amy: Oh, hey, I’ll show it to if you want. It’s right here. Just saying I got more letters about this book in the last week. Well, first when Donald Trump got elected, I got a lot of letters about this book. Anyway, alright, Elijah is back. What you got.

Elijah: Because what you just said in the last two questions was too interesting. So okay, let’s see if I’ve got my notes correctly here. So you were talking first off about how characters are your theses and that you really write as you go along. So and also that you like this, this this theme of tunnels that you talked about, you share across a lot of your books, and a lot of your books have the same idea of tunnels running throughout them. So how do you work out the, it’s easy to say that Dig has a lot of symbolism and thematic elements to it. So how do you tend to work those into writing processes? And how do your books share these ideas and these symbols and thematic elements across each other?

Amy: Great question, Elijah. All right, so here’s the deal. I never try when it comes to theme. When it comes to theme, if I’m trying, it feels shoehorned. It feels fake, right. And I refuse to feel fake. It’s one of the things that freaks people out about me. It’s one of the reasons I’m divorced, that’s for sure. Like, hate to say it, but it was like, I but it also is one of the reasons I have lasting friendships that are 45 years old. It’s because if there’s a problem with something, I’ll go, hey, there’s a problem with something and my friend go oh, oh, okay. Whereas, you know, some people aren’t as willing to, to work out just real stuff. Honestly, that takes place in real-time and can be sorted out in five minutes. But some people will make a big deal out of that. Some people like hiding that anyway.

But when it comes to sitting down, so I don’t fake it. And when the tunnel shows up, or when a metaphor shows up, I roll with it. Like at the moment, Elijah, I’m writing a book. Speaking of tunnels, that was based on this drawing right here, it says system, it’s a hamster tube. And then inside the hamster tube, there is a chair. Okay, that’s all you need to know. I’ve been staring at this for a year, it’s been here for a year. And I’m like, I know what this means. What this means is that I’m going to write about a woman who’s sitting in a dinner chair that’s in a system of pneumatic tubes that are human-sized. And that’s how she is carried around her home. It’s a metaphor for when you’re living with a controlling or abusive person, they take control over you – they emotionally separate you from your children.

It’s a very, very common thing that happens in an abusive household. And so mom then is like, in this case, it’s a metaphor for mom being in the tunnel and everybody going, “Why isn’t mom available? Like this is ridiculous” But in actual fact, mom’s there the whole time. It’s just, you know, in this case, dad has has made the children iffy on her. So that metaphor is just bam, right? It’s obvious. It’s like, it’s like a punch in the face that one, like if you look at it, and this now as it’s coming out, it’s coming out even more brutally on the page than I expected it too. But honestly you trust it? So here? Here’s an interesting one. All right so that book that I started writing, see those? Okay, that looks like a plotting sort of thing, and it kind of is but it’s not. It’s just a lot of different ideas that are kind of in order like I’ll know something has to happen. I haven’t written the end part and I haven’t been any post-it notes up there yet. Right. But for me, every single thing that’s written on those post-it notes was there from that day that I sat down and went blah,  that I sat down and just sort of vomited out my feelings, my words in character, though, like so we go back to that thesis statement, I’m very upset over this idea that abusive men separate their children from their mothers. What effect does that have on the mother? What effect does it have on the children? Go.

And so immediately it comes out in a character. And there’s this character named Jane and she is pissed. She is so angry. And she has just discovered at age of 16, that this happened to her and that her mother was there the whole time. But she just thought the wrong crap about her, she is so angry. And yet she knows she’s going to take her dad down. And she knows she’s going to rescue her mother somehow. She knows all this, but she doesn’t know how yet. And we’re about to find out. And so am I, because I haven’t written the I’m only 17,000 words into the book, right?

But every single idea that’s up there is already in the book from that moment when I flushed it all out of my system, they’re all hints, and they’re all there. Right now I’m 70 pages in. Everything I need to know about that book is already in it. I have to go in with my archaeologist tools and find it. So I know, “I do not lie to God” is her first line, right? But then it says, “my father is a liar, a thief, a traitor, a brute, and a killer.” And I’m like, a killer that could be a mystery. That’s a fun book. And if you know my books, Dig included, they are kind of strange mysteries in there, like who did this? And you know, how did that happen? And so all of those are hints that are already in the book. It is a cosmic process for me, Elijah, I have to trust what comes in through my crown chakra, and my brain sends to my hands, and I write it down. And then I go from there. So it’s truly cosmic. I trust in an untrustworthy world. It’s gotten me into a great deal of trouble in my life, but it’s also brought me the most joy.

Elijah: Okay, I’m going to ask one more question. I’m going to take more time for myself. So people often thought about reading books, or like a lot the entire works of an author, right? So they can like look at the author’s, like, changes and thoughts over time, look at how these books connect. What would you think about your books being used like that, or taught like that? Or what, what do you think with that with this, these connections of themes? And also, how, what, do you do with all of that?

Amy: Wow, well, I mean, I would welcome that. I’d probably say, hey, bring me in, zoom in, like I did now. Um, but also, I mean, I do have people who do that, not in classes, I have academics who do this. And I do have academic, I have academics who teach me in their young adult literature classes, and they might teach three or four, two or three, three, usually three titles of mine. And probably absolutely talking about those things. But yeah, that’d be fantastic. I mean, what would I think of that? That’d be awesome. And I think that they would discover a great many things. I mean, now I’m only 51. So I’m like, look, I got at least another 30 years of writing and me so this is going to be interesting. Especially now because I’ve become very empowered over the last few years and I feel a prolific bout coming on. And if I’m to believe my astrologist I believe that’s what’s about to happen and so I don’t, I don’t know where it’s going to take me hope maybe I’ll finally find my way out of the tunnels. Elijah, what do you think?

Elijah: Thank you. I’ll go back to letting other people talk to you as well.

Amy: Don’t apologize for your space brother never apologize for taking space.

Avery: Oh, hi, I’m Avery.

Amy: Hi Avery.

Avery: And I was sort of connected to like relationships and Loretta. Actually, The Ring Mistress, and like I’m very curious about what’s the deal with the flea circus, like is that magical realism or is that actually happening in the book?

Amy: In the book, it’s actually happening. Flea circuses are a real thing and they do still travel around America. And there’s actually there was one recently here and I didn’t go and see it which I kicked myself. Oh, it was COVID, that’s why. I don’t even know if it oh, I don’t know if it came but I think it did but it was mid-COVID.

You know I don’t know where the flea circus came from. I wish I knew. I wish I knew where half of these ideas, they just came, they come up but I’m part of it is because I mean I know a circus family, and I spent a lot of time at the circus in Ireland when I lived there. So, I, having been behind the scenes, having been nearly stepped on by an elephant once, having been and also seen you know different elephants being very sad and you know standing in one place rocking. and just tiger escapes and all that but also sequins and you know all the different talent, the different acts over the decades. So I think circus life is amazing, but I think it was for me I think it was a metaphor for obviously, you know, trying to escape and what she was in. But the flea circus itself I mean. Well, do you want to hear the deep metaphor behind that that just came to me? Here you go. You got Loretta right. Loretta is in this horrible household, let’s call it horrible, there’s really no other way to put it because that’s really quite full-on abuse that’s going on in that household. Not to say other abuses and full on like the one I just described and the pneumatic tubes also full on but not as brutal right. This is out and out brutal. And what does Loretta have? She has fleas. What do they do? They eat her blood.

And when you come from a household like Loretta’s, you are primed to land with people who will absolutely feed off you. Those people I mentioned earlier, the villains, there are villains in our lives. And there are people who attract the villains. I didn’t know this until I attracted so many villains myself. It made me stop and go, what is wrong with me that I keep attracting these people? It could be a little bit of codependence, it could be because I’m just massively nice and I mean that in the nicest way. I’m that nice to everyone. But now, I’m sort of like I have my boundaries. I know how to draw them. But I also refuse to be a dick. If I’m allowed to say that on podcasts. Okay, I can? Okay, good. I don’t want to be one of those. So but with Loretta, that I think that was an unintentional or at least fell into place metaphor for the fact that she’s preparing herself for what she’s about to endure. You know, I mean, a lot of people are like, oh, Lord, I can’t wait to save her. I’m like, well if you save her, you better buy her, like, a decade’s worth of therapy. She’s going to need it, you know, some deprogramming and other things. But I think that that’s really the deal with the flea circus.

Yes, it was real. Yes, it kept her. It gave her friends, it gave her companions, it helped her. Having that audience that was in her mind really helped her. I think it helped her understand that what was happening in her house wasn’t normal. But what’s about to happen to her and what she really is, is she’s going to be fodder for other people if she doesn’t watch out. She’s going to walk straight into it, probably like the rest of us. Most survivors of early childhood trauma walk straight into it.

So yeah, deep, but deep, but there’s my answer.

Avery: Thank you.

Amy: Hey, you’re welcome. Thanks for a great question. I love talking to people who read books, because like I said, I end up learning more about my own books. It’s fantastic. This is the best part of being a writer. That’s why, that’s why, I’m like, hey, zoom me in and I can learn more about what the heck I put in that book.

Kate: I’m Kate. And I was wondering about, you’ve been talking a lot about how you write with like surrealism, and I was wondering how that helps. That writing technique helps you unpack the themes of white supremacy, and patriarchy, and all the other themes in Dig. How do you use that to your advantage?

Amy: Well, you know, great question. The surrealist writing method is about two things. Now that I understand it a bit better and again, I don’t want to call it that. It’s almost like giving Andre Breton and the surrealists credit for what I did for like 26 years, without even knowing about them, right.

At the same time, one of the images I want to give you about the surrealist writing method is this. Okay. Andre Breton and Louis Aragon were in a field hospital in Paris during World War I. Now try and smell that for me. Try and see that for me, right. It was bonkers. It was horrific. World War I was a bloody war. All wars are bloody wars. But World War I was particularly gross. And so there they are. And there’s a great, like, drawing of this somewhere, there are a few of them. You can actually look it up somewhere online. But there are all these dudes, all these soldiers on the floor and on, you know, litters probably on little, you know, we call them litters is the best I got anyway. And they are in different states of disarray. They are wounded soldiers that could be missing a leg, that could have a belly wound, there could be whatever, and they’re all bandaged up. And in the front of the room is a stage and on it is an upright piano, and someone playing it. And somebody else has like a top hat and a cane and they’re entertaining. Stop and tell me how messed up that is. That’s the most surreal thing ever.

And yet, these men on the floor, the trauma they’re going to carry with them is bonkers, right? It’s huge. They’re going to come away with PTSD, complex PTSD, so many different things that I mean, they could split. The mental health issues the soldiers have are A. very serious, B. very ignored in our world, which is why we keep having wars but then not having to deal with this. It’s amazing. The guys, who start the wars, never have to really deal with the PTSD, or anything else.

But anyway, so for me, go back to why do I write? I write because I live with trauma. I’m still living through trauma. I also write because I care very much about other people with trauma.

And I like to talk about trauma because in our culture, we don’t talk about trauma, and then it trips us up and we go through our lives thinking that a good life is an uncomplicated drama-free life.

How many people talk about oh, no drama, really? What kind of interesting life are you living? Really? What kind of lie are you living? Every one of us has drama and weirdos and villains come in and out of our lives. So when I want to talk about trauma, especially with young people, one of the best codes, right, is in surrealism because young people are willing to go what the heck is this about and dig deeper versus go, this is stupid, I feel bad for being right on putting it down and clutching their pearls and walking away.

But when I want to talk, I want to talk to young people about their trauma because most adults don’t. And they don’t take it seriously. And because they didn’t take their own trauma seriously. And this, again, has to do with our generations, right, we go back to generations 11 and 12, and then mine 13. And now yours 15. And we get to this place where it’s like when are we finally going to take the intergenerational trauma that we’re all carrying with us seriously. And if we want to take that away, I want to be able to shift that here we are, we’re white people, okay, for the most part, I’m no offense, I don’t want to make any assumptions. But we’re all you know, I’m a white person. Now imagine the intergenerational trauma that comes with being a person of color in America. Imagine the generation to generational trauma that comes from being a native person, an indigenous person in America. And I believe that the pain in the blood and is in the soil, and here’s the deal, it seeps up through our feet. So if you’re a person of color, that’s a different type of feeling. If you’re indigenous, that’s a different type of feeling. But if you’re white, there’s a lot of shame and guilt, and trauma in the fact that our ancestors did what they did. So that we can say we’re the greatest nation on Earth, which is a bunch of bunk if you ask me, we’re a good nation, we could be better, we could be so much better.

And so the reason I use surrealism is to touch the trauma. It’s one of the best ways to get into trauma. It’s one of the best ways to talk to young people about it and to get to all readers. I mean, this is one of them. And this family, when I think about this family, this family is trauma from the very top, what happened to Marla was so minor, but that Uncle laughing at her and how it all went down and how that affected her shame because we’ve walked around with it. So we’ve got this big shame organ and one person goes ping when we’re eight, like, pings it, right, flicks it. And next thing you know, for the rest of our lives, we’re an asshole. Imagine if we could at least go oh, we have this shame. Oh, the shames because of this. Oh, okay. And then be better off instead of being a jerk about it, you know?

And that’s why, that’s the long answer and short answer of why I use surrealism in order to talk about trauma, because trauma needs to be talked about and I will go to my grave screaming that because it’s how we get better. And it’s how we do live good lives. We can live good lives by facing the complications and facing the villains in our lives. And then moving forward despite them.

Kate: Thank you.

Amy: Awesome, thank you. I want to stay here all day talking to you guys.

Jeanie: I am in love with this conversation.

Amy: Great. I am too.

Jonah: Hi, I’m Jonah. I want to ask if you experience any backlash for Dig or like white rage fighting back.

Amy: All right. Hey, Jonah, how’s it going? Here’s the thing I did on April 10, 2010. I stopped reading online reviews by amateurs. The only reviews I read are those from trade magazines. And in those, I saw nothing.

I did happen to go to Amazon one day, this is way back, like soon after it was published. And I went to grab something else from that page. And for some reason, I saw there was one one-star review. And I did this thing I hadn’t done since 2010. I was like well if it’s really long and really bad, you know, I guess I’ll just check it out anyway, and it was very short. And all it says is don’t read this book because it makes you feel bad about being white or something. And I thought, “oh good, I did my job.” Other than that, I have not received any hate mail as of yet.

On the banned book list from the guy, the representative in Texas that’s been circulating through, I would call them hate groups actually, I don’t know what the name of their group is. But it’s basically to destroy things versus build beautiful things. But one of my books landed on that but Dig did not which shows you that they’re not reading, they’re just, they’re just pulling books off of other lists. So I have not gotten any backlash yet. But let me tell you Jonah the minute somebody reads this from that crew, I will be I’ll let you know, but it’ll come at some point, and or maybe I finessed it enough. I mean, this is the thing. Like I’m not really here to say these people are bad. I’m more just to say here are these people, what do you think? In a way right and you guys read it went oh, okay. These people — these people, you know, these people have problems. They do have problems. But you know, I don’t know, I get a lot of love for this book from 70 years old to 14 years old saying, “well, how did you know my family and I’m so glad you wrote this.” So I get more of that. But so far no backlash, yet. But I tend to be soft censored. This is the other thing I should say. Like, when I’m censored in a school, or banned, I’m banned softly, which means they’ll go on to Amazon or another place like that. And if they’ll read the one-star review, specifically, to see if there is any like, is there F words? Are there this or that? Is there any sort of sexuality? Oh, no, none of that for the teens-  because that never happened. Like, I roll my eyes or other things, you know, but because it’s about white supremacy, I think somebody is going to get their hands on it one day, but let them clutch that their pearls. So far, it’s been okay, but I don’t know other than that, except I stay in a very safe little bubble so I can continue writing books about trauma for young people to free them. I prefer to stay in my bubble. Yeah, great question. Thank you.

Jeanie, my stomach is growling and you’re probably going to pick it up. Good. I’m glad your mic isn’t picking it up. Hello.

Elly: I am Elly. So, my question is if politeness is wielded as a tool of white supremacy culture in two very different ways. In Marla’s case, it is kind of used for control. And in Can I Help You’s case it kind of gives her a sense of worth. So was that intentional and could you talk about it?

Amy: You said politeness, right? I’m just making sure.

Elly: Yeah.

Amy: You guys have great questions. Um, politeness? Well, I mean, Can I Help You is a fantastic rep. Like that’s a metaphor right there for politeness. Right. And her mother has the bell, which I actually have downstairs. I did not smash it with a hammer yet. I’ve yet to do it. COVID came and for some reason, the bell lived. But not to say,I had written anti-racist parents. That came from a grandmother who wasn’t so anti-racist. But politeness is used constantly. Actually, it’s one of the reasons well, polite, polite conversation, let’s go into that. Let’s go into that term. Right. What is polite?

Yes, Jeanie asked me, the bell is real. It’s downstairs. It’s very small and very touristy. It’s ridiculous.

Anyway, polite conversation. Let’s think of that. Polite conversation. Well, we just talked about trauma. Can’t talk about that in polite conversation. Racism, can’t talk about sexism can’t talk about that. I actually mentioned the other day that I was, had had a man published, and Switch or any of my surrealist titles that they would be lauded for. And I’m not saying I’m not lauded. I’m not here to like, I don’t care. I don’t mind. I like writing the books I write, I’m very happy with my life. I’m just saying that the business and the culture would elevate a male writer for writing what I write and they wouldn’t kind of bench him. As far as they concerned

they think YA is a bench I think it’s actually a hot air balloon that takes me higher and higher.

But most of the things I talk about period are not polite conversation. And so I think that’s one of the things that keeps everybody down, but keeps white people in a place of privilege, keeps men in a place of privilege. Absolutely. But politeness, on a whole, is the reason we don’t talk about things. And I honestly, to me, that is the most bizarre idea that I can’t even argue against it. It’s just sort of like looking at somebody going, what are you talking about? Like, I kind of just have this horrible look on my face. Like what like, ooh, like, who would? How are you interesting? What do you talk about, then? Just the nice, you know country music or something. And, you know, I don’t know what people talk about if they don’t talk about problems. If we’re not talking about our problems. I don’t know. But you’re right. And that’s not considered polite. And so that’s how we wield it, I guess.

I mean, we wield it by saying, well, it’s not polite to talk about race. It’s not polite. I mean, that’s been said many times, oh, you can’t talk about race because we’re all white people. So we can talk about race, actually, we can very much talk about race. All white people are concerned about whiteness, which is our race. If we have to check a box there’s a box it says it, you know. I like a lot of times it says Caucasian. I’m like, that’s not actually what that word means. By the way, there’s a place in Asia that those people come from and that those are Caucasian people. We are white. Let’s just call it what it is, but we don’t like that. We politely call it something else. How weird.

So, we already know there’s a problem with it. That’s why we put Caucasians on the thing. But we don’t want to talk about the problem with the word white. Because we’re white. It’s so weird. It’s just to me like that. That is like I love your question. But at the same time, the idea of it right the concept of it is just so bizarre and not bizarre, there’s a better word for it. Farcical, the idea is so farcical that I want to leave it over there where it belongs? Yeah, kind of, in a way, I don’t know what to say about it. Because I just don’t live that life. I never have it’s one of the reasons why I have the friends I have and the people surrounding me or the people surrounding me, you know, I’m saying by this age, the people know what they’re dealing with. I’m a real in Jamaica, they call it real, real, real, not just real. I’m real, real. And it’s true. And but I don’t like hopefully I don’t bring like downer conversations to Thanksgiving either. I also can have fun. But it’s real fun. Because I’ve already dealt with the trauma. See, it’s not fake fun. That’s the reason we do this right. I help you. I got another I got an idea. I’m running do it to it.

Jeanie: Well, there’s this contrast, I don’t know if Elijah is going to mention this, between not politeness is not talking about something and gimme.

Elijah: That was exactly what I was going to ask about.

Amy: Ask.

Elijah: So, I mean, yeah. So, there is this contrast between the politeness of Marla which is exactly what you talked about, but there’s also this whole thing with Can I Help You like wanting people to say please. And then talking about this whole thing with gimme, gimme in, and also that whole code word with please, to buy weed? Yeah. And so, just how does that factor in? Because I mean, I call that, like, I think I’d use the same word, but I think they are two different two entirely different things. So it may not make sense to use the same word for them. But how does that factor in with this?

Amy: Okay, I think I think you’ve nailed it. I mean, Can I Help You? I mean, don’t forget she is not? She doesn’t like those gimme people. Well, I mean, look, that’s a privilege, right? And it’s so funny because we’re all taught to say please, and thank you. But then we get to the drive-thru. And I know this because I listen, and I used to run a drive-thru at Arby’s, but I didn’t sell weed through the window. Because that’s, that’s the fun part of writing fiction. I wasn’t, I didn’t think about that then. But anyway, just kidding. We are gimme gimme people. We are. I had a person, you know, I had a guy step right in front of me recently. And I had a guy who decided he was going to get in the carwash line in front of me just like just to do it. And then he sat there, and he didn’t move forward and go into the – he didn’t even know I was there. He didn’t know I was there. And so I think that I mean, gimme is I mean, that’s a privilege – that’s privilege right there. You know, and yet politeness, it’s funny because we live a double standard, all of us, for the most part, okay. And that’s one of the things that drives me a little bit bonkers about a lot of things.

I mean, I can go off on it when it comes to my relationships with men we’ll say. Why am I making it sound like there was more than one? There wasn’t, I was married a very long time. But yeah, I was married a very long time. But in that relationship, you know, you’d look at that sort of privilege and what people expect – the expectations. And the expectation in my life was that I wasn’t going to talk about the truth, which makes no sense. Because if you know me, you know, I’m going to talk about the truth. And that would, but it was it’s always framed as that’s politeness. You know, it’s polite, and you’ve hurt me if, if you’re talking about the truth, and I’m like, that’s weird, because you’re hurting me if you’re not talking about the truth.

I feel like almost there’s two different types. It’s a little bit Star Wars, right? It’s a little bit black and white of me to say this, but that there is like they’re the people who are willing to talk about this stuff that’s happening because people who aren’t and what we do, though, to shame the people who are willing to talk about what’s really happening as we said, it’s impolite. As for the gimme people, they’re the first people to complain when somebody doesn’t say please or thank you. They didn’t send me a thank you note for the gift I gave them. Really are you literally saying gimme to a child because you sent them a gift? In my world, a gift is something given. You don’t give gifts to get thank you notes. If you give gifts to get thank you notes you’re bonkers and you’re overdoing it. You know, there’s no reason like I’m sorry. There are times to send thank you notes. Absolutely, I will send you a thank you note at the bottom of my heart when I want to thank you. If you don’t give a gift because you’re giving it what are you doing? You’re manipulating? Right and that’s exactly how politeness is used. Right? It’s manipulating all the time.

Its constant manipulation. We are manipulated so much by every corporation, every politician, sometimes every family member, every person we meet. Manipulation is kind of the backbone of our language, right? When we speak, how we speak, how we do things, because why? Because we want to get things because technically it’s gimme, underneath all of that is gimme. And it’s interesting because the same person that uses that manipulation will turn around to you and say, you know, you really should be more polite? Or are you going to mow your grass? Or, or, you know, use a few leaves in your flower bed. I live in a town now. It’s so weird. People are so worried about leaves. I used to live on a farm. No one cared about my leaves before. People care about my leaves. Now, I’m like, and I do that once a week, like when the truck comes in, sucks them up, which right there also hilarious to a farm girl like – a truck come sucks up leaves. Mind blown, but I get it, and they have to manage their town. It’s wonderful.

But this is the thing – people think that me sucking up my leaves is polite. But talking crap behind my back about, say, my life, my situation. People talk badly about my household because my daughter died. How about that one? We don’t talk about death enough in this country. So that and people want sympathy when their mom goes or when anybody goes. But when I lose my daughter, suddenly it’s like, oh, well, that’s a sin, first of all, and it must have been a very nice home. Like that is the first thing we do. I don’t mean to like drop that information on you. But it’s just a very interesting way to look at the double standard of politeness. Because these people want politeness and then they’ll treat my family like this. It’s so weird.

But they don’t understand that that can happen to them any day, either. I know this because I work with people who’ve lost, same as I did. And they don’t understand that. Oh, that can’t happen to my family. Oh, oh, that’s not true. And that’s the problem. Eventually, it catches up with us. But I don’t know if I just went off on that. But yeah, I mean, it’s, it’s, it’s it. That’s, that’s how they that’s how they work. It is a double standard. It’s just a massive double standard.

Elijah: I think I’m actually done

Amy: One more question. Alright, cool, because I got to go to a training session.

Avery: So when I was reading it, obviously reading it with the book group, but my mom was really at the same time as me. And there’s so much to dig into. And even though like she’s older, and some people will say wiser, we still had like, the equal amount of talk about. So what would you say to people who mistakenly believe that YA literature is too easy and doesn’t have rigor?

Amy: Oh, boy, well, I will say that people who say that YA literature says is anything haven’t read enough YA literature. I teach YA literature. And I teach literature for young people. And what you’ll find if you actually study it is that there is as many different types of literature for children as there are for adults. So, if you want to walk into a bookstore and say all books suck, then that’s your that’s you’ve been oversimplified. That’s what I would say to that person. You’re you know, if you’re saying all YA literature is blah, that would be like saying, All literature for adults is whatever, I guess to put down romance the most right? Or fantasy or paranormal romance or God knows, I don’t know, whatever, whatever they want to put down, they’ll put it down.

Adults will put down things for teenagers before they’ll put down anything else, though. They will roll their eyes at you faster than anything else they will they will make you small. I don’t understand it. You are only coming into your adulthood and your lives. The whole point of our existence as adults is to lift you up, not to bring you down. So the first thing I’d say to anybody who’s saying that is wow, you don’t respect teenagers. What a shame for you. Why are you working with them?

That’s the first thing I would ask them. Why are you working with teenagers? Why are you on a school board? You clearly do not understand teenagers, nor do you care about them. You see, you see them as so small.

It’s the exact same as if they want to make fun of, I don’t know, I’ll say Justin Bieber, but that’s not what kids listen to anymore. But you know, what, whoever it is, they’ll roll their eyes and in my days it was Culture Club or Prince. Oh, God, you know, like, like none of us understood what Prince was talking about. Every single one of us knew what Prince was talking about. You can put a big sticker on the front of it and saying parental warnings, Prince says stuff that you already do. Whatever.

Anyway, as for people thinking that books written about young adults shouldn’t be in schools being read by young adults especially. I’ll say literary novels, I would consider this a more literary novel. If we wanted to put subcategories the way that we do in adult work which we should I don’t know what to say to them? With a, you know, you’re going to get your Shakespeare, you’re going to get to read The Merchant of Venice, you’re going to get to read perhaps Mockingbird, perhaps oh, I don’t know, whatever classics are in your canon. The idea is, is that teenagers feel seen.

The idea of reading a book is to feel seen. The idea of reading a book is to open your mind to a new world because you see yourself in it, if that makes sense. And also, to learn about other people, right?

I would hope that people who read something like Dig might read something that’s certainly more commercial, more popular. But something like The Hate U Give, which was published only, I think, maybe two years before it. And allows you to see and feel what it feels like to be a person of color and a community where you know, where the world is different, that’s for sure. For human beings that live in the same place as we do. And we’re so privileged, we don’t see that. So it’d be a great conversation, both for adults and teenagers. But I don’t know. The idea that people would think that something like Dig wouldn’t be for teenagers makes me understand that I already know this. I hear this lot. They don’t understand teenagers, and they don’t want to. They don’t want to stop and understand that teenagers, you know, the idea that people don’t, here’s one for you. But if someone says the word sex in front of a teenager, everybody freaks out. First of all, without it, those teenagers wouldn’t exist. Let’s start there. None of us would. It’s like periods, people freak out over periods. Why? Without them, none of us would exist. Makes no sense. But we freak out over it. And not only have that, like 51% of, let’s not go there. But they have them you know, but like, this idea that we can’t talk about drugs, oh, don’t talk about drugs.

Really, we used to have, we used to have commercials with a frying pan and an egg and this was your brain on drugs. Like, and then I have my kid we were walking around the other day. And he was like, so like, how come you can, people can like have a drink, but then they don’t become alcoholics? But then people say don’t touch heroin, because you’re going to get addicted, like what’s the deal? And like, he didn’t know the basics about drugs, because we’re no longer teaching it in health classes anymore, because oh, we’re too polite to do that. Which to me goes back to what young adult books are really doing? They’re delving into the ideas, and the things that teenagers need to discuss, to have healthy lives. So whether it’s something and a lot of times its heavy material, yes, there’s death. Yes, there’s even like, oh my gosh, suicidal ideation, self-harm, mental illness, but also race, but also love, also maybe some, some relationship abuse, or maybe a really great relationship. That’s what books are for – to model really good things for us and to warn us of the bad things and to help us see what’s really going on.

Why you would want to keep that from teenagers, I do not know. That would be someone who as far as I’m concerned is anti-intellectual, anti your intellectual freedom as young people, which is why public libraries and libraries and schools and librarians are heroes because they care about your intellectual freedom. Teachers as well. For the most part, depends on where you are, I guess, because not all teachers, I guess, would but I would think young adult books are for our for young adults because you’re going to see themselves and I think young adults are for adults because they’ll see their teenagers in them and better wake up and understand that the world has changed, and they might better be able to have better conversations. And better relationships with their teenagers, which is incredibly important, and as someone who lost a teenager who had a really great relationship with my teenager, I knew the situation with my daughter, she struggled for a very, very long time. And we talked a lot. And I do this work, you know, I’ve done this work for a long time, long before I lost my daughter. And I would not have been able to have the conversations I had with her had I not had an open mind to the teen experience. The idea that we were all perfect as teens is ridiculous. But the fact that we’re still trying to snow them into believing it, it’s not new at all. They’ve been doing that for generations. So what would I say? I would say, oh, grow up. That’s what I would say. To anybody saying that young adult books shouldn’t be read in schools, I’d say grow up.

Avery:  Thank you.

Amy:  Yeah, thank you. I got to go get trained. I’m going to go down to Mental Health America and be trained to run a support group. Otherwise, I would sit here Jeanie, and talk to you all day, you guys, students that just ask me questions. I know people are going and coming. But thank you very much for your questions. Meg, wow!

Meg:  I’ve got tears in my eyes, I’m shaking. I mean, what a champion you are for our young people, Amy. You are a gift to us, your gift to librarians where I can give a book to students with my whole being and my whole heart and open a door to the world that you create and honor them through, by being real, by being fun, by being honest and telling them the truth that they’re not hearing in other places. So thank you so much.

Amy:  Thank you so much for supporting me, it’s a huge deal. I got a lot of, a lot of teachers and librarians who back off of me and I’m cool with it, I get it. But…

Meg:  We’ve got all your books spread out on the table. We’ve got your whole collection here. Maybe Elijah and I will design the A.S. King curriculum.

Amy:  Well, listen, whatever happens when you do anything A.S. King again, let’s just do this, let’s zoom me in. That’s, that’s what I do. I like to connect and I’m about to be on the road again and do stuff. I think I’m just going to like staple an N95 mask to my face and just start traveling again. I miss being with young people and going into schools and talking. And just being able to talk openly about stuff and blow their minds in what I call the trauma comedy show. But they don’t know it and I don’t want to ever bum anybody out. You know, I always just want to help. I always just help.

Jeanie:  I really appreciate what you just said because when rereading Dig I laughed so hard. And I also am aware that you’re writing about trauma and, like, the capacity to hold both the humor and the trauma in one place is really powerful.

Meg:  Thank you, Amy.

Amy:  See you guys. Thanks for your great questions. Thanks for reading the books. Thanks for being champions. You’re amazing.

https://youtu.be/gCImXfeAWPk

#vted Reads: Start Here Start Now

Lovely listeners: today is a work day.
Now, we all know that talking about anti-bias work is a vital component of the kind of school change that makes our classrooms safer and more engaging for students of color. Doubly so when we are white educators, and when we teach in predominantly white spaces, in predominantly white communities. 
But sometimes, it feels like all we do is talk, and then assure ourselves that the work is done. 
It’s not. It’s really, really not.
Real change in dismantling bias in our classrooms can only come about when talk turns to walk. When we are serious about change, we share our own journeys, with all their missteps, rocks in the shoes, and joy-filled leaps and bounds. We share, and we listen, and only when we see what the work takes can we make the change we want to see in the world. 
On this episode, we welcome Emma Vastola and Emily Gilmore to the show, as they share their own journeys and all the work they take on, that they do each day to dismantle bias — and before we go any further I ask that you take a moment and hold these two Vermont educators in gratitude with me. 
<breathhhhhhe>
Now, we’re going to be using Liz Kleinrock’s “Start Here, Start Now: A Guide to Antiracist and AntiBias Work in Your Community” to guide our conversation, and as you listen, I want you to consider — reeeeeeeally consider — these two questions: one, how can YOU share your own work in this way? and two, what’s stopping you?
I’m Jeanie Phillips. Welcome to another episode of vted Reads: a podcast about books by, for, and with Vermont educators. 
Let’s chat.  

Jeanie: I’m Jeanie Phillips and welcome to #vted Reads. We’re here to talk books for educators, by educators, and with educators. Today I’m with two fabulous educators, Emma Vastola and Emily Gilmore, and we’ll be talking about Liz Kleinrock’s Start Here Start Now: A Guide to Antibias and Antiracist Work in Your School Community. Thank you so much for joining me, Emily and Emma. Tell us a little bit about who you are and what you do.

Emily Gilmore with Start Here Start Now

Emily: I’ll start off. This is Emily Gilmore. I use she/her pronouns. I am a cis, white, former social studies teacher, now working for Great Schools Partnership, as of this year. I was in the classroom for nine years. I live in Winooski, Vermont, land of Abenaki and I’m really excited to be continuing conversations with Jeanie and Emma.

Emma Vastola with Start Here Start Now

Emma: Thank you, Emily. So my name is Emma Vastola. I am a cis white female. I am currently teaching a multi-age fifth and sixth-grade classroom at a preK – six school in Mount Holly, Vermont. I am really excited to be here to talk with Jeanie and Emily today.

Jeanie: Thank you both so much for joining me. As you know I love to read and I love to expand my to-be-read pile even though it’s practically toppling over now. What’s on your bedside table? What are you both reading right now? Emma, why don’t you go first?

Emma: Okay, so let’s see. I, like you Jeanie, have a topple-like bedside table with lots of books on it. And so I’d have to say the one at the top is Dr. Wayne Dyer’s Change Your Thoughts, Change Your Life. That is one I go back to repeatedly that’s always there. Another one that I have been reading is Adam Grant’s Think Again. And I usually have a book of poetry at my bedside table, and I am not going to remember the name of it.

Jeanie: What are you reading Emily?

Emily: Well, I have been driving a lot more for work. So I have been shifting to audiobooks, I normally mostly listen to podcasts. So I’m super excited and started listening to Firekeeper’s Daughter by Angeline Boulley and it is unbelievable as an audiobook. Oh, my goodness, highly recommend. Especially since I spent time in Sault Ste. Marie two or three years ago, and so to be able to situate myself on the same land that the story takes place on is really powerful. And Michigan is just my happy place. So it just, it’s a beautiful story. And I can picture it all which is even, even better for me. And then…

Jeanie: Emily, I loved it so much. I read it twice. As soon as I finished it I turned back to page one. It’s so good. It’s so good. It’s so good.

Emma: I also read it Emily definitely. And on audiobook it was exceptional.

Jeanie: Everyone needs to listen.

Emily: And then the author Taylor Jenkins Reid, I just love. I love Daisy Jones & The Six. I love The Seven Husbands of Evelyn Hugo. And I just started Malibu Rising and it knocks it out of the park again, it’s just one of those books. She’s one of those authors that just like can kick start me into reading 1000 books all at once. I think I’ve read all of her books like within 24 hours. And so I’m really excited to just dive in again.

Jeanie: Oh, that just adds a whole author to my list. I’m really excited about that because I haven’t read any of those. Thank you.

Emily: You’ll love The Seven Husbands of Evelyn Hugo. Like Love, love.

Jeanie: Got it. I trust you. Thank you both for those recommendations.

So this book, Start Here Start Now: A Guide to Antibias and Antiracist Work in Your School Community by Liz Kleinrock starts with acknowledgments. And I wanted to start there too. What I love about this is that Liz writes a lot of acknowledgments. And she takes time to thank her parents and her colleagues and a host of writers and activists and educators. And I’m going to read a little bit that really touched me when I was reading this,

To my ancestors: it has taken me a long time to connect to you and hear your voices. While my life has taken many different turns, and some have felt determined by chance, I have no doubt that I am where I meant to be, doing what I’m meant to be doing. I recognise the strength I draw coming from a line of ancestors who have been colonized, enslaved, and persecuted across continents for centuries. I would not be here today if not for your strength, resilience, power, and sacrifice.

To every student who has come through my classroom door (both in person and virtually) in Oakland, Los Angeles, and DC, I love y’all so much. I hope you never forget that once you’re my student, you’re always my student. You are the real change makers, and I cannot wait to see what impact you have on the world.

I read that because it’s beautiful and because it’s true. But I also just had a conversation with you Emma in your classroom about creating a culture of acknowledgment and giving credit. And I just love how Liz Kleinrock models that here and how it centers her identity, which seems especially important to this book, and I wondered if either of you had any responses to the acknowledgment section of the book, to the beginning of this book.

Emma: For me, I think it really brings up the importance of like that thoughtful space to connect your past to your present, and acknowledging that those stories that are in those individuals and land have impacted you. And, and to give those credit, those credit and to acknowledge those who, who have really helped you grow into the person that you are. So that is a section that really is meaningful to me and really has impacted I think the way that I’ve structured and thought about structuring my classroom.

Emily: I really see the connection to what she models through starting her class with identity work, and that starting the book with identity work just feels really appropriate. And just already, like, creates an ease as the reader of knowing who the person is how they’ve been influenced. I think it’s just really powerful and accessible like, especially as teachers thinking about the impact that we have. The things that have impacted us, but also like the lasting impact that we then have as teachers just really feels full circle to me.

Jeanie: Thank you both for that. I think I’m a librarian by training. And so often, when we think about giving credit, we think of work cited and bibliography. But I wonder, especially for K – six if we didn’t start with citing sources in that in that sort of APA or MLA format kind of way. But we started just by acknowledging the folks that have influenced us, whether we created a piece of art, or did a project or wrote a story, like did we have a mentor text? Is there an author we love that we’re inspired by? Is there a classmate who gave us feedback that we want to give kudos to? Do we want to thank our parents or our teachers for inspiring us? And so to me, that’s all a part of this culture of giving credit. And I know that for you all, like me, I think a lot about who I’m citing. I try to cite people of color and especially black women.

And I just think that Liz does something really lovely at the beginning of her book, by citing Audrey Lorde, right, and her parents and her students. And so thank you for indulging me in my little librarian riff there.

The book really gets started with a focus on how do you even begin if you’re new to antibias, antiracist work. And I know that the two of you have been sort of doing this work for a while. So how did you get started? Or what might we learn, what resonated for you from Liz Kleinrock’s perspective that we might share with our listeners? Emily, you want to go first?

Emily: Sure. So I this will take me back to where I come from. So I grew up just outside of Chicago. My mom grew up in a Jewish household, her father’s very religiously Jewish, her mother is culturally Jewish. And so she leans more culturally Jewish. My dad was raised very Presbyterian, very English, Scottish mindset. And so that left a lot of obscurity for me in terms of what it meant to grow up with a Jewish identity what that means. And growing up in a community that was predominantly Catholic, it was a very stark difference to what celebrating holidays looked like for me, especially lots of friends and CCD on Wednesdays and going to Mass and how that changed our soccer schedules. And so that also left me really vulnerable to being the target of a lot of microaggressions. And just explicit anti-Semitism throughout my childhood, that it took a long time for me to really understand the impact that that had on how I viewed myself and my place in the world. But it did make me really empathetic to people who also identified as other that just ever since I was in preschool, I just always sought out stories of people who didn’t fit the norm.

And so as a social studies teacher that just was already ingrained in me is thinking about fair and not fair. S I know what fair not fair felt like. And so that really just exploded when I became, I really found myself in my voice as a teacher.

Jeanie: Thanks for that. How about you, Emma, where did this work begin for you?

Emma: Oh, that’s such a good question. I think for me, I was born and raised in Southern Vermont. Actually, I work in the school that I went to as an elementary school. And I feel like I was always kind of different in the sense even though it’s been, you know, pretty much white, small, rural town.

But my father started an organization, a non-profit called volunteers for peace. And they did international exchanges with different groups of people throughout the world. So they would bring people together for two to three weeks to work on short-term voluntary service projects that were focused on anything from helping, you know, build houses for people, or working in different kitchens. And each year starting from the time I was two, I think it was 1982. Actually, they started they brought a group of international volunteers to our small town. And so at that time, it was usually 7 to 12 people who would come together from different countries all over the world, predominantly from Europe, but I just got a sense of difference and embracing that.

And I love to listen and learn and be kind of this observer to learn about people and I think that I embraced difference moving into high school. Anyway, in college, I think that bringing groups of people together to talk about kind of challenging conversations always kind of drove me. I felt comfortable in that, and respected. And I think that that work has kind of driven me in finding who I am as an educator now. I think that’s where it started.

Jeanie: What I hear from both of you is this idea of difference as an asset, as strength. And what I really appreciate from Liz, is this idea of looking at our students through an asset lens – through an appreciative lens. And really seeing their strengths and seeing kids for what they are, instead of what they aren’t.

I know when I started doing identity work, it’s so much easier to be to talk about and be in touch with the sides of you that are disadvantaged, right or that don’t have power, right? Because then we can live into that myth of like pulling yourself up by your bootstraps that this country loves. And for me, the work was really being in touch with the parts of myself that hold privilege and power and, and who are wrestling with that a little bit. And so I think that’s what I see when I work with teachers. And adults too, is that that’s really hard for them, that it’s really challenging to notice where you hold power, and then to hold yourself accountable to that power. And so what I really appreciate about Liz Kleinrock’s approach is that she walks us through how to do that.

And that leads to a lot of great identity work, which I know we at the Tarrant Institute often talk to teachers about how to do that work with our students, because it helps us know students well, it helps them understand themselves better, it helps build community in the classroom. It helps us cultivate a critical lens on the world and understand difference and how it plays out. And I know that you have both done identity work with your students. And I wondered if you would share some examples of what that looks like. Emma do you want to start by talking about your Where I’m From poems and the other work you’ve been doing this year?

Emma: Sure. And I actually used Start Here Start Now because I actually read this book right at the beginning of the school year, and it was such a great kind of refresher on focusing on identity. And she actually uses some really good examples of I am from poems or bio poems. And so we used bio poems, or I from poems to really kind of think critically about where they were, who am I and where do I come from. And that process in itself, I think helps students kind of get thinking critically about their own identity. But also at the same time through sharing out within the community helps them learn from each other, and helps them build community and respect within the context of the community that you’re creating, especially at the beginning of the year.

What Shapes Your Identity? [Link to slideshow]

Jeanie: Emily, do you want to talk a little bit about the work you’ve done at in social studies with identity?

Emily: Yeah, so ever since my first year of teaching, I had students write me letters at the beginning of the year. So before we really did any community-building, before I really introduced myself, I would ask the students to introduce themselves to me before there were any judgments or spaces for students to get into the habit of, or to continue the habit of like negative self-talk.

Especially with high school students that just feels like that’s the default in a social studies classroom. It’s either I love social studies, I’m so glad to be here. And then I don’t know anything else about them. Or they hate Social Studies, and they don’t share anything because they feel like there’s already this negative association. And so that was something that I started really before my real journey with antibias, antiracism work.

And as I started to read the responses that students would give, I would give it back to them at the end of the year and they would really start to especially like, ninth-grader, I started with 10th graders. So they were, by the time that they’re juniors, they’re essentially seniors.

And so the ways that they saw themselves through the lens of their older selves, I started to really see that identity work happening. And then that became an explicit unit of study. At South Burlington, with the ninth graders, was having them look at their identity, looking at culture, and the different ways that it shows up and pivotal events and how they’ve shaped their lives, those three things together to start every year with those pieces, the students were so and part of that, too, was building a community of, of protection for each other. Acknowledging when we cause harm, and really focusing on how do we have meaningful conversations. Those have to go together, especially when we’re asking students to share pivotal events and where, where they came from things that have had an impact on themselves, and then sharing it with others that they felt comfortable, took a lot of really explicit work.

A lot of that having to do with SRI protocols and modifying them for the classroom like those, those pieces, really, there’s a lot of pieces together. But by doing that internal work, first, we were able to really dive deep into the historical topics that we covered. And having that sense of empathy was much easier to do, rather than the years prior, where I was trying to teach empathy, without those pieces in place.

Jeanie: Oh, I love that so much. And what I’m hearing from both of you is the sense that like, we can’t get to who are we and how do we behave together without doing the work around Who am I? And how am I showing up? And the reciprocity between those two feels really important. I think sometimes we try to jump like you said, right to the like, who are we? And how are we going to behave here without doing any of that introspection necessary to know what we’re bringing to the space? That feels really important.

I also really appreciate that because I think so often, when we talk about personalised learning, we put the emphasis on the individual, but I actually think the emphasis needs to go on community. And so this is a way of building community by also doing that individual work.

I look forward to putting some special links in the transcript for folks to go find that lead to Emma and Emily’s work in the classroom. Thank you both for that. So the other thing that comes up, Emma, did you want to add something?

Emma: Yeah, I would actually love to add, I love what Emily was saying. Just about the time, like evolving into, you know, spending the time on who am I and then evolving into who are we is so important.

I know I went into this this school year, I’m thinking about like, so much of being a teacher is, is oftentimes kind of fighting time. Okay, I, you know, we have to get this done. And this done, and this done. And this done, And I was really mindful going into the school year that no, we’re just going to take our time,

they’re going to take the time that they need to really know each other

And I think it was, at least this year, I feel like it was probably around 10 weeks and after doing lots of different identity things: a brand identity, learning about who am I and who we are, that it felt like we could have courageous conversations where we’re really having these I think that was Kleinrock, she talks about pulling in instead of pushing out in terms of having those conversations that are hard. So taking that time to spend on identity I think is really crucial. And it’s okay too.

Emily: I really agree with you. And I think that there’s, there’s this pushback with ABAR [antibias, antiracist] work in particular that it’s, it’s taking away from content. And I think it’s this duality of I got to know my students way faster and at a much deeper level, so that I was able to personalize their learning, understand what they needed to feel successful. I knew how to reach out to parents or families, caregivers, special educators. The students felt comfortable disclosing things that were going on in their personal lives, especially last year when everything was mayhem of like, we, the number of conversations we had about like mental health was so much more significant in a time where it felt like people were talking about mental health. And this really surface level like self-care will help you not feel burnout. It’s like, no, no, we’re actually talking about mental health crises right now.

And we’re working together as a classroom, to anchor really complex conversations.

While monitoring our friends, the ways that they’re showing up, despite wearing masks where, you know, there’s this sense that you see less of a person, but, you know, being able to see each other’s eyes and being able to really feel the energy in the room. It just would have been a totally different experience, had we not gotten to know each other. Through identity Yeah, I just, there’s just, I can’t say enough about how important it is to, to actually know and not make assumptions. Because that’s something that is so easy to do as teachers because we’ve seen so many young people in front of us that it’s easy to fall into that trap.

Jeanie: Oh, gosh, I so appreciate the depth that you two are going with this. And this idea that this difference between thinking we know our students, and really knowing our students and allowing them to voice who they are, as opposed to us assuming or falling into tropes that we carry in our brain because we’re seasoned teachers.

It also brings up the next issue that Liz addresses in the book, which is this issue of time. Specifically, how do I do this kind of work ABAR work and by ABAR just for listeners, we’re talking about antibias, antiracist work? How do I make time for that? While also teaching all the things (I am doing some air quotes here) need to teach, right? Like whether you think of that as covering content or staying on course, with proficiencies and curriculum? How do you also prioritize this kind of work? You’ve already let us know that sometimes you have to slow down and really get to know kids in order to do the important work that comes ahead. And have those relationships that mean you’re really being an impactful teacher. Or help them have those relationships with each other that helped the classroom sing. And having just been in Emma’s classroom last week, I can say the results of that deep work she did with her students is really paying off in how they show up and have been able to have conversations and relationships with each other.

But how else do you deal with that issue of time? With that issue of teaching the proficiencies you need to teach and embedding antiracist antibias work into the curriculum? Emily, do you want to go first this time?

Emily: Sure, I was just turning to page 24. In Start Here Start Now where Liz Kleinrock provides a really beautiful graphic organizer for ways to think really critically about what you have to do and what you get to do.

And that’s something that this is actually something I use in my work with Great Schools Partnership, working with other schools, as they think about their journey, whether it’s with equity work, or proficiencies, personalized learning. This is a disclosure: I love proficiency-based learning. That is also how Jeanie and I know each other is through our role in work. That was my focus, with my role in research was using student voice with proficiency in personalized learning. And so to see this chart that Liz has that, and I’ll read the header, so she talks about your identifying your state standards, and how your students will meet that standard, the subject that you teach, what do I have to do in order to do what I want to do? How can I tackle this through an ABAR lens? And what and where can I supplement/substitute.

And I think this is such a great, easy model to follow of like, these are things I have to do.

But when you really look at the language of standards, the opportunities are endless for the ways you can reach that standard. And that’s something that just made teaching, really fun to think about giving those same standards to students. And really think critically about why we’re doing what we’re doing. And how we can get to do the things that we want to do by thinking critically about the systems that are created.

In full transparency, we talked about the four I’s of oppression pretty early on in my curriculum with students. And so we are always thinking about where is that institutionalized oppression? And who’s deciding what we are learning with that ideological oppression? Where are those ideas coming from? How does that show up in our internalized selves? And that how does that interaction with each other really show up and the ways that oppression and liberation can be in place? And so I just, if there’s one thing in this book, it’s this, and then for the STEM teachers who are like, well, she’s a social studies teacher, so I’m ignoring her. Go to the back of the book, on page 129, because there’s a whole section for you stem folks.

Emma: So one way that thinking about this kind of work through a lens in terms of thinking of building a classroom, of trust and reflection. I just actually presented with Jeanie and another amazing colleague of mine, Margaret around personalized learning plans. And part of my reflection around that was on reflection, how it also ties into having students reflect really gets into then them knowing themselves, but also you knowing them really well.

The other piece of that, for me, too, is the beginning of the year, we spend quite a bit of time, actually using SRI protocols that are kind of rewritten at the level of our students so the students within our community can access kind of thinking about how do we want to feel in our community. And I’m going through like a negotiation of brainstorming ideas individually, and then collectively coming up with some ideas about how we want to feel as a community and then continuing to reflect on those feeling words throughout the time that we’re spending together. I think it helps to also bring in at least in you know, the elementary setting, to the ability to think about actions and choices and if they are meeting the feelings that we want to feel in my classroom. And I think it’s helping that that social and emotional piece that I think is also really critical, it’s not just another thing, it’s all the same.

Jeanie: I really, I really appreciate that from both of you this idea that it’s not another layer. It’s how you do the things you’re already doing. And whether that’s how you select books and articles and topics to focus in on and or the perspectives you bring to those things is really important to the conversation that kids are having in your classroom and the critical lens that they’re building up over time so that they can begin to identify racism and bias and then do something about it. So thank you both for that.

Emma, you’ve already alluded to the fact that if you’re going to do this kind of work, you’re also going to have to have difficult conversations in the classroom. And there’s a nice chapter in here about how to do that, how to hold space for hard conversations. And I wonder what has worked for the two of you when things get prickly? When you’re asking kids to think in ways that maybe are uncomfortable or when you have differences of opinion in the classroom?

Emma: Well, I think that I’m going to circle us back to making sure that there is that safe, caring community by doing like, starting with who am I, who are we and then identity work, I think creates that safe space to be able to call in. When having conversations about I think, even like in the elementary school setting, we’re really talking and I would say in any setting any educational setting, where we’re having tough conversations, the ability to do that is because there is this feeling of safety, to be able to take risks, and to be vulnerable, to ask questions and to share kind of vulnerabilities around certain topics. Because it’s a safe space for people to do that and for students to do that.

Jeanie: How would you build on that, Emily?

Emily: Yeah, I think there’s, so part of that part of what I’m thinking about is how power shows up in the classroom. And that was something that I was always pretty explicit about. I called myself a benevolent monarch, that I have been selected to be here. It was your destiny to be in this classroom, I have all of the power, but I can choose to be kind. And so I never wanted students to feel like I am giving them this false sense of reality of having a say in the classroom. Because ultimately, that’s, that’s just not true. I’m legally responsible for them. And so that was always something that I leveraged to really think intentionally about the conversations that we’re having in class, like, what are the things that were explicitly saying out loud? And what are the things that we’re saying to one another? And what are the things that we’re writing down and processing?

I think about the nuances between a safe space and a brave space.

And ultimately, it’s down to those in a classroom because we just you, I don’t have, I cannot control the brains of others. And so acknowledging that was really important for me in the students, first and foremost.

We had a unit on the history of race, racism, and oppression. That was a lot of journaling. Because I didn’t want my particularly white students verbally processing what it must be like to have a marginalized identity, when there are students who have marginalized identities, sitting next to them being like, cool, this is a space for you. But really, to make it complex to think about what are the actions that we’re taking? Like? Yes, we’re reflecting. But what is we all have power? Because I’m giving you, I’m actually giving you power right now. What are you going to do with the topic that you’re researching, or how you’re choosing to demonstrate your knowledge understanding that is going to be making the lives of others and yourself better? And so really frame and that’s, I mean, kind of the benefit of the classroom is like, this is a place that’s not out in the real world where there are more limitations to what you can say or do but this is the place where if you want to write your legislator, let’s do it. If you want to, you know, go talk to the principal about something you want to see changed. Let’s do it.

If you want to just read and process that’s really important, and so that being able to think about the avenues to take so especially when something hard and problematic comes up. It’s not a surprise, but there are also next steps to take. And I think what Liz talks about that I wish I leveraged was bringing her families, her community in with her. And that’s not something that I had even come close to doing as a classroom teacher, but it’s something I’m thinking about now, in my role.

Jeanie: I just feel like I’m in the presence of such genius between Liz and her words on the page. And the two of you, like, I’m just learning so much. And also just really appreciate Emily how you frame that as you are the benevolent monarch. Like you have power, and you have the power to do what Emma’s talking about, which is set agreements with your students. So that the culture can hold such things. And then also to make space for people to process this new learning in ways that are appropriate for themselves and for the other people in the classroom. I just really appreciate that so much. Thank you both so much for that.

And this leads to my next question, right? Because we are in the midst of a whitelash right now. I’m just going to call it what it is. We’re in the midst of a whitelash against critical race theory and all things equity and inclusion. We hear about it on the news. It’s all over social media. People are showing up at school boards, people not in the area, not from the community are showing up at school boards. And, and so that’s all of the work that Liz is talking about the antibias, antiracist work, is getting a lot of pushback in our racist society.

And so I guess, my question for you, and it’s not brand new, this has been ongoing. Emily, you taught at South Burlington as they were changing the name of their mascot, and they’re flying the Black Lives Matter flag. And so there’s been a lot of pushback in the past. So how do you approach this kind of work in that climate? How do you keep parents and caregivers informed and deal with criticism and still continue to do the work and not just give up?

Emily: I’ll just start by saying that it’s really hard. It is. It would be a bold-faced lie to say I had any kind of answer. I profusely sweat through my clothes when I teach the history of race, racism, and oppression to my students for fear of pitchforks. I’ve gotten Heil Hitler’s in class when I’ve said that I’m Jewish. You know, like, there are clear responses that have happened and will happen, unfortunately. And it’s, it’s really complicated.

But I think what is really important is making sure that we’re constantly learning, I think, especially as a white woman, there’s so much to learn and unlearn. Something that I always, I always feel like prevented me from pushing my curriculum forward more was that fear of backlash, and not being able to say the right thing about why what I’m teaching is important. And that is harming students. I know I caused harm to a student that is something that I continue to process and work through. Because I hold a lot of implicit bias, I hold a lot of unconscious bias, like there are a lot of problematic things with me. I am a white woman. I hold racist ideas. I have to work through those and make sure that I’m not continuously causing harm. And I think that’s one of the hardest parts is acknowledging that first, to then just hold that as a line of like, why  I can’t continue that same pattern, I need to make changes, which can be hard, but it’s important to your students. And that’s what always kept me centered.

Jeanie: Before we move on and hear from Emma, could you just talk a little bit about the bar we work that you do as a part of that process of processing your own bias and assumptions?

Emily: Yeah, so Christie Nold, who’s a fellow educator at South Burlington and just wonderful human and Jennifer Belisle, who was also a wonderful human, also in South Burlington, we, and Raechel Barone, she was also a part of it too. Christie really spearheaded the initiative. June of 2020, I think she reached out to us and introduced the idea of creating a BARWE group, which is Building Antiracist White Educators, creating our own branch of the organization that’s based in Philadelphia, the website is https://www.barwe215.org/. And creating a space for white educators to come together monthly to discuss topics that are coming up for us.

It became a really powerful space for responding to racialized incidents in South Burlington, thinking about how we can be co-conspirators together, looking at student achievement data and the impacts of racism and how that’s showing up in the students who are leaving our schools. It was has been and is continuing at South Burlington, and there’s been a lot of schools that have started their own, across Vermont. And it’s just a really powerful organization that is just for white identifying educators to be messy, and learn together without causing harm to our colleagues of color.

Jeanie: Thank you for that. Now, I’d really like to invite Emma in because I know she has things to add to.

Emma: Yeah, I would love to and I was really connecting to what you were saying, Emily.

The work of acknowledging yourself and your own biases within the context of your classroom and as an educator is really critical. And it’s hard. It’s hard work. It takes a lot of space to reflect and to generously listen, not just to yourself, but also to others in order to do this work.

And Jeanie, you were saying, you know, when there’s conflict and disagreement. For me, I feel like it really I, I tried to seek to listen and engage in a conversation around how to advance this work. I think it really starts with you. And I think that’s one of the big things for me and the big takeaways. And this is really hard work. And it really starts with individuals. And making space and time to, as Emily said, learn from others and reflect on who you are helps the practice grow.

Jeanie: You know, I work with schools and school districts around change, school change. And one of the recommendations I have for people is to get to know your district policies. And so for example, Kingdom East, a school district has a really excellent equity policy. And I think that can be really leveraged. If you get pushback about this work, right? Like you can look at your school and district’s equity policy and use that to defend yourself against critique, knowing that you’re doing the right thing. And so I think it’s really important for teachers to know who has their back, and to make sure that policy has your back. And it’s really easy. Having been a librarian, it’s really easy for districts to ignore their own policy sometimes. So like if somebody pushes back on a book in the collection, it can be a knee-jerk reaction for administrators just to want to remove the book to get rid of the conflict. But we have to remember that conflict is a really good thing too, right. When conflict is happening

it means we’re doing something, it means we’re shifting ideas, it means we’re doing the work if people are pushing back a little bit, and that that pushback can be a really good thing.

But also be familiar enough with your policies to know that you can go to the school board or you can go to your administrator, your superintendent and say the policy says this, that the policy supports what I’m doing in my classroom. So I just say that because I think it’s really important to know when you’re supported, and, and that policy has implications, and we should be pushing for equity and inclusion policies. Thank you both for your thoughtful responses.

One of the sections of this book I really appreciate living in Vermont, I hear over and over again from educators: “well, my school is mostly white, so we don’t need to deal with that.” And I’m like, if your school is mostly white, you especially need to have conversations about race and racism because that’s where it’s mostly invisible. And so I really appreciate chapter six, What Does ABAR Look Like If All or Most of My Students Are White? And I wondered if you could share your own understandings of why it’s important to do antibias antiracist work with white students, and what that might look like.

Emma: I think, for me, with at least with a predominantly white school, where I’ve taught most of my career, is I think it starts with the diversity. Acknowledging diversity and different perspectives and where we see diversity, even though you may be white. It’s like that idea of the mask identity mask, like what you see on the outside, versus what you see on the inside, and having conversations about that those aspects of identity. But also engaging in conversations and learning around how this has come up in the past for marginalized communities and people who have been marginalized to help the white students understand the context of what’s happening today and their place in the world, in a safe space?

Emily: Yeah, I think what I ended up finding most helpful was thinking about it through like a deficit mindset of like, if we’re only in the mindset that we’re only teaching white students, then that’s definitely not true. And that also means that the lens that we’re looking at our curriculum is going to be through this whiteness lens. And so whose voices are not represented, whose bodies are not represented, whose contributions to the world are not represented, when we’re not thinking beyond how we show up every day, and not critically evaluating what we’ve been taught. Because that’s what I feel like it’s most accessible to, to teachers in particular of like, well, why do you teach what you teach? And generally, there’s a response. And it’s either well, I’ve always done it this way, or I had a really bad experience in school. And so I want to make things better. Like, generally, I find teachers fall into one of two categories. They love school, and so they’re back in it, or they hated school, and they want to make it better. And both of those conversations lead to a critique of well, how did you learn what you learned? And when we think about, well, what’s especially histories, I always feel like it’s a really good access point of like, what’s the last history that you actually learned in school? And usually, it’s like the 1970s.

And when I taught chronological history, I never taught past the 1970s it was impossible to go from Mesopotamia to modern-day, what happened yesterday. And so to offer that as an entry point of like, well have significant things happened since 1972? Today, and just thinking about like, well, you know, how are we really thinking about who is in our curriculum, and that’s what I found was interesting, in conversations with science teachers, in particular of like, well, okay, so what type of science are you? Do you talk about the scientists and where those ideas came from? And, you know, that’s a part of sciences, who’s creating it, and where did those ideas come from? And if you’re not talking about, you know, the Ming Empire and what was happening in China, or you’re not talking about out the Muslim creations of math inside, like, we’re, there’s just so many pieces that are missing. And I think it goes back to that acknowledgment piece of if we’re not authentically teaching like we’re just wrong for not including those perspectives. It’s just wrong. It’s, it’s an inaccurate depiction of science. They’re hard entry points, but it’s that self-reflection piece that can be so helpful when thinking about how whiteness is showing up.

Jeanie: One thing that I was thinking about Emily through what you were saying was the power, the danger of the single story, and I think that’s something that Liz Kleinrock brings up on page 101. She actually uses some really great charts that she, she uses with her young students.

Danger of a Single Story chart

Just thinking about certain topics, and using a single story and the meaning that they can make. Something that I did recently with my students is they looked at an image of the first Thanksgiving, and just reading that image through a critical lens and then questioning well, is that accurate? Is that an assumption? Or is that something that you see? And so being able to differentiate between those two things was really powerful. And I think it’s hitting on kind of what she suggests in the book to really get at, like, what that looks like teaching in schools with predominantly white students.

Emily: Absolutely, that reminds me of something I used to do in class. Around this time was, we would watch what would the Mayflower episode of Charlie Brown. And I would first ask like, okay, so who’s seen Charlie Brown? Who knows who Charlie Brown is? And then we’ll watch the episode like, so what is the message that we just learned about Thanksgiving? And, and students will have all these ideas? Like, what are some things that you thought were weird? Like you are teenagers, you definitely thought that this cartoon was weird. What were some things that you thought were weird? And then we’ll start to unpack those. And then by using primary sources, Learning For Justice has some pretty incredible primary sources to help facilitate conversations around Thanksgiving for all age levels. And so we would use those to talk about so here are some indigenous First Nation perspectives on what Thanksgiving means to them. And now, what might they observe when watching Charlie Brown? What might this actually mean to them? They’re like, oh, no, did you just ruin the Christmas episode too? And I was like, as a Jew? I sure did. I sure did.

So we would have those like, really meaningful conversations. Like perspective matters. And if we’re not thinking about those different perspectives, and who’s being represented in how, what does that mean, the next time that you’re just cruising through Netflix, like what are you going to be looking for, in the characters that are represented and the movies that you’re watching? And that just continues to grow?

Jeanie: You’re both bringing me back to one of the scholars I cite most often. And that’s Rudine Sims Bishop and her ideas of windows, mirrors, and sliding glass doors, which she wrote about literature, right. And she said we all need mirrors: ways to see ourselves in literature. But the same could be said about science, math, social studies, right? Like we need to see ourselves represented in the field. We also need windows: we need views of other people represented in those ways in our literature, in our social studies, in our science, in our math. And for white folks, especially, we get a lot of mirrors, white students get a lot of mirrors into the world. They need windows and sliding glass doors to understand how other people experience the world in order to be balanced humans.

And I’m hearing that from both of you. Thank you for that. So, Emma I have a question that’s really specifically for you, because you have taught first and second grade and now you’re teaching fifth and sixth, and this book really is meant for sort of early middle and elementary schools where it’s, it’s Liz Kleinrock’s really writing for teachers of those grades.

And so she specifically has a chapter on what does ABAR work look like with younger students? And I wondered if you had any perspectives on this as somebody who’s taught down to first grade. Yeah, I don’t like the way I just said that. I just want to say I think kindergarten and first-grade teachers are amazing. And say I just want to rephrase that and say, as someone who has taught amazing first and second-grade students?

Emma: They are amazing. They teach you so much. I feel like those younger students, and they don’t like it when I call it younger either. So I might switch that into first and second graders. But I think that it really goes back to looping back to some of the conversations that we’ve had around getting to know your students. Well, I think oftentimes, as educators of primary students, we have this like, idea that they can’t engage in difficult conversations because they’re young. And I would argue that I don’t think that’s necessarily the case. And when we’re protecting them in that way. What does that story tell them? And how does that impact the choices as they get older?

So what I’ve found is it’s really about the process in which you have the conversation with them around certain topics. So choosing essential questions that really engage them in the topic, they do have a lot to say, around it. And I think you can do it in a way that’s engaging and sensitive at the same time. Because they do want to talk about it, and not to offer them spaces to do that, I think challenges our educational system.

Jeanie: I’ve taught K to six before I moved up to a 7 to 12 school, and I love first and second graders, they’re so earnest, and they’re so full of kindness and love. And I think actually we miss a prime opportunity to engage them in the work of being fully human if we don’t have them have these conversations about difference. And especially with an appreciative lens, so I’m grateful for your answer.

One of the things about equity work and antibias antiracist work for me is it keeps me on my growth edge. It keeps me always learning because I never fully arrive. Which I think can feel exhausting, but I actually love it right? It keeps me on this journey to learning more and more about myself, about the world, about how to do a better job of it. And I wonder what you’re learning edges are right now. The two of you who’ve been doing this work in different ways. Where is your growth point right now?

Emily: I’m there. So I mean, especially just with Kyle Rittenhouse. And I don’t even have words to process that right now. But there’s just so much that feels the way that I respond. I know that there’s that’s a lens of privilege, and that’s a lens of whiteness.

Jeanie: Just to be clear, you’re talking about the verdict, the Kyle Rittenhouse verdict that just came out. And so you’re saying your response to that is one of privilege because I imagine like me, you responded with like, what the heck, how is the verdict? And yeah, okay.

Emily: A few more expletives. But yes, I’m just really thinking about also the privilege of not having to acknowledge that as a classroom teacher. I am in this space that I’m in right now my office and my house feeling very protected. And working through that, that feeling of I don’t have to go into a classroom tomorrow and explain to students what just happened and that’s also a way that kept me growing was knowing that I was being held accountable by teenagers who look to me for an explanation and a lens to look at the world.

I think about how little I really understand about the land I live on. And just the ways that the Abenaki have been treated and just there’s so much just so much that every day I am breathing through like a stretch. Liz has been working on her split. And I feel like that’s where I am is like how can I breathe through? Just stretch.

Jeanie: Thank you for that. I really appreciate that. I’ve also been trying to do some learning about the Abenaki and the land that I’m on. So I’m really grateful for that. But how about you, Emma? Where are your growth edges right now?

Emma: I think it’s hard to really zone in on one edge. But I guess what’s really coming up for me as not only a classroom teacher, but a leader in our district too is thinking about, I think this is less so maybe in middle and high school, but in elementary schools, we use programs quite a bit. And I’m really trying to think about programs critically through an ABAR lens of how, who are they serving, what students are they serving? And who are they written for? And using them critically. And are they going to serve students? And are they always going to serve all students is the question. And I think that my learning edge also – so this is actually the first year I’ve taught middle school in quite some time – for fifth and sixth graders is when I’m all like, making sure that I’m designing experiences that bring in the voices of marginalized communities whether or not it’s choosing books that are written by women, or American Indians or other perspectives. And I know that I’m making mistakes all the time, but at least I’m trying to, you know, push myself to learn about how I can make, you know, more spaces that are like healing spaces where people’s voices are acknowledged, and people can lean into vulnerability in order to learn more about themselves and about each other.

Jeanie: I really appreciate that. That notion of healing spaces, and I really appreciate the way that brings us around to this idea that antiracist antibias work is healing work, the work of healing ourselves and healing our communities and, and helping our students learn to heal themselves in their community. So thank you both so much for this really nurturing conversation about doing this work together. Thank you so much for talking with me about Start Here Start Now.

I’m Jeanie Phillips and this has been an episode of #vted Reads talking about what Vermont educators and students are reading. Thank you so much to Emma Vastola and Emily Gilmore for appearing on the show and talking with me about Start Here Start Now: A Guide to Antibias and Antiracist Work in Your School Community. If you’re looking for a copy of Start Here Start Now check your local library. Thanks to Audrey Holman, audio engineer and so much more. To find out more about #vted Reads, including past episodes, upcoming guests and reads and a whole lot more you can visit vtedreads.tarrantinstitute.org. Follow us on Twitter and Instagram at @vtedreads. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

#vted Reads: We Contain Multitudes

Lovely listeners: we’re baaaaaaack! And we missed each and every one of you. 

To celebrate our return, in this episode we brought back guests from *Vermont* Reads, a statewide program that encourages everyone across Vermont to read one book each year, and then turn and, you know, talk to one another. We are HUGE fans. 

And yes, the names are confusing. They’re Vermont Reads — reading across Vermont — and we’re Vermont *Ed* Reads, reading across Vermont, but make it education. (Please imagine my jazz hands as I say that).

Christopher Kaufman Ilstrup returns to the show this time with Lizzie Lyons, the Children’s Advocacy Coordinator at the Vermont Network, an organization focused on addressing domestic and sexual violence across the state. Together, we’ll be talking about We Contain Multitudes, by Sarah Henstra, a book about boys, poetry, queerness, and how the artist formerly known as Prince refuses to stop changing lives, wherever he appears. (Hint: stay tuned for dance party details.)

Now, as you might’ve guessed from Lizzie’s presence, We Contain Multitudes contains some mention of domestic violence, which we touch on briefly in this episode. It’s an important topic, and part of the work this year with Vermont Reads is providing educators and other adults with tools and resources for supporting students (and more specifically LGBTQIA students) who are dealing with this issue. There are minor spoilers for the book at the 39-minute mark, but we feel like we did a great job yelling SPOILER ALERT! at the top of our loving lungs. Jog ahead two minutes and you’re fine.

But don’t jog too far ahead, because we really did miss you, and we missed this, and we are so happy to be back having these important conversations.

So! Without further ado: I’m Jeanie Phillips and this is #vted Reads: talking about books by, for, and with Vermont educators. 

Jeanie: I’m Jeanie Phillips and welcome to #vted Reads. We’re here to talk books for educators, by educators, and with educators. Today I’m with Christopher Kaufman Ilstrup and Lizzy Lyons and we’ll be talking about We Contain Multitudes by Sarah Henstra. Thank you so much for joining me, Christopher and Lizzy. Tell us a little bit about who you are and what you do.

Christopher: Hi, Jeanie and hi, Lizzy. It’s great to see you both. I’m really excited to be here to talk about We Contain Multitudes. I’m the director at Vermont Humanities. I’ve been around now for about 4 years. So, this is the fourth Vermont Reads book that I’ve worked on, and might be my favorite. One of the things that really speaks to me about it, that I feel like I should tell people about right up front, is that this is the first LGBTQ youth choice in Vermont Reads 19 year history. And maybe coincidentally, I am a queer-identified person. And so, this book speaks to me pretty specifically and reminds me a lot of some of the experiences that I had as a young person.

Lizzy: And my name is Lizzy Lyons. I’m really excited to be here. I was approached by Christopher at Vermont Humanities when they chose this book. As part of the Vermont Network Against Domestic and Sexual Violence because of some of the themes in this book. And we have been invited to be a partner in some of the programming that’s happening for this book, and we’re really excited about that. The Vermont Network is working alongside 15 different statewide organizations in Vermont and we work around themes of domestic and sexual violence and working toward a violence free Vermont.

There’s a lot of different programs of support that are happening statewide that I am excited to talk about in relation to this book. Also to let all of your listeners know that there’s supports out there, whether that’s just for you or her family members and shelter and other sorts of programming available stuff exciting.

Christopher: Yes. Lizzy, you might know this, but I don’t think Jeanie does. I was one of the founders of Safe Space in the early 2000’s which is the member of the network that serves LGBTQ Vermonters who are experiencing same sex, domestic, and sexual violence.

Lizzy: That’s right. The Vermont Network has Pride Center as one of its members and it’s also doing a lot of work with Outright Vermont, which is also another partner in this book.

Jeanie: Excellent. I’m so grateful to be talking with community partners that also work with our schools in a variety of ways. And you two both serve community partners that reach into Vermont communities in really meaningful ways. So, I’m delighted to have you here. One of the questions I always ask at the beginning is, what’s something you’re reading right now, if you could each share something that’s captivated you at the moment, that would be awesome. I like to expand my to-be-read pile!

Lizzy: Well, I’ll go first because I was really excited about telling you this Jeanie, but I found Octavia Butler this summer. And so, now I’m, like now I’m just like insatiable but I’ve bridged off and I am reading Adrienne Maree Brown, her starting from the beginning the network library that we have, has all of her books. So, I’m starting with Emergent Strategy and I’m about halfway through that. So, that’s exciting.

Jeanie: I am a huge Octavia Butler fan, which means I’m also a huge Adrienne Maree Brown fan. Thanks for sharing that. Have you read Kindred yet?

Lizzy: No.

Jeanie: Add that to your list. What about you Christopher?

Christopher: Oh gosh. Well, I am in the middle of a huge pile of choices for Vermont Reads 2022, but I’m not sure I should say anything about them yet. There might be some spoilers in there if I do, but me and the team are each over the next three weeks reading, three different choices. So, we have 12 on our shortlist. That will then go to the community advisory committee. But in my personal life right now, I’m rereading The Lord of the Rings, which to me is always go to as the sky gets darker in the year and I just love rereading it and finding more and more about this ecological story, that is at the heart of that novel from the 1950s.

Jeanie: Well, I love a good reread especially in the fall, it’s a good season for rereading and that brings us to this book because I reread it. I read it twice. I liked it so much, which happens every now and again, that I read something twice, right really quickly. And so, I loved it and have no doubts. It’s the perfect Vermont Humanities Council 2021 Vermont Reads book but why did you all choose it?

Christopher: Well, you know, we start our process really early. And so, you know, we had a long list of 20 or 30 books that we were reading a year and a half ago, and it slowly got whittled down to about five different choices. And part of what we do is we really look for opportunities to work with the community. And this book really stood out to us as an opportunity to work with Outright and with the Vermont Network and the Howard Center and Recovery Vermont on issues that are really important in Vermont right now. We’d also never done an LGBTQ book before. We rarely if ever made LGBTQ Grants and we felt like this was a population that was really missing from our work and deserves some love and attention.

Jeanie: Excellent. Well, I’m so excited to talk later on about some of the things that are happening in the community. But let’s introduce our listeners who may have not read the book yet, because once you hear more, you’re going to want to read it. So, let’s set the stage a little bit, Ms. Kang is a high school English teacher in Minneapolis, and she introduces her students to this mailbox that she’s really excited about in front of her classroom. She has them pair up with a younger or older student. The 12th graders are paired up with a 10 grade students to become pen pals of sorts, and their assignment is to write to each other once a week. They have to fill in at least the front side of a piece of paper but she’s not going to read them.

She just checks to see that they’ve written and she puts them in the box. So, they’re very private which feels really rare, actually in school to write something that somebody is not going to read, a teacher is not going to read. And so, the pair in this book are Adam Kurlansky, who’s a senior and Jonathan Hopkirk, who’s a sophomore. I wondered if each of you would choose a character and read a portion of one of the letters, that they write to each other. It might be the whole letter. So, that we could get to know these two characters a little bit.

Lizzy: Yes. I chose a letter from Adam Kurlansky to Jonathan, and as you will find out pretty early in the book when you read it. Adam nicknames Jonathan, and Jonathan nicknames Adam. And so, Adam for most of this book is called Kurl, and Jonathan’s called Jo. So, Kurl writes to Jo.

These letters I’m writing are starting to feel like one long ongoing letter in my head. I should tell Joe about the time I saw the Red Eft, I’ll think, or, I forgot to tell Joe about these birds actually look magnificent in the sky. And then I’ll read one of your letters and think, People have no idea what I’m like. I mean the gap between what people see and what’s actually in my head,sort of shocks me when I read your letters. I guess everyone has this gap. It’s just that they don’t come face-to-face with it very often. It’s a shock to hear that people are still talking about stuff that happened last year.

We Contain Multitudces, page 45

and he goes on to talk about some of those gossipy things that are happening in high school, which is pretty fun.

Jeanie: Lizzy, would you tell me the page number you just read from, I love that letter.

Lizzy: Absolutely, this is from Adam’s letter on Monday, October 5th and it shows up on page 45.

Christopher: I’m going to read a letter from Jo to Kurl, that’s the letter that he wrote on Saturday, October 24th and I’m going to read a passage, that begins on page 92, and it’s actually a really good follow up to Lizzy’s passage because Joe is talking about when Kurl came over to his house for dinner, and it’s one of the first times that they really met in person, they spent a long time just writing to each other but eventually they do meet in person, and Jo is describing, what happens as Kurl is cooking for Jo’s family. Starts on page 93.

And your face Kurl, as we discussed the food! You can’t possibly be unaware of how hard we were all working, the whole evening, to see this change come over your face. Not just Shayna and Bron and me- even Lyle makes more jokes when you’re around, trots out his most reliably crowd pleasing stories for you. We’re all bending over backwards to get you to crack a smile, because when you smile it feels like the sun is coming out. You will point out, of course, that everyone does this. Everyone wears a different face at school. And you’ll point out that the extent to which I have trouble switching faces explains much about how I get treated at school. You’ll be right on both counts. But somehow with you the changes more extreme, like two different people. I wonder, Kurl, when you look in the mirror, do you ever get to see the unguarded face? Because I wish you could. It’s a wonder to behold.

We Contain Multitudes, page 93

Jeanie: What you captured just there, with those two letters is why this book is so good. These letters are so good. There is such reciprocity, and give and take, and knowing and learning, and unlearning in these letters and I am not a person who really likes an epistolary novel. I’m not really a person that gravitates to novels in letters. But I found these, like they swept me away. Why are they so compelling?

Christopher: I think, for me, one of the reasons why they feel compelling us is because these kids are being so honest. They’re being so truthful with each other in a way that I think rarely happens with any relationship. And just to see Jo and Adam really sharing is unique. I also think that you know there’s this expectation that Adam’s just a dumb jock, that’s set up right from the beginning of the book, right? He’s the star of the football team and it appears like he’s always getting into fights, and nobody believes in him but as soon as he starts writing to Jo. Joe believes in him because he can see the unguarded Kurl.

Lizzy: And it’s still not unguarded though, I mean I think these letters are interesting because there’s, there are secrets throughout this book and there are also secrets in between these two people, who are sharing so much back and forth in these letters. But there’s so much that is left for, like your own conclusions. So, like sometimes letters aren’t there and one of them will start imagining what the other one is thinking. And it also feels so authentic in that way of, like you know not knowing. We had lots of conversations about this with youth advocates who are working with young people around the state, who have experiences of violence.

And but also like from my own experiences of when you’re in high school or you’re a young person and you’re figuring out, like do I? Do I not? What do I do here? How about here? Like what am I thinking now? And it goes from these very big extremes of emotions, all the way through the book. When I was rereading this book, just remembering some of the special passages. About how happy or how bad or how upset they were at different points.

Jeanie: You make me think about two things, and one is, Christopher what you said made me think about, how this is the perfect book to update The Outsiders unit. So many schools still read SE Hinton’s The Outsiders. But this book feels like a modern, a more modern version of the outsiders. Kurl and Jo are both kind of outsiders in their way, in their Minneapolis school community, for different reasons. And there’s something like really vulnerable about this book.

And then, Lizzy, what you made me think about is, like they don’t make great decisions in this book all the time. Like they’re like your average young person, sort of winging it along, you know making decisions. Both of them at various times make really troubled decisions. And as a reader, I think it gives you real empathy for how hard it is to make those decisions when you’re 16, 17, 18.

Christopher: And I, you know I think an interesting thing at least in the first half of the book is how angry Adam gets at Jo for being so open about who he is in school, and not trying to hide. And that results in a lot of violence that happens against Jo in school, that Adam saves him from, on more than one occasion. Even though, there’s no reason why you should have to do that, right? Like they’re completely unconnected kids in the beginning of the book.

Jeanie: Christopher, did you happen to mark the passage about the “gable?”

Christopher: I didn’t, but I can find it.

Jeanie: I wonder if that would be the perfect passage to read aloud, that really gets at that sort of tension between Adam’s, like could you just hide a little bit to keep yourself safe. And Jo’s feeling of, like I have to be authentically who I am because the end game is bigger than high school, because my focus isn’t on high school. My focus is on being myself in the larger world.

Christopher: Yes. I remember the gable very well, right? From my own high school experience and probably we all do. So, what they’re talking about is where the gay kids get segregated in the high school cafeteria, that they have to sort of huddle and protect themselves, and you know in my case this was a long time ago. This was the 80s, there were no out gay kids but the gable still existed. Very much, so. And it was the kids who went to the music room and ate by themselves, right?

There’s a small group of kids, who just would not go to the cafeteria because it was an unsafe space, and Jo, I think is really standing up for himself in that passage when he says, I don’t want to sit at the gable. I think that’s discrimination, that is saying that we should be segregated, but that there should be apartheid, and that’s not who I want to be in my life. So, I don’t I don’t want to sit there.

Jeanie: Thank you for giving that so much context in your own experience. Could you turn to page 28, and maybe read the last two paragraphs?

Christopher: Sure. This is a letter from Jonathan and he’s just been bullied in the cafeteria. He’s had a number of bullies dump their milk out all over him, and all over his tray, and Kurl has just rescued him, essentially. So, Jo says,

You picked up my milk-flooded tray and stood looking at me. For about one millisecond there was the tiniest flicker of something troubled across your face– I don’t know, I’ve thought it over quite a bit and I can’t puzzle out what it might have been. Maybe you were considering whether to ram the trade down my throat. You said, why aren’t you sitting at the gay table?” And then, you turned and stalked off. My answer? I’m squarely with Bron on this one, Kurl. The Gable is Discrimination 101. Designating a specific area of a supposedly common space for a minority group, even unofficially, implies that the rest of the space is off limits for that group. But in the interest of being forthright, I do know what you meant. You meant, “Why are you putting yourself in the path of these monsters, and if you found yourself in that path accidentally, why are you staying here?” Answer? Choose one of the following. A. Stupidity. B. Stubbornness. C. Fatalism. D. Masochism. E. All of the Above. Yours truly, Jonathan Hopkirk.

We Contain Multitudes, page 28

Jeanie: Thank you for that. And that really leads into the next question I was going to ask, which may or may not actually be a question. One of the reasons I read YA and middle grades books is to understand young people better, right? To step into their shoes for a while. And that example, what you just read is one of those things, like we as adults in the lives of young people may not understand, what they’re facing in their day to day lives. Like I suspect most teachers in this school are completely unaware, that Jo is getting bullied on the regular or they might have that same sense that Kurl has about him like that he’s doing it to himself, that he’s setting himself up.

And this allows us to really step into the shoes of Jo, and of Jonathan and see what’s really happening for him, and what’s really happening in his brain. And another example that really shines from this book is that, these kids have so many interests that are really like strong interests, that nobody in the school knows about or connects with the learning they have. And so for example, Kurl is really interested in the Taliban and the war in Afghanistan because his brother served and was injured in Afghanistan. And while occasionally, he gets to use that in some aspect of his studies.

I suspect, he’d be a much better student, if that got worked into his history classes, his social studies classes, his science classes. And similarly, Jonathan is really interested in poetry and music. And again, that’s something he does in his outside time and writing poetry and studying poetry. And he talks about poetry in ways that made me wish schools taught it better. On page 19 he says,

Poetry’s like that, Kurl: slippery and coy. It means different things to different readers. You shouldn’t feel embarrassed if it makes you nervous. You’re not alone in that reaction.

We Contain Multitueds, pages 19-20

And I thought, what if a teacher taught poetry that way. I think I would have loved it so much more than I did. And so, I guess my question for you is did this book help you see kids in ways that you might not otherwise have seen them?

Lizzy: Yeah. I mean, I think this conversation came up in two different ways. I mean, I think it is interesting that, what you’re talking of Jeanie, like there are, there are songs that happen in different settings in this book, whether that’s like concerts or whether it’s the character singing in their living room or, you know strumming inside of a tent. And there’s poetry that’s turned in for class assignments. And there’s also poetry that these two boys write to each other and say to each other. And so, I think it is interesting, how we show up in different species. I think, what is interesting throughout this book, is the fact, that this is entirely a world of young people, like there are very few adults that show up in any real big way.

And Jo’s dad is one of them and part of that family dynamic, and then Kurl’s family has some drama that is happening alongside as well, but adults that are interacting and showing up for these kids in this book, they’re not there. And so, we had some conversations about that at the Network. There’s really great curricula around being an Askable Adult and what does it mean to put yourself out there as somebody who has young people, who you can show up for. There’s also a coach in this book and there’s some really great material out there called Coaching Boys into Men and about how coaches play a really influential role in young men, and can use that as part of the work to create less violence. So, I put those two out there for you all listeners to consider looking into two.

Christopher: Yes. I think, Kurl’s coach is a really interesting example of somebody who is really trying to show up for Adam, and Adam doesn’t let him in and that’s pretty devastating, actually. You know, I think, one of the things you pointed out Lizzy is really interesting, as we were having conversations with Sarah Henstra, who wrote the book, she said that part of her inspiration for writing the book was about listening to young people, particularly her own kids, talking when they didn’t think adults were listening, and what they, what kinds of things that they were saying to each other in the absence of a grown-up world, and I think that really does come through in this book that the grownups are functionally not there. Those kids are making all of those choices, largely on their own.

Jeanie: Yes. The grownups are pretty faulty, even those with the best of intentions are pretty faulty in this book. I know Dr. Laura Jiminez, who you had on for a Vermont Humanities event, talked a little bit about that. I’m a huge fan of Aristotle and Dante Discover the Secrets of the Universe. It is one of my favorite books from a long time ago. I read it to my son when he was younger and we both loved it, and one of the problems with that book is the adults are so good in it, the parents are so almost perfect and this book, and I think that’s not really realistic for a lot of kids. And so, I appreciate you pointing that out. I’m also really curious about becoming an askable adult.

So, the other thing that this brings up is Sarah, when you mentioned Sarah Henstra, this isn’t an own voices story. I mean, this is a book written from the perspective of two adolescent boys. They are queer and Sarah Henstra is neither of those things. So, it’s not a story that we would call own voices, and I guess I’m wondering about what might we watch for in a book like this, that’s written by somebody who’s outside of that marginalized identity. How do we make sure it’s a book worth reading?

Christopher: Yes. I think, Lizzy, you might also have some things to say about this but I’ll start as a queer person reading this book, who had a queer youth experience. So, much of it rings true to me. That I am very deeply trusting of Sarah’s work to understand who these boys are, and how they are making the choices that they’re making. She talked to us a lot before we chose the book about the research that she did, particularly around the issues of domestic violence and sexual violence in the book and consent. Which are all problematic pieces of the work of the story, and that it was very interesting to hear her talk about that.

And it was also very interesting again to hear her talk about her own experience as a mom of teenage boys, and what it was like to hear them talking to their friends when they didn’t know she was around or when they didn’t think she was listening, you know when you’re a parent driving kids around in a car you’re essentially a robot, right? They don’t listen to you. We also brought this question of own voices to outright specifically and a bunch of folks that outright read the book and they said, this book feels truthful. Sure, it’s great when they’re our own voices selections and we have some to talk about, that are on the list of ancillary reading. But this book is something special.

Jeanie: I really appreciate that if you’re not writing an own voices book, you have to do due diligence, right? You have to be diligent about how you’re representing the community of which you’re not a part. And I feel that Sarah clearly did that in the way that the characters show up. And then, also as a reader, there’s some kind of diligence that’s required of us to make sure that, the author isn’t using tropes or stereotypes or, right? And so, and to notice that. And so, I sometimes I have avoided books like American Dirt in the past. I still haven’t read that because it has been labeled as problematic by the people whom this author is attempting to write about, and who she doesn’t share an identity with.

So, I appreciate that answer, Christopher, thank you so much. So, that gets to another question, when I was in library school, one of the things we would often hear and this was a while back. I hope things are changing is that, boys are not going to read books with girls as main characters, is one of the things they used to trot out in the early odds if you will. And so, I hope we’ve gotten past that. I hope that we’re beginning to have kids read books about identities that they don’t share, and certainly, girls were always reading books with boys as main characters, right? And so, similarly, this book for some of our students is going to be a mirror, right?

For queer students who are reading this book, this book is going to be some sort of reflection of a world they might be a part of, for kids who are not, who don’t identify as queer, this book is going to be a window into a different kind of reality. And then for some kids, what we hope is that, it becomes a sliding glass door, where they have empathy and really step into the shoes of the character. What do you say? If somebody says, oh, well if this book features LGBTQ characters. It’s not for every kid.

Lizzy: I mean, I have some strong feelings here. So, I’ll start. I agree 100% with what you just said Jeanie, like the windows the sliding glass doors and the mirrors are incredibly important for all readers. And I did once hear that they did a study about having more empathy if you are a greater reader and I think a lot of that has to do with the many opportunities that we have to step into other people’s shoes. But I also think that these characters were more than just one dimensional, it wasn’t just an LGBTQ book, it wasn’t just a young person book either and it dealt with real complex life issues and it took you along for an emotional roller coaster. Like I said earlier, I was just looking at some of the quotes I had written down, like earlier like they write to each other like we laughed anyhow, both of us helpless with it. “The swift secret, the joy and then like going all the way to like my whole body was trembling for a moment or for a minute or two, I couldn’t get a deep enough breath. Are you panicking, you asked. And I tried to say, no it wasn’t panic but I don’t know what happened, suddenly I was falling like it just takes you up and down” I feel like that those types of emotional roller coasters can speak to so many people, even if the specific family situations that were happening in this book are not ones that you have experience with.

It takes you along for the complexity and the thinking that goes through when you have family secrets and what do you do, who do you share that with, the kind of wrestling you go through as you have this experience in your life and you’re not sure who to trust. I think all of that was real. Just really grabbing for a reader and I read this book in just a couple of days. I couldn’t put it down. So, I definitely enjoyed it.

Christopher: Lizzy, this might be a good time actually to bring in Walt Whitman, a little bit when we’re talking about windows, mirrors and sliding glass doors, right. So, Jo is the poet and he is obsessed with Walt Whitman right from the very first pages.

Jeanie: He even dresses like Walt Whitman.

Christopher: And he dresses like Walt Whitman which is part of what gets him in so much trouble in school because he always looks like I think Kurl calls him a 19th century chimney sweep at one point. And you can imagine how that goes over in any particular school. But he’s obsessed with Walt Whitman and Walt Whitman is really known as the greatest American poet, right. That he is the poet through whom the American experience is filtered for all time. And three leaves of grass that he continued to write and revise for decades throughout his life. You know he was alive during the 19th century. He experienced the American Civil War.

He lived in New York at the time of great growth. And I think we often look to Walt Whitman as sort of the ultimate window, mirror and sliding glass door in literature that you can really find anything you want in leaves of grass and inside of myself. And that experience that he had of writing and revising that work over and over again over decades really became the story of America. Could I read another little passage?

Jeanie: Please do.

Christopher: So this is from Wednesday, November 25th and it’s on page 132 and Kurl has been asked to write an essay for his English teacher. And he chose to write about Walt Whitman and he didn’t really know anything about Walt Whitman before he met Jo and started writing letters back and forth to Jo. But what resonated with Kurl about Walt Whitman’s story was that he worked in an army field hospital during the civil war. And that really resonated with Kurl’s interests around the war in Afghanistan and what happened to his brother who was injured in the war. So, I’ll try not to, well, we’ll see how far we go.

Wednesday, November 25th. Dear Little Jo, I wrote about grass actually. Probably the most straightforward part in Walt’s whole Leaves of Grass book is where he talks about the actual grass. Except the more I read it the less straightforward it seemed to me. I mean he starts it off simply enough, describing how a child grabs a handful of grass and asks him, What is the grass? And Walt gives a bunch of possible answers. Just sort of trying them out. And at one point he goes, I guess it must be the flag of my disposition, out of hopeful green stuff woven. What he means is it’s the symbol of his personality. I didn’t put this in my essay but if grass is the flag of anyone’s disposition it would be yours, Jo. Not a tidy mowed lawn either. I think Walt is picturing that kind of long grass on the riverbanks. When the wind comes along it churns and sways sothat it looks like another river running alongside the real one. What I wrote in the essay was about grass growing from the mouths of corpses. The beautiful uncut hair of graves, Walt calls it. This is the part of the poem that got me thinking about Mark in Afghanistan. When you take the train up to the mall, you pass the VA hospital and on the other side is the military cemetery. Watch the cemetery when the train goes past and you notice two things: One, it goes on forever. All those matching white crosses. All those dead. I mean Mark must ride that train and think, How did I ever not die over there? Why all of them and not me?

We Contain Multitudes, pages 132-133

We’ll stop there. But it goes on. And it really is such an opportunity through Walt Whitman to walk through that door to see yourself reflected in the story of America.

Jeanie: I love that passage and I love that explanation so much. Every time they talked about Walt Whitman in the book, I think we should be reading this book as we’re teaching poetry because the poetry really comes alive in the letters between these two young men. I also want to cite black women. I want to cite Dr. Rudine Sims Bishop who came up with this concept of books that could be mirrors, windows, and sliding doors. And we use that a lot, that metaphor a lot. I used that metaphor a lot and I want to make sure that I give credit.

And then I want to share a story from my own experience as a school librarian and a handful of years ago, when I was at Green Mountain Union High School, down in Chester Vermont as a school librarian. The book is called Beautiful Music for Ugly Children. I don’t know if you’re familiar with this book by Kirstin Cronn-Mills; it was on the Green Mountain Book Award list and I had a student check it out and I thought I don’t know how she’s going to respond to this book. She, at least for my perception came across as a little bit conservative maybe.

And the book was about a young person who’s trans, Gabe. And I just wasn’t sure how this student who I’m not going to name would respond. And a couple days later she came back and her whole world had been blown open. She had such empathy for Gabe and his experience in the world. And she really started to get involved with the gay straight alliance at our school which we called Circle. And I think it really like was this transformational book for her. And so I would just offer that we don’t know who books are going to be a window and mirror for.

Not all kids are out in high school. They’re also maybe not out in their own families like they might have queer parents who are aunts and uncles or friends, and they need to see those people in these books too. And that we have no idea who’s heart is going to change, somebody who may have been homophobic or not understood what it meant to be a little bit different for whom this book could open new doors. And so I would just add that this story is about much more than the sexual orientation of these two boys, but it also is an opportunity for kids to sort of see people like or unlike themselves in ways that can transform their futures in their worlds and that feels really important.

Christopher: Yes. Just briefly, I would say, you know the mirror of Kurl’s story with his family and his uncle is hugely important in this book and we haven’t really talked about it much. It’s kind of a big spoiler. You don’t really know what happens until about two thirds of the way through.

Lizzy: Can we just say a big spoiler alert here, folks, if you want to jump ahead a minute to avoid the spoiler because you haven’t read the book. Go ahead and do that.

Christopher: Lizzy, can you talk about it? What’s happening?

Lizzy: Yes. I mean I agree if there’s a build up there and there’s little breadcrumbs that are dropped along the books path but both I would say, this is again like, this part where both these boys are talking about their sexuality and that is a big theme through this book. But meanwhile, their families are continuing to experience like their own dramas and so that definitely comes up. So, there is a reveal that happens to Kurl to Jonathan and then Kurl to Jonathan’s sister and Jonathan sister’s friend. And it happens in such a way where basically, it just is put out for everyone to see and Kurl goes into a little bit of a crisis about it, he’s like do they see, do they actually see what is in front of them.

And they do. And what he is letting them in on is that his uncle has been hurting him and in a lot of ways. He has been taking that abuse away from his mother and later on in the book, there is another very common experience. Kurl is thrown out of his family home for his sexual orientation and is homeless. He is fortunate enough to have a lot of really good friends around him and his brother becomes a great support to him, both in escaping the abuse that he was facing at home as well as giving him a safe place to be out and to be open about his sexuality.

So, both of those are really good resolution to a very difficult situation and also one of those places, where we spoke earlier about how adults aren’t really a big part of this book. There is a conversation that Kurl has about how he didn’t tell his coach about what was going on even though his coach tried many different ways at many different points to support Kurl. He did tell his friends and his peers and we were able to do a conversation for Vermont Humanities with Outright Vermont. And I would say that the experience of youth advocates as well as I would say.

What we heard from Outright Vermont was that peers talk to peers and so a lot of that support can come from spaces like GSA’s, which I heard you say gay straight alliances, which I’m familiar with as well, but are now often called gender and sexuality alliances in school and Outright is doing awesome work across the state supporting them in school. So, that young people have safe spaces with peers to access. And youth advocates are doing great work in similar fashions because young people aren’t always so easy to tell what is happening at home and behind closed doors. And so that is a big part of this book.

And there’s another, we haven’t even spoken of another big reveal. Family life is complicated, and I think this book captures that well.

Christopher: Yes. I think it’s really interesting how through much of the beginning part of the book, you’re really led to believe that Jo is the person who’s experiencing all of this physical violence and he is, right. He’s getting beaten up at school, his bike gets stolen and all kinds of things but it’s really the big jock who is struggling the most with violence and he just doesn’t show. He just doesn’t tell anybody. He actively hides it.

Jeanie: I really appreciate you bringing up the way this book kind of subverts stereotypes and tropes. I really appreciate how you bring up that how these two characters subvert sort of tropes and stereotypes. I guess I’m really wondering and maybe Lizzy can answer. I guess that one of the questions I have for you is how my teachers prepare themselves to support young people who maybe have experienced domestic violence or sexual assault in their homes or in their communities as they’re reading this book. Are there resources or folks you might connect them with?

Lizzy: Yes. That’s a great question. This is, you know, I could imagine that some people who are thinking about using this book to start a conversation might feel a little thrown in the deep water with some of these themes but Vermont Humanities has requested and Vermont Network has provided a bunch of resources to go along to support conversations about some of these things in the book. Already up on the website is a book guide that was created by Vermont Humanities that does cover some of these themes that come up through the book around violence and provide some resources there.

And then I think just knowing that those conversations can be big and making sure that you know who your local resources are in your community. And there always is the opportunity through Vermont Humanities to have these conversations supported by those local resources. Vermont Network is a partner in this book and many of our youth advocates across the state have had the opportunity to read these books and are excited to support some of those more difficult conversations.

Christopher: Yes. We’re sending, this is a little bit new for us in Vermont Reads to have this kind of direct partnership with other organizations. Typically, we just sort of let communities kind of do what they want . We started to feel like a different model is necessary when we were working on The Hate U Give last year and we further refine that this year with We Contain Multitudes and so when we shipped books now, they’re not just getting a box of books, they’re getting a full box of resources about domestic and sexual violence about LGBTQ youth and gender identity issues, about recovery and addiction.

Especially recovery and addiction and how it affects families and how it affects young people. So, all of that is there. And any community that wants to invite somebody from the Vermont Network or Outright or Recovery Vermont to come to their community can do so. And we’ll support that, we’ll pay for that right.

Jeanie: Christopher, how does one get signed up if they don’t have it already. How does one get signed up to receive this box of books and resources? That sounds so fabulous.

Christopher: You would go to vermonthumanities.org and click on Vermont Reads 2021We Contain Multitudes – and there’s a short application form on there that you fill out and send back into us. We’ll ask you a few questions. We’ll call you back and ask you more if we have more questions and encourage you to think about what kind of projects you want to do in the community. A lot of folks are already promoting work with their GSA, with their gender and sexuality alliance. A number of them started asking Outright if they would come to their community even before we announced that that was a possibility.

So, there’s plenty of options out there. We should also say that Vermont Reads, it’s not just for kids, it’s not just for schools, it’s for adult communities as well. And we hope that public libraries around the state and adult community centers and senior centers will take advantage of this opportunity as well.

Jeanie: As an adult who reads YA, I will highly recommend. I think a lot of adults really enjoy young adult literature and they can really help them understand the kids in their community. And so I highly recommend. This is a book for adults through the public library or some other forum to talk about issues that impact young people and families. I also really appreciate that you all have updated my language about GSA and gender sexuality alliance since I appreciate that. Is there any programming you have planned that may involve music or other things that you’d like to share?

Christopher: Since you’re leading us. And yes, we’re excited to have Sarah coming to Vermont next spring. She’s coming for four days. Sarah Henstra is the author of the book and she’ll be doing events with the partners around the state. She’ll be doing some work as part of our first Wednesday’s program presenting to more adult audiences. But we hope to close it out with the party and one of the other wonderful poets that’s very present in this book, which takes place in Minneapolis, his Prince. And so our hope is that we’ll close out our year with We Contain Multitudes with a Prince inspired dance party somewhere.

And if there’s anybody out there listening that wants to work on such a party with us, please give us a shout and tell us there’s an awesome Prince tribute band right here in Vermont that have said they really would love to work with us. So, if you want to plan a party, talk with us about that. We’d be happy to get you set up on that committee.

Jeanie: I’m getting my purple ready.

Christopher: Awesome. Lots of purple. And of course, it fits right into the themes of the book as well. You know, Walt Whitman and Prince are two of the great American poets and also two of the folks who really slid through lots of different identities and their lives and their experiences and so, they’re both meaningful. Walt Whitman is a little bit more foregrounded but Prince is very present in this book as well. It happens to take place the year that he passes away.

Lizzy: I have a quote that I just wanted to slip in here too. Kurl writes about Jo while they’re at a Prince concert and Kurl writes on page 97, “Now that I’m thinking about it, Prince sort of reminds me of you, Jo. I don’t know. Obviously it’s not the stilettos and spandex or his little wild wired glasses but there’s something, how he created himself maybe. How he invented a world to live inside.”

Christopher: I had that passage marked too.

Jeanie: I love that, Lizzy. Thank you for sharing that.

Christopher : Yes.

Jeanie: It reminds me why I love both of these characters so much. Their appreciative lens on each other, how they see each other and how they find a world to live in to inhabit. So for readers who may have read this book and loved it or who are going to now read it and love it because you’re going to love it, people. I kind of guarantee it. Are there other books that you all recommend that are about dealing with trauma or domestic violence or sexual violence, family addiction, issues around consent? Do you have titles you would suggest?

Lizzy: I do. I actually put this list, I put this question out to our youth advocates to see if I would get any good responses. And I got one from Carey who is one of our youth advocates over at Circle in Washington County. And she recommended Grown by Tiffany D Jackson. They’ve done it as part of one of their book clubs there and she let me know that it’s about a teen girl, who’s dating a much older famous musician and covers all sorts of topics that would be interesting. And she said she feels like it’s kind of inspired by the R. Kelly situation.

So, there’s that. I also wanted to put out a recommendation myself. It’s a little different because it’s more of a dystopian fantasy type situation, which I really enjoyed. And it’s called The Fever King by Victoria Lee and she has a follow up book The Electric Heir. And I thought this was a really compelling book, the main characters do fall in love and they’re both boys. So it does have themes similar to We Contain Multitudes but there’s witchcraft and powers involved. There’s also a refugee crisis going on. So, it’s very political, it’s very dark.

And it has some other troubling themes similar to We Contain Multitudes. So, I definitely put that out there as a fun but troubling book to read.

Christopher: Yes. I’m going to continue the dystopian theme actually with my recommendations. And the first one I want to throw out there is a book. Spoiler alert, it’s called They Both Die at the End and it’s by Adam Silvera, and he is a Latinx queer writer. And it’s a dystopian novel about a near future world in which you are told at midnight the night before you’re going to die. And it’s about two boys who don’t know each other before they get the call but find each other through an app called Your Last Best Friend and what happens to them over the next 24 hours. It is crazy compelling.

It’s definitely super sad and in fact they both die at the end. And then the other one that I had is one that I found recently, actually when I was in Minneapolis. I’m starting this book called Jay’s Gay Agenda and it’s by a non-binary writer named Jason June. And it’s about a young boy who moves from a very rural community, like many other communities here in Vermont, where he was the only gay boy from a bigger city where he suddenly finds himself kind of in Candy Land. And what happens to him there. So those are my two recommendations for folks that are interested in these themes.

Adam Silvera, of course, has a lot of books out there in the world. And they’re all pretty dystopian but they’re all pretty good.

Jeanie: Excellent. I feel like I can. I’m really excited about the list you just gave me because I haven’t read any of them and I’m just going to add them all to my list. When I interviewed a bunch of kids a couple years ago at – what’s that amazing event called for young people, it’s Teen Lit Mob. Anyway, I interviewed a bunch of kids and from around Vermont and one of the things they said over and over again is they want books with better with more representation, even if they aren’t about social issues.

They just want a wide variety of characters represented. And one of the books they loved was The Sword in the Stars which is by Amy Rose Capetta and Cori McCarthy. And it is a futuristic science fiction and legend story where the King Arthur in the story is female. And there’s lots of representation racially but also by folks that are non-gender non binary or trans and or queer and I loved it. Kids loved it. So, that’s one of them that I’m going to suggest and the other one is, I feel like Andrew Smith’s Winger and the sequel Stand Off do such an amazing job of talking about consent amongst other things.

And I feel like consent to something we need more books about. And so those are my suggestions, listeners. Any last words from you all about We Contain Multitudes or any last passages you’d like to share?

Lizzy: I really enjoyed this book and I think everybody should read it. That’s my share.

Christopher: Can I close with one last little passage?

Jeanie: Please. Tell us what page it’s on.

Christopher: Obviously, I think everybody should read this book because we bought 4000 copies and you all need to read them. But this is a letter from Kurl to Jo on page 98 and it’s shortly after they have gone to Paisley Park to see Prince perform. He says,

Watching him it suddenly hit me how rare and amazing it was to be able to see something being made out of nothing. Up close like that. It reminded me how it felt watching you sing when you didn’t know I was in the room. Halfway between dirty and holy. I don’t know. But I suddenly found myself smiling like an idiot and looking all around the room and thinking, Anything, anything is possible in this life. This moment is everything. Right now. I mean you must have felt it too, because when I looked over at you there were tears on your face.

We Contain Multitudes, page 98

Jeanie: That’s the perfect way to end. Thank you both so much for joining me to talk about this book.

Christopher: Thank you, Jeanie.

#vted Reads: with Bill Rich

Back on the show: it’s Bill Rich! But first:

Lovely listeners, a few episodes ago, we turned fifty. Fifty! Can you imagine? 

It took us a hot minute (and um, more math than we’d care to discuss) to figure that out but this is the season that took us to FIFTY EPISODES. And we are so grateful to all of you for making that journey with us. It has been so powerful to hear from all of you that you are listening, you are pondering, and you’re enjoying this podcast as much as we’re enjoying making it. Heart. Felt. Thanks. 

And to that end, in this episode, we welcome back the very FIRST guest we ever had on the show: Bill Rich. 

Along with the redoubtable Susan Hennessey, Bill runs the Tarrant Institute Learning Lab, now accepting applications for its fifth year, and a whole riot in its own right. Bill and I talked about The Culture Code in the very first episode of vted Reads, back when it was still part of the late great 21st Century Classroom. 

Bill is back. 

And this time, we’re talking about Giving Students a Say: Smarter Assessment Practices to Empower and Engage, by Myron Dueck. We firmly believe this book can help educators unlock a more powerful arena for respecting student voice, even if the title itself… just might be a misnomer. 

I’m Jeanie Phillips and this is the end of the third season(!) of vted Reads: a show by, for, and with Vermont educators. 

Let’s chat.

Jeanie: I’m Jeanie Phillips and welcome to #vted Reads. We’re here to talk books for educators, by educators, and with educators. Today, I’m with Bill Rich, and we’ll be talking about Giving Students a Say: Smarter Assessment Practices to Empower and Engage by Myron Dueck. Thanks so much for joining me, Bill. Tell us a little bit about who you are and what you do.

Bill: Well, my claim to fame is I was your first guest for episode number one. So I appreciate being invited back, congratulations. And I taught in Vermont schools for 16 years as Language Arts and Social Studies teacher in middle and high school. And then decided I was going to take a different path and work from outside schools to try to make them better inside. So I founded Red House Learning committed to using what we know about the brain to improve what we do in our schools.

In addition to working with schools long-term and conducting workshops and writing about that topic, I am the Co-Director of the Learning Lab with Susan Hennessey, your colleague. And I’ll probably say a little bit more about that program. But it really embodies a lot what this book is about, but for adults. I also co-direct with Tim O’Leary, What’s the Story, which tries to put all these brain-based design principles into action in a way that can be great for students and helpful to teachers looking for a better way.

Jeanie: You wear many hats, and yes, you were my first ever guest. My first pilot of Vermont Ed Reads where we talked about The Culture Code.

What a fabulous book. I’ve actually given that book to many people as a gift. I liked it so much. And now we’re at the — this is the last episode of season three, you’re our 52nd guest!

Bill: Season three. Wow, I can’t wait for that door prize.

Jeanie: So this is our 52nd episode. And we almost — we hadn’t counted and suddenly I was like, oh my gosh, we’ve reached 50, who knew, I had done this 50 times. And so thanks for coming back and for choosing this book.

Before we launch into it, I want to ask what you’re reading right now.

Bill: Oh, I’m on the tail end of a tear of reading nonfiction books about breathing and breath. That started with a book by Wim Hof, called The Wim Hof Method. And then James Nestor’s book Breath. And then a guy named Patrick McKeown in the Oxygen Advantage. I was a mediocre athlete throughout my schooling years. And I have learned, I was a horrible breather. I was never taught accurately, neither was anybody really how to breathe correctly at rest and well in performance, and they are fascinating books, I’d highly recommend them.

Jeanie: My son has been talking to me about this. So thank you for adding to the books. I’m going to get them for his birthday.

Bill: Yeah, I’ve got a few more we can talk offline later.

Jeanie: Yeah. Love those suggestions. So just before we started the podcast, you read a little excerpt from Myron Dueck, Giving Students a Say, and it was from page eight. It was all about student voice and incorporating student voice. And as you were reading, it was just a really powerful section. But I kept thinking, we’re always talking about student voice. This book talks about student voice all the time.

And I want to turn that on its head, and I want to stop talking about student voice and start talking about teacher listening, or teacher hearing, or like, teacher not voice. And I’m wondering your thoughts on that.

Like, why do we frame it as what students are doing, when really students are doing that all the time, and how do we reframe it, so it’s like what we’re doing with their voice. Jamila Lyiscott, who I’m a big fan of says, if you think you’re giving students a voice, you’ve got it wrong. They’ve already got a voice. And so I wondered about that. That’s what was going through my brain and my heart: wait a minute, this isn’t about student’s voice, this is about teachers’ ears?

Bill: I think that’s a great comment. And you know, in this book, John Hattie is referred to quite a bit. And he has quoted as saying, really, we just need to shut up a lot more. But there are good reasons why that doesn’t happen, and why we have to adopt some language of marginalized groups, right, let’s give voice to the voiceless. Well, maybe, there’s a problem even with that sentiment in itself, right.

But in terms of that concept, I think a nice way to invert it. Because if you think about what teachers go through, what the way they experience school, the way school incentivizes them to talk a lot, the way school incentivizes them to show they are being rigorous. And in this country, that means go fast, and go far, regardless of whether people are keeping up with you.

In that system, you could get in trouble pretty quickly, if you stop talking, and just start listening all the time, that could be a monkey wrench in the system. And it’s one of the reasons why, despite the fact that we know formative assessment is one of the best strategies to improve learning, it throws a monkey wrench into the pacing guide, because everybody’s a little different. And if we’re really going to do formative assessment that means it’s going to get messier than we’re ready to explain our content with. May I drift on this a little more or are you ready to go on to?

Jeanie: No, please, because I think you really nailed it. Especially when I was a new teacher, I thought my job was to talk a lot, right? Like, there’s this archetype or this like concept we inherit from schooling itself of like, we are doing our job if we’re talking, so please riff on.

Bill: I want to do it in a way that helps teachers experience it as learners, rather than them being the one that’s kind of violating what we know about learning, which is that humans construct their own learning. It’s not a transaction. You can listen to somebody else’s expertise, and get glimpses of it. And that’s wonderful when you listen to somebody’s voice. But it should come with a flashing warning, temporary access only. Right?

Like, okay, I can hear this. And it’s making sense to me now. And nobody has this guy’s question. He’s on a roll, like I’m really loving it, but you’re not learning, you’re listening. And those are related skills. But let me put it a different way and rooted in my own failure.

Susan Hennessy and I, who we both we direct and design this Learning Lab that came out of us working in a couple of schools. The learning curve has gotten steeper and steeper for teachers in Vermont with Act 77. And we were both being honest with each other and saying, you know, showing up at a faculty meeting once a month, or maybe even in service for a half a day, it’s insufficient, and it’s way far away from where the real decisions in the classroom are getting made.

And so both of us were getting uncomfortable with the idea that we’re kind of taking up a lot of their precious time, and we’re giving them good ideas, and they’re liking everything. Oh, you guys are great. That was really nice. But it’s disconnected from the classroom. And so we just got a blank piece of paper and said, what would PD look like if it were really listening to teachers and being driven by their most pressing timely questions?

Like, what would it look like to invert that where we would show up working with teachers and feel like, actually, this is really working great? This is right the content.

And that’s why we ended up creating Learning Lab, because Learning Lab is returning to student teaching for a year, you get a year to luxuriate in you and your students being the curriculum.

And you and your students together identify an inquiry question. There’s transparency about pedagogy. And there’s partnership with students. And boy to be working with 20 or so adults who are all partnering with their students. And they’re all sharing with each other, not what they thought of chapter four that we assigned on teaching theory, no, on in the fourth week of school, how did it go with you to plan, and what’s the mess now or what’s the success?

And that’s the vibrancy that gets learning on fire, right? It’s real, like this is about what’s going on now. And that’s the vital ingredient missing in most schools due to our very good intentions to clean learning up and make it efficient. So we can all just explain these things to the students and move them through rather than no, no, we need to make the space for their voices and their learning. And it’s messy, and it’s hard to measure with a pacing guide. But boy, you get that EKG out and the hearts are thumping, like people are leaning in and excited because it’s what their brains were designed to do. How do we help each other with our most pressing questions to lead more satisfying lives? Not in eight years after I’m out of college?

Right now, when I’m nervous about this date I’m trying to have for this weekend that my friend and I got in a fight the other day, and I don’t know how to handle the play. Okay, here we go. Let’s make some room for that. And then, of course, we’re going to teach mathematics, but within the context of those relationships and knowing students, and that’s what will make the mathematics happen. But if it’s just as charging ahead without, I mean, giving students a say almost sounds trite, like, oh, let’s give them a say, what do you all think?

Let’s invite them to the table. Well, they were there for five minutes and then we did everything else. Now what would happen if you really partnered with students, and created a transparent environment where they weren’t running the show, we’re still the professional, we’ve got to make decisions, but I do think that would elicit their highest energies, if they really felt they were co-creating with us.

Jeanie: So I’m hearing so many things, and I want to just process some of them. And one is a friend of mine, Mike Martin, always says the one who does the talking does the learning. And it occurs to me that this book, and also Learning Lab are about making space for learners, whether those learners are students or teachers to do the talking to own the learning. And so having visited Learning Lab and worked with Learning Lab teachers over the years here and there, I know that you make lots of space for your teachers to learn from each other. And so when you said its like, it’s like student teaching again, it isn’t, right.

It’s not the worst of student teaching where you’re like, ah, how am I going to apply this? It’s actually like student teaching better, because you actually have enough experience in the classroom. I mean, you have people who have years and years and years and years and years of experience, and so much expertise learning together in Learning Lab. But it’s like student teaching when you can actually learn. Like it’s a do over where you actually get to do the learning you wish you had done before.

Bill: Oh, I’m so glad you clarified that we always go to that because the mental model is it’s hard to get past the typical course experience, right? The syllabus, and this year, the theory or the products. You’re right. It’s student teaching if student teaching were really great. First of all, it’s all year.

Second of all, you already cut into what you’re doing a little bit. So it’s not as if you’re brand new. And it’s the gift of really having a chance. And you don’t have to know at the beginning of it. But what’s the question? What’s something we want to try to take on this year to get better at and learn about, and that sense of adventure and inquiry with students, even if it’s just a small slice of the experience it transfers over to other areas because they didn’t realize the way we were thinking about these things. So yeah, inviting them in on it.

Jeanie: Well, and so that gets to the very beginning of this book. It quotes John Hattie, on page five.

“Students are the best people to report on themselves.”

And it occurs to me in this conversation with you that student can mean middle schooler, but student can also be adult learner. And so I think that’s really connected to the author’s, elevator pitch for this book. And I just wondered if you’d unpack that quote a little bit: “students are the best people to report on themselves?”

Bill: Yeah, there are a couple of dimensions. So this one is just obvious, right? If you’re really working with somebody and wondering how their learning is going, asking them. But for some people, they’re a little suspicious of that. Well, if I just ask them, like, are they to be honest? Or like, are they how do I really know? I bring people back to is a wonderful book called How People Learn, which has been updated a few times. It’s really a meta-analysis using a lot of cognitive science and other fields related to education.

But the three findings that are present in all of those iterations of the book, one of them is begin with the learner’s conceptions, right. And so that’s as true September 1, as June 1. Begin with it.

Well to know their conceptions, whether it’s about what you’re teaching this day, or what’s going on in their life, you really have to spend some time listening. And what we learn over time is some students are very negative and critical of themselves, their conception of what they’re sharing shows, while they’re hard on themselves, and they don’t quite see some of the strengths they have.

Others have a pretty elevated sense of themselves and what they’re capable of doing. But remarkably, and he has a line about this in the book. Remarkably, from that age up, most people have a really good sense of how their performance and they’re accurate when they describe it, which makes me wonder, imagine if we didn’t do all this testing, we just stayed in conversation with them, and had them develop portfolios of what they were learning, rather than really hardly ever talking with them about these things.

Jeanie: That makes me think about my own experience as a student where I thought of assessment as tests or essays, written things I had to turn in. And either I thought of it as a gotcha moment. Like for my world history class, where the professor was really boring, and I didn’t want to learn dates, and I had to take this multiple-choice, it was going to gotcha let me know that I didn’t remember the dates, or as a moment to shine. Like, sometimes I knew, like, oh, this is the place where I’m going to do really well.

And other times, it was like, ah, I either have to cram all night, so that I’m prepared to meet this gotcha. I’m not going to do very well. And I think so much of when I was teaching at Green Mountain, even when I tried to shift what assessment look like when I was teaching students, they still had those conceptions of assessment as gotcha. Assessment is like judgment.

And Dueck says his goal is to develop assessment capable learners. And I feel like that would have challenged me to get beyond this idea of like, I’m going to be judged, and I’m either going to shine or fail.

Bill: Yeah, that’s an interesting phrase: “assessment capable learners.” One, I’m just going to step back from the book, and then I’m going to drop right back in, I think that’s on page six, where that phrase comes from.

When I think of assessment capable what I think of is that a person as they’re going through a learning experience, they have this meta-conversation going on with themselves, right? There’s a sense of awareness:

“Ooh, here is the part where I’m getting scared. This isn’t making sense. And yet they’re skilled enough to know this is the part where I ask questions, or you know what, I just stick with it for a little while, like this is the wobbly part. This is where I need to ask for help. But I know what my next step is this, right? So I’m going to resist that inner voice that sometimes I succumb to become paralytic, and instead of just going to, okay, that’s going on, and somebody who’s assessment cable.”

And the interesting thing is, we are brilliant at this until we get to school. I mean, if you watch somebody learn before they’re told to sit in a row and in a seat and start learning the same thing all at the same time. Talk about assessment! Literally just look at somebody learn to talk, just look at somebody learn to walk and look at the energy that they bring to it.

Because there’s this real “man, I want to get done with this dragging my butt across the floor thing, I want to get to that table and grab my juicy.” Well, they don’t need a rubric. Okay, they don’t need a checklist, they might need a little help from us. If anything, we need to hold them back because they might get hurt. They’re so enthusiastic for what they’re learning.

But in a very well-intended effort, as teachers, we create conditions that often, unfortunately, and ironically, cultivate learned helplessness. Oh, school is where you kind of sit and wait until somebody tells you what to do. And by the way, you don’t really have to do it the first time, because they’ll come back and tell you to do it again.

And before you know it school is not where my energetic learning is going on. This is that place where I don’t really have a lot of impact on what’s happening. And so I’m moving into compliance mode. Just like an exhausted teacher who comes into in-service in the fall and learns this year, we have three new goals, we’re doing this, we’re doing this, we’re doing this, even though last year, we did this, this and this.

And that didn’t go so well. And we didn’t finish it. We’re just moving on. We’re all humans, right? If the targets keep changing, if we’re not part of creating the targets, what do we do? We learn a very important life skill: how to get this crap done without taking too much out of our personal lives, so that we can get the things that matter.

And I’d say the tragedy of our continually outdated operating system in school is the opportunity cost of having so many students in learned helplessness mode, and so many students not realizing their best selves, and saving that for things that are happening outside of school. It’s awful.

Jeanie: Yeah, I really appreciate that. And it really jives with what the book called success. The things successful learners do. One is they understand the learning process. Two. they accept it as worthy of their time and effort, right? If it’s not relevant to them, if it doesn’t motivate them, that they can’t be successful learners. And then three, they feel like it’s possible to work towards success. Like the finish line isn’t so far out that they’re never going to reach it.

And I really appreciated that conception, because I feel like it wasn’t until I was in graduate school that I became a successful learner. Even though, I looked successful in schooling, right. I certainly had the right GPA. And all the teachers thought of me as successful. I didn’t actually understand the learning process or feel like it was worthy of my time or feel empowered until I was much older. I wonder if you have an example either from Learning Lab or from other work about what this looks like in a middle school classroom?

Bill: Oh, sure. Where to begin, so many examples, I’ll try to go with the most fresh ones. Considering the year we just had, one teacher at the Learning Lab decided they came in with a different inquiry question. But then once the year was kind of settling or unsettling out, however you want to describe it, she really recognize the there was a need in her students to have a space to discuss more regular their emotions. And so it’s kind of SEL, Social-Emotional Learning. And so she boldly created an inquiry question that had to do with throughout the year, I’m going to more deliberately make space for teaching about Social-Emotional Learning. And so she did. And then at first, it was a little flat, right a little bit like the first sharing circle that Myron Dueck describes in the book like, and then she found what really gave it legs was when she decided, I’m going to open up about how I’m doing.

And this is risky, right. This is I’m going to share what this is like and share a little bit, what I was like at their age, she said, that’s what made all of a sudden, everything, transforming work. Because all of a sudden, we were in this together. It’s not like it was being done to the students. And fast forward a few months, students are looking forward to these discussions, they’re getting credibly in-depth, they’re really getting to know each other well enough, so much so that it’s starting to spill over to some other classrooms and teachers. And anyway, the teacher ended up getting invited to present to the whole faculty to share some of that.

I think the key piece, whether it’s elementary, middle, or high school, doesn’t have to be Social-Emotional Learning. But the piece that she did, she was transparent with the students about what she was trying to learn. And then when it was getting a little flat, she really opened up with them about that. Rather than I’m going to go home and drink three cups of coffee, and then really come up with a great plan and then have my heartbroken Friday when I do it all alone. Again, no, put the cards on the table, let the students have a say with you, and take it from there.

Jeanie: So one of the things I’m hearing in that, and maybe it’s because this is something I’ve been thinking about a lot, is vulnerability, and the capacity to be vulnerable with students. And I, as you know, was a school librarian. And so the thing about school librarians is that we’re all about the learning process. And we’re generalists, so we don’t know everything. But we typically can help students get there because we’re really good at processing. So kids used to come in all the time and whether they were working on something for physics or AP history or tech arts, they would have a question I’d be like, no, I don’t know. But I know we can figure this out together, right.

And I feel like one of the things we have to sort of toss is this notion that we have to be content experts, as educators, and sort of be more open with our students and vulnerable, whether it’s about Social-Emotional Learning or geometry, about the things we don’t know. But that we are sure that we are lifelong learners, and that we can learn that thing.

Bill: Yes, I’m right with you. The analogy I’ve been using lately when I’ve been fortunate in that I’ve had a chance to work for a long time in school systems and work hard to make them better from within as a teacher, and I’ve had some success with the things I feel really good at. But the success was always limited, because the operating system going on at school, there’s only so much you can do within that. And I would say one of the most challenging things for teachers to be able to even practice, even if they want to, it’s hard for them to make it happen is how to make space for being clear in your outcomes. But be less clear about how you and your students are going to get there.

To really make space for, and I’ve come to believe the best learning conditions, there’s a healthy dose of improvisation going on every day. And then there’s a healthy dose of we are co-making this a little bit. And by the way, I’m the teacher, I can show you my outcomes. I can communicate here’s what matters most in my mind, some kind of performance they are getting ready for. But let me show all these pages here. They’re blank. Like, I’m going to share with you my ideas. I’m going to hear from you.

But this idea of improv is terrifying for an actor who has only worked off scripts, right to move into improv. But improv doesn’t mean you’re just winging it. Improv is another set of guidelines. You’re being deliberate about how, but the idea that that’s what gets the pulse going. That’s what gets the engagement, the idea of — wait a minute, this guy really is out on a limb with us. Like, he really hasn’t planned this thing out.

Jeanie: Okay, wait, we got into process and it was a little bit…

Bill: Yeah, yeah.

Jeanie: Because I have a kid who knew exactly which teachers he could get off base and which questions to ask or which topics to bring up, so that he didn’t actually have to do work. So I want to be clear about what we’re talking about here. Because one of the things you and I agree on is that there are limitations to this text, this book we’re reading and there are real positives. And one of the positives for me is that Dueck breaks down how we can take standards or proficiencies and break them into learning targets that really speak to our students and break them apart into knowledge targets, reasoning targets, skill targets, and product targets, Sort of like a KUD (know, understand, do).

We can get really specific about what are the outcomes we’re looking for from students. And so for me, the use of those is that it’s clear for students, but it’s also clear for me as a teacher, so that I know. I have done this as a teacher, I have been the teacher who says, well, we always do the apple unit. And we do we go to the apple picking place and we pick the apples and we read the book. But there’s no clear outcome for where it’s fun, right? The apples are great, the book is great, but what’s the outcome? And so I just want to like say, there has to be this both/and of yes, improvisation because we have to constantly be gauging where our learners are, and riffing based on where they are and where they need to be. But also, we got to have a clear place we’re getting to.

Bill: Yes, absolutely. There’s a paradox that work here that often gets missed, right. I am a firm believer in backwards design, absolutely committed to the arduous and endless process. And I want to emphasize this endlessness of being clear about what matters most. Like I don’t think you ever graduate from that school of one knowing what it is, and being able to communicate effectively. So I think we’re always working that side of the street. But the paradox here is we are planning and designing as best we can. And then when we meet our learners we make space for the improvisation, right.

We don’t take all the oxygen out of the room. And I’ll give you an answer, because an example or two. I think we asked too much and too little of students in schools. We ask too much of them, because we ask them to do far too many things that violate biologically the way they learn. So in other words, we’re taxing their natural way of learning is tax throughout the day, right. So that’s asking a lot of them to do that.

But we tend to ask too little of them. We tend to make the standards. We’re trying to get everybody to succeed. So we try to make sure it’s not too complicated. We shoot for that middle ground, right. And we get lost on those learning targets sometimes as a result, but if the idea were let’s replay it, okay. I’m going to design as best as I can.

Let’s use What’s the Story, for example. Students know coming in and if they didn’t know, they learn very quickly, oh, I have all year to make a documentary film. Well, ask any filmmaker how long it takes them to make a documentary film, like that’s a big! That’s — you’re asking a lot of students, they’ve got a research, but you know what? And we’ve laid out what that general sequence looks like. However, what do you want to research? Well, here’s the improv, right. Okay, well, who’s your audience going to be? But I want to change the world. Okay, that’s a big audience, right. You might need five years for that documentary. You only have one year, we’ll be free and know it.

The stake is put in the ground where we’re trying to get to, but we’re not telling them what the title is. We’re not telling them what the topic is. We’re not telling them who to call, like, these are things we’re going to be in dialogue with them for them to figure out. But if the stake in the sand is everybody’s going to know, to put a comma before a conjunction, to join two independent clauses, like if that’s the target, and that’s our rallying cry, well, you can give students a say and how you want to teach them about conjunctions, and independent clauses, but like, that’s going nowhere fast.

However, when they’re writing their script for their documentary films, and we’re editing their scripts, and we’re showing them where commas go, all of a sudden, all that stuff starts to make sense in the context of they’re trying to create something beautiful that they care about. And they need our help to get that done. That’s where the improv and the dance happens. But if you don’t have that ecosystem of like, where we’re headed, what the product is, how we’re going to work together, improv can turn into, Socrates gone bad.

Jeanie: I really appreciate that. And I’m hearing two things. One is I recently had a conversation with Alex Shevrin Venet about her book, Equity Centered Trauma Unformed Education. And one of the things she keeps in mind as she’s planning is this both/and of predictability, like where are the routines and the predictable things, and flexibility.

And what I’m hearing from you here is that both/and have predictability and flexibility. I’m also hearing like, we think about this at the Terrant Institute all the time, which is, a lot of times we hear from folks that we need to build skills before kids can do real meaningful work.

And we’re really trying to push people to do real meaningful work as a way to build skills. And it reminds me of a quote from page 69 of the book, where the author where Dueck gives an example of real work in elementary schools, but the quote is from Greg McKeown. I’m probably getting it wrong.

“What if schools eliminated busy work and replaced it with something that made a difference to the whole community.?

I feel like that bells should chime at the end of that quote.

Bill: One of Grant Wiggins most read blog post was late in his life. And the title is something like what if everything we know about curriculum is wrong. And what he makes the point is, and it’s kind of related, you’re familiar with Dan Meyer, the wonderful math teacher is kind of wonderful TED talk that basically shows these math books, they put all this scaffolding in, that kind of ruins the jumping into the deep end of the pool and just figuring stuff out? But what Grant Wiggins says is when you look at how learning really works, it’s through engaging in real out in the world activities.

And the byproduct is all these things that we’re trying to teach students. So for example, and we’ve heard this model before, it’s simple, but it’s a good one, like in schools, and I’m being a little facetious here. Okay, we’re going to teach them how to ride a bike. Okay, before you can get on that bike, you just memorize the parts of the bike. Okay, there is the bicycle. There’s this, there is the right? This is my first computer teacher. Now granted, computers were brand new, so all of us were friends. It was like they were in the boxes. But before we can open that there is a mouse, and we’re thinking like animals are going to be jumping out of this thing.

Like we’re learning all this vocabulary. But we forget our biological inheritance long before the first school was ever created. There were human beings doing spectacular learning, and how are they doing that in their communities engaged with figuring out the most pressing issues by socializing with each other? And the better we did that our lives would get a little bit better. And that’s what we’re really good at, like working together in our communities, listening to each other, sharing all of our insights. If somebody goes down, hey, here’s some help for you. Because I mean, it’s that fiery interaction with each other.

We’re more engaged with making a difference in our worlds and in our world, so desperately need schools to be more like that. That talent sitting in our schools, the sixth graders who are ready to perform at a higher level than people I’ve taught in graduate school. I mean, I’m beginning to get too excited. We’ve drifted away from the book. But I really just think all of our jobs, students and teachers, are so much harder, because again, we’re violating laws of learning. We’re making learning happen in an environment that is well intended, but it has inadvertently poisoned the learning well. And it just makes us keep working harder and harder to try to make it better rather than wait a minute, wait a minute, we just keep slapping new software on this old hard drive.

Okay, we’ve got this. We’ve got PLPs. We’ve got this. We’ve got formative assessment. We’ve got different. We’ve got personalization. And we have this incredible architecture of language that we have put around this system. But it’s all this language that’s trying to give students a say, in a system that’s not made for students to have a say.

Jeanie: Well, so I want to go back to the bike analogy, though. Because I think that that’s because I live in a neighborhood now. I moved last summer, and I live in a neighborhood with sidewalks. And I live in this glorious little community with so many children. And one of the things, I am envious of both for myself and my son, are these stride bikes. You know what I’m talking about?

Bill: Oh, yes. Yeah, amazing.

Jeanie: They’re like for three-year-old to, I see three-year-olds and four-year-old scareening down the sidewalk all the time on these stride bikes that I didn’t know existed when I was a mother of a young person. And the thing that it made me think about is these learning targets again, and getting specific. So I don’t need to know how to fix the chain on my bike, or even fix a flat, because I have people in my life that do that for me, thank goodness. But the things you do need to like achieve in order to ride a bike are balance, right. So you have to be able to balance, I probably need to know the word pedal so that I can know how to push on the pedal. I probably need to know about the concept of brakes, but we could totally take those concepts and put them in those in that learning target formula of knowledge targets. I need to know where the pedals are, where the brakes are – reasoning targets.

I need to know when to use the brakes, when to pedal: skill targets. I need to know how to balance. And then product targets is like that actual riding the bike. And what I’m watching is — I’m watching these kids on these stride bikes really working on that skill target of just balance. They’re not working on pedaling, they’re not working on braking. Sometimes they look like they’re going to have horrific falls. And I imagine sometimes they do, but like they also go careening down and having a blast and managed to do just fine. And so it just makes me think about what you’re saying about our sort of broken ways of moving too fast and muddling up the learning targets and messing with our natural capacity to learn. It made me think about those young people, little toddlers on their bikes.

Bill: Yes, absolutely. I love the image of those. And to extend this just a little bit more, if you are really teaching this that the temptation of a teacher might be to just interject ourselves too much with too much information. Okay, let’s reflect about balance, chains, parts of the bike. Sometimes learners just need space to perform.

Jeanie: Sometimes they need to fall.

Bill: And just let them talk to each other, right. They’ll figure, but if we say here’s the rubric, here are the targets. Now I want you to keep this in mind before you even get going. You can congest somebody if you’re teaching somebody how to hit a baseball, you know a couple of things for them to keep an eye on the ball, but just let them with a few times, let them kind of like they need to figure this out. And if we over coach or if we over anticipate, what we’re going to teach them to do is every time they start to struggle, they just look around like where’s the struggle? Now we need more space to figure things out.

Jeanie: I totally agree. And I watched the best parents, my neighbors are amazing parents. And I watch them like let this little neighbor go careening knowing quite possibly she could fall, but they don’t stand in the way and say no, I’m not going to let you go down this little hill on the sidewalk, because you might fall, right. They let it be okay that maybe she’s going to stop or fall or cry a little.

Bill: Hey Jeanie, have you read the book Duct Tape Parenting? You’re familiar with that one?

Jeanie: No, I should have.

Bill: It’s a great book. But the theme of the book is, so often in the name of efficiency, we intervene and smooth things out for youngsters, while we’re parenting, to not contend with embarrassment, right. Or they’re missing the bus or this. But we end up undermining resiliency in the name of efficiency, right. I’m going to zip that code up. Paying like, I’ve got six checklists, I’ve gotten everything set to get them out the door. And by gum, I’m not going to be late to work .

Okay, well, you do that. But when they’re 25, and in the basement, say mom says, “dinner’s ready.” You know, it’s, there’s a cost to this. And the same is true with school. There’s so many efficiencies built in, really, you’ve kind of got to work hard. It’s not easy not to succeed in school, but you really have to work hard to not make your way through school, right. Because people will take care of you. They’ll just, they’ll just keep moving you on.

Even to the point for some learners, they’re even a little embarrassed of themselves. Really, I just get to keep doing this. And you keep moving me along. I mean, somebody’s not going to intervene here.

Jeanie: Yeah, well, and so we’re jumping ahead, we can jump all around, though. Chapter Four really highlights a ton of the brain research about learning and when I was reading it, I was thinking of you and in-services that I’ve been at where you are presenting. And about a course I took with you. And it made me think earlier when you talked about learning is messy and inefficient. And we really do try to smooth it over, make it cleaner. I think I’m going to stop saying we, I remember being an educator who tried to make things less messy, more efficient. And I really thought about I think they even in the one of the sections of that chapter talk about Daniel Kahneman’s Thinking Fast and Slow.

And about purposefully introducing what the phrase he uses, I think its friction, purposely introducing friction and slowing down the learning process, so that we’re able to get students to real learning instead of shallow performance.

Bill: Yeah, that’s, that’s great. I love that. I know, I think this is the Bjork brothers are quoted in here as well. And, one of the images, they’re quoted in that book, Talent Code, and they talk about, when learning is working, it’s like you’re climbing an icy hill with the wind against your face, and you’re falling down. But then you make it a few steps, but then you fall down again and go down a cliff. So like, when it’s really happening, it’s not a feeling that people want to be thrust into.

It’s a feeling that, for example, often when I work with groups of teachers, we just do practice with recall, right. Very simple strategy, but we’re just going to pause, we’ve been waiting for 15 minutes, if you had to say, what’s the most important thing? What would you say it is? Or if I’m there a week later. Hi, everyone, just in 50 words, what do you remember from what we did together last time. And what happens for lots of people in that situation is they try to remember, and they can’t, and they go, so I can’t remember, I’m just going to sit here and be quiet, somebody will fill in the gap.

But I always challenge people, that thing that just happened, where you went to find it in your brain, and it didn’t come there automatically, teaching your students how to sit in that uncomfortable space. And really ask themselves, why can’t I remember that? What could I do next time to encode my experience? Like, what are the tricks, right? So that I can say, I need to be more intentional, while I’m going, because if people get used to you regularly asking them, what did we do last time?

And instead of just letting the eager beaver who has a good recall, but really asking people, if you ask people, most people don’t have a lot of recall strength like most people don’t walk around with. Oh, here’s how I need to encode this, as I’m experiencing this so that I can remember it later. And that is a huge life strategy to have. Because again, our brains will trick us. I’m going to remember this, this is feeling fresh, like we forget our working memory is pitifully small. And it’s most of us have to get, at least for me, you get to get older before it’s like, wait a minute, if I don’t write this down, slow this down. Like I’m not going to remember this, or I’m just going to have to cram it later.

But we know that most of what we experience is in our brains.

“So it’s not hard to get things in a person’s brain. What’s hard is teaching them how to retrieve things from their brain.”

And I think for me, in my early years of teaching, I focus far too much. I’m trying to get things into their brains, and far too little on helping them excavate along the way and not wait for the end of unit tests. Like let’s practice now. What do you remember from yesterday? What do we, because regularly I’ll work with teachers and I’ve been there too? They’re like, I don’t know. They’re like nothing sticks. They can’t, they can’t remember any of it, then there might be lots of reasons for that. One might be because it’s not very sticky. One might be like they are paying attention just not to you, because somehow they have other things that are still more important.

So some of it’s on the teacher side of the street. But the other is, I bet you if you ask them, what are your top five strategies for when you’re listening? In order to encode your experience in a way that makes it retrievable, later. I’m telling you, most people, you ask that question. They don’t they don’t have those strategies. Because, again, we don’t teach people how to really listen to encode in order to get what’s going on.

Jeanie: That’s so interesting to me on so many levels. I’m thinking of my friend Rhiannon Kim, who had us in a class we are taking do this thing where we are listening, and what did she call it? And we’re really in our brain. We’re saying the words you say, and I find when I’m listening really well now I do that. I’m like, sort of repeating what you’re saying in my brain to make it — to make sure I’m listening. And I just loved when she did that, because nobody ever teaches you how to listen, right? Like how to listen really well. But I’m also thinking about, okay, bear with me.

Bill: Sure, yes.

Jeanie: I’m thinking about in this book, there’s a lot of places where Dueck talks about how we need to struggle. He cites all sorts of studies where kids who struggle to come up with an answer to a problem, even if it’s the wrong answer, learn the right answer better because of their chance to struggle. And again, and again, he comes up with that. And I’m thinking about my own life. And it’s hard to pinpoint, like specific learning processes and maybe this is part of the problem of teaching is so much of learning feels like mystery because once you’ve learned it, you’re like, how did I not know that before. But I think about the most memorable moments in my life, they’re often from hardship.

It’s like the backpacking trip where it rained the whole time, or where somebody got hurt. And we had to figure out how to climb over the mountain with their pack as well and go back and get them, and get help. Like those are moments of joy even though at the time they were really struggle. And so on Page 12, I love this story from the second chapter of this book about this guy named Joe De Sena. Joe De Sena creates these races called Death Races that people sign up and pay money for. And I know people who sign up for these things, part of what they’re paying money for is like to move concrete blocks to the top of a mountain, right?

And there’s so much about this, that people like only 20% of the people finish. They’re designed to break people, he says, and there are so many things about this, you can see why people do this. It’s because in the end, even if we think we don’t love struggle, struggle really feeds us as humans, right? Like overcoming struggle is a huge part of our satisfaction, our growth, our learning. It’s what we remember, right?

But also, and so in some ways, he’s creating this really powerful learning experience. But one of the reasons why Dueck uses this as an example is because people who sign up often don’t know when the race starts, when the race is finished, when the finish line is always moving. Nothing’s clear about it. And so they feel like it breaks them mentally and emotionally and physically, because they have no clear conceptions of where they’re headed. And so it’s like the both/and of like, yes, first part is really good, but the lack of clarity, he’s also drawing similarities to our education system that are not so good.

Bill: No, absolutely. And I was doing some writing a while ago. And sometimes you get on a roll with that. And one of the pieces that came out as I was describing learning was this idea of just how wild learning really is. And by wild — in addition to being like wild man, like it is wild in that sense, if you pay to choose the brain, but just know in terms of no, it’s skittish. It’s we’ve got to be very careful. You do one little wrong move, then the learning is going to hide under a rock and won’t come out for the rest of class, one sarcastic comment, right?

So with some learners like you got to be really cautious, but on the other hand, we love novelty. And if you look at the history of humankind, and some of this has been awful and terrible. But it is the engagement with the wrongness of our worlds that does really bring out our best. And I’m not one of those people against the self-esteem movement who complains everybody gets a trophy, like I’m not one of those. I think we’ve come a long ways toward making schools more humane places that anticipate the neurodiversity and the range of experiences that ride to school, right.

So I’m not suggesting we make school into a Hunger Games situation.

I do think that at learning’s peril, we disconnect what we’re teaching from what our students are really experiencing in their world.

And although I taught this year, I didn’t go through with people who were in the public school system day in and day out. So I have just a slight taste of what people went through. But to see the number of people who, because of the constraints this year decided I need to do something a little different. Like, we need to make sense of what’s going on. And at least made a day or an hour a day, we’re just going to and I just think that we forget how much stress everybody’s gone through in a good day as this planet is hurtling around the sun. And there are crises in our students’ lives every year that merit us slowing down and having at least part of every day to how are we really doing.

And I think if we spend more time investing in that, and never losing touch with that, our students could help us understand how to make school be more meaningful for all of us.

Jeanie: Yes, I really hope we don’t go back to the old way of doing things. I think there’s so much that we learned through COVID that can improve schooling, teaching, and learning. What you just said reminded me that when Dueck breaks down learning targets, part of what he encourages teachers to do is to include his students writing their own personal targets. So not only co-creating those learning targets with students so that they are knowledge, reasoning skill, and product targets, but also having students have an opportunity to be really specific about their personal interests in relation to whatever the standard is.

Bill: Yes, I love his examples in the book of that. And I think it’s a great idea. And I’ve had success with doing things like that. The proviso, I would give though, is that sometimes when we invite students to have a say, we sometimes forget, there’s been a monologue going on for most of their day. So their voice might be a little rusty at the moment.

However, it’s like, I don’t know, I gave him choice. But they just saw because then I don’t know what to do with choice that will, okay. Okay, so it didn’t work that day. But the idea of continuing to go to the well, and I do think the beginning of the year is the best time to kind of set the stage for committing to that kind of approach.

But just for those people who if they read this book, they’re like, I tried it, but it just didn’t work. Just keep in mind the larger context of what’s going on, because often it’s not because they don’t have a voice. It’s not because they can’t express their voice. And it’s not because they can’t even direct more of their learning. It’s just they’re not as customed to that being what happens in school.

Jeanie: We’ve developed compliance in them. We meaning educators, like our schools, schools that use PBIS are definitely relying on kids being compliant, right. We’ve taught them a whole system of compliance. Those muscles may have atrophied.

Bill: Absolutely.

Jeanie: It takes a while to build up that strength again. I have experienced that as an educator back when I was at Green Mountain, I was like, but what are you interested in? Kids were like what?  Nobody’s ever asked me that before. I’ve experienced that as a student, I’ve been the student who you read from earlier who’s like, no, I don’t need to learn this. I just need to get this done because it’s due.  I’ve worked with teachers who are dealing with students who they say aren’t self-directed, but it’s because they’ve been in situations where what’s demanded of them is not engagement, but compliance.

Bill: I mean, I know one of the ways I like to approach thinking about what was a different operating system really looks like because I think it’s hard when we’re in an operating system that our culture has been steeped in for so long. Even when you think you can understand it, you underestimate the number of ways that is shaping you. For example, what if school is a place where students come to study.

What if school were place where students came to be studied?

And what if schools were places like all of our adult expertise, we’ve got it. We’ve got mathematicians, we have scientists, we have like all that’s part of this, right? We’re not saying we’re getting rid of content, but how do we keep it the center of our intense and growing curiosity from year to year? How is this unfolding story developing? How is Sarah doing now? She’s in fourth grade. Oh, my God, we knew this about her in first grade, she had this interest. We know she struggles with this. Her mom was very sick. But how do we have the arc of that story just get more textured as we go.

That book that he mentioned, what is it getting rid of averages that what’s the name of the title of that book he refers to?

Jeanie: Yes, it’s Todd Rose’s The End of Average. I love that book.

 

 

Bill: You know that book analogy, which has been around for a while, and people refer to it. But the idea of jaggedness right, so this idea of one of the strategies in the book, which I love the spider map image he’s got in there.

Page 131 of Giving Students a Say

But how do we I’m going to connect jaggedness to this. I was just saying and again, another play for us reimagining personalized learning plans. But what if there was a place that every year, our goal was that students felt better known and understood at the beginning of every year? What would really happen?

So we by the time they got into middle school, and before they came in, we knew them in their full jaggedness, right? We didn’t need ninth and 10th grade to figure that out like we really knew who they were. We’re still going to teach math, we’re going to teach these different things. However, we’re going to do it through the lens of who these students are in settings times in places that make sense. Boy, if we just did that, I know, I know this is true for me. And since I’ve done activities with educators, the proof is over and over again. All of us bring our best learning self in conditions where they’re people paying attention to us, admiring us and seeing things in us that we’re not quite seeing yet.

It’s that expectancy effect, right? Pygmalion effect, almost, like if people are looking at, “Oh, you’re Bill, I’ve heard about you, you’ve got this, your starting with this?” Oh, and you know, one thing I’ve noticed in you like, really, you know I am you know, I know for me high school, it was pillar, right?

Jeanie: I just got to say, you just nailed me. 100%, like if somebody comes up to me and says, “oh, Jeanie Phillips.  Hi, I’ve heard about you.” I’m all in. 

Bill: And you kind of like me, let’s go.

Jeanie: You heard about me and you want to talk to me? I’m all in. I mean, no, it’s true. Like if somebody sees you, being seen is huge.

Being been is everything.

And if somebody sees me, I’m all in. I want to be your friend, hello!

Bill: Have I ever told you this story that Carol Tomlinson relayed? This is a lot of years ago, but she was describing, she just been watching the Summer Olympics. And she said, it was that one where they have to swim four times, you go to one side of the pool. I don’t know how long the pool is. So I’m making this up. But it seems like a long ways to me. You got to go all the way to one, then the other, then the other side, we got three of those little turns. And at the end, there was a gentleman swimming from a landlocked country in Africa, who had learned to swim just in the last year, right.

So he’s up representing, kind of like the Jamaican Bobsled team. And by the time he finishes his first lap and a half, everybody else is finished with it.

So he finishes his second lap, turns,and he starts his third lap, slowly exhausted, looking out of breath. And the crowd starts getting a little bit louder. And then he gets close, he starts this fourth lap, the crowd is on their feet roaring. And they get him all the way to the end, and they pull him out of the pool. He’s nearly sick from the exhaustion and the camera man comes up to him and he’s catching his breath.

And the woman says, “I got to tell you, you just learned how to swim. You look exhausted, like, how did you even do that? How did you even finish?”

And he said, “how can you stop when everybody’s cheering for you?”

Jeanie: Yes.

Bill: Right and this is where so much learning goes wrong. Which is that we’re kind of in a deficit-based system, like here are all the things, I don’t know. And our job is to get these into them before they leave us as opposed to – wait a minute. These things will happen, right but who are they? What are they able to do? And how do they sense? Hey listen, even though last year you started the fire in the bathroom, even though last year your mother died, even though last year the teacher you made quit because you were so miserable. It’s a New Year, Johnny and this is the year we think it’s going to happen.

Let us not succumb to those negative senses because the students pick up on those. But if we really remain in that, I’m not saying pollyannish here, I’m saying eyes wide open to who people are and letting them know, we see the full range. But always coming with a sense of this is it’s going to happen. That’s okay. So okay, let’s go this, we’ve got our next step. Let’s take it buddy.

Jeanie: This is reminding me of a book I read years ago, I think it’s called Spark. And it was also about learning. And one of the examples that stuck with me is the PE teacher who put heart rate monitors on kids and had this complete paradigm shift. That the kid who was working the hardest wasn’t the kid who ran the mile the fastest. The kid who was working the hardest was like your swimmer, was often the person coming in last.

I think we see this in schools all the time. There are kids who get straight A’s, or who are knocking the ball out of the park, who are putting in very little effort and there are kids who are putting in a ton of effort and not knocking the ball out of the park. And how do we start to see? How do we start to look past that, and make sure that everybody is getting an opportunity to effort and to grow?

It also reminds me of this phrase that’s used in the book that I feel like I learned from you.

The Latin derivation of assessment means to sit beside.

And to me what you’re talking about is sitting beside. You can’t sit beside and not to get to know a kid, not see the effort, not see where the friction is happening. And maybe there’s too much friction or too little friction.

Bill: Yes, absolutely. I know. On the one hand, I think in the book by Dueck, he talks about somebody is talking about being Hockey coach. He says, sometimes when we’re planning, we get this expert blind spot where we want great hockey players. So if we’re an English teacher, we have great readers and writers, we’re thinking about all these things. But we forget, people who become really great at something, they make mistakes, but they’re encouraged to succeed through them. And then they learn how to succeed through them.

But somebody was celebrating, like one of their students said, hey, I can put on my skates. And on the one hand, was kind of disappointing. I want them to be able to do a left-hand pass. Hey, but you know what, he’s able to put a skate on, like that wasn’t able to happen two days ago. And maybe if we could celebrate that a little bit more.

And similarly, those who have the private hockey camps, they’ve been training for it with their parents resources. How do we get them in circumstances where they’re feeling an equitable amount of disequilibrium. That they they’ve got that to where that they understand having this kind of privilege, the awesome responsibility of this in terms of the common good.

And rather than, well, you’re fast, you’re great. Let’s get you in the high track with all the special right like. Well, wait a minute, wait a minute. We’re poisoning that person by doing that to them as much as we are by not celebrating the person who just learned to tie their skates?

Jeanie: Yes, we’ve been talking for a while.

Bill: We didn’t talk much about the book.

Jeanie: No, we sure have all these ideas are in the book. I guess I want to ask, is there something about, is there a limitation to the book? Or is there something that’s frustrating for you about this book, that doesn’t quite sit right? And then I’m going to ask you after that, because we’re not just going negative Nelly, what idea you most want to convey from the book?

Bill: Sure, the piece of the book that frustrated me, I’m going to speak from a professional place. From my own personal experiences, I’m so exhausted continually trying to support teachers who are exhausted because they’re trying to do everything their school was telling them to do. Which includes a lot of contradictory messages like: take care of your students. Make sure they’re all okay. Make sure every student is listened to.  And common assessments, we got to make sure we got the common assessments and we’ve got. Our fidelity to our math program. And we need to make sure we’re in the Caulkins genre. Okay, I’ve got to do that.

Okay, interims are due, so parent conferences are coming. So you need to talk with parents and make sure you hit on this. And you’ve given them a grade, it is this. There’s just so much for us to do and what we continue to do is continue to try to make a little bit better the current system we’re trapped in rather than figuring out how do we step away from this, and begin now with a blank canvas, right. We can’t do that.

But how do we really stop trying to be everything to everybody, and begin to have much more collective efficacy as faculties?

Like wait a minute, there are only so many hours in the day. How do we do this in a way that’s more humane and more in partnership with our students? And in my mind, how do we do this in a way that’s not getting them ready to have a successful life later, but helps them begin to feel what a successful life feels like right now?

But how do we help them? And for some, that means making sure they’ve got the nourishment they need so that they can have the energy in which to even arrive at class and do the mental activity. And for others, it’s how to help them experience some challenges and difficulties that are maybe beyond the scope of what they’re accustomed to. So my frustration with the book is that, it’s also the thing I really love about the book, I see the arc of a teacher doing his damnedest to try to get students to buy into more what’s going on.

However, he’s doing it within a system that regularly poisons the well left or right. And so it requires the teacher to do this Herculean effort on top of a system that’s making it so.

The impact is not going to be very big if you invite them to be part of the assessment process, if they haven’t been invited into a whole lot more of other things.

So I’d say that’s my frustration is the focus on the assessment piece is powerful, lots of great strategies. But again, it’s a piece of the puzzle and so great, you can modify this piece of the puzzle. But that doesn’t shift what the puzzle box is, you’re just playing around with one little piece you’re carving. So what I wish for Myron Dueck, the author and other teachers is, how do we step back and really change the puzzle we’re doing altogether, rather than just focusing on how to get students to participate more in the assessment process.

Jeanie: Right and I always want books like this to tell me which half of the puzzle pieces, I can just throw in the trash.

Bill: Right, right. Yes.

Jeanie: So what’s your number one takeaway, or the one thing you would suggest that readers really pay attention to if they dive into this book?

Bill: Well, the idea, I love the title. This concept of sitting next to students more often to listen more. So when he talks about giving students a say, he’s really done a beautiful job showing, okay, if you’re like most schools, you’ve moved to some form of proficiencies, or standards, right, that’s kind of at the center of things. Now, how do you get students to really digest those with you and really be part of understanding what those are? And how do you let students take part in even adding, subtracting, making sense of those?

What most excites me is I think teachers who don’t have the power in their individual system to upgrade their systems, operating system right, they’re in the system, they’re in and this is where it is. I think he gives so many great practical ideas for how to make assessment work in a way that students are more part of it. But to connect it to the thing, I get frustrated by the book, I wish we could reconsider the whole operating system. And then think about how to partner with students about everything, not just about how to get them more involved in an assessment process that’s happening in a schema that’s already been pre-determined.

or: Yes, I feel like one of the things I want to say that we didn’t really talk about a great deal were at all is that this book does have chapters both on revising, or remodeling and building a fairer grading system and engaging students in self-reporting. And so I know a lot of Vermont schools are really interested in reporting systems and there are some valuable things in there even though we didn’t dive in. Because I think both of us are more interested in the learning than the reporting.

Bill, I can’t thank you enough for joining me again. The Culture Code episode is still one of people’s favorites and one of my favorites.

Bill: I didn’t know that. Great, great.

Jeanie: I have you be my first guest, and then my 52nd guest on the podcast. I’m so grateful for the opportunity to learn from you and talk with you. Thank you so much.

Bill: Yes, thank you. It’s always a pleasure, Jeanie and here’s to your next 52, 53 wherever you are.

Jeanie: That exhausts me just thinking around it.

Bill: Let’s reframe that, you’re doing great amazing work, whatever your next step is, I’m here to support you.

Jeanie: Well, thank you for sitting alongside me. Have a great day, Bill. Thank you so much.

Bill: Yes, you too, Jeanie. Take care.

vted Reads picture books!

Listeners!  Today I’m joined by Jaida and Emma, two marvelous students from Southern Vermont, and the three of us share our love of picture books. The art, the messages, the emotions, the relatability… the art. So we’re going to be asking you to listen to this episode with both your ears and your eyes — in some capacity.

 

 

(Also there are PIES. I should mention the PIES)

I had such a lovely time talking with both Jaida and Emma, and hope this conversation makes you too, think of your favorite picture book, what you got from it, and how it helped shape you as a learner.

One content note: one of the picture books and our discussion around it, deals with animal death. We understand if that’s not a topic everyone’s comfortable with. This is #vted Reads, a podcast by, for, and with Vermont educators.

I’m Jeanie Phillips! Let’s chat.

Jeanie: Thank you so much for joining me Jaida and Emma. Tell us a little bit about yourself.

Jaida: Hi Jeanie and listeners, I’m Jaida Greeley. And I love picture books and reading.

Emma: Hi! My name is Emma and I love writing and reading. I like to read fantasy, fiction, and romance books.

Jeanie: Three readers talking about books. Nothing could make me happier folks, the three of us having this conversation. Thank you so much. Do you have some books you’d recommend for our listeners of any kind?

Emma: Yes. I would recommend these picture books and then I’ll get into like chapter books. But Journey is a wordless book with pictures, but it has such deep meaning. Part in the Bottle? The Undefeated? I just read American Royals, which is a romance book and Harry Potter.

Jeanie: How about you Jaida, what would you recommend?

Jaida: I think for picture books all Patricia Polacco books are really, really good books for all ages. And a poem book, Woke, is a really strong book about social justice and other books than picture books. I don’t know. I read a lot of different kinds of books? But lately I really like A Good Kind of Trouble, which is not a children’s book. And I read a lot of Percy Jackson. That’s a fantasy Book.

Jeanie: Those are fabulous recommendations.

Jaida: And A Girl at Heart.

Jeanie: A Girl at Heart. Thank you for adding to my summer reads list. I appreciate that.

Well, the three of us chose four picture books that you have been using in your classroom and that you loved. And we’re going to talk about them one by one. This is our first time doing four books in one episode. And it’s our first time talking about picture books. I *love* picture books, so I’m really excited about this episode.

The first one we’re going to discuss is called Something Happened in Our Town, (A Child’s Story About Racial Injustice).

It’s written by Marianne Celano, Marietta Collins and Ann Hazzard, with illustration by Jennifer Zivoin. Could you tell me a little bit about what this book is about, Emma?

Something Happened in our Town picture books

 

Emma: This book is about the aftermath of a Black American who was shot by a white police officer. This story shows harsh reality to two kids’ questions and their fight to be inclusive and aware of their community and their actions.

Jeanie: Thank you for that. I was really intrigued by this book because somebody gets shot, a Black man gets shot by a police officer but that doesn’t happen within the pages of the book. The book happens after the media has covered that. It’s been on TV and radio and the internet. And these kids who — I don’t know, what grade would you think they were, Emma?

Emma: Third.

Jeanie: Yeah, you would say like second, third, or fourth. They’re on the younger side and clearly heard it either on the radio or on TV. Or they heard people talking about it. And they have so many questions. Who do they ask their questions to?

Emma: They ask their parents. We actually read another book and I’m going to — it’s off script — but we read another book and the child did ask their parents, but the parents wouldn’t tell them. The mom was very like, against telling them. And I looked at the back of this book and it said that this book is aimed for kids four to eight.

And I was very surprised because usually books like this with like heavier topics aren’t for the younger kids.

Jeanie: Do you think it’s important that there’s a book out here for talking about things like this that kids might hear about when they’re that young?

Emma: I think it’s important for kids, but I don’t know fourth grade. I think kids, there’s an age — maybe fourth or fifth grade — to start learning about social justice and kind of becoming aware.

Jeanie: Yeah. What do these kids do with those questions though, if they hear about it and they don’t know what to do?

Emma: I think some kids will search for answers with their parents. I don’t know if all kids, maybe. Some will ask their friends or someone they trust.

Jeanie: Someone they trust, you said.

Emma: Like their sibling.

Jeanie: Yeah. So, this book is totally two very different perspectives. One is a young white girl who’s trying to understand, and the other is that of a young Black boy. Why do you think these authors — and there are three authors — why do think they offer both of these perspectives?

Emma: I think the authors did that to show diversity. And it doesn’t matter what your skin color is, there’s still right and wrong. I have to think they did this to show both children have questions but both parents might have different perspectives and different answers.

Jeanie: Do you think the two children in this book experienced this event differently when they heard about it? Maybe it landed in their bodies and their brains differently?

Emma: Yes. I think that the young girl maybe hadn’t ever heard of it. I don’t think both of them had ever heard of something like this before. But I think the young girl was very like, shocked and unaware that this could happen, that a police officer would do this.

And I think the young boy was confused because his dad and his brother mentioned that this could happen to them. I think he was maybe a little scared and I don’t think the young girl kind of thought that this could happen to her.

But I think the young boy really understood like: this could be me one day. And I think that would kind of snap him into reality. Like, this is happening and I need to take action.

Jeanie: Yeah. I really appreciate that answer. Jaida is there anything you want to add to this?

Jaida: I think also it’s like Emma said with the two different perspectives. The boy now that he knows, he lives forever in fear of the police officers walking by. But instead of having to be like, waving at the police officer and say hello, maybe he will think about it more. If I wave my hand will they think that I’m doing something wrong or I’m doing something bad to them?

But then the white girl thinks, oh one of my people did that. Like, another white person did that. Does that mean I will turn out like that because I’m white too?

Because I think yes, Black people do live in fear, but I think white people sometimes could live in fear of themselves. Will I turn out bad like the police officers?

Jeanie: Oh, thank you so much for sharing that. That’s so powerful to think about how the impact is different, but it’s heavy for both. What happened when Ms. Baitz read this book to you all in the classroom?

Emma: We had been working on a social justice unit and we read these books at nap time. Every day we read one book, and we were working on social justice in the classroom.

And after we read a book, Ms. Baitz doesn’t really like tell us like this is how it relates to the community. We have a discussion, and we talk about, you know, this is happening right now, and we talk about what the children’s perspective might be. We talk about really like, what this means today and how this book is important for learning. How we can use this book to kind of grasp a knowledge of community and current events.

Jeanie: And so how did that discussion go? I mean, were people in agreement? Was there any discord or any disagreement? Was it intense? Or was it easy? Did people have lots to say? What happened when you all discussed it?

Emma: I think we were all somewhat in agreement. We all have different things to say about this, and different perspectives. I think there is not one right answer or one view of this book. There can be many, and our class is really good at picking up the theme and the meaning behind things.

So I don’t think anyone really disagreed with people because we’ve been studying this for so long. It’s not like one person said, this doesn’t relate to anything or one person said you know this is unimportant, right. We all agree, you know, this is happening and this a very important subject to focus in on.

Jeanie: I see. Thank you for that Emma. I see Jaida shaking her head yes, that’s true, that’s what happened. Did it inspire y’all to do anything? Did it lead to anything else or is there something you would like to use this book for in the future?

Emma: So, we’ve been doing poetry. And we do poems every Wednesday because we have remote. And usually we write — or I know I usually write — social justice poems. We share our thoughts to this.

And I mean the poems are gorgeous. Honestly, one of my favorite parts of this. Like, the We Are poems are posted because everyone has grown so much and we just have so many powerful things to say. Like talking about police officer shootings.

But it’s also important to note that not all police officers are bad, we can’t generalize. We can’t generalize Black people from white people because you can’t generalize a group of people because no one is ever the same.

So I think that like, these books and the realization of our community really leads to our poems. And then we share. We talk about them.

Jeanie: Wow. How do I get invited to a poem circle sharing?

Emma: I’m sure if I ask Ms. Baitz, we’ll Zoom you in and you can listen to all our poems.

Jeanie: I would love that so much!

Jaida: I think it would be very fun because we’ve grown so much in poetry and we share all of our thoughts through this. So, it’s right.

Emma: They’re pretty powerful poems.

Jeanie: You could publish your own volume!

Jaida: At the end of the end of the year we’re having a poetry book, which I’m really excited about.

Jeanie: Wow, I would love to see the connection between the books, see if I can find them. That would be so powerful for me.

One of the things I heard you say, Emma, was that when we make generalizations based on groups of people, those are really stereotypes. You’re saying, right, that’s really dangerous territory.

Emma: Yes. We make stereotypes, and we group people together because that’s what our brain does.

I actually just got a book on stereotypes and it’s about how our brain groups different groups of people together. Our brain does that to kind of make sense of the world around us. If your parents are stereotypical — they stereotype people and they make generalizations and they’re racist? Most likely, you’ll be racist too. So yeah.

Jeanie: You could teach a class on this!

I know we’re all growing up in a racist society, right, and we’ve all internalized that to some degree and in some ways. It’s not necessarily our individual fault that we’ve grown up in a racist society, but it is our duty to sort of uncover that and get underneath of that.

…You’re both smiling at me.

Emma: Jaida wrote a poem about that.

Jaida: I wrote a poem about that! About how the apple doesn’t fall far from the tree.

Emma: Yeah. That was one quote that I used. What I usually do in my poems I put like, the one really strong line and then I use that throughout the poem as repetition.

Jaida: And then the ending was like: let your child make their own tree.

Jeanie: Would each of share a poem with me so our listeners and readers can experience you as poets?

Emma: Okay.

Jaida: That would be fun.

Jeanie: So, do you think other teachers should use Something Happened in Our Town in their classrooms? Would you recommend it?

Jaida: Yes, totally. It’s such a powerful piece especially to introduce social injustice to people and to children. Because it’s kind of brought down to a level where I think children can understand it versus it being harsh like, and just raw facts like…

Emma: Like some other books.

Jeanie: Thank you.

Well, we’re going to move onto another book and it’s a book I adore. I mean I love this book with my whole heart. It’s called, We are Water Protectors. It’s written by Carol Lindstrom and it’s Illustrated by Michaela Goade.

And one of the things — I don’t know if you knew this — but one of the things I love about it is that it’s the first book ever to win the Caldecott Medal that was written and illustrated by an Indigenous writer and illustrator team.

We are Water Protectors

 

Jaida: I was aware that it was the first fully Indigenous-written and illustrative book to win the Caldecott. Ms. Baitz mentioned it when we first read the book and I think it’s absolutely amazing, but I also think that it’s crazy it’s been this long, right? It’s been so long, or this is only the first time, so, I can hope that it’s more to come.

Jeanie: It’s like: what were you waiting for? Right, Jaida?

Jaida: There are so many amazing books that are written by Indigenous people so I think by winning the Caldecott can open more eyes to the wonder of the Indigenous world of books.

Jeanie: So, what did this book mean to you?

Jaida: What this book meant to me is that everyone has an affect on the world good and bad. And not only does your action have an affect but also people.

Jeanie: Let’s stop a minute, Jaida. Let’s stop and just tell people what the story is about so that they know in case they haven’t read it.

Jaida: So, it’s about this one Indigenous girl who, a pipeline gets implanted near the ground where her tribe lives. The pipe leads into the water and so she’s trying to protect the water from the oil in the pipe. I think it refers in the book to like, “black snake”.

Emma: The pipe is so long it leaks into the ground.

Jaida: Yeah. So it gets eventually into the water that she has to protect.

Jeanie: Yeah, it’s actually the Dakota Access Pipeline, which has been in the news a lot, right. And there were a lot of activists trying to fight that piping built for this very reason, right, because it’s going to harm the water. What else is going to be harmed when the water’s gone?

Jaida: Animals.

Emma: A bunch of animals.

Jaida: And in this book, I think the illustrations in this book are absolutely breathtaking. Like one of the pictures in there it was the water that was infected and the fish trying to swim away from it. But the water that was touching the fish, you could see like all of the bones in the fish and then the rest of it was it was like colorful. So, almost like it was like making all the fish, obviously it was making the fish die.

a page from We Are Water Protectors

 

Jeanie: What I hear you saying is that the story is powerful, but the illustrations give it even more power. It shows the impact, the devastation that comes from this, the “black snake” as the book says, that’s an access pipeline.

The one thing I really appreciated about this book — well many things — is that this young woman, the narrator of the story is quite young, but she has power, right. She’s doing something. She’s taking action, she has an agency. Did you notice that too?

Jaida: Anything an adult can do and more! Because adults they’re more… I think, that the Gen-Z generation, they’ve grown up knowing that they can do everything, but maybe some of our parents or their parents grew up thinking: oh, adults are all superior and I’m inferior to them.

But this girl obviously thinks that she can do anything and everything. But she can!

Jeanie: She has an important role as an activist in her community, right, because she is working with the elders and the people in her community to stand up against the pipeline.

Jaida: Everything, everybody has to come together and be unitized if we want to truly work though something and get it done, get something done.

Jeanie: Did this connect with your learning in some way. Did it show up in your poetry? Or did it connect with something you were doing in the classroom? Did it inspire you?

Jaida: It did really inspire me actually. It showed me that I have an impact on this world, but it also showed me that it doesn’t matter what age I am, it doesn’t matter where I came from, it just matters that I’m doing something.

It matters that I’m doing something about things I think are wrong and not just sitting there and watching it happen. Because the girl in the story, she could have just watched and let everybody else do the work, but she did the work herself, too.

Jeanie: Yeah. The pages that I love the most in this book, there’s I think three pages throughout the book that has similar lines, and they say, “We stand with our songs and our drum. We are still here.” The reason this was important to me is that when I was growing up and I was coming up we talked about Native Americans or Native people, and we portrayed them like they were in the past.

“The Cherokee were…” or “The Lakota were…” like they were past tense. And I think it’s really powerful that this book showed Native people in the present as engaged humans, fighting and advocating for the natural world. Because it contradicts often what we’re taught in school, which is to think about Native people only in history.

And I wondered if that was new for you.

We Are Water Protectors page

 

Jaida: It was new to me. It showed me that the Native American, or the Indigenous people’s history is still being written. It’s still happening today and they’re still present. And I think it’s still important to keep their history alive, but I think it’s important to also notice what’s happening now. Not only what happened back then. Because they’re still important now. Today.

Jeanie: One of my friends who I’ve had on this podcast with me, is named Judy Dow. And she’s Abenaki.  So she’s an Indigenous person from Vermont. And she is one of the most vocal people I know in terms of the environment, and sustainability and taking care of the natural world in Vermont.

And so, I think it’s also amazing that Carol Lindstrom and Michaela Goade are showing us that Native people can lead the way in protecting this particular place but it’s really theirs still. Yeah. You know what else I wanted to do with this book?

Jaida: What?

Jeanie: I wanted to take it to art class and learn, like to try to make some illustrations as beautiful as these are.

Jaida: Yes. I need some art classes from the illustrators.

Jeanie: Yeah.

Jaida: The illustrations though — it is a very powerful book — but the illustrations are the prettiest. Probably my favorite out all of the illustrations of the picture book I’ve read.  Like I was reading this book as we were practicing this with Emma and I kept stopping like every two seconds, I was like: Emma, look at this picture. Like this is so cool. I would put all of these pictures and give it its own art museum.This was one of the pictures I really liked.

<fish photo>

Jeanie: Oh, I know, that’s beautiful; I want that on my wall.

Jaida: And the cool colors. All of the cool colors until you were either talking about a good focal point or the snake. The snake is the only really like, bright hot color thing in the book which shows that it really is damaged to the cool people colors.

Jeanie: Yeah, red. The color of hate, maybe and anger, right? Surrounds the snake every time. So powerful.

The last page also asks us to sign a pledge to be stewards to the earth and water protectors. I also appreciated that and the poem-like nature of it. Would you like to read that last page aloud, Jaida?

Jaida: Earth Steward and Water Protector Pledge.

“I will do my best to honor mother earth and all of its living beings including the water and the land. I will always remember to treat the earth as I would like to be treated. I will treat the winged ones, crawling ones, the four legged, the two legged, the plants, trees, rivers, lakes, the earth with kindness and respect. I pledge to make this earth, this world a better place by being a steward of the earth and protector of the water.”

Jeanie: Yeah.

Jaida: I think a good part of all of these picture books is the authors note. The authors notes know and like the end pages are always really, really, powerful in books is like Social Justice and even like books like Kelly books or anything the authors notes was always one of my favorite books.

Jeanie: I love that you’re pointing out for people who are new to using picture book in the middle grades or in high school classroom is pay attention to the those end papers, pay attention to the authors note.

Jaida: There’s a whole note and it’s about what children might be thinking and then how to kind of, if it’s a bad thing or like racist thing, you know, that’s not okay, that’s not how we think and that’s what, not okay at all.

Jeanie: Emma, did you want to add anything about We Are Water Protectors before we start talking about Ida, Always?

Emma: I think Jaida a lot of good points. I am the Water Protectors are really the earth needs protecting, you know, climate change and we are ruining the earth and we need to – we only have one earth, and we need to protect it and make sure that we’re going to live here more years than scientists are thinking we’re going too.

Jaida: Because now or it all disappears.

Jeanie: Thanks for that. So, our next book is really different but it’s also a little heavy.

Jaida: It’s so sad.

Jeanie: Oh, those sad faces you just made. It’s call Ida, Always. It’s by Karen Levis and Charles Santoso. For me this book made me cry, I had a lot of grief but [indiscernible] [00:32:35] grief anyway and so I wondered if you could just summarize what’s happening in this book, Emma?

Emma: Ida, always, is about two bears named Gus and Ida who live in a zoo. They represent the epitome of friendship. One day Ida falls sick, but Gus’ character realization and development help us to understand that our loved one don’t need to be present to be with us. This time period where Gus is alone shows us that Gus will be okay and he will have Ida in his heart always.

Jeanie: I thought of I used be a school Liberian, and I don’t know if Ms. Baitz told you that, but I remember there would be times when something hard would happen [indiscernible] [00:33:16] actually it was down the road from Manchester [indiscernible] [00:33:21]  Elementary and teachers would say, hey do you have any books about death and dying. And I found myself wishing that this had been on the shelf because it’s the kind of book that can help you sort of talk about or deal with grief.

Jaida: Show that other people and even animals can feel the same way that you do. You’re not alone.

Emma: And our loved ones will be with us even after they past.

Jeanie: It’s also about community, right, because Gus doesn’t deal with Ida dying on his own, he gets some help.

Jaida: By the people at the zoo.

Jeanie: And even after Ida died, even people who visit the zoo in the larger community are expecting their sadness.

Jaida: Well, there was a newspaper article called, Goodbye Ida.

Jeanie: Well, do you see any connections from this book to your sense of community in Ludlow [phonetics] [00:34:19].

Jaida: I feel like this should a good reminder for communities because Gus’ character is always there for Ida and helps her when she’s on her deathbed. So, communities, I feel like if communities aren’t doing this should really learn from this book and stick by their neighbors, you know, stick with them. And if they’re in a rough time, you know, help them.

Jeanie: You guys thin Vermonters are good at that? You think we’re good at helping each other out supporting the community?

Emma: From the people that I’ve met honestly like I moved here because of COVID there’s not many people that I met. But the people have met like this school and the other people are so nice and giving. Jaida. [Laughter]  Best friend, okay. [Laughter] Yeah just like the first day of school I remember this distinctly. Someone came up to me from my class and goes do you want to be friends. And then like I just like I met Jaida and we’re just.

Jaida: It wasn’t me. I wasn’t excited that you moved here. That’s a fun fact I don’t want any more kids here. But now I hang out with her all the time.

Emma: I’m glad she does.

Jeanie: I love the honesty here and also that you two are a little like Ida and Gus, right. You’re like buddies.

Emma: Not one of us is going to die soon.

Jeanie: But not that part but you’re good friends and that I bet I can imagine you’re just like Gus comes out of his cave and go looking for Ida. One of you probably show up at school and look for each other, no.

Jaida: I go up to school early because of my stepmom she gets here, she’s a teacher, no, well, she like para thing, so, she works here. So, I get here early and want to say, I wonder when Emma’s going to come.

Jeanie: So, I didn’t mean to, neither of you are sick. We’re good, all healthy and good.

Jaida: Yeah.

Jeanie: The authors note in this book tells us a little more about the story. Like we said earlier the importance of reading author’s note. Do you want to share what the authors said?

Jaida Yes. I’ll read it and should I share my thoughts on it?

Jeanie: Yeah. Please.

Jaida: Ida, Always, is an exquisitely told story of two best friends inspired by a real bear friendship and gentle moving needed reminder that love ones lost will stay in hearts always.  So, this is an incredible story of friendship and the realization that this is true shocks me. It makes me wish I was there to witness the two bears because even just reading this it shows me how strong their friendship was, sadly past tense. I would love to look for more stories like this one because it’s a truly heartwarming tale.

Jeanie: I really loved that the author had found this story in the newspaper and decided to write a fictional version of it, and it made me think like stories are all around us. Just like you all are finding stories and turning them into poems.

Emma: Yes. There’re these stories, so, I lived in New York City and my parents were at like work buildings when 9/11 hit and they could see like smoke and fire and like smoke rising up from the Twin Towers. And there’s these stories of people who slept in late because of the game or took their children to school and didn’t get to work that day on 9/11. And it’s just heartwarming to like to hear that. Like, you know, these people could have died but instead they’re alive.

Jeanie: Yeah. Have you done any story finding? Have you noticed any stories you think that would make a great picture book?

Jaida: I don’t think we have.

Jeanie: Not yet.

Jaida. Not yet. Not yet. Yet is the important word. When we find one then we’re going to write something.

Jeanie: How do you think your teacher can connects this book to your learning or how did you all as students do that?

Jaida: So, we had a book discussion on this and we kind of talked about our literary skills and just skills and kind of, hold on.

Jeanie: Do you want me to ask the question again?

Jaida: Yes, sure.

Jeanie: How did Ms. Baitz connect Ida, Always or how did you as students connect it to your learning?

Jaida: Well, I think it’s very important for kids to really learn, you know, find that person that’s going to be with them, who’s going to be with you to the end; who’s going to be with you always in Ida, Always, who’s going to be with you and who’s going to take of you and who, you know, there’s an important part like sometimes Gus needs time alone, and sometimes Ida does too. But at the end of the day, they’ll always come back to each other. So, I think life is messy, but I think we can connect this like find your forever person. Like surround yourself with good people and, you know…

Emma: Who truly care for you and truly want to be around. There are some people who will hang out with you…To use you.

Jaida: …to use you or just to have you as company when their friend is gone, when their true person is gone.

Emma: Yeah.

Jeanie: It feels to me that there’s a theme here about being a good relationship. Like what you said about Gus and Ida needing time away sometimes, and Gus not needing to feel guilty because Ida’s sick but just being there for her it’s about how do we have a good relationship and take care of each other in that give and take, right. And similarly, we’re water protectors it’s about being in good relationship with the earth, right, like taking care of the earth because it takes care of you. And even something happened in our town has something about relationships, right. And like who do we ask when things are confusing and how do we understand our impact on the world.

Jaida: And they did understand it and at in the end they included the little boy because they knew, because people were excluding him and they kind of were like this is not right.

Jeanie: I forgot about that part of the book. We’re jumping back to the first book we discussed but you’re right. You can learn something about how to have better relationships and be better in community that they, I might not give it away.  Well, we won’t spoil the ending. Okay. I have one more questions Ida, Always. Did Ms. Baitz cry when she read it to you?

Jaida: I don’t think she did, no. I did, definitely cried. Yeah, I did cry because I’m a very emotional person and I read a lot of books and I read a lot of books for and I’ve cried. And so, I just cried when I books but this book definitely just hit a spark. Because I feel like it’s a good reminder like someone dies and I feel like I almost, I try to do this when people die. Like I try and remember that they’ll be in your heart. But sometimes it’s hard. And so, this book is a real like they’re going to be with you forever and you have to savor the time that they’ll be with you instead of moping around and being sad. You have to also remember them in a good way.

Emma: It also shows that it’s okay to grieve. What’s his name?

Jaida: Gus.

Emma: Gus he did grieve for Ida when she was gone, he was sad.

Jaida: But not forever.

Emma: …but not forever. He was still happy and remembering the days that she was there.

Jaida: He just savor it her favorite yellow bow.

Emma: He probably remembered that she would want him to be happy. She would want him to play with the yellow bow, that was her favorite to keep her memory alive but also to still have fun they used to have together.

Jeanie: I cried when I read that book. And if I had read it aloud to you, I would have cried, and that would be okay.

Jaida: It’s okay to cry. Crying is okay.

Jeanie: We’re going to move to laughter though?

Jaida: Honestly, it’s kind of good that you put Ida, Always then Billy’s Booger so we can get like from the deep dark stuff in there and then kind of make it a little bit lighter.

Jeanie: Okay, yeah, exactly. I don’t know that I planned it that way but I’m glad you see it that way. Tell me a little bit about Billy’s Booger: a Memoir Sorta, by William Joyce and his younger self. And maybe you want to start by saying why do you think the author included his younger self in his “by”?

Billy's Booger

 

Emma: I think by the author’s younger self he can show the more raw emotion that he felt when he was younger. And it shows that over time, things can change. Like now he’s older he realizes that: oh yes, it’s okay not always to win. Even if something like in Billy’s Booger when people are like: “Oh yeah, this book is awesome, I can believe how he’s going to win!”

Even though that’s okay, you know, even if people don’t.

Jeanie: I think you’re absolutely right. And I think there’s also — by the way this book has the best end papers.

Emma: Yes, the end papers that gave the principle, I think they were.

Billy's Booger

Jeanie: There’s also a book within this book. And so, the outside book might be written William Joyce, but then the inside book is written by Billy.

Emma: The inside book is a good book I’ll say. And it’s very entertaining.

Jaida: There’s this thing that’s called PIES, and it’s like it’s either your book is here to Persuade and Inform and Entertain, and then Sell.  So, I think this book was mostly to entertain but it also was to inform you that it’s okay to lose.

Emma: And to persuade you to be creative. In each book there’s a little bit of each. But I think, yeah, this book was really, really good, I enjoyed it a lot. It’s a good book that has still has a good message but it’s also a good book that you could just read without having to go too deep into it.

Jeanie: Yeah. Because William Joyce or Billy, in the book he’s a kid and he loves comic books and he’s very, very imaginative; like imagination is everything for him. But he does not do so well in school, right. How does his principal refer to him?

Jaida: His most challenging kid, I think.

Jeanie: His most challenging student! Which I think Billy takes a complement. I’m not sure the principal meant it as a compliment.

Emma: Nope. And at the end of the book, it’s says like good job or sends a note home and it’s like “Billy, you’re still my most challenging student,” because he knows Billy takes that as a complement.

Jeanie: So, poor Billy’s parents, and sister they’re always hearing about how Billy’s not good at school, he does his art on his math homework. I have known students like Billy. Have you ever had a classmate like Billy?

Emma: Yes, I’ll say.

Jeanie: Thank you for that.

Jaida: I think I probably have, yeah.

Jeanie: I’ve known students like Billy a lot. He doesn’t quite like to follow all the rules necessarily. He doesn’t do the work the way the teacher necessarily wants him to. He’s what I would call a nice but not compliant student. But I think compliance is a little overrated.

And so, Billy doesn’t play by rules.

But he’s doing all this creative thinking. And it reminded me I know that you all in your classroom do something called the Essential Skills and Disposition. (Out in the Vermont world we might call these transferable skills). And there are four of them. Do you want to name the four Essential Skills and Disposition?

Jaida: Creativity, collaboration, communication, and self-direction.

Jeanie: How do you use those in your classroom?

Jaida: So, we have these things call PLPs, Person Life Learning Plan. And each of those have a different page. Each one of our work goes into each of those categories, here to the communication, here to the collaboration or self-direction. And so we use several skills and dispositions every day, whether we notice it. You use it no matter if you notice or not.

Emma: So, if we do a project, we would take a picture and put it in our PLPs. Like, let’s say we did one, so we might put it in communication because we communicated or we could put it in collaboration or self-direction or creativity. It fits everything.

Jeanie: Right. Do you have to explain why?

Emma: Yes.

Jeanie: And what’s that process like? How do you do that?

Emma: So, you can either write down or video yourself talking about how it fits into it. So, I could be, say we did a project and I put it in creativity and say I put this project in creativity because blah, blah, blah blah, or because we had to be very creative or because we had very self-directed or whatever.

Jeanie: So, you do a little reflection?

Emma: Yeah.

Jeanie: So, tell me this — we’re going to get back to Billy’s Booger in a minute, I promise. But if you were to reflect on doing this vted Reads podcast recording with me, what essential skill and disposition would you put it in?

Emma: Probably communication, because we’re communicating a lot. But I think I could put it in self-direction because we had to write all the questions and answer them all by ourselves. And though Ms. Baitz likes to help us with it a little bit with like if that would make sense or not to say and then it would not like [indiscernible] [00:50:29] on or whatever. But this could also go in collaboration because we’re doing it with you, which has been a pleasure.

Jeanie: Thank you, that’s really helpful. So, did this book, when you were reading this book did the essential skills or disposition come to mind for you?

Jaida: Yes, they did. A couple that came to mind was creativity because Billy makes the book with all of his creativity. And he also uses self-direction because he to do it all by himself with no guidance. And he communicated his story to other people.

Jeanie: Wow, you’re right! He nailed three of them for sure. He went to the library to self-direct, he went to the library and checked out all the books he could on like aliens and mucus, right? And brought them home…

Emma: Meteorites. All this stuff.

Jeanie. Yeah. He drafted this beautiful picture book with illustrations, very creative, creative use of language.  And then, you’re right, it’s also about communication with others through his writing and his images.

I have to say that the page that caught me most like — I didn’t laugh at? Was the page where it leaves out the grading method. And here’s what it says. It says:

Book contest! The books will be judged in these categories: neatness, 10 possible points; spelling, 10 possible points; vocabulary, 10 possible points; punctuation, 10 possible points; grammar, 10 possible points”

and then finally at the bottom:

“Imagination, 10 possible points.”

Do you feel like that’s a fair grading scale for a project like this?

Jaida: No, I don’t. I think if I did it I definitely would do it differently. I would [award] more for imagination because they’re only in fourth grade, so how much are the going to know about grammar?

And the project it was made for Billy.

The librarian made the contest because they needed something for Billy to get his mind off of, or to fuel all of this creativity and imagination. So, why have imagination if you’re all the way down at the bottom as your least priority. If they prioritized the imagination a little bit more…

Emma: Maybe 20 points.

Jaida: …right like maybe 20 points that would have been more fitting for this book project.

Jeanie: I know a lot of writers, I talk to a lot of writers. And the hardest part about writing is coming up with the idea and following it through and coming up with a story. Not the grammar. And the spelling, right? Like, that’s why we have editors! That’s why you send your book and get an editor to help you with it!

And in many ways focusing on that limits your creativity, your imagination, your capacity to create something worthwhile and powerful for the world.

So, I guess I just sort of felt like: wait, what are we hoping our young people do or become if all we want is for them to be neat and tidy and good spellers?

Jaida: I think everybody needs to be a little bit messy. Like because… life, it isn’t perfect. It isn’t all neat and perfect spelling and perfect grammar and punctuation; that’s not how life is. It’s messy and crazy and sometime even Billy can’t keep up with something.

Jeanie: Yeah.

Jaida: I think even a lot of the other kids maybe, maybe not just Billy, but have had more fun and more of an opportunity to win if like, imagination and creativity were a part of the list.

Emma: Very important, very important.

Jaida: I do believe sometimes, sometimes; depends on what you’re doing, creativity and imagination is more important than the grammar and the spelling.

Jeanie: It’s not that we shouldn’t learn those things, they just should be the only things we learn in school.

Emma: You should learn those valid punctuation and the spelling because if you’re doing like writing something for like a college application you do want to spell like wrong on one those applications, right. Those are essentials in life. You need to know how to spell, you need to know punctuate stuff…

Jaida: But not in fourth grade.

Emma: Right. But you also need to know how to be creative. As I said like with the college stuff, to be able to get into college, you have to be different.

If we’re all neat and punctuated and great at spelling and so good at punctuation, then what makes us different.

Jeanie: Can I tell you a secret. I used to win spelling bees when I was your age. And now that we have spell check and auto correct,

Jaida: I rely on it too much.

Jeanie: I’m a terrible speller now. I used to be such a good speller. But my computer fixes things for me and it makes me wonder why did I spend all that time learning how to spell words. [Laughter] Was that really the best use of my time?

Meanwhile just writing can get really hard for me because I feel like my grammar has to be perfect and I have to use the right words, but I can’t even formulate these important thoughts sometimes because I get hung up on grammar and vocabulary and spelling. Not neatness so much.

But these other things get in the way and so I wish I had Billy’s capacity to just like think big thoughts and put them down on paper.

Emma: I load everything onto a page. The creativity and imagination are really half of the equation to writing.

Jeanie: Thank you so much for that. So, the only thing I really worry about — I mean, I laughed so hard reading this book and kind of worried about Billy.

I think he was a little oblivious to the ways of which school just wasn’t a good fit him all the time and I thought: what could it be like? Could we use our imaginations to create a school where Billy felt more included and valued and celebrated for his work? Not just from his peers but from his teachers too, his principal.

Emma: Yes.

Jeanie: What would you change about school to make it, so it included all sorts of people, especially people like Billy?

Jaida: I would create like a room, almost — or like multiple rooms, so it’s not confined to one space. But multiple rooms where the kid that needs a break or something that’s getting too tough for them, they can go in there and express their creativity and their view.

I love writing on whiteboards. I don’t know, it sounds like a weird thing. But I’d put like a whiteboard, and the chalkboards on the wall and put, you know, like canvases on the wall. I think that could really cool. Like, putting a bunch of whiteboards and different drawing things that students would draw on all around the room.

And then when somebody needs to go in there, they can draw on the walls and that’s how they get everything in their brain out everywhere.

Jeanie: I have a whiteboard in my office right here even though this is my home office. And I bought an enormous whiteboard you can’t see it right now. I use it for just that purpose! When my brain is too full, I put everything on the whiteboard, whether it’s a to-do list, or ideas, or graphic organizers from my ideas to put them in order in some ways. So I love that suggestion.

I’m going to push back on one thing though. What if it was actually in the classroom and not a separate room? Like, “Go into that side of the classroom draw out your thoughts.”

Jaida: That’s the only reason I had said out in a different room because I know some people’s creativity can get distracting for others. Like, when maybe Billy is doing that on the other side of the room and everybody’s heads are turned to Billy because his creative is amazing.

Jeanie: Like staring at him.

Jaida: Or maybe he like, talks.

Emma: That could be distracting to other kids.

Jaida: Or if he wants privacy.

Emma: Yeah, if they want privacy or anything. But I do like the idea or even just having like a little whiteboard on your desk over here. And anytime he need to do something little with your hands even.

Like right now I’m like playing with my fingers because you know it helps me focus. So, sometimes it helps. Your drawing helps you pay attention to class, right. That might help.

Jeanie: Like a fidget spinner! Is there ever something you wish you could change about school to make it feel like more welcoming for you? I mean, I know you have an awesome teacher, but is there ever like… I just wish this one thing?

Jaida:  I feel like it’s similar to what I just said before. Like sometimes I’ll draw on a whiteboard because I’ll like be playing with fingers or like picking my nails or whatever. Then Ms. Baitz will say like, don’t do that, stop. But then it’s hard to focus because now I’m not trying to do that thing.

All of my attention is on not trying to like, doodle or do something that will help me focus. But it could be seen as something that could help me not focus, like it’s different for each kid.

Jeanie: Thank you.  How about you, Emma?

Emma: I agree. I feel like sometimes when you’re antsy and then sometimes the teacher might be like: stop moving! Like, “Sit still!” You know, that could be difficult for a student. Or I really like this Smartboard that the class has, and I feel if we could use them like that’ll be really fun.

Jaida: I love the Smartboards. Really cool.

Emma: I want to get one for my room because I love them so much. We get to go up there during math and write 17 on the board.

Jaida: Right. But I just feel like I have all the power when I have one of those whiteboard markers, or the smartboard markers in my hand. Because I could do whatever I want. Because Ms. Baitz is always like, okay, you want to help, then write this on the board. And then everyone’s hands go up immediately.

But then she asks us to like, to explain something and everyone’s like, no, I don’t want to. [Laughter]  I’m too cool for school, right. But if it’s everyone’s turn to go on the whiteboard, everyone’s hand up.

Emma: Me. That could be an actually good teaching strategy. This is a tip for teachers: if they have a whiteboard and if you want your students to be more involved just be like, “Okay, who wants to write on the smartboard?”

Jeanie: More smartboards in school! I got a whiteboard, too. I can totally feel that. And the sense of power you get just like all that color and.

Emma: The teacher normally does it so fell like the big man once you get up. You feel like a big boss when you get up there.

Jeanie: I have two more questions for you. I guess, what I’m going to do is” why should teachers use picture books with middle school kids? Why use picture books when you know, you all can clearly read chapter books?

Emma: Okay. So, to find [indiscernible] [01:03:58] is a really important thing but also for skills…

Jeanie: Wait, wait, wait. Slow down Emma. Are you saying, because I’m so excited about what you’re saying? Are you saying like one of the skills you have to learn is how to figure out what the theme of text is?

Emma: Yes. But other skills are a lot of textbooks and I also attach poems. Since they’re so short you be concise. You have to use language. You have to use speakative language and themes to kind of like bring everything together like in a kind of short way. A lot of connecting to the real world.

Picture books, I feel like for older kids, like, meant for older kids, are specifically positioned so that they can kind of maybe introduce climate change or social justice to kids in a kind of way it’s not so harsh.

You can teach skills that are in picture books, and you can show children that this is going on in the world, this must be brought to everyone’s attention, and there’s things you can do about it.

Like we just finished a unit on child labor or we’re now starting a unit on world issues and we’re talking about, you know, a hamburger. All these different things, all these different places they had to travel before it gets into your mouth. And think about how many hamburgers you had in your life.

Or Ms. Baitz, for like popcorn?

Ms Baitz had a bowl and she had plain popcorn and she was showing us how the impact, environmental impact.

Jeanie: Your footprint.

Emma: Yeah, the footprint of each like. different country. So, we have a place in Africa, and she poured a little in so like the popcorn represented the amount of…

Jeanie: Impact you had on the world.

Emma: Yeah.

Jaida: And then the United States was five times more.

Jeanie: So, that’s our impact on the carbon footprint. Aw. Now I get it, thank you.

Emma: It was a very cool exercise.

Jeanie: So, picture books, what I hear you saying — I’m going to just summarize — is that they both introduced and helped practice skills. And it’s like a compact format.

Emma: Yeah, it’s not a chapter book. You don’t have 200 pages to explain your thesis or your theme. You have to do it in pages.

Jeanie: What would you add to why picture books for middle school students?

Jaida: Yeah, I think picture books are sometimes a little more powerful than the longer books because you have to be quick and concise and get your point across faster.

Because with longer books, they drag on and on and on because they have to be a certain amount of pages to be considered a chapter book and actually just go on and on and on and on. But with the picture books, it gets to the point fast, but it also is really deep.

And with picture books you can use more figurative language without feeling like you’re just compacting upon a bunch into each chapter. So, I think with the chapter books it’s takes more like a long like elongated, I don’t know. So, it’s harder and it like shatters your mind almost. Because with picture books they’re short so I feel like it sticks in mind better.

Emma: You almost miss the theme sometimes because it’s like so dragged on. And I feel like sometimes there’s a little fluff in there. It’s like what’s the main point of this like why are we reading this, what’s the point?

Jeanie: You got the readers. So, I’ve been a librarian at a K-6 school and when I pull picture books out with six, seventh, eighth graders there’s groans. “We’re too old for that!” What do you say to kids who think they’re too hold for picture books or even adults who think they’re too old for picture books?

Jaida: No, you’re never too old for picture books, children. You can look way deeper into picture books and find amazing themes and connections to the real world that you might not see in long books because you’re too focused on reading them or being like, finished.

Emma: Like, pictures have a good message in a short amount of words so you don’t have to read a hundred page book to get the same information or message that you need to get in a picture book.

There are funny kind of picture books like Billy Booger but there’s also picture books like we have the Water Protectors, or this is our town that give you more information than you would expect them to. You can pick up a picture book because most people think they’re for kids, so they think they’re all fun and games.

Jaida: Or the books we read in libraries sometimes. Sometimes those books look like they’re just going to be light because they’re picture books. They’re actually really heavy and deep and you have to think about them longer than you think you would have to. Like there’s this book called Witch and it uses personification to show the refugees journey and it just took a long time.

Emma: Or this book, Journey. You had to read it like three times to actually get to the main point with them Witch book.

Jaida: Yeah, I read it three times.

Emma: Journey has no words whatsoever but has one of like such a deep theme and you have to really look for it, like it’s very difficult to see. There’re no words at all.

Jeanie: Emma and Jaida, I cannot thank you enough for spending an hour taking about picture books with me! I learned so much from you and I’m so thankful for this chance to peer a little bit into your classroom to hear about these books and your perspectives on them and your perspectives on reading in picture books in general. Thank you so much.

Emma: Thank you for having us.

Jaida: Yeah.

Emma: I had a blast.

Jaida: It was very fun to share our perspectives on this.

Emma: We can talk about picture books for hours and hours more.

Jeanie: Let’s do it again sometime. And I can’t wait to hear about this showing up on your PLPs!

#vted Reads: Flight of the Puffin

On this episode… we have Ann Braden!!!! Ann is one of my favorite authors, and she’s also a former Vermont educator with a new book out, The Flight of the Puffin. Flight of the Puffin truly feels like a middle grades book for our time: it’s the story of four completely different middle school students, in completely different circumstances, and completely different areas of the country, and how random acts of kindness wind up tying them together.

The book is based on Ann’s own experiences in responding to the 2016 election (and all that came afterwards) by putting massive amounts of love out into the universe, and quite possibly in your mailbox.

Listeners, we are DELIGHTED by this. All of it.

I’m Jeanie Phillips. Let’s chat.

 

Jeanie: Thank you so much of joining me Ann.  Tell us a little bit about who you are and what you do.

Ann:  I’m so excited to be here, any time I get to spend with you is a great time.

Jeanie:  Same for me.

Ann:  I used to be a middle-school social studies teacher and then I turned to writing.  The Flight of the Puffin is my second book.  My first was The Benefits of Being an Octopus.  I’m so excited to have books.

Jeanie:  Congratulations on your newest book!  We should also say, because the primary audience for this podcast is Vermont, that you’re located in Brattleboro, Vermont. But before I get to anything else, how is Zoey doing?

Ann:  She’s having a rough year.  I think about kids like Zoey who are trapped in their little four-walled spaces with a not-awesome family relationship. And I’ve been thinking about them all this year.  It’s one of those things where if we didn’t get it before, we’d better get it now.

Jeanie:  Zoey, listeners, is the main character of The Benefits of Being an Octopus.  I’ve been thinking about Zoey too, because she was already suffering under economic hardship, in difficult family circumstances.  The stress and pressures of COVID have to have made that harder, for Zoey and kids like Zoey.  I’ve been holding her in my heart.  Thank you for that book.  That book has been such a gift to me and to Vermont educators.  I know it’s been used and is being used all over the place.  Kids are loving it, so thank you for that.

Ann:  My pleasure.

Jeanie:  I also know you’re a great reader.  As many writers are, as most writers are.  What are you reading now?

Ann:  I am in the middle of the Burnout book about the stress cycle, because as we all know there’s little bit to be stressed about these days.  I am someone that often internally processes my stress.  Like, I will seem all happy and feel all happy on the outside.  And then I develop all these chronic stress-related medical issues.  I’m like, “Okay, I’ve got to figure this out.”  It’s very good about releasing the stress and creating opportunities for your body to recognize that you are okay. I’ve been working through that one.

Jeanie:  I just listened to a podcast about that book! Just an hour-long podcast that was just so helpful about hugs and exercise.  All of the ways you can let your body know that it’s okay again.

Ann:  I’m not an exerciser.  I’ve never been like, “Oh yes, exercise makes me feel good.” Now I’m like, doing slow Qigong is telling my body that I’m okay.  It’s just as good as other exercises.

Jeanie:  That’s so interesting.  For me, one of the ways I manage stress is reading. Like reading, to me, and being engaged in a book? That’s deep relaxation.  I like living through stories.

Ann:  I love that.

Jeanie:  Thank you for your books, because they relax me.  Let’s jump into The Flight of the Puffin which is such a delight.  Would you introduce us to the four characters in the book? Libby, Jack, Vincent and T?

Ann:  Sure, do you want me to just read or just tell you about them?

Jeanie:  Both, whatever works for you.

Ann:  I think I will read first.  I’ll just read a page of each of their chapters.

Jeanie:  Perfect.

Ann:  The book goes through these four different, bad perspectives.  And they all live in different places, and this is all happening on the same day.

Libby:

Flight of the Puffin: Libby: "This is going to be the best sunrise ever. I slather on more orange paint. Catching the drips with my paint brush and mixing them into the hot pink. I swirl it around and around; my paint brush is like the band teacher conducting. I don’t play an instrument, but I see him waving his arms, when I peek in the band room. I dip my brush back into the can and make even bigger circles, then add extra dollops above like sparks flying out.  I love how those sparks look.  I know that’s not how people usually make sunrise, but there’s fire involved, right? I add more on the other side.  I have to, there’s too much joy inside me to not.  I step back.  I knew this would make me feel better.  Now, it’s time to add the yellow.  I kneel down and pry the lid off the can.  A blazing inferno just waiting to be unleashed. That’s when I hear footsteps, and Principal Heckton’s voice.  'Libby Delmar, what have you done to that wall?'"

 

(That’s Libby.  She was not supposed to be painting a mural, on the side of the hallway.)

We’re going to now move to Jack.

“Joey is tugging my shirt again. “Jack,” he says.  I stop dribbling the ball and squat down next to him on the blacktop, so I can hear him over the shrieks of the other little kids.  “What’s up little man?”

He points up, “Two more points.”

Joey doesn’t see them anywhere when he’s focused on something.  I put the basketball in his hands, “You ready?”

He grins, he was ready.  I spin around so his face came away from me.  I lift him towards the rim.  “Here comes Joey for the dunk,” I yell.

I could feel Joey’s ribs through his shirt as he squeals and tips the ball into the hoop. He’s the same size as my little brother Alex was, and just as focused.  I set him down on the blacktop and he runs after the ball.  I know he’s going to want to go again.  The blacktop is finally clear of snow, and he’s determined to get to 10 points, this recess.

I glance at Todd and searchers, who are waiting for me to come and play football, but they’ll have to wait a little longer.”

(That’s Jack.  He lives in a rural area in Vermont with a tiny two-room schoolhouse for a K-8 school.  There’s 17 kids in this school.)

Next is Vincent, he’s in Seattle.

Flight of the Puffin: Vincent. "“I settle on the floor near the locker room trash can with my math notebook.  Only a few more weeks before we get to the geometry unit.  I’ve been teaching myself geometry online, but it’s not the same as Mr. Bond explained it. I turned to a fresh page in my notebook and start drawing triangles.  Triangles are everywhere you look. There are triangles in the floor tiles, in the metal support beneath the locker room benches.  Even the people in the school form a triangle. One side is the popular kids who are good at PE and looking cool.  The other side is the kid who want to be like the popular kids but aren’t quite as good at that stuff.  The third side is the creative artistic kids who don’t care about being popular, and instead are cool in their non-popularity.  Everyone knows where they sit. My mom wants me to be one of those creative kids.  She runs an art supply store where we live in Seattle, and she’s got short purple hair. She even named me Vincent after that Starry Night artist guy, Van Gogh.  I didn’t get those genes.  I guess when my mom was looking through the sperm donors profiles, she didn’t get to choose someone artistic.  She thought she had that part covered.  She was wrong. The other kids at school all form a triangle.  But me I’m a point in space.”

(That was Vincent.)

And then T.

“Wet concrete, sirens, shadows.  Never safe to sleep, but so very tired.  Pecos snuggles up, her fur warm against me, follow her breath.  Breathe with her.  Trust her, only her.  One breath at a time. Still here.”

Jeanie:  Thank you for that. I want to walk through each of these characters, if that’s okay, and go a little deeper.  Because I love these four kids so much.  I love that they all have flaws.

So like, Libby for example.  At the beginning of the book, she shares that’s she’s being bullied by another girl for her awesome rainbow outfit. Those are her words. And so, I’m just going to read a little bit.  It’s right after what you read on page three.

“And I get that girls aren’t supposed to give other people a bloody nose. Instead, everyone should be like model student Danielle, who fights the right way by convincing the entire softball team to stop talking to me, so that even Adrianna Randall now walks past me without a word, as if we’ve never spent nights sprawled on pillows and giggling on her bedroom floor.”

I want to unpack this a little bit.  There’s a lot in that few lines.

Ann:  Libby comes from a family where her dad is very much a bully, and he uses physical force as a good thing, in order to keep things the way they should be. And her older brother would get in fights all the time. Now, as long as he won it was fine with their parents.  That’s the family she’s in.

And I think it’s one of those things where there is this double standard about girls. They don’t get in fights. But then the fight that happens below the surface can be far more damaging than one bloody nose.

I think that there’s one of those layers of just how, like, if a boy had give someone a bloody nose it wouldn’t be a big deal — I mean *that much* of a big deal. But a girl doing it?  It’s like: “What kind of bad kid is this?”

So I wanted to bring that up a little bit.  She’s sort of in this position where she’s isolated.  She’s done things the way her parents would want her to, it doesn’t seem to be a great way to do things, but she’s always completely isolated from people who had been her friends. But she’s very much on her own.

Jeanie:  And she carries her family with her in school. One of the things that happens over and over to her again is she’s assumed to be like her older brother and her parents. Because she and her parents grew up in the town, they know a lot about her family. But she’s like, “That’s not me, that’s not who I am.”

I wondered about Libby. I think this happens to us adults. That we see kids through the lens of our own bias.  And how do we get that bias out of the way so we can really fully appreciate who Libby is?

Ann:   I mean Libby, as a character, actually she was the beginning of this whole book.

Well, I had the idea of having different kids from different parts of the country, and exploring sort of, the connections that exist even when we don’t think there is any connection there.

But the characters that I had in mind first just weren’t really clicking. I hadn’t started writing and then I met this amazing teenager, Cara, in Bellows Falls [Vermont].  It was at a cross-class dialogue circle through Equity Solutions.

And that was a situation where we were in this group that was about being vulnerable and being honest.  You sort of, get to the soul of people so much quicker.  Cara was actually talking about trying to convince her parents about the importance of recycling. But everything she was saying it was like, she was this flower trying to push out pass the concrete.  And there was so much joy inside her, and life, and sunshine.  But she had so much concrete on top that she was trying to push pass.  That was the seed that grew into this whole story.

So I feel like in that situation I was able to see her for who she was. Because there was trust built.  And she felt like she could be honest and felt like she could really show who she was.

I think a lot of times — and certainly this is the case for Zoey and The Benefits of Being an Octopus — kids are not going to show adults who they truly are on the inside unless they feel incredibly comfortable.

Those kids that need to the most often do not feel comfortable in most school settings.  And so, I think that getting to those places where there’s an intimacy and trust is the only way to be really know exactly what’s going on below the surface.  And then if you can’t get there, because we can’t always do that, you just have to assume that it’s there, if you have the opportunity to be there.

Jeanie:  Well, then I so appreciate that answer.  And I’m thinking about how focusing, thinking about Danielle, and that nobody picks up on her meanness, also erodes the trust of students who are like, “I can’t really show who I am because nobody will believe it anyway.”  So, I love that Libby is based on a real person, Cara.  Does Cara know?

Ann:  yes, she does.

Jeanie:  How wonderful.  You began with a passage about Libby painting a mural on the school wall. I think it’s like the next day that she’s meeting with the principal or later that day.  And the principal says, “Tomorrow during in-school suspension you’ll be repainting that wall white again. Like it’s supposed to be.”  And that totally brought back for me when I was a school librarian at Green Mountain Middle and High School, a student named Lilith painted a mural.

She was a high school student who painted a mural on the girls bathroom wall and made it beautiful.  And they totally checked the security footage and realized it was her.  And the custodians painted over in drab green.

…My heart broke.

Lilith’s mural was beautiful and then it was back to whatever drab color it had been.

And I guess I’d love listeners and me to quietly consider who gets to decide how things are supposed to be in school, and in world, and who does it?

Because I really want Libby to decide what goes on that wall.  I want to students to decide.

Ann:  That’s certainly a theme throughout the book. And I don’t mean this in a bad way.  Power is a theme in The Benefits of Being an Octopus, too. Kids so rarely have control over their lives that’s meaningful. When you get a taste of it, it changes everything. It changes how you look at yourself, it changes how you look at your actions in the world. Then those actions change the people around you.

I was this kind of teacher too. Actually, I got pushback because I’ve always wanted the kids to have as much say as I could. And it meant a slightly more chaotic learning experience, like from the traditional way of looking at things.

I did not have my vocabulary list planned out ahead of time. Because I wanted the kids to be able to have a say in where we were going during that day. And I really still feel that the time students have ownership of something are things that they still remember. Things that they learned the most from.

Jeanie:  Agency.

Ann:  Yes! That’s positive word of power.

Jeanie:  Well, there is a lot of agency in this book for each of these characters.  We’ll get to that, but I want to move on to Vincent.  Like Libby he is really struggling also, with being who he is rather than who folks thinks he should be.  I had actually bookmarked the page that you read from, about him thinking about how he doesn’t quite fit in, in school. But also how he feels like he’s disappointing his mother. He’s not who she wants him to be.

How does a kid like Vincent, how does he make himself seen and known in the world?

Ann:  It’s one of those things.

The mom in that book I think I drew from me bit. Like, she’s very well-intentioned, but she wants Vincent to be able to be creative and do things that are fun.

And he’s like, “No I just want to do more math.”

And she’s like, “I don’t understand.”

There is the song about how our children are not our children (video).  And there’s nothing like being a parent to see that in a whole new way. Just like we’ve got to get out of the way, like our own expectations, we have to get out of the way of what our children are. And there’s so many different ways that that can play out.

But I think for Vincent he’s really bumping up against gender stereotypes of: this is what a boy should be. Or if you’re not that kind of boy then you should be this creative; there’s only those two options. Be the stereotypical athletic boy or be countercultural and find power in that when you don’t see yourself anywhere else.

All of these characters feel very alone in their own way.

What happens soon after the part I read is these boys come over and are giving him a hard time. He’s wearing this fourth grade black baseball shirt, which he is not a baseball player.  He hated playing baseball.

And they’re like, “I bet you’re so sad you can’t be on the baseball team anymore!”

And he’s like, “No I’m not.”

Why did they think that? Did the shirt trigger that? He’s looking for shirts that are going to say: this is who I am.

And he ends up finding this very tight buttoned-down shirt with a puffin on it at the back of his closet, that he wore to an event that was about Katherine Johnson’s new book for autobiography. Because she is his hero.  From Hidden Figures, she’s the awesome calculator mathematician who helped send rockets to the moon.  So it’s funny because Libby starts off having this problem.  Because she was bullied, she was totally wearing her own stuff.  There’s problems with that, and so then Vincent is like the next step of the way being like, “Hey, I’m going to wear my own weird clothes.”  And it doesn’t necessarily go well.

Jeanie:  Well, there’s this whole thing that I think both of them are really dealing with that I think of as self-determination. Being who they are.

Neither one of them want’s to fit in, and I think the adults around them — and I think I could fall into this trap too — are like, “Just make it easier on yourself. Fit in!”

But I think kids are right in saying ‘I don’t need to fit in. I need to be who I am’.

Whether that’s an artist that who wears all the colors of the rainbow at once, like Libby, or Vincent with his puffin shirt that also has triangles at the corners ( triangles are big shape for Vincent).

I love that. It’s really about accepting themselves for who they are and showing up unapologetically as they are. Not caring what other people think about that.

Ann:  So most of the characters are seventh graders.

I remember in the sixth grade I was wearing crazy clothes and big earrings, because I just gotten my ears pierced.  I had these giant snake earrings — like really out there —  big prints and everything. Then in seventh grade was just like the buttoning up of everything. Because I was so afraid of not fitting in.

The kids that have the confidence to just continue being themselves?  That is such a special thing. We have to be nurturing that. Maybe not fanning the flames, because you don’t want it to get too out of control before they’re ready, but you want to make sure that you are meeting them where they are. 

And I did in seventh. I did wear mis-matched socks all the time.

It was a weird time in the 80s.

Jeanie:  I remember.

Ann:  That was as far as I would go. My mis-matched socks. They were my reminder to myself that I was different.

Jeanie:  What does it look like in classrooms and schools to celebrate that difference, instead of encouraging conformity? How might we sort of see that as strength?

Ann:  This is only tangentially related. But one of my favorite units when I was teaching social studies, is we do a unit focused on social norms during the Jim Crow Era. Looking at the power of social norms, and what was put in place by law, and what put in place just by expectation. Then we had them look at their own social norms of what is expected in their own school and what are things that would push back against those norms.

I remember getting kids to start wearing weird clothes as part of this experiment, like, “I’m going to wear really high socks over my jeans.”

And I remember this case where it was a popular kid who could honestly do whatever they wanted. So it became a new trend.

But it was like one of those things where if we look at our own lives of what this social norm expectation is, we realize it’s not us, it’s this system that we’re in. Then you can step back and see it for what it is. You can realize you don’t have to be a part of it, if you don’t want to be.

Jeanie:  This sounds like a fabulous lesson in criticality. In teaching kids how to be critical of social systems and structure.

I’m on a bit of a Gholdy Muhammad kick and she writes about that, about criticality as a lens to engage students all the time — and in fact I have a podcast episode on that book that she wrote.

What I’m thinking about is how powerful that is for kids to experience that, that way.

And I’m so thinking about the four eyes of oppression. That you might have this ideology of white supremacy, and how it shows up in institutions as Jim Crowe laws, but then also how it shows up interpersonally between people is what you’re talking about in these norms. Then internally what the message it sends to individuals.  And so, I just love that and the way that you’re putting that together. Fabulous.

Ann:  You just put it together in such a nice way. I needed that.

Jeanie:  We’ll teach together again someday. I have so many things, from wanting to start seeing the Sweet Honey in the Rock song you mentioned (video). But let’s keep going with our characters.

Let’s talk about Jack.

Because Jack is doing some important thinking and working about his school. Living in Vermont  — he’s in Vermont — and given our school consolidation efforts, I found Jack’s story really compelling.

Ann:  I am a very big fan of small schools. Even if they’re not quite as efficient as others.

I just feel like community is so important. And what Jack and his school have, they have this incredible community. Now, he’s like the top of the food chain. He’s very different than Libby and Vincent, the father of bullies. He’s not a bully, he’s just… he’s almost like this backup teacher for the other teachers. Because he’s one of the older kids. He’s super-responsible.  And he really sees his ownership over his school.

There’s a lady from the State Department of Education that comes and is sort of looking at the school from a critical lens, checking boxes. “You don’t seem to have wood chips”, things like that. They also don’t have a gender-neutral bathroom which Jack has never even heard of.  He is the first to really be like, “I’m going to do something about this,” In part because he’s in a place of leadership, to start with.

And his focus at the beginning is saving the school and making sure they can keep being in community just the way they are.

But as we see, sometimes if things are good for you the way they are, it doesn’t mean that they are always good for others. There’s thinking involved.

Jeanie: The thing that Jack reminded me of is this program at The Cabot School, a tiny, little school in tiny little Cabot VT.

They’re fabulous. They have a program called Cabot Leads, where each student gets some sort of job that they’re interested in. And I think the thing about that program, the hope that we have for a program like that is that every kid feels like the school can’t run without him, they’re so important.

And Jack has that feeling. Like school can’t literally run without him. Because he has important roles with the younger kids, school is reciprocal. He’s not just seen as “we’re going to fill the bucket over your head,” rather like, “we need you here, you’re important.” That fosters the sense of ownership in him that’s really beautiful.

And I Iove that in the novel he goes and presents the school.

What I also love is that it’s just not a simple shiny moment; he gets caught up in something bigger.

I don’t know how much we want to give away, but he gets caught up in something bigger and has to find his way out.  He gets caught up in a controversy. And he gets aligned with the side he doesn’t want to be aligned with.

Ann:  It’s interesting, I recently was doing a virtual school about The Benefits of Being an Octopus. And Zoey seeming to find her voice when she’s sort of thrust into this debate of ‘which side are you on about guns?’

I’m just now realizing it’s similar for Jack, where he’s similarly thrust into a debate and he has to vocalize his opinion that it’s not the side that he’s being linked to. Sometimes that is what forces us to do some deep internal thinking about, “Well, what I think if it’s not that?”

Jeanie: And what does it mean when I think differently than my family or the people I love?  I think a lot of young people are going through that struggle.

There are kids all over Vermont doing really meaningful learning about things where they have to go to homes where the ideas and thoughts being considered are in opposition to some of the values at their own home. And what do you do when kids are exploring their values?  What do kids do when they have to navigate that tricky thing?

I think it’s really important in schools for us to keep that in mind, so we know how support students well. To know students well enough to know how to support them as they develop their own thinking. To provide them those opportunities to really dig into those things they’re really interested in, because it’s their birthright.  That what we want is for them to develop their own thinking.

Ann:  I’m realizing also now that this was the issue, this was the seed to start the book: Cara talking about trying to convince her parents how important recycling was. That was coming from some place outside of her family, and she had internalized it and she got it, and she was like, “Climate change is really important.”  And this was completely in opposition to her parents. She was trying to navigate that, she was looking for advice about that, and that is like such a, it’s a weighty issue.

Because you don’t want to say, “go against your parents”, but you want kids to be able to think for themselves, regardless of teachers or parents. You want them to be able to form their own opinions based on their own experiences and what they’ve learned, and still stand in that.

Jeanie:  I do want that. Each of these young people is sort of coming to themselves, as who they are, what they believe in and what they have agency over. And T is as well, but all of T’s agency is just going to surviving as who they are.

You write T in a completely different way than the other characters. I was wondering if you could talk about that?

Ann:  Yeah. So, T is homeless and living on the street. One of my very first jobs after college, I was waitressing at a pizza restaurant. And my other job was working at a drop-in center for homeless teens in Seattle. It’s the experience that led me into being a teacher, in part because the way that the drop-in center was set up, it was very hands-off. It was very: you are there to provide food and services, medical supplies, but you’re not to engage at all. There’s no back and forth talking. Which I understand; I respect that. It’s so people can just come in without any thought that someone’s going to try to tell them what they should be doing.

But it was also hard to have zero involvement with these kids that I was watching. I wasn’t able to do anything to help other than feed them.

It was an important point in my life, sitting there and watching all these kids. They had so much in common with each other, just in terms of surviving on the street. This was not a shelter, this was just drop-in, in the afternoon, and the evening a little bit.

But there was so little talking. Like, there was such silence in that room.

It’s just a testament to how big a wall they had each built around themselves for protection, and how much effort basic surviving takes when you don’t have any of the supports that other people have.

So when I was writing T’s chapters, everything was through that lens of just intense survival. You don’t have lots of chatty words if you’re in that space. So they’re much more minimalist because of that.

And just to get back to what you were saying, also, I realized that you’re talking about how the other characters are sort of figuring out who they are. And T already has figured out who they are. T is on the other side, dealing with some of the consequences of that. T is older, also, so it makes sense.

But I hadn’t quite realized how T is just at this different point in the journey than the others.

Jeanie:  Oh, I so appreciate that. And I love how you’re still leaving a lot of mystery here for our listeners. Thank you for going in deep with your four characters.

I want to talk a little bit about a seemingly small moment on page 53. I don’t know if you want to read it or if you’d like me to read it.

Ann:  Yeah, this is Libby’s chapter. She is walking home from school and she sees this boy clinging to a bench outside the dentist office.

Flight of the Puffin: ""I won't go." he cries. "Joseph Sebastian Kelly, can you let go this instant," his mom orders but “I'm scared," he wails. "We came all this way." His mom starts to pry his fingers off the bench. "Don't be sad to cry baby." the boy looks up at her, his eyes wide. And I know exactly why. Now even she can't be trusted. I watch as she carries him screaming into the dentist office and I sink down under the bench running my hand along the part where his little fingers were clinging. I wish I could run inside and tell him that I know what it feels like to look up into the eyes of the person who was supposed to love you most and wonder if they do. I pull out my index card that tells me that I am amazing. I lay out a long breath as I look at it. He needs it more than I do. I fish out one of the colored pencils for my bag and write in little letters along the ridge of the mountain and 'you are not alone'. I look around for where to leave it. The bush next to the bench is the one that the closed-up buds from this morning. But not all the buds are closed up now. One glorious purple flower has burst forth. I settle the index card in the bush next to the flower, right where he'll see it when he comes out and skip the rest of the way home. Even though I don't have the amazing index card in my backpack somehow, I am a whole lot lighter on my feet."

 

Jeanie:  So I cried when I read this. It broke my heart. And I could see it from both points, right, I could see it from the mother’s point of view because I’m a mother. I have mothered a challenging child.

But I could see it from this boy’s point of view too. And I really appreciate people like Dr. Bettina Love talking about humanizing education, and how do we make spaces where we can show up with our full humanity. And the coercion in this section feels really dehumanizing.

It reminds me there are so many times when young people, small children, experience dehumanizing conditions because we demand compliance, or we want control over their bodies. I don’t know what my question is; I guess I wanted you to know how hard this hit. And I wondered if you, if you intended it to hit me and your readers that hard?

Ann:  It’s interesting. It’s funny because I’m haven’t done that many interviews about the book yet. And so, I’m seeing things from a different angle. I’m realizing in this moment where this came from.

There is a pediatric dentist in Keene on the other side of the border in New Hampshire that was like one of the only pediatric dentists around. Now, I had been told that because my son was a preemie he needs to go to the dentist early. So, when he was like two, they sent this nice mailing home about how we should like it make it clear that the dentist is going to be fun, and it’s going to be fine.

So I did. I did my job as a parent of like, really showing how it was going to be fine at the dentist.

And then the dentist made a complete mockery of what I had said.

It turned into this place where they would not let my child sit in my lap as a two-year-old, they had be strapped down to a bed, and everyone was screaming. Like it was a factory of screaming children on beds.

And I was so traumatized. My son was so traumatized. We left and never came back.

But at the end, the dentist was like, “Oh, don’t you need a toy? You see how he’s sort of stopping crying as I’m offering this toy.”

It was the most inhumane and dehumanizing experience. And it’s been almost a decade and I’m still livid that that is how they were going to treat children.

But anyway. That was in my soul as a horrible experience and how not to treat children. So, I’m sure that subconsciously was coming right out.

Jeanie:  Wow. I so so appreciate you sharing that story. The trauma for both you and your son and also the grief of being the person who took him there must have been tremendous.

I can’t help but see this as the other side of the agency coin, right. If we want our young people, even our very young people, to have agency, right, to be self-directed learners, to be independent thinkers, to do the right thing, we can’t also demand compliance of them. We can’t also seek to control their bodies and their minds.

Ann:  You have to have control over your body.

Jeanie:  And from an early age we need to foster that sense of agency. It doesn’t mean that they don’t go to the dentist.

Ann:  But it can be done in a way that it’s supporting their humanity,

Jeanie:  And it’s probably messier, right, but it’s better than strapping them down right? It’s always going to be messier, but the strapping them down comes at what cost.

I’m a big proponent of self-direction and agency in the classroom, as is the Vermont Agency of Education. Our whole legislation about Act 77 is about meaningful learning opportunities, and students defining the learning they want and need. Setting their own goals. I do not believe we can do that and focus on compliance and use systems of compliance at the same time. When we use systems of compliance, we’re completely eroding agency.

And there’s so much agency for the young people in this book.

The other thing that’s in here in this little section, which is so powerful, is Libby’s kindness. And I know that some of this book must be inspired by your experience in the kindness brigade.

Ann:  It’s also the Love Brigade.

Jeanie:  Could you talk about from people who don’t know, could you explain the local love brigade?

Ann:  I said that a lot of my big concepts for books come from being angry. And this was something else that happened from my being angry.

After the 2016 presidential election,  early December of 2016, I was feeling so powerless and so angry at all the hate speech that I was seeing grow unchecked.

And one of the documentaries I used to show in my classroom was The Laramie Project, which is about the death of Matthew Shepard in the 1990s. And part of that is that one of his friends is trying to figure out what to do because the Westboro Baptist Church is coming to protest. She ends up creating these huge PVC pipe, like extra-long arms, and then draping sheets over them for like, a dozen people that come together. So, they’re like these huge angel wings.

And silently they marched out, and they formed this powerful silent line in front of the protesters blocking them from the funeral.

I still get full chills thinking about that scene.

It was such a powerful demonstration that regular people are perpetuating the hate, and regular people can push back against it.

So, I had that in my mind, like, “Well, what can we do if these are regular people shouting horrible things? What can I do as a regular person to push back?”

And I kept having one conversation after another, often almost always with women, who are just as angry as I was.

And one of the things that came up, I met Kelly McCracken in Montpelier. She said, “What about postcards?” I was like, that’s really good. And I was driving home from that meeting. Someone texted me and to say that the Islamic Society of Vermont had just gotten hate mail. What can we do? I said,

“We can send them postcards covered in hearts, and show that there may be one person sending them hate mail, but we are sending them postcards of love.”

They ended up getting 500 or so postcards covered in hearts. There’s this great video of the imam coming out with this huge stack. He’s like, “You know, if the person who sent that hateful message knew that this was going to be the response, I don’t think he would have sent it.”

It was a moving experience for me to realize, oh, this can work. Like we can really balance out that original hate and sometimes it even rise above so that the person who was on the receiving end of the hate comes away feeling the love instead.

The way I started was with a Google spreadsheet, and a Facebook group, and it became the local Love Brigade, then it ended up spreading all over the country. These little chapters in different like, I think it was like 12 or 15 different states.

It was just such a simple thing of just if you hear of someone that needs love, or would appreciate some support, you can send them a postcard that’s, you know, that’s decorated, to show something positive and hopeful and, you know, funny, or whatever it is.

It was one of those things where you often don’t expect to get anything back, right. They’re postcards, you’re not writing your return address. But sometimes we would feel the effects that had gone out from those ripples.

Once there was a there was a girl in Los Angeles who filmed her uncle being taken by immigration officials. We sent love postcards to her school. And a month or so later,  the principal of that school sent me a Facebook message. He said, they’re taking the seniors who would commit to get committed to go to college, on this trip to the Northeast, and he’s like, “Can we come and make love postcards with you?”

And it was like, “Oh, my gosh, yes.”

So, like, a month later, all these kids piled out of these five vans.

We all made love postcards together and sent them to whoever needed it that week.

Afterwards, a girl came over to me. She said, “That was, you know, my uncle that was taken, and I’m so worried that he’s not going to be out in time for me to see me graduate.”

And we hugged. As you’re hugging, I just thought, “What are the odds that we would be hugging? And we would connect? Like, what are the things that led up to this?”

That stayed with me. And that certainly formed the backbone of this book in terms of looking at how does the tiny action from a stranger send out these ripples? How we are all connected, whether we see it or not. So yeah, it was, it’s all very much based on real experiences.

Jeanie:  That story is so powerful and beautiful. And I just have to shine a light on some things about it.

One is: can we just forever now talk about love mail?

Let’s retire hate mail as a concept and replace it with love mail.

Mail has been really important to me during the pandemic, and sending packages, and love notes and receiving them has been everything. So, big thanks for that concept. I’m never going to talk about hate mail ever again. From here on out, there’s only love mail.

The other thing I want to point out is the way that even we as adults have to figure out how to have agency sometimes.

Ann:  Yes. Yes! Because that’s one of the things where I wanted this to be something that was doable, and accessible. Because I realized, like this was in those, months before inauguration, there was so much powerlessness. What can we do?

You have to remember that if you completely give up, you can’t do anything; you can’t make any change. Somehow we had to find a way to stay engaged and stay connected.

I did my undergraduate degrees in Russian. And I was just fascinated by a lot of the early Soviet literature, where you have just the isolation. This is 1984, like in terms of how a dictatorship can come in, and create so much fear and division between people that they are unable to take action. Unable to come together to organize against the government.

And I was,worried that we were going to go in that direction as a country.

So I was all about: how do we create connection and stay engaged? Stay feeling like we can do something about this, even if it’s tiny?

Because like anyone who has made the postcards, you know, you’ll feel a lot better afterwards. It’s a pretty therapeutic thing. So yeah, that was what really compelled me to action at the time.

Jeanie:  You may not know I’m in a doctoral program, and I’ve been doing a lot of research about whiteness, and education and equity and anti-racism. This reminds me of a study I read about that use this quote, that was really powerful to me. And it said that one of the reasons that white dominance or white supremacy remains and stay strong, is because white people, even when they say they want to challenge the status quo where they want to end racism? Can’t acknowledge that they have power. They’re powerless, right?

And so, what you’re saying to me is like we have power and sometimes it can be hard for us to find our power.

That says two things to me.

One is like, remember that we have power.

Two is: let’s flex those muscles with kids.

Kids have agency, so let’s develop that sense of power now. Imagine what the world could be, if kids really felt their full power. If we nurtured and cultivated that in students. They have it already, it’s not that we need to give it to them. It’s that we need to nurture and cultivate it. So they can start getting used to expressing it and using it and growing.

Ann:  In some ways, they have more power than adults do.

Take, for example, the gun laws in Vermont, which I’ve been intimately involved with.

Grownups could only get it so far, but kids were the ones where everyone was going to listen. Everyone is going to show up to be like, Oh, my gosh, these teenagers are telling us that we’ve screwed up and we’ve got to fix it. Their voices were 100 times more powerful than any adult saying the same thing.

Then once you recognize that it doesn’t go away. Once you find, oh, I can do something, you always have that. Even if you become an adult.

Jeanie:  Well, it’s a tricky business. Because I don’t want adults feeding power to kids, because they don’t want to do the work, right? Like we owe it to our kids to do the hard work.

And I want kids to know they have power and to develop their agency, and I want to be a part of helping kids feel their full power.

This book is a great ode and I’m grateful. It leads me to this question I have about how do you hope kids will engage with this book? What are your hopes for their experiences of reading this book?

Ann:  I am hoping that they send lots of postcards. That’s the most tangible thing.

I want them to have their own experience of Oh, my gosh, I can do this too. This does not have to be a fictional experience. I can send them a note saying that they are amazing. That’s the most tangible thing. But generally, I want them to come away, realizing that they are not alone. That if they’re feeling alone, there’s hundreds and thousands of kids feeling the same way. Right around them.

One of the original impetus is for writing this was to write across political divides. There’s so much common humanity from a red state person and a blue state person, you know? We need to see each other as humans and caring hearts more than anything else.

Jeanie:  I can’t tell you the number of times I have pointed educators to your Teacher’s Guide for Benefits of Being an Octopus. Specifically for your activity on bridging divides. Are you going to have an educators guide for this book? Hint hint?

Ann:  I believe so! I wrote all the discussion questions that are going to be in the read aloud. So there’s videos of me telling them all, as well as actual downloadable discussion questions.

It’s a discussion question per chapter. So, it’s a little different. It’s just like one question for each one, and I also wrote out, created five different class activities that are in classroom activity starters, that are also videos that are everything’s on my website under the Puffin read aloud tab. I mean, everything will be on Monday when it kicks off on April 19. But so that exists. I think that there’s also going to be an educators guide in addition to that, but it’s a pretty good set for now.

Jeanie: You are always so generous with educators and I am so grateful I loved your last educators guide and I’m looking forward and you had wonderful videos of you reading from that book too, which I know kids loved. So, any other hopes for how teachers might use this book in the classroom?

Ann:  I really, I mean, I feel like what I write I write to start conversations and discussions and opportunities to really gently probe inward and outward at the same time. And so, I feel like in terms of teachers and educators, giving the spaces for those discussions to happen is the most important thing.

Jeanie:  Thank you so much for this beautiful book and this wonderful conversation and sharing so much of yourself with us. I so appreciate it.

Ann:  It was such a pleasure. Anytime, Jeanie anytime.

#vted Reads with Jess Lifshitz

Chicago-based educator and twitter wunderkind Jess Lifshitz joins Jeanie on the podcast to talk about Dr. Gholdy Muhammad’s seminal text on equity and criticality: Cultivating Genius: An Equity Framework for Culturally and Historically Responsive Literacy.

 

Jeanie: Thank you so much for joining me, Jess. Just tell us a little bit about who you are and what you do.

Jess: Thank you for having me. My name is Jess Lifshitz. And I teach fifth grade in a public school in the suburbs of Chicago. I teach ELA, so I get to teach two groups of fifth graders; I teach literacy to them both. And I am mom to an eight year old who’s in second grade. So that keeps me busy when I’m not in the classroom.

Jeanie: I see all around you, Jess, on our Zoom call, books, books, and books, and more books. It’s like a room after my own heart. I recognize things I’ve read even! What are you reading right now?

Jess: Right now I am in the middle of a book that I know my fifth graders will love. It’s called The Jumbies at least that’s how I say it in my own head by Tracy Baptiste. And it is a creepy, super creepy fantasy, and I am loving it, but I’ve been reading it before bed and it, it creeps me out — which means my fifth graders will love it. Then teacher-wise, the most recent thing I read that is The Anti-Racist Writing Workshop and that’s by Felicia Rose Chavez. And I finished that probably a month or two ago. And it was one of those transformative books. So that has stuck with me as well.

Jeanie: Thank you for those suggestions. I’m totally adding those to my, to be read list. Yeah,

Jess: I sure that I will bring up the anti-racist writing workshop again, at some point in this conversation because there’s so many connections to cultivating genius with the book.

Jeanie: Excellent. Well, this book, Cultivating Genius, came my way via a tweet. You put out saying you were revisiting it. And I, I just want to start by saying we haven’t met in person, but I’m a huge fan of yours and the Twittersphere.

And one of the things I love so much is the way you publicly share your work on Twitter. You’re often sharing plans. You share examples of student work and most especially you share charts that you’re using with your students. And like, it’s such a deep and thoughtful practice. And I’m so grateful that you put it out there. I wonder: I think that’s really scary for a lot of teachers. What was your journey to making your practice public like that? How did you come to have the courage to do that? And what does it mean to you?

Jess: It’s so funny because it doesn’t at all feel courageous. It feels like it has enhanced my teaching in so many ways. I can’t even remember when I first got on Twitter. Maybe six years ago? Maybe it was longer than that? I don’t know time is weird now.

But when I first got on, I was at a point in my career where I had sort of plateaued in terms of my own development. I think I, you know, had sort of gone as far as I could in terms of what my district was offering. I just sort of felt stuck. And I remember we had some PD where someone had mentioned twitter and I was like, Oh, well I’ll try that. And when I first got on there, I just thought the world it opened up in terms of the voices that I was hearing? Was really powerful.

For a long time, I didn’t necessarily share my own practice, but just learned from the practice of others.

And the more that I, I think I learned from others, the more I wanted to grow my own practice.

And the more thinking that it led me to, the more I wanted to, I don’t know, cultivate my, my own teaching in a way that I could share it with others in the way I was gaining from teachers I was reading about.

So I guess I just started sharing and it led me to connect with people who thought similarly and also thought in a different way, but that enhanced my own thinking? And the community that I found — especially in terms of educators dedicated to social justice  — has really helped me to grow. My world was very white. Especially my educational world. I’m also just not a very social human being in real life.

So this was a really safe place for me to reach out and expand my own circle and who I was hearing from.

The more deliberate I was, especially in reaching out and seeking out voices of educators of color, the more I found myself growing in ways I hadn’t before. That sort of then, you know, continued to lead me to, to share some of that new thinking.

I’m always so amazed at what my students do with what I bring them. I’m so amazed at the work that they’re capable of. And so to be able to share that with others and show people what’s possible? Is really fulfilling to me. It also sort of motivates me to keep going. So I know it’s funny, people always ask about the chart paper, always about the charts, and the truth is I am just a really scattered human and my brain goes in so many places.

When I bring a lesson to my kids that has this series of complex thoughts, I want to make sure that I remember all the points I want to hit.

So those charts started as a way for me to guide my students but then also made the conversations really easy to share publicly as well. Without *ever* putting my own students in, in that vulnerable spot. Especially, you know, if I didn’t have explicit permission to do so.

So…yeah! It helps me be a better teacher to share in that way. I love the feedback that I get from others, the resources that people share.  I know that the world of social media can be a pretty terrible place and it can also be a really beautiful place. And I think it’s depending on who you follow and the sort of relationships that you grow there. So I’ve been really grateful to be able to share my work, but also to learn from the work of so many other brilliant educators.

Jeanie: I love all of that folks, listeners, if you don’t already, you got to follow Jess on Twitter. Her Twitter handle is @Jess5th.

You both share charts and Google Docs all the time — two great ways to share without putting pictures of students up. And I’m so grateful for all you put out there. I’ve learned so much from your teaching from afar. Who knew I could learn from a teacher outside of Chicago? If you’d asked me five years ago, I would’ve been like, “Not much of a confluence there!”

Jess: Yeah.

Jeanie: So this book once you put it out there, I was like: Oh, I gotta read this book. And I’m so glad I did.

Let’s frame the book a little bit for our listeners. I guess the way I’ll start is the way Gholdy Muhammad starts, which is with her research of Black literary societies from the 19th century. Which I think she stumbled upon, and then she did a deep dive into. And she writes about them:

“Literary societies were organized reading and writing groups for developing literacy literacy skills, but they also help members to read, write and think in ways that would help foster a better humanity for all.”

And then she goes on to say, “Reading and writing are transformative acts that improve self and society.”

And I found these opening lines in her books. So inspirational and *aspirational*. I like aspire to that: to literacy as a way to improve humanity for all. How did that resonate for you when you read it, given that you teach ELA? That literacy is your whole thing?

Jess: It is my whole thing. To the point that a student of mine the other day was like, “Do you *know* things about math?” And I chuckled and said: “Very little.”

But yeah, I, for me, what was so powerful about this book is just that idea that we get so bogged down in sort of this checklist mentality of education.

And I think in particular of literacy that we start to see it as a list of standards that we have to check off.

For so long in my teaching, I’d say that first, probably decade of my teaching, I taught with that checklist mentality in mind.

  • “I am teaching how to infer.” (Check.)
  • “I am teaching how to synthesize.” (Check.)

What this book reinforces — and where I got to in my own thinking about teaching literacy — is that all of those skills are tools for a greater purpose.

And it’s the greater purpose we have to have in mind when we’re teaching literacy or our students will not understand what to do with the skills that we’re teaching them. And Gholdy Muhammad talks about that so often in her book, as she refers to, you know, the four aspects of her framework. That we can’t teach these isolated skills to kids and then expect kids to go out into the world and make the kind of changes that we know are needed? And that we hope for them to make.

For so long kids have been doing that in spite of us. And we want kids to do that *because* of what we’re teaching in school.

And so the way she’s framed literacy in this book just really reinforced that idea for me. That we need to have a greater purpose. We need these skills to help kids think critically about texts, so that kids can learn to think critically about the world.

And the texts are almost the vehicles for that thinking? And the list of skills become the vehicles for that kind of thinking? But the greater purpose is that we’re tapping into this genius that exists within the kids.

For me, that was what was so powerful about her book. To the point where I feel like I almost need a re-read of it every school year. Because it’s so easy to exist in this truth when you’re reading the book? And then the second you walk into the classroom, right, we’re in the middle of standardized testing season, it’s so easy to feel the weight of that in the day to day? That her book gives us that reminder that there needs to be more than that. And that we’re capable of more than that.

Not only is she so affirming of children, but she’s so affirming of teachers. That we are capable of so much more than I think we sometimes give ourselves credit for.

Jeanie: That’s. Beautiful. And it makes me think of a couple of things.

One is, you know, in Vermont, we have this state legislation called Act 77. And one portion of it is that we’re required to make learning *personally meaningful* to our students. And in many ways, what you’re talking about is that personally meaningful part. I’m not saying, Jess, we do that all the time. But that’s one of the mandates: learning should be personally meaningful. And what I hear you saying is that we, and often, I think what happens, especially as kids are younger is we say, “Oh, once they can do all the skills, *then* we’ll do the meaningful stuff.”

Butwhat Dr. Muhammad is saying, what you are saying, is that is that they learn the skills through the meaningful stuff. That’s the whole point of the reading and the writing. Is to do the meaningful work. Otherwise, why do it?

Then the other thing you say is drawing out that genius.

And so that’s the other thing that I just, I love how this book is framed because Dr Muhammad is really clear that that power and genius come from within the young people themselves. It reminded me of Dr. Jamila Scott, and her saying, “If you think you’re giving kids voice, you’re fooling yourself. They already have voice. It is not our job to give it to them.” And so Dr. Muhammad like Dr. Scott says our job isn’t to empower them, but rather — and I’m going to quote her again because she’s so quotable — “deeply knowing them and their ancestries to teach in ways that raise, grow, and develop their existing genius” (pg. 13).

Another part of Act 77 really is knowing learners, knowing students, well. ‘Cause you have to know them well in order to cultivate what’s great within them.

I don’t have a question there, I guess, but assume I left a question mark at the end?

Jess: I think that that is *the* truth, right? And it’s, it is the thing that matters most? Yet somehow it’s the first thing to go when we’re feeling rushed.

And it is soul crushing, right? To know that there are so many kids who feel unseen and feel unknown.

Again, teachers are capable of so many amazing things. And I think this year has really shown it to us? I think that remote learning obviously has been a struggle and awful for so many things. *And yet* teachers have done these amazing things.

My daughter has been remote this whole year. And the way her second grade teacher knows her? Is unbelievable. She has never met my child in person. Yet she has made a conscious choice to place her relationships with these kids above everything else. I’m sure it’ll come up again in our conversation.

My kid is not the kid that school is made for. She doesn’t see herself as a reader and writer and mathematician in a way that school always values. And yet my daughter’s teacher sees genius in her. And sees brilliance because she’s made that choice, right? She’s consciously chosen to do the things, to get to know my kid.

And as a mom, *nothing* could be more important.

So I try to remember that when I’m feeling frustrated with a child, right? When I’m feeling frustrated with a student. That I need to know them, I need to understand them or nothing that we do is going to work. Again, Cultivating Genius just reinforces all of that. And it gives us this framework that allows us to use our curriculum, to get to know our students, but to know them in more ways than just can they get the right answer when I ask them a question.

It gives us so many inroads to be able to get to know our students so that it’s not something separate, right? It’s not something we do the first month of the school year. It is something that’s woven into the framework of our teaching. And that I think, is so much of what is brilliant about this book.

Jeanie: Yeah. And kids have great BS detectors. My son was, you know, hard to like in the classroom. And he knew when teachers appreciated him. When they used a strengths-based lens around him. When they could see some sort of genius or brilliance in him. And he knew when they couldn’t.

And it doesn’t matter how hard how nice teachers were or how hard they tried to hide it. Kids know if you see something in them, that’s positive. Or if you only see what’s in them, that’s inconvenient, or troublesome.

Jess: You know, kids also give grace.

I always re remind coworkers and other teachers we’re humans. So yes, in a moment, I am going to get frustrated with a child. Because they’re human and I’m human.

But when that frustration rests on a foundation of love. When they know I love them first, and sometimes frustrated with them? They are willing to give such grace.

It’s been said many times before, but one of the greatest things I think kids can see us do is apologize for when we are short on patience and remind them, I love you… *and* the way you were acting brought me to a point where I didn’t like the way I was acting. Again, she reminds us that relationships are the foundation of everything else and they give us the space to be human.

Jeanie: Yeah. Well, I’m going to reveal some of my humanity now. And I’m going to get really humble, and vulnerable.

I attended a webinar with Dr. Muhammad recently because I love this book so much.

And and I had one of those moments of like, Oh, a Doh! moment, I would say. A paradigm shift. And this happens to me.

Sometimes paradigm shifts are fun and you’re like: Woo! I see things through a new vantage!

And sometimes they’re just like: Ugh. Crud. How did I not see this before?

Now, I’m a librarian, right? And I’m an advocate for reading from diverse perspectives. I make sure that I’m always reading more than half of my books by people of color. And I cite Black women, I encourage others to do so — I’m not new to this game.

And yet when Dr. Muhammad started talking about all of the foundational educational scholarship we’re all exposed to during our pre-service teacher training (or in my case librarian training) years, that it was all from white people and mostly men, Dewey and Piaget, Vygotsky and Bloom–

I just had that moment of like: why haven’t I noticed that before?

Because I hadn’t. I never thought about that before.

And then *her* book, which is based on the work of real Black scholars and educators — Anna Julia Cooper, Carter G. Woodson, Mary McLeod Bethune, and so many others. And I was just like: Right, why haven’t I read them? Like, I know those names, but why haven’t I studied them? Why haven’t I gone deep?

And so there’s this like both-and of like, mortification? And also like: Oh, I have all this rich ideas and texts to reach into and to enlighten myself with.

I don’t know. How do you deal with those moments of like utter humility and mortification when the paradigm shift is a little embarrassing? Does that happen to you or just me?

Jess: Oh, it happens to me all the time. All the time. And usually then I like talk about it publicly. Someone points it out to me.

I think that doing the work means that we have those moments, especially as white women. Right. the, I think the only way to not have those moments is if we weren’t doing any of the work.

Jeanie: Thank you for that. Thank you so much for that.

Jess: I always think of it as the growing pains that I grew up and continue to exist in a really racist world, centered around white supremacy. The more I understand that, the more… of the holes in my own learning, I can identify. I don’t waste time feeling guilty about the holes, because that stops me from starting to fill them in. Right? I work to understand how those gaps happen. And I work to understand why I didn’t notice those gaps? That you know, in my own sort of journey… towards understanding my own race and my own racial identity?

I think the more that I can start to see the way that the character characteristics of white supremacy I mistook for, for norms, for so long as, as truth.

And the more I worked to understand how white supremacy shows up in so many ways — and that’s a phrase that Trisha Barbia and Dr. Sonya Cherry Paul introduced at their racial literacy institute this summer. When we can work to understand the ways that white supremacy shows up in all aspects of our lives, then we’re more capable to do something about it.

And so, yes! Those moments feel heavy, and those moments feel you know, to me… not even embarrassing as much as as an understanding of the world that we live in.

And so my solution is just to be more deliberate in the voices I’m listening to now. Because not only do I notice that all of, sort of my foundational understandings of education, but then current professional development has been really white as well. And when we just sit with the professional development, our own districts give us? Sometimes that just continues to perpetuate the problem.

And so I am no longer waiting for people to give me the right development? I am seeking it out myself. Because the responsibility is on me. We can say we don’t know what we don’t know, but we can’t stop there. We have a responsibility to question what it is we don’t know and why we don’t know it. And how we can go and seek it out.

So those moments happens to me all the time. I try not to get sort of stuck in my own feelings about them and instead think about what that’s the result of? How I’m complicit in it? And how I can work to do better.

Jeanie: I so appreciate that approach. And it’s like, yes, we’re all inculturated in white supremacy, but it doesn’t mean we have to stay there. Right?

Jess: As we’re saying this, this is the exact conversation I have with my ten-year-old students, too! Right?

And what’s beautiful about children is they’re so willing and eager to blame adults around them, that they are willing to accept that they carry bias and that a lot of their racial biases lead to racism. They’re willing to accept that, once they understand that’s because they’ve grown up in a world that’s racist, and those messages have been fed to them since they were younger. And what’s great about kids. They’re like: “Yeah! you all have really messed us up!”

And it’s like, well, we can accept that. How do we do better? Right? How do we teach kids to notice when the information they’re being given by their schools is centering whiteness and how do we teach kids to demand better?

Because I truly think that’s where the change is going to come. Right?

I think when students start pushing for a curriculum that honors and centers more than whiteness, that’s when we’re going to start to see the changes. Because kids are loud.

And so I want to take them processes so that they question what’s put in front of them even, and especially when I’m the one putting information in front of them. So I think this is a really important conversation to have with educators? And specifically white educators? Because it’s the set of skills then that we can teach to our students, which is exactly what is described in Cultivating Genius. Right? It’s, it’s exactly what all of the framework that’s provided is sort of giving us. That we can teach kids to do more with literacy.

Jeanie: A teacher in my own, my son’s former middle school, Cliff DeMarais in Vermont took a challenge I gave. Which is just to stack all the books in your classroom library, all the books you read, stack them by race.

So his students stack them by race and gender. Books by white men, books by white women. And at one point the books by white men was getting so tall, he said, that one of his students was like, “Oh! We wouldn’t want all these white men to topple all over the ground!” And this was his students. Right?

https://twitter.com/FloodBrooktrout/status/1380706981544091648

Which is exactly what you’re saying. They’re quick to develop a critical consciousness if we give them the opportunity.

And the other thing I want to note is that I saw that you are doing some analysis on how gender shows up recently in your classroom in a similar way. Like, working with your students to interrogate gender stereotypes.

Jess: Yeah. It it’s, it’s fascinating. And it is so inspiring to watch their eyes open to the world around them.

We started with some work that I, you know, I’m sure people are sick of seeing me talk about — but every year it’s so powerful to me — but I show my students, lots of picture books. I just reveal images on the covers. And I ask them to match those images with summaries of what they think the book is about. I don’t really tell them what we’re doing and they just sort of go along with it.

Ass we go through these sets of picture books, I ask to tell me: What is it that made you guess book A was about this and book B was about this? And they’re so willing to talk about the things that they use to make these guesses, whether that’s the gender of the person on the cover, whether that’s the race, whether it looks like they’re in a rural village or in a big city, whether the characters look like them or not.

As we start to reveal that often they make the wrong guesses, the kids start to realize that a lot of their guesses and they don’t use this language, but I sort of provide it to them. As we reveal these understandings, a lot of their guesses are based on the biases they carry. And the emotions they associate with gender or race.

It’s a really safe way for them to confront the fact that they do have biases and that their biases do in fact, impact the decisions that they make? And then we ask the question, well, where do these biases come from? And so that’s the work we’re doing right now.

We start with gender and we looked at the Pottery Barn Kids website and the bedrooms that are still separated: boys, bedrooms and girls bedrooms. And I teach them how to make observations of what you can see on the screen, and then interpret those observations into what messages might those send.

Because I want them to understand how that implicit bias is formed.

That no one on Pottery Barn is writing out, “Boys are better at science than girls.”  And yet when image after image and the boys room is filled with science-themed bedrooms, and none are in the girls, the closest we get are flowers? That is sending a message. So it starts to get them to understand how these messages form, even when adults aren’t saying word for word, those stereotypes, how do we get those in our heads?

It is amazing when the kids start to notice it. And then once we do those websites, now, we’re looking at Sleeping Beauty and talking about how it’s very based on word choices, really pulling out the individual words that are used to represent different genders. In which genders are represented and which aren’t in these stories to begin with. It is amazing what kids are able to see.

Then once they see it in one place, they’re seeing it everywhere. And I get emails from parents about, “Oh, we were at the store and my son insisted, I take this picture to send you a display of books for boys and books for girls.” So they see it everywhere!

Again, I think that’s the kind of learning that Dr. Muhammad is talking about, right? That really impacts the way they’re looking at the world. And! We’re still teaching skills like “supporting our claims with evidence from the text” and “inferring the author’s message”. Right? It just looks a little different than what we may have been used to in the past.

Jeanie: Wow. We could use you teaching these skills to adults. This is like, I wish more adults had these skills. Right.

And you made me think about this picture book from a few years back, We Forgot Brock! by Carter Goodrich, which is just so full of those stereotypes about gender. And I’ve seen librarians — I’m a school librarian by training  — use that book to sort of think about: why is the imaginary friend of the girl a princess? And the boy a pirate? How are these imaginary friends different? Right? And how narrow are those notions?

Jess: Yeah! And, you know, I say all the time, we work really hard to protect our students from problematic texts, right? At least I think we’re getting better at that?

And yet the second they walk out of our learning spaces, they are confronted with problematic texts *everywhere*. from what they see in advertising, when they log onto the internet to the books their parents are reading them, because they were read to them as children as well.

So instead of just protecting them by bringing the right books into my classroom and being really deliberate about what that means, I also want to provide them with the skills  they will need to identify the problems within a text when they encounter them.

Because as I say to my students, the more aware we can be of the way biases form? The more power we have to interrupt those processes and push back against them.

And, you know, I was really grateful today that that’s the work we’ve been doing because as I woke up to news of yet another Black man killed by police officers, I… I couldn’t, you know… not say anything to my students. I told them:

You know, as I was listening to the news today, I thought about the work we were doing, and it feels kind of light and easy that we’re reading these fairytales but as I watched even footage from the Derek Chauvin trial, there’s so much conversation of what bias do police officers carry into a situation? And as we’ve talked about, sometimes we’re not even aware of our own biases! What a world we would live in. If more people were willing to confront their own biases? And learn how to interrupt them. So the work we’re doing it is so much bigger than identifying bias messages in a fairy tale.

It is about how do we stop ourselves from walking around the world, carrying biases that can lead us to harm other human beings.

And this is how that works starts, right? So when you’re doing this really relevant work, it makes it so much easier to bring in these moments that are unfolding around us in a way that feels really natural because this is the work we’re doing. And so I was grateful to have that work today to kind of ground us and to, you know, remind me of why we do it.

Jeanie: That just speaks of authenticity, right? Like, this is authentic work that we need to do just to understand the world.

But I’m also thinking about all the layers that you are teaching students to do this. And by doing that, you’re sending this message of like: whoever you are, when you show up here, I’m going to interrogate my own biases and make this a space you can learn in.

And I’m sure your students are picking up that message as well. Right?

Oh, such appreciation for that.

Now, thinking about how I love how Dr. Muhammad made me think more broadly about literacy. Changed my notions about literacy. And on page 33 of her book, she has 10 lessons from Black literary societies.

Jess Lifshitz Cultivating Genius

And number four is literacy.

Instruction was responsive to social events and people at the time, which you just nailed.

Number five — which is my personal favorite — is literacy was tied to joy, love and aesthetic fulfillment.

That was so true for me as a young person. And still is! That like reading and writing? Are about love and about belonging and about (sometimes, for me) escape. So I just felt this to my core: reading and writing as a way to practice love and joy.

And I wondered if one of these especially rang true for you.

Jess: Yeah. Again, because I think I’m stuck in the world of, you know, worrying about my own kid as a reader, that idea that number three, literacy learning involved print and oral literacy, and these were developed simultaneously? The way that school just puts the written word sort of high up in terms of hierarchy and it is the end all be all of what a text is?

I think about how many kids that leaves out, right.

Again, under my own journey and understanding white supremacy and understanding that the written word above all else is one of the traits of white supremacy. It really reminded me of how much more inclusive our teaching could be if we didn’t insist that the only texts that are worthy of reading are the written ones.

Really, her discussion of that, that it is oral to write that. Telling stories is a part of literacy. That looking at images and collecting images and creating images, is a form of literacy. And the way she really honors that? I think has so much power for us.

If we say we really want to reach all kids, we can’t leave out those who struggle with the written word. And so for me, that was really impactful because I see that with my own kid too, you know? I see how much more she’s capable of when I’m reading to her versus when she is struggling through a text on her own.

Jeanie: That resonates to my core. My son was sort of considered behind reading and second grade and I was like, that’s just decoding. I read chapter books to him like crazy! He can comprehend all sorts of things! And so this, this false equivalency of decoding as literacy, I appreciate.

And then also this idea of that Dr. Muhammad uses of text sets, right. Of like rich text sets or what does she call it? She has another word for it. Anyway, where she curates images, poetry, journalism, fiction, non-fiction, oral storytelling, video — and like sort of thinks about how do these things work together to as tools for literacy development?

I really appreciated that as a librarian and who made sure anybody who wanted an audio book could get that audio book because listening to audio books is reading, folks…

Jess: Well, and what it does is it provides us more opportunities to teach kids, to navigate the world beyond our classroom. Because most of the things that, you know, if we think of reading as taking in information, most of the ways our students are doing that when they’re not doing work we assign them is not through a written word.

It’s through image and video.

Being able to bring those into the classroom means I can then teach you how to navigate these responsibly.

If I am limiting you to only articles that are written, you know, on a news site, that’s only teaching you to navigate one very narrow area of the world when I know most of you are getting your information from YouTube, right?

So I can say YouTube is not allowed here in the classroom, or I can say, let’s learn what YouTube is and how we can use it responsibly. I don’t mean responsibly so we’re not on inappropriate sites. I mean, responsibly so that we can tell what’s valid and what’s not.  So we can seek out multiple perspectives. And we can use all of these tools in really powerful ways.

But I have to allow them and bring them in before I can teach you to use them appropriately. And I don’t think we always do that in school.

Jeanie: Right. And then that what she calls layered texts. See, I remembered the layered texts of being able to pair that with other things in order to really develop a fuller picture. A fuller understanding.

Okay. Let’s dive into her framework. Cause her framework itself is really powerful. It’s going to take us a little bit to to unpack it.

So she calls it historically responsive literacy. And she really does tie it to you know, this whole field of scholarship mostly by Black scholars of culturally responsive pedagogies, culturally sustaining pedagogies, culturally relevant pedagogies. She’s tying it to this rich field that I adore. I’ve been doing a deep dive in culturally responsive pedagogy. So I’m really appreciative of that.

Using this historically responsive approach, she thinks of literacy practices as multiple and diverse, just as you were just saying about YouTube video and all sorts of formats.

And then she uses these four different frames, if you will.

And the first is identity development.

I think you, you already have alluded to this and like how you continue to get to know your students throughout the year. But what does Dr. Muhammad mean? And what does it look like to use identity development with literacy?

Jess: So for me identity development is sort of — like I’ve said before — sort of the foundation of everything. This year I actually rewrote and am currently rewriting our social, emotional learning curriculum in fifth grade. Because I found that it taught a lot of like school skills? Which were sort of replicating these systems of oppression that I was trying to teach my students to break down.

So I started our year on identity.

And we spent the first third of our required sort of SEL minutes thinking about identity and the parts of our identity.

What I realized is after reading Cultivating Genius, is that that made it so much easier for me to teach students that who we are impacts what we understand about a text.

And I think one of the saddest sort of consequences of Common Core is this idea that what it means to read is contained within the corners of a page, right? That meaning is simply the words written on a page.

And that discounted everything that child brings into that reading.

We can help kids understand that, but that becomes so much more powerful when they first understand themselves, right? They understand their own identity. *Then* they can think about: how does my identity impact what I understand about the text? 

Jeanie: Wait, wait, wait, wait, wait, wait, wait. You’re just like blowing my mind here, because just that thing you said about reading isn’t just about the corners of the page. But I’m a reader. I read a lot and reading isn’t about the page. It’s about what happens inside of me when I’m interacting with the page or the audiobook or the image. Whatever it is I’m reading or the story I’m listening to. It’s all about what’s happening in my body and brain. And heart. So I just so appreciate, like, it’s not about the page. Okay.

Jess: We wonder why kids hate reading, but we’ve taken them completely out of the experience, right? That’s why we read: because it moves us.

But when we take emotion out of it and, and who we are out of it and why I can get something from a book one year and get something totally different from it another year?

We as teachers need to honor that in children too, it’s not that you don’t understand a text because you understand something differently than I do. It’s because we are two different readers interacting with one text and isn’t that a beautiful thing. Right?

Jeanie: That’s so humanizing, right? Like honestly? I wouldn’t read just for the ideas. Right. Don’t tell anyone, but I read because of the feelings.

Jess: Right, right. And your feelings are based on your identity. And again, we need to honor that with kids.

In fact, you know, as I mentioned earlier, we’re heading into this awful standardized testing season, and what I tell my students is, I am really honest with them, that these testing companies are profiting off of tricking us.

So we’re gonna talk a little bit about how we can outsmart them. And figure out what they want us to pick as the right answer.

I’m really deliberate in my language that we’re not finding the right answer. We’re finding what the testing company says is the right answer. And that’s such a more empowering place to be.

Jeanie: And subversive.

Jess: Absolutely! And I write it up on a chart.

I was just writing these charts this morning and I put up there, “The testing companies are profiting off of us.” So that any administrator that walks in my room — I mean, at this point, they all expect it — but they can see that too.

Okay, you want me to prepare these kids for standardized testing? I’ll prepare them. I want them to know this isn’t the right answer. We’re figuring out what the testing company says is the right answer.

Again, that’s honoring kids. That’s being honest with them.

And to tie it back to the book? (See, this is why I need anchor charts, because all of a sudden I’m talking about standardized testing, which is not in this book.) But again, I want them to know that who they are is going to impact what they think is the right answer.

I want them to use who they are when they’re taking a standardized test. We’re going to just figure out the game and we’ll play it. I want them to understand the real reading, right. So that I can teach them in this moment. We’re gonna suspend that.

Jeanie: Well, and then it seems to me, if, if learning’s going to be personally meaningful — back to Vermont’s Act 77 — it has to engage my identity in some way. It has to be important to me in some way. Because it impacts me and people like me, because it makes me worried about people who were like, or not like me. Like, what is it that brings it to life for me? Because I know nothing about it, because I know a lot about it. Like, there are so many ways in which my identity helps me create interest in something.

Jess: Right? It goes back to giving kids an authentic purpose for reading, you know?  She talks about how kids have to see themselves in their learning. And I want them to know that one reason to read is so that we feel less alone in the world, right?

Jeanie: Yes!

Jess: And that’s how we start our school year. Like, tell me about a time you read something and you felt like: Oh my goodness, I’m not the only one! Right? That’s a power reading can have.

I want them to know those things and that honors their identity. And it honors, you know, the reason that we’re readers, because it connects us to this world. And we can also read so that we better understand those who have experiences that are different than ours.

Jeanie: Love all of that. So it really, these aren’t separate by the way? They like compound and build, but we’re sort of treating them separate. But the second goal is skills development.

And this is, I think when I, when I saw Dr. Muhammad in a webinar, she said, this is the thing: most teachers know how know how to do the proficiencies or the standards that are connected to the learning, but she asks us to step it up a little bit. She’s like those standards aren’t good enough. That it’s also about that those experiences have to be rich and meaningful.

Like we were just talking about, this seems connected both to motivation and like stickiness, if it doesn’t mean anything, it’s not going to stick with me. I’m not going to remember it.

So I felt this section was a little hard for me. And so maybe it’s because I don’t teach in a classroom. And I wondered if you could tell me what I’m missing.

Jess: I don’t think you’re missing anything. But I do think this is, to me, skills was the one place that schools tend to put the focus on. Right.

But what I got from reading the book is we have to be better about those skills. We have to work harder to find meaning behind them.

And I think this is where, especially white educators, say we don’t have power? When we do.

I think we look at a list of skills and we teach it the way we think we’re told to teach it. Except a lot of that is self-imposed.

Yes, there are mandates from districts. Yes. There are things we have to do. And! I think we can be more creative with the mandates that we’re given, but we’re scared. Because we don’t want to make people unhappy. We don’t want to veer away from the way things have always been done.

And I think we’re afraid of the discomfort.

I was just having this conversation over the weekend. We have to really evaluate:

  • Am I stuck doing this because if I don’t I will lose my job?
  • Or am I stuck doing this because I might face this comfort if I try it a different way?

And if it’s the discomfort I say, we have to push through that. We have to choose children over potential discomfort for ourselves.

There are moments where that’s not possible. Where it is a true fear: if I don’t do this, I will lose my livelihood. And I can’t support my family. I’m not talking about that. (I also think as a white educator, I have a privilege in terms of my own whiteness. And, and I recognize that is not the case for everyone.)

But when we can choose to see a list of skilled and envision them as more than they’ve been? I don’t know that we are always making that choice. And I think we need to do that more often. That’s what this section or chapter really said to me

Jeanie: That reminds me that Dr. Muhammad in the webinar said: “Yeah, the Common Core. I mean, it’s a start like, like there’s so much more, it could be.”

Jess: I always tell teachers know the Common Core so that you can use it, right? So that you can use it to get to the work we really need to be doing.

I use that as a way for us to look at and evaluate the images within a picture book. To talk about how they either reinforce stereotypes or push us beyond them. But what it requires of us as educators is to be vigilant as ourselves about what we’re reading, right?

Because I read the information that Dr. Debbie Reese, so generously puts into the world in terms of how to be critical about the ways Indigenous people are represented in children’s literature, I have that information and I can look at a standard, right? I know the standards well, and I know more than the standards.

So I can use those standards to get in the teaching that I really think is necessary.

So great. There’s a standard that talks about using images to support meaning or whatever it is?  Great. I’ll use that and I’ll use it for when a parent questions, “Well, why are you teaching about how pictures reinforce stereotypes?”

Well, I’ll tell you it’s connected to this standard.

So that’s on us, right? That is the work we have to do. And I think it’s become too easy not to do that work for teachers when we’re handed this book that has done it for us already.

Jeanie: I love everything you just said, and I’m a big fan of Dr. Debbie Reese.

One of the things that I’m hearing from you — and I just did a consult with somebody today that, that mirrored this — is that we as educators, don’t have to know all the answers about how stereotypes or oppression shows up.

We have to have the willingness to be curious enough to learn with alongside of our students, right? And so you don’t need to know everything.

You just have to, you know, use that instructional time for your learning and their learning in the way you’re talking about it. I really appreciate that.

And it, to me, it links to the third goal in this framework, which is creating an intellectual culture. The pursuit of intellect, right? Cause what you’re really doing is creating intellectual students who can think critically about the world.

Jess: And it brings it back to that idea of inquiry being at the center of so much.

When I read the chapter on intellect, I just kept thinking about: to me, that’s what inquiry is, right? Just really teaching kids to notice what they’re curious about? And giving them processes to seek out information in a way that provides multiple perspectives on their own curiosity.

There is no greater thing we can teach our students in terms of literacy.

That idea that we’re teaching toward the pursuit of intellect, as she titled the chapter.

It is what allows us to say, I am not teaching children, what to think. I am giving them processes that allow them to notice their own thinking and seek out responsibly information that enhances it.

Right? And develops that intellect. If that’s what we’re doing, then we’re, we’re empowering our students. And we’re honoring who they are and what they want to know. So this chapter really resonated with me because it reinforced so much of what I believe about what teaching can be and what literacy can be for students.

Jeanie: Yeah. So for me, this is the difference of like, I have this content that must get into your head. And I want you to understand yourself as a lifelong learner.

Jess: Yeah. Yeah!

Jeanie: I want you to have everything you need so that you can learn about anything things I will never know about. Yeah. Phew! So now we get to my favorite, my favorite goal in the four: criticality. First off I needed that word: criticality.

Jess: Agreed. And now that I know it, I use it all the time.

Jeanie: Same, right. Like I didn’t have that word in my vocabulary before I met Dr. Muhammad.

And and speaking of which, if I could invite one scholar to tea it would be Dr. Muhammad. She’s such a joy to be around. She makes you feel good. And to thank her, I would make her quite a tea, to thank her for the word criticality. I love how she sort of defines criticality on page 120. Would you, would you like to read that for as long as you’d like?

Jess: Yeah, I would. And it’s funny cause I have that part underlined and starred and obviously it spoke to me as well.

So she asks:

What is criticality? Criticality is the capacity to read, write and think in ways of understanding power privilege, social justice and oppression, particularly for populations who have been historically marginalized in the world. [And there is cited ‘Muhammad 2018’.] When you have criticality, they are able to see name and interrogate the world. Not only to make sense of injustice, but also to work towards social transformation. Thus students need spaces to name and critique injustice, and ultimately have the agency to build a better world for all. As long as oppression is present in the world, students need pedagogy that nurtures criticality, and we have never had a world free from oppression.

I’ll stop there.

Jeanie: Mm that’s so good.

Jess: Oh, it’s so good.

Jeanie: Right? One of our transferable skills to Vermont is critical thinking. This is the ultimate critical thinking, right? Being able to notice what’s not right in the world and critique it. And look for a path forward.

Jess: And just that idea that everything we teach provides an opportunity for us to reveal the systems that are at play in the world we’re living in. And for us to question our own role within those systems.

But as teachers, we need to be looking for those spaces. And that’s what this chapter gave me. That idea that everything I teach can be an opportunity to pull aside the curtain and reveal the systems at work.

I teach in a very wealthy, mostly white district and it is amazing to watch fifth graders really come to terms with their role in the systems they’re a part of. And they are willing to do it. They’re so brave in doing it.

But again, we have to help them to see those things or to have the skills, to question those things.

And I think texts give us the perfect place to practice, right? When I can teach them to read a fairy tale. To notice that there are only two genders represented, which means there are all sorts of people not being represented.

Then I’m also teaching them when they grow up to walk into a boardroom and do the same thing. Right?

So the more I can teach them to be critical as readers, the more likely they are to notice the systems of oppression. They may be a part of in rung one role or another in the world in general.

Jeanie: I love that. And I love that Dr. Muhammad frames it as like: we don’t just do the social justice, a unit during Black history moms. Right, right. Like that you can use critical quality as a lens in anything.

Thank you so much for making your work public for sharing your thoughts for inspiring me for making me laugh. I so appreciate you taking this hour or so with me.

Jess:  Thank you for having me. This has been such a joyful conversation. That’s it really tie it all together. It really is. The time went so quickly. So thank you for having me and having such thoughtful questions for discussion.

#vted Reads: with Alex Shevrin Venet

Today on the podcast, Alex Shevrin Venet joins us to talk about her new book, Equity-Centered, Trauma-Informed Education. How does it work in classrooms? How can you, as an educator, use your own coping strategies to dismantle inequity at your school? Will action research help? And what does convincing your landlord to let you have a pug have to do with it?

Alex Shevrin Venet explains.

 

Jeanie: Thank you so much for joining me, Alex, tell us a little bit about who you are and what you do.

Alex: Thanks for having me, Jeanie. I am an educator based in Vermont. For those of you in Vermont, I’m in Winooski and I’ve lived in Winooski for a few years and been in Vermont for, I guess, 12, 12 or 13 years at this point. It flies by when you live here. I say educator because that’s easier than explaining what I do on a day-to-day basis, which is I wear very many different hats all under the umbrella of education.

So one of the things I do is I teach at CCV — the Community College of Vermont. I teach sort of interdisciplinary humanities courses there. I also teach teachers through Castleton’s Center for Schools and through Antioch University. And those are kind of professional development courses for teachers. I do workshops and professional learning for educators, which lately has meant being on zoom a lot.

But pre COVID , I got to drive all around New England (and sometimes beyond) working with teachers in schools. And of course, I’m often writing for my own blog and for a few other websites. All connected to trauma informed education. So it’s easier to just say educator than to give the whole list. And I’m sure I left a few things out.

Oh! And my background, I should say, is in teaching middle and high school. I worked at an alternative therapeutic school, which I talked a lot about in the book. And that really sparked my passion for trauma-informed education. Cause that’s what we were doing day in, day out.

Jeanie: Thank you so much for sharing all of that. I sort of know you in lots of those different places, but not all of them. And you’re certainly the first person that comes to mind when I think trauma-informed education. When I want to look at an expert I think of you. I’m delighted to have you on the podcast.

So you have told us a little bit about yourself, but you really begin this book, Equity-Centered, Trauma-Informed Education by positioning yourself in relation to the work. And I wondered if you wanted to share a little bit about your positionality and what brought you to both trauma informed work and equity work.

"If you work in a school this book is a must-read! Its clear and practical organization would make it an excellent choice for an all-faculty read, an educator book group, or a PLC/Community of Practice. Alex shares a vision for education that is humanizing, affirming, and liberatory. She attends to both practice and belief, clearly connecting the two to lay the groundwork for schools that serve all learners well. While this book shares actionable steps at the end of each chapter, it is so much more than a how-to. Alex leads the reader in deep introspection and growth as they expand their understanding and sit with hard questions - both of which will hopefully lead to more equitable and healthy schools." -- Jeanie Phillips GoodReads review

 

Alex: Okay! So where I come to this work from is as a teacher.

And I try to say clearly in the book that I’m not a mental health clinician or therapist or psychologist.

I do sort of inhabit an interesting space, which is that I went to college to become a teacher. I got my teaching license in secondary education with an English endorsement.

And then I ended up working straight out of college at this therapeutic school.

At this therapeutic school, we cross-trained in educational professional development and also professional development from the clinical director in counseling techniques. And our role was called “counseling teacher”. So over the eight years — including summers — that I worked there, I tried to add it up once, but it’s really hundreds of hours of counseling-focused professional development. In addition to also hundreds of hours of education-focused professional development.

I kind of wished that all teachers had that because there are so many tools from counseling that are so helpful in teaching.

But even with all those hours, I still do not hold any type of clinical license. And I think that’s important to say because I wanted to write a book that was about being trauma-informed, but not trauma specific. Sometimes the two terms mix together a little bit, because a lot of trauma informed texts really look at: when I have a student who’s experienced trauma in my classroom, how should I help that student?

And that’s really important. There’s some things like counseling strategies that teachers can use or particular pieces from the neuroscience that teachers might be informed by. That’s really helpful. But in my book, I really wanted to look at:

What does it mean to be trauma informed in a more universal way? And in a way that doesn’t require me to really know, or even spend a lot of time dwelling on which of my students have experienced trauma?

So I positioned myself by just stating clearly that I’m an educator.

I’ve taught in this middle and high school setting. I’ve taught after-school programming for younger kids. And I currently teach community college and graduate students and adults. So I’m really bringing all of that experience as a teacher to this, in the hopes of reaching other teachers who hear the phrase “trauma-informed education”, and they go: Well, I’m not a counselor, is that really for me?

I’m trying to say, absolutely, this is for you. I’m also not a counselor. Let’s work on this together.

Jeanie: I love that way you’ve captured the the in-between of counseling and teaching, and the overlap between the two. And you can see that throughout your book.

I think there’s a way in which all of that — all of your learning, your deep learning and practicing — has led to you sort of talking about a shift in many schools.

We hear about folks doing trauma work with students, and they’re talking about the impact of a trauma. But you really reframe that in a way that I think is powerful, which is: how do we go from addressing impacts on kids, to addressing the causes of trauma. I wondered if you’d talk a little bit about that.

Alex: Yeah! So a lot of trauma- informed education resources frame themselves in this phrase over and over: “children who bring trauma to school”.

And so there’s almost this image of a kid, at home or somewhere out there, and this trauma happens. We don’t see it. We weren’t a part of it. Then they come to school and they’ve got this, like, backpack of trauma. And then it’s our job to respond to that.

But in reality, that’s not the full picture.

Because it is true that kids are experiencing trauma and, you know, quote-unquote “bringing trauma to school”. But it’s also true that kids who otherwise have not experienced trauma are experiencing trauma inside of our schools. That’s really hard to talk about because when we talk about that? We then have to acknowledge that we educators are complicit in that.

And that feels horrible.

That feels horrible to think about because teachers get into teaching because we love kids and we want to help them. We want them to grow. We want school to be a safe place.

But if you really look at the experiences, especially of marginalized people going through school, you will hear again and again about ways that people experienced trauma inside of schools.

Whether it is bullying or harassment by peers, whether it is teachers being hateful or or denigrating their students (which unfortunately is all too common experience), whether it’s connected to the curriculum and the ways that the curriculum was harmful or that the curriculum erased or invisibilized certain students, whether it was the stress of high stakes testing and  the surrounding environment or connected to that.

I mean, there’s truly so many ways that students experience trauma inside of school.

If we’re willing to acknowledge that? Then trauma-informed education becomes about both what students are bringing to school and what students are bringing from school.

And that means that our role is to address that trauma that’s happening in school, and prevent it. Transform our schools into places where that’s not happening.

Jeanie: I read a couple paragraphs from your book that I found so powerful that echo just what you just said.  This is from pages 27 and 28. And I put about 42 exclamation points around it.

“This is the uncomfortable truth: schools cause trauma and harm teachers and administrators as individuals can perpetuate this harm such as making derogatory remarks about children’s that racial identity or family school systems such as rules, policies, and procedures can cause trauma and harm.

For example, harsh discipline policies that refer children to the criminal justice system for behavior in school and students can cause trauma and harm to one another through bullying and harassment, especially when adults allow racism and other oppression to flourish. This can be painful to reconcile. I believe most educators get into teaching because we care about kids. We want to be part of schools that feel like communities. It’s tempting to look at the examples I just mentioned and say, well, that doesn’t happen in my school, or I would never caused pain to one of my students looking away, however, benefits, no one, if we want to create more equitable schools and systems for all students, we need first to reckon with practices and attitudes currently causing harm.”

That’s so powerful because it reminded me of the importance of doing the internal work and the external work in coordination with each other. And I see so much of that internal / external happening in your book, in the practices you suggest. I don’t know if you have any other thoughts on that. I just love this so much and the way you’re so clear about it.

Alex: Yeah. I mean,  it’s a difficult thing to reflect on. It ties into all of the other types of reflective practice we have to do.

I think I probably use the phrase “both and” in my book about 7,000 times. And also if you’ve ever heard me talk for more than five minutes, also 7,000 times.

But it’s really just so key to everything, this idea of “both and” rather than either or.

I think about this paradox of teaching: that teaching is about me and it isn’t about me, right? It’s about the students.

And teaching is really human, right? It’s a person in a room with other people we’re in a zoom with other people. So it’s about me because I bring my perspective to everything that I’m doing, everything I’m saying, the choices that I’m making. And so there’s this need to say:

“Okay, well, I have to look at all these systems and structures and I have to look at on a very personal level. Have I committed any harm, even if I didn’t mean to? And what does that mean? How do I make it right?”

So yeah, it’s a complex knot to unravel, I think.

Jeanie: Yeah. I appreciate that. Because in honesty, like… we’ve all committed harm. Like, we’ve all done that unintentionally. And our intentions aren’t as important as the impact we’ve had, and how we move forward from that.

One of the things that really stood out in your book is that you make it really clear that you can’t be trauma-informed without also being anti-racist. You can’t be trauma-informed without fighting oppression beyond the school doors, in order to serve all students. And I really appreciated how clearly you state that.

I also felt the “both and” of like, it’s hard work for educators because some of the work will involve shame and regret for our past actions and our complicity. That kind of work takes space. And it takes a lot of support.

Alex: It does! Teachers do need a lot of support and space to unravel these things. And in part four of the book where I talk about systems change? One of the things I tried to do was really target leaders and administrators, and bring them into the work. Understanding that some readers are going to be classroom teachers and some readers are going to be administrators. But hoping that if you’re a teacher reading this book, something you take away is: I don’t have to do this all by myself. And I deserve support.

I really tried to in particular target administrators when I talked about wellness and reflective practice. Those are things that leaders need to set the stage for.

It’s great to tell a teacher, you know, “you should have reflective practice” and “take care of yourself”. That’s true and right; another “both-and”.

But you can’t just magically self care your way out of an incredibly stressful situation.

It’s really incumbent upon school leaders to set the stage so that teachers can delve into this work. So they can feel vulnerable. They don’t have to feel like if I mess up, then, you know, I’m outta here. So I think in order to really dig into, you know, unpacking your own stuff so that you can pick up this difficult work you have to have that backup.

Jeanie: We hear that and appreciate that. And I saw the layers in the way that you build this book. It’s like you’re asking administrators to do a layer of the work that’s very similar to the work you’re asking teachers to do. And I really appreciated the congruency between the different layers.

I also appreciated your ability to see it whole.

I’ve been using that phrase a lot, “seeing things whole”. To me, what that means is that that these aren’t separate parts, these aren’t separate layers of work, necessarily. These aren’t separate initiatives, but rather they’re complex pieces of the same puzzle, right? And they should work together.

On page one, you lay out right away: “Too often trauma-informed practices are considered a separate initiative from a school’s efforts to create educational equity. It’s time to change that equity. Centering trauma informed education is more than adding two together, existing trauma-informed education and equity initiatives. Instead, equity-centered trauma-informed education is an integrated and holistic approach.”

What I hear you just saying just now is that that means that that wellness and reflective practice and PD are also all wrapped up into that same whole.

Jeanie:  Without people necessarily having read the book yet, how does that like, fit as a whole system for you? How do you see that playing out in schools as a whole system?

Alex: Well, I had this experience a few years ago that started to spark my thinking on this, where I had run a workshop through professional development group on trauma-informed practice.

I went back to them a few months later and I said, “Hey, I felt like that went well. I’d love to work with you again and offer another workshop on trauma-informed education.”

And the message I got back was actually, people aren’t that interested in trauma-informed education this year. Now it’s all about equity.

At the time, my initial reaction was to be annoyed at the person who said that and to go, “Wow, they, they don’t recognize that trauma-informed education is not just a buzzword.”

But later I had the realization to be annoyed at myself. I hadn’t been clear enough that trauma-informed education is necessary for equity work and vice versa.

And that my commitment to equity needed to be louder when I describe what trauma-informed education is.

Really, I think a lot of schools, they literally have separate teams, right? You know, schools are all about the PLCs or the teams, and they literally have separate teams. One is doing equity and one is doing trauma-informed work. To me, they are just so integrated and they build on each other and they multiply each other.

One of my suggestions for teachers is really quite simple. Literally take the two teams and make them one team.

As easy as that, right. Take the two teams, share the zoom link, share the meeting room, do it all together.

Because if we’re working towards equity then we are disrupting those things that can cause trauma in school.

And if we’re working towards being trauma-informed, then we need equity.

We’re taking the two teams and making them one team because inequity causes trauma and school is not equitable for students who’ve experienced trauma and there are so many more connections between them. And  I explore those throughout the book. So my challenge to folks is to really see how can you integrate these things as fully as possible.

Jeanie: I love that. And I I found this section that you share on how to tell if equity’s at the center of your work. So powerful. Do you think you could read the bullets on page 11 and 12?

Alex: “So whereas equity now, if not in the center and then here’s some of the places I thought equity could be on the side, equity work is often relegated to a committee that meets only a few times a year and spends more time studying equity than taking action to bring it about underground equity work is taken up by only a few teachers, often teachers of color who implement anti-racist and other equity focused practices behind closed doors for fear of rocking the boat in the ether equity work is talked about only in the abstract or used as a buzzword in the school’s mission statement. No one ever actually talks about what inequity looks like concretely and at their own school or how to fix it, or nowhere in too many schools, equity is never talked about.”

Jeanie: I find that so powerful because I think it helps it can help us identify where we are in doing equity work. And then I also find this sentence right below. So important.

“Equity at the center means always asking, does this practice policy or decision help or harm students from marginalized communities because the same factors that cause an equity, for example, bias and discrimination also cause trauma, we can’t unlink the two.”

That’s so powerful. It takes my breath away a little bit to think about the power that happens if we really center equity and trauma informed practices in our schools, what, what, what could happen.

Alex: Absolutely. And I think it’s important to really explicitly draw those connections because I think a lot of times when we talk about trauma, it’s in this way of, it’s just this thing and it’s just there, and it happens to individual people and, oh, it’s very sad for those individual people.

But if you really look at the things that cause trauma, almost every single one of them is political and systemic in at least some fashion, right? You look at things like child abuse or sexual assault. Those things are caused by what’s called rape culture, or a culture that, you know, glamorizes and permits those things.

Even if you look at something like natural disasters, we know that global warming causes an increase in those. And that’s absolutely a political and systemic issue. You then start to see that these are all systemic things. That, in a way is hopeful, right? Which just sounds weird after what I just described.

If you think of trauma as just randomly happening to individuals, then there’s not a lot you can do to stop it.

But if you recognize the systemic factors at play, the human-created systemic factors? Well, if humans create something, they can uncreate it. They can destroy it. And so if you say, “Oh, this trauma is caused by these systems of oppression.” It gives us a job to do, which is to knock down those systems of oppression.

Jeanie: I hear echoes of Paul Gorski in that, and I know you quote him in the book too.  I remember seeing him speak where he said, “You can’t really be an equity-oriented educator and not be for the living wage. You can’t be an equity-oriented educator and not want all people to have access to healthcare.”

Alex: Paul Gorski is one of the editors of this book. This is the first book in his new series, and I’m really excited to read the others that are coming as well. So yes, you will see many echoes of Gorski throughout the book.

Jeanie: Great. Okay. So, the other thing you say in this book that really resonated for me, is this idea that we could describe our work in equity-centered, trauma-informed practice as an action research project.

What I love about that, because it also goes along with something that’s important to me and that runs throughout your book, is this idea of being a lifelong learner. This idea that you don’t have to get it perfect the first time. That it’s a journey. And I wondered if you could just explain what that could look like as an action research project.

Alex: I love the idea of just constant cycles of learning, because it takes the pressure off to get everything right the first time.

The section that lends itself most to thinking through an action research lens is where I talk about these four proactive priorities of being trauma-informed. Those priorities are:

  1. predictability
  2. flexibility
  3. connection, and
  4. empowerment.

In the book, I talk about how all of this is connected to what we know about trauma, and that by prioritizing these in our decision-making we can better create environments that are supportive for students who may have experienced trauma or may experience trauma in the future.

I give all kinds of examples in that section about different practices. Take flexibility, for example.

In my own practice teaching community college, I feel like every semester is an action research project on flexibility.

When I have to sit down and write my attendance policy, I have really, and gone back and forth with this over the years. And I am always talking to other teachers about it, and I’m asking my students about it and I’m looking at the outcomes and thinking about, okay, well, I did it this way this semester, and this student had this issue or this student seems to really thrive when I framed it this way.

That’s just one example, but to me, it’s sort of fun to think about it as an action research project, because then it becomes sort of a constantly evolving part of my practice rather than I feel like I failed with it. That’s how you have to think of anything with equity and being trauma-informed.

Because as I say, a couple of times, there’s no checklist and there’s no “there”, right? There’s no “there” to get to where you are perfectly trauma-informed. Every single thing is equitable because people are messy and that’s just not going to happen. There’s no perfect perfection that we’re working towards.

Instead, I just think about identifying some of those places where I know that I could be more flexible and more supportive in this thing.

I’m going to try it a different way this time. Then I’m going to reflect on what happened and then I’m going to do it again.

Jeanie: I love that. Let go of perfection now because that’s completely out of reach. Like, it’s not even what we’re striving for. We’re just striving to learn.

I thought you put all of these core concepts together on page 77 in this way that my boss, John Downes, would refer to as a kind of simplexity. It’s simple and complex at the same time. And I thought it’s such a good frame for instructional design. (I love to design instruction.)

Your questions are:

  • Is it predictable?
  • Is it flexible?
  • Does it foster empowerment?
  • Does it foster connection?

I can imagine as I’m designing an instructional unit, being able to ask myself,

“Okay, where’s the predictability? Where am I calling on the routines? The things that kids already know well. Where am I calling on the structures that tend to support our learning in the classroom anyway? Where’s their choice or where is there opportunities for kids to do it in their own way, or to have a little more time if they need for this or that, or a little less time?”

That’s this idea of flexibility. Does it foster empowerment? Where’s their agency baked into it? Like:

  • Where do kids get to decide what they’re learning about?
  • Or how they’re learning about it, or how they’re sharing their learning?

And then:

  • Does it foster connection?
  • Are we building relationships?
  • Are we building that like, relational glue between us as we do the work together?

To me, being able to do that in an instructional unit, is to reflect on how it went and then try again. The next time I design an instructional unit, it will be a powerful action research cycle. So thank you for the gift of that.

Alex: You’re welcome! And I also, you know, in the book I give a version of a reflection sheet that I have used with a bunch of teachers when I do PD or when I teach these ongoing courses.

On the reflection sheet, there’s areas to reflect on strengths and challenges in your own practice with these four areas.

But then I also give prompts. Think about how our systems and policies support these four areas.

Oftentimes what happens is that a teacher will reflect on, you know, her own ability to be flexible or to give students agency. But then in thinking about the systems, she’ll then recognize, well, I’m a little bit limited in this because I can only go up to a point and then the school policy kicks in.

So I’m always asking teachers to just be mindful and grapple with that. Make changes on your own, but also recognize where could you push and where could you agitate a little bit to change some of these policies so that in your own practice you have a little bit more room.

Jeanie: I so appreciate that. And I just think about that you frame that really well in the book too, because you talk about how we could use this lens to influence our personal practice or pedagogy, and then also this policy. And I love you use this visual in the book of feeling the friction. Could you talk a little bit about what you mean when you say feel the friction in this work?

Alex: In the book I give this little speech to almost every group of teachers that I’m working with over a period of time, because there always comes this point with that tension we were just talking about: I want to do this stuff in my classroom, but my district has this policy or my school has this policy. And so I can’t really do it the way that I see that it needs to be done. Or even, Hey, our whole school is trying this thing, but then our state has this rule or there’s a federal way that these funds are tied up.

What people are really saying is: I can see what needs to happen and the bigger systems are holding me back.

I say, notice that friction.

Notice the tension that you’re seeing between what you believe could be, and the things that need to change. Embrace that friction. That’s the fuel that you need to make change.

I will sometimes say if enough of us are noticing and embracing that tension, then we will all work together to overthrow the unjust systems.

I believe that. Right? I believe that if enough people can notice and want to agitate for change, we can do it together.

I say a few times through the book, you know, do this work collectively. You don’t have to be an island to do it alone. Embrace community partners who are doing this work. Work with your union. Work with the teacher in the room next door, who also wants to make these changes with you.

Jeanie: You talk beautifully in this book at many about how it’s not the checklist, right? We have to take action, but we also have to have strong beliefs to guide us to that action. The two go hand in hand, and the ultimate goal as you state in the book, is schools that are humanizing. That promote wellness and thriving for everybody; for all students and also for all educators.

I have such an appreciation for the clarity of that goal. I think we lose ourselves sometimes in complex mission statements. But if we frame school’s purpose as places where we could be our fully human selves, where we find a sense of wellness and thrive? That’s so powerful. That’s such a clear guide forward to me. Thinking about what you just said and thinking about how having that at the center gives us something to feel friction about, right? That fuel you talked about is fueling us to transform education into a liberatory space that affirms all of us.

Alex: Oh, absolutely. And you know that the piece about thriving? Early in the writing process for this book, I had this ginormous pile of books that I wanted to read to help inform what I was writing. And I was having a hard time with the anxiety of looking at that huge pile. A good friend of mine, Caitlin, was working on her dissertation at the time. Writing a dissertation and writing a book are pretty close cousins. And she gave me this great piece of advice to really sort by like, what do you really need to read directly to influence this project? Then separate that out from the stuff that you just kind of want to read, that are tangentially related. So I went through this list and I was asking her advice about what to prioritize.

She had my list of books and she said, you need to prioritize We Want To Do More Than Survive: Abolitionist Teaching and the Pursuit of Educational Freedom, by Dr. Bettina Love.

That suggestion was so right on time because anyone who’s read that book knows how powerful it is.

Dr. Love really talks about this idea of thriving — especially for children of color, especially for Black children and teachers. That book really for me, pulled together so many threads of equity-centered, trauma-informed education. And so I was very influenced by it (as you see when I cite her throughout the book). So shout out to my friend Caitlyn, for, for putting that to the top of my list.

Jeanie: I appreciate that shout out to Dr. Love for that amazing, paradigm-shifting book. Big appreciation for that. I love that book too.

Sorry. I’m finding my way to back to my question since we’ve jumped all around (which I love).

Another book that I thought of when I was reading your book was I thought a lot about Dr. Ibram X. Kendi’s How to Be an Anti-Racist.

And the reason is this: you point out something that’s so basic that I’m a little embarrassed at how it struck me.

That was: we can’t punish students for their trauma response *and* be trauma-informed. Like, that’s such a truth. Yet when I think about schools, we often punish kids for their responses to trauma. And it made me think about Dr. Kendi’s How to Be an Anti-Racist because he frames that anti-racism is different than assimilationism, which is this idea that we expect people to behave like us, right?

Like we expect them to behave in a certain way. And that certain way in schools is still defined by the dominant culture: white, middle-class or upper-middle-class, and heteronormative. Right?

So in many ways, if we’re punishing kids for their response to trauma, it’s a kind of an assimilationism, not unlike PBIS, which asks them to behave like the dominant group.

We’ve had this conversation you and I before, but I just really appreciate that. You’ve made it very clear here that PBIS is not in any way trauma-informed. And I wonder if you see that connection between this sort of way of being and PBIS and this, and this other notion that you sort of shed light on for me.

Alex: Absolutely. there are so many connections. Actually you know, speaking of books on the to read pile, I actually haven’t read Dr. Kendi’s books. So maybe I’m putting it back on my list now that I’m through my big book-writing list.

Yes, I think that the paradigm shift for me is when looking at student behaviors, recognize the way that behavior that may seem out of the norm or disorderly or whatever deficit label we want to throw on it, recognize how some students behaviors are the things that have kept them safe and help them survive up to this point.

And recognize if you have coping strategies that have helped you survive, that those worked right, those were helpful strategies that kept you alive up until now.

Recognize that some of those strategies when kids yell or when they run out of the room or when they tell you to go f-off. Those are strategies that are protecting them from harm.

Keeping people at a safe distance, for example. Or removing themselves from an environment that feels harmful. If those things are working for them? And then we say actually that’s not appropriate? Actually you aren’t being safe, respectful, responsible, or whatever our S buzzwords are in that particular school?

That’s pretty messed up.

It’s pretty messed up to say this strategy that you use your protect yourself is not okay here.

This is one of those really complicated both-ands, right? Because of course we want to support all people to feel safe in many spaces, to be able to collaborate, to be able to work towards that thriving. And sometimes that does mean learning other coping strategies or learning other ways of communicating. But. I think that that’s really complex because you can’t also shame somebody for doing what they need to do to survive for having a trauma response.

It’s a complicated conversation that gets very erased when we do something like PBIS, that boils behaviors down into these like, fake neutral lists that you post on the cafeteria wall. “If you’re sitting quietly with your friends, if you don’t yell, if you clean up your plate, if you don’t waste food” — whatever it is, you know, we’re kind of erasing the complexity that is behavior.

It’s very complicated.

Part of my wish throughout the book is just to add that complexity and have people really think about what are the ways that we might be forcing this — that word you used — assimilationist perspective, as opposed to honoring that you’re using the survival skills that have worked for you so far.

Jeanie: That really resonates for me. I’ve been doing a lot of work on culturally responsive pedagogies, and I think that’s a similar thing, right? Where if the problem is the simplicity of neutrality and assuming that we are neutral in schools. When we make rules and expect certain behaviors and create certain cultures as if it’s one size fits all. Or as if the dominant perspective is the only perspective.

Whether it’s around behavior and trauma, or behavior and culture, the point is to be able to see it from different perspectives and not just this one that’s fed by dominant culture. Whoo! That was not very eloquent. But I just feel that on this cellular level, this notion of who gets to set the rules and that’s the person in power.

Alex: Yes. And it’s this interesting thing, right? Part of what you’re saying is that we can’t choose a dominant paradigm and say: everyone has to act this way.

At the same time, something I often encourage teachers to do is really reflect on some of your hardest moments and what you needed during those hard moments. What that would have looked like if you were a student in your own school at that time.

So, the book is dedicated to my mother and I talk about her story in the introduction. My mom passed away almost exactly two years ago. It’s coming up at the end of April. And I sometimes think about the time after she passed away and as I was grieving — well, at that stage of grieving, at least — it was really hard for me to be around groups of people. I did not want to be social.

And when it sort of came time that I was trying to re-enter social situations, if you had like, PBIS expectations for my social skills at that time, I wouldn’t have gotten any points or “tiger bucks”. Like, I would go into a social setting and I didn’t want to talk to anybody. I was sometimes rude and just kind of walked away from a conversation because I was overwhelmed. I flaked out on invitations. And so if I was a student in a school at that time, you might’ve looked at me and said: she’s not working collaboratively with others. She’s not being positive in her interactions with her peers. She’s not getting her participation points today.

And at that time in my life, the last thing I needed was for someone to tell me: “you suck at social situations right now”, right?

What I needed was flexibility and grace and understanding and the love of my community.

So I invite teachers to really think about, you just don’t know what’s going on for your students. And even if you think you do? Take that understanding of what you needed at those really low points.

Can you just be a person? Can you just be a person and apply that to how you’re responding to students?

If you knew that that today was the hardest day of your student’s life, how would you respond to them if they were acting out or not being social or whatever it is?

Of course we want to do that. And there is also the  business of school to do, right. We have to keep going with the business of school and “I can’t respond 26 different ways to 26 different students and get done the business of school.” But my invitation is to really just make it complicated. To see if I can move myself a little bit towards that humanity-centered approach. What would happen?

Jeanie: So I’m going to look at it from a different example, because I had a lot of trauma in my childhood — which I don’t need to go into because we don’t, as you have taught me, Alex, we don’t need to know people’s trauma stories. But I had a lot of trauma in my childhood, my sister and I both, and we went to school with our trauma in different ways in our backpacks, if you will.

And my way was to be a rule follower.

I found school to be a safe haven in a lot of ways. But my ability to follow the rules and be a good little girl did not mean that school was a healing place for me. It was just a way of hiding.

And you really make it clear that trauma is a lens and not a label.

Those are exactly your words. I want to like, put them on billboards all over — if Vermont allowed us to have billboards. But I would not have been labeled a “trauma kid”.

And my sister probably was. I don’t know, I don’t think we had that language then, but she would have been.

But our ways of dealing with it were very different. I thrived in school in some ways, but not emotionally. Not in a healing sense. I just got good grades. My sister did not thrive in school or emotionally. And so both of us were harmed by the insensitivity to our needs. Regardless of whether we could or did follow the rules. And I wondered if you could talk a little bit about like moving from that label of “trauma kids” to that lens: trauma as a lens and the way that changes how we create systems in schools.

Alex: Well, thank you for sharing that piece of your story. That is really resonant with the story of my mom that I share at the beginning of the book. I shared that story for the purpose of illustrating exactly what you’re saying: that it needs to be a lens. Because the kids who are being rule-followers and perfectionists as a trauma coping mechanism, they need a trauma-informed environment. Just as much as the kids who are very loudly proclaiming that they are going through a hard time. You could have had a healing environment without ever having to tell anybody that you needed it, if your teachers were trying to create this whole trauma-informed school with this lens.

So when I talk about the lens not the label, I talk about looking at everything in school through this lens of how does trauma impact people? How is trauma present in our lives and in our schools? And then using that as a way to shift our practices. Connecting that as well to equity in the sense that, you know, some schools will say, “Oh, we’re, we’re doing equity because if a student asks us for financial help, then they can have it for the field trip.”

“If a student asks us for an accommodation, they can have it” — that still requires somebody to air their story for you in order to get support.

So I’m asking people to make the shift of what would it look like if you just offer the support? If you just made equitable spaces where no one ever had to come and say, I need this.

Jeanie: Right? You don’t have to bleed to get what you need here. This is the kind of schools we want to have.That story itself is already going to be damaging enough that we’re not going to advocate for ourselves necessarily.

Alex: The other thing is that when it comes to trauma, a lot of kids don’t recognize what they’re going through while they’re going through it.

I think most of us will look back on things that happen in childhood and go, oh, that’s a thing that happened. Whereas at the time, you’re just living day to day. You don’t necessarily know what’s going on. So it’s not very often that a student is going to walk up to you and say, hello, I have trauma. Please help me. Right. You know, more often you’re not going to hear anything about it, or you’re just going to see some responses that maybe give you an indicator. And so that’s really that need to be universal.

Jeanie: That leads right where I wanted to lead!

One of the things you talk about is empowerment. How can schools be empowering places for kids? And one of the things I highlighted and put exclamations points around was on page 69:

“Flattening the imbalance of power also means re-examining our curricular choices. Students’ lives are full of rich areas for exploration and real problems to solve. We don’t need to give students fake work that is meaningless in the context of their lives.”

I’m just going to say that sentence again.

“We don’t need to give students fake work that is meaningless in the context of their lives.”

If we want to help students recognize and use their own power in the world, we need to make sure that our academics are aligned with that goal. I want schools that help kids learn to use their power so much.

And for me, this seems really this seems to align with Act 77. In particular, personally meaningful learning opportunities, flexible pathways.

The way I see that is that I, as an educator, don’t get to decide what is meaningful. Students get to decide what is meaningful. There’s so much power in reframing curriculum through that through that lens, through that vantage point.

Alex: Absolutely. And that’s really something I was so lucky to experience at the alternative school where I worked, because we really designed all curricula around our specific students’ interests and strengths and what they were working on.

When you talk about giving students real work or making it relevant to their lives, increasing agency, I think we can there’s a lot of examples where you can go really complicated, really fast, right? If you look at problem-based learning or project-based learning and how can we make our school more sustainable or let’s advocate for this change in our town. All those things are amazing. And I love them. But I want to give an example of this that is really low stakes, because I think it’s important to recognize you don’t have to go wild in order to do this.

So. I had a student once in an English class and we were just basically working on writing fluency in a really broad way.

And she really didn’t want to do it at all.

Hated English. Didn’t want to engage with me.

So we were just chit chatting one day and she was complaining about how she really wanted to get a pug. And her mom was on board with it, but they lived in an apartment, and dogs weren’t allowed.

So I said, okay, let’s write a letter to your landlord.

It was just as simple as that, right?

We looked up how to write a letter. We looked up how to address something to your landlord. And we looked up pug facts. Like, we made the case that this was a great dog to have in a rental.

She worked on this letter and it was great. It was very simple and took little to no wild planning on my part. I didn’t have to overthrow the way that I teach in order to do this.

So I think sometimes I can get really excited about community-based learning experiences and dismantling oppression through our classrooms and everything. We should get excited about that!

But I also just want to speak to people who are overwhelmed and say, it doesn’t have to be really big.

You can just start with: Hey landlord. I would like to have a pug in my apartment.

And go from there.

Jeanie: I appreciate that. And I appreciate the way it helps students learn to advocate for themselves and be active members of not just the school community, but the broader community. Start to see themselves as people with agency, as opposed to people have to do what they’re told to do.

Alex: There was at the school where I worked, there was this phrase that maybe got overused at times, but it was: let’s make a plan. Or come up with a plan. Or suggest a plan.

It was this idea that if you want to see something change, come up with a plan and we’ll try to do it.

I just think about the difference between that and some schools where, Hey, I’m upset about this thing and there’s no path. There’s what is, what even is the, to making a change.

I asked teachers this too, sometimes when we’re talking about policy. We look at policies that they would like to shift. And then I ask them: “If you wanted to change this, what actually would be your steps?”

I invite them to really go and figure out who are the people I would have to talk to, what is the meeting I would have to go to? Is there even a way that I could shift this?

A lot of them are sometimes surprised to find that it’s not as complex as they had initially thought. That can be a path to agency, as well as just making it more transparent.

“How can I make a change if I want to?”

Jeanie: As Gorsky would say fix injustice, not kids, people, and start at all levels. I, I can’t thank you enough for taking the time to write this book. First of all, to talk to me about it. Second of all, I so appreciate the work you do, Alex, and the way you show up in the world. And I’m so grateful for this conversation.

Alex: Thank you so much for having me.

#vted Reads: The Shape of Thunder

Oh lovely listeners, we are all still here, and we are all noticing the change of the seasons. This year the melting of the snow and the return of the sun are coinciding with a COVID-19 vaccine becoming available. We know, lovely listeners, that you are all feeling that complicated mix of joy, sorrow and wonder, as you get your vaccines, and we are right there with you.

Speaking of a complicated mix of feelings, in this episode we talk about the new YA book, The Shape of Thunder, with the book’s author, Jasmine Warga. It’s a tale of love, loss, theoretical physics, and how we interpret our students’ behavior. Specifically, how those interpretations shape the way we structure learning challenges for our students. Listeners, we get emotional.

That said, let us give you a quick content note: listeners, this book and our discussion touches on school shootings, and sibling death. If those topics won’t work for you right now, we still love you and want you to take the best care of yourself you can. (Hint: see our earlier talk about vaccines!)

I’m Jeanie Phillips and this is #vted Reads, a podcast about books, by, with and for, Vermont educators.

Let’s chat.

 

Jasmine: So, thanks so much for having me, Jeanie. I’m so thrilled to be here. So, I’m Jasmine Warga and I am an author of books for young people. My first two books were for more like teens, and my next couple books have been for middle graders, but I’m interested in writing like complicated and messy and challenging books for young people that really speak to the world that they’re living in and help them to build an emotional vocabulary to discuss those things.

Jeanie:  I’m trying so hard. That’s a fan girl, but I love your book so much. The first book I read of yours was My Heart and Other Black Holes, and I just felt like you understood and got on the page depression so beautifully and so honestly, and I just so appreciated that. When I was a high school librarian, I shared that book with so many kids and it meant a lot. And then I got a copy of Here We Are Now and I just felt like you were in my soul, the way you wrote about music and about this girl and her relationship with her estranged father and her mother. That book just got so under my skin. And then Other Words for Home was like one of my very favorite middle grades when it came out. It was like my book of the year. And now we have this beautiful book. So, I’m going to try hard not to gush all over you.

Jasmine:  Thank you. Thank you so much for your support of my work. And I just, I really, really appreciate that. And I especially appreciate you loving Here We Are Now because I feel like of my books it’s like my niece known or loved books. So, it’s always special to me when people also understood kind of the soul and heart of that book.

Jeanie:  I love them all. And I’m so excited about this book The Shape of Thunder. I read it so quickly because I couldn’t stop and I’m eager to talk about it. But before we do, what are you reading right now?

Jasmine:  Okay. So, I’m actually reading something really exciting right now. I have an early copy of Mariama Lockington. So, she is the author of For Black Girls Like Me which was her debut in 2018. She’s a new book coming out in 2022 called In The Key of Us and it is a really warm poetic. I mean, Mariama, I think she has a background in poetry and you see that show up in her prose and it’s this really gentle, but also complicated queer first love story. And I feel like I haven’t seen that a lot in middle grade. It’s starting to black girls who both have agency and are very different from one another, but are finding their way to one another, and I’m just loving it. I can’t stop reading it. So, it’s definitely something to look out for in 2022.

Jeanie:  Oh, I can’t wait. That sounds perfect. Fabulous. So, could you, let’s dig into this one. You’ve already just read to us from Cora’s voice. I wondered if you could introduce us to our two main characters, the two voices that we hear in this book, Cora and Quinn.

Jasmine:  Yeah. So, I’ll start with Cora since I read from her chapter. So, Cora Hamed is one of the main characters and she is sort of like a brainy type, a perfectionist type kid. She’s really well-suited to the way most school systems and school districts operate in that her brain works really well collecting facts and memorizing facts, regurgitating information, and she’s really like proud of that kind of achiever label that she’s been tagged with.

The book sort of opens in a really difficult moment in her life where she’s grieving the loss of her older sister Mabel, who she really kind of idolized and was very close with, and Cora’s family life is a little bit interesting in that she lives with her father who is Lebanese and also her grandmother who’s actually her maternal grandmother who’s white. And her mother left when Cora was really little, but the grandmother has stayed. And so it’s kind of a little bit different of a family dynamic there, but it works for them. And her home is filled with a lot of love and support even though they’re all going through this really difficult moment.

And then our other character is Quinn McCauley.

And Quinn is a very dreamy and artistic type kid and also very active kid. And school is difficult for her because she finds it difficult to sit still. She also finds it difficult to memorize information quickly. And so she’s kind of been tagged as not being that bright and that tag has led her to believe that sort of about herself. And so she has all these big ideas, but isn’t that great sometimes at expressing them. She also when she was younger had a little bit of a speech impediment, disability, stuttering and she’s mostly outgrown that, but it will still happen when she feels uncomfortable. And that’s also led to this perception that she isn’t that bright and, again, that is in fact how she thinks about herself.

And Quinn is also, when the book opens, dealing with something extremely challenging and that her brother committed this atrocious crime that he was a school shooter and hurt all these people in her community. And so she’s dealing with the guilt over what her brother did wondering what she could have done, just talking and wondering in what way she’s responsible for what happened and especially grieving the way that this tragedy has divided her from her best friend Cora because they find themselves on opposite sides of the fault line of this tragedy.

So, that’s kind of, I guess, the cliff notes summary of both of them.

I think they think of themselves as way more different than they are which is I think how kids in general are. But they definitely it’s funny cause I think Cora like in her identity tags obviously mirrors my own background more. And so lots of people I’ve spoken with have thought that I am Cora. But I really put parts of myself in both girls and then obviously made lots of stuff up which is the role of a writer. So, I would say that like Cora thinks more like facts and information and Quinn is very visual and dreamy, and I think that kind of guides their different viewpoints.

Jeanie:  I love all of this. And they’re both mourning the loss of someone and they’re both, even if they’re not sure they understand it, Cora too is mourning the loss of her friendship with Quinn and Quinn definitely is. So, there’s like layers of mourning happening in this book.

Jasmine:  Yeah.

Jeanie:  One of the things I love about your writing for kids is the way that you get at different family structures. So, you mentioned Cora is living with her maternal grandmother and her father. Her mother is not in the picture. Quinn’s parents are together, but they don’t really get along very well. They’re really struggling. And when I was a kid, I craved these kinds of books that had families that were not the two parents and 2.4 kids or whatever it is.

Like I wanted books with families like mine, which was not what I saw in literature. And so I’m wondering if you’ve ever gotten feedback from your readers about the way that you share different family structures in your books. Do kids feel seen?

Jasmine:  I really appreciate this question. I hadn’t really realized that a lot of my books do take on those different family structures. I guess it stems in part I hate the term broken family because I don’t think any families are broken. I think families just come in different shapes and what’s important is that love one another and show up for one another. And so that’s really important to me to reflect that on the page.

You know, I get a lot of letters from kids and most of the stuff that jumps out is the immediate things you would think. So, like from My Heart and Other Black Holes kids telling me they feel really seen from having like a mental health struggle, and I get lots of letters from Other Words for Home which are really moving about from Muslim kids or Arab kids who saw themselves for both of them for the first time or kids who had never seen a Muslim character and feel like this really opened their eyes.

But I don’t get a lot of letters that directly address the family unit, but I wonder if in some ways I do get a lot of books that say this book made me feel seen like I’m very different from this character, but I have these like emotional qualities.

And so I wonder if that’s a part of it, but I really just always am interested, I guess, in the unexpected, and also in that I think there can be love in units that don’t look perfect. And there’s no such thing as a perfect family. And so I guess I like to show that. I also really am interested in like those like uncommon dynamics. I like them in books and so I think then I respond to writing them.

Jeanie:  Yeah. So, oh gosh, I have so many questions and it’s hard to decide which one next. But I’m just going to, I’m going to talk a little bit about this book begins in a way that surprised me, which is that Quinn and Cora want to come up with a plan to time-travel. They want to go back in time and fix things, and specifically they want to find a wormhole.

And I have to tell you, I hadn’t really given wormholes much thought before I read this book. Did you do a lot of research? How did this idea of a wormhole come to you?

Jasmine: Yeah, so I actually was, I did do a lot of research and it came to me from doing research about time-travel. So, I knew early on just from reading lots of heartbreaking articles about kids and how they feel about school shootings, this idea of wanting to change it, of wanting to go back in time and change it.

And so I had this idea of time-travel and then as I kind of mimicked the research that Cora would have done more deep, I realized that I think a wormhole would really appeal to both of the girls and that it feels more believable than building a time machine.

Like I think that Cora is too much of a pragmatist to really have bought into this idea we can build a time machine.

But a wormhole is also kind of like a portal. And I loved portal fantasies when I was that age.

And I feel like Cora, as much as she wants to leave she’s a pragmatist, also kind of has that appeal to it. And wormholes are actually like scientifically possible portals that exist in our universe as a way to kind of leap between moments in time. And so I kind of became fixated on that idea that it seemed to me like I feel like Quinn was just desperate enough for things to change that she would have run with any kind of idea.

Like it says in the book, she initiated that they’d built up a time machine, but I really think Cora would have focused in on this wow like that’s the most like scientifically possible mode. And when like people in theoretical physics talk about time-travel they are lots of times honing in on wormholes or kind of like string theory, which is sort of like an adjacent wormhole idea.

And so this idea of like gaps in the fabric of our universe I think was like really interesting and kind of captivated me, and I liked to believe that it also would have captivated Cora. And like I said, I think that’s how it steered because Quinn was all in all ways and kind of has to convince Cora that this is actually like science not fantasy. And so wormholes kind of to me land at that perfect intersection that they play so much to where my imagination would have been as a middle grader.

Like, I so badly was that kid who wanted to find the door in the tree and walk into a completely different land or checking the back of closets to see if I was going to define a portal. And so wormholes, like I said, are like scientifically sound portals against theoretical science, but as Quinn counters to Cora, all science is really theoretical. And so it’s, I’m really interested in that overlap between science and magic and I think wormholes really are at the perfect intersection of that.

Jeanie:  I love the way that Cora sort of approached this as a scientist. She was sort of developing her hypothesis and thinking about the scientific method. And there are all sorts of ways that science shows up in this book. Cora’s father is a scientists. I love this whole idea of why humans are attuned to the sounds that birds make.

And I wondered as I read like how this might, how this book might be a part of an integrated science humanities unit and tying those things together in the way that Cora and Quinn in a way tied together fantasy and science.

Jasmine: Yeah. I mean, that would be the dream. I think like so much of books, right, is about your own curiosity, your curiosity as a writer. And so I try to infuse that into all of my books and hope that there are other outlets in there within the narrative for kids to exercise. They are all curiosity about the world.

I particularly am finding myself drawn to science, which I find really interesting as someone who, when I was young, believed I was not good at science. And it was like a really big cause of insecurity for me because I felt all this pressure to go up and be a doctor, and I felt like I wasn’t good enough at science to be a doctor and et cetera, et cetera, et cetera.

And now it’s almost like that the pressure has been lifted. I’m able to be curious about science and enjoy it in a way that I wasn’t as a kid.

I find it really interesting that all of my like creative writing projects, lots of them have found their way back to that curiosity.

I’m not an educator and so I never wanted to like presume to design anyone’s lesson plans. But I also think that any time that you can kind of show that these things don’t have to be like segregated from one another and that there is like science isn’t like a rigid thing that it can be combined with a story about curiosity and sort of looping that all together. I would have enjoyed that as a kid.

So, selfishly like I’m here for that and hoping that kids get that.

Like I was just recently thinking about both of my girls are still in preschool age, and I think about how the curriculum they have in their preschool is so integrated. It’s not so much like this is this, and this is this. It’s more like this is learning and it’s great to be curious, and these are different skills to aid in your curiosity. And so I am hopeful about being able to kind of keep that approach. So, it’s not like I as a kid felt so much like I’m bad at science, I’m bad at math, but okay like I have some, I’m getting some good responses here to my writing. So, that’s what I’m good at. And not seeing it as like a collective like all together piece, which was my education.

And so I’m interested, I guess, in that wholeness of that and bringing that idea to books.

Jeanie:  I just love all of that. And it brings me back to what you said earlier about Quinn and how you wrote some of yourself in Quinn.

And Quinn does not feel good about herself as a learner at all, which made me really, which really broke my heart when I read this book. And so I want to read a little section from page one 87.

“Mrs. Euclid bends her head toward me. ‘Oh, Quinn, I know you are so smart. You’re one of the most talented students I’ve had in a long time. Your drawings are very detailed. You have such a great eye, which is always a sign of a brilliant mind.’ I know she’s trying to be nice, but for some reason there’s an eruption happening at my core. It’s that lava spitting feeling again, my anger, the anger I’ve tried so hard to ignore for so long is bubbling up. ‘You don’t have to compliment me. I’m not like a sad dog.’ She’s the first teacher who has ever told me that I’m smart. I don’t know what to do with that. I don’t deserve those nice words.”

When I read that…

So, one of the things I think about all the time as an educator is what would school look like if we could recognize, celebrate and grow the talents of every single student?

I think there are kids like Quinn who feel like they’ve never been considered smart. And I guess what you were just saying about your daughters and about curiosity and an integrated curriculum made me think like that’s the first step of a school that sees all kids as having brilliance and genius within them that needs cultivating. And I just so appreciated you giving us that picture of Quinn as a learner.

Jasmine:  Yeah, I mean, I was interested to show kind of the way both of these girls, even though Cora is uplifted by the system, she’s also kind of chained by it. Because when you get tagged as talented and gifted, you feel all this anxiety to like live up to being like this perfect student, which doesn’t leave you any room to explore and make mistakes, and you have this big fear of failure because your whole identity is wrapped around being one of these perfect kids who has been tagged this way.

Then for Quinn, it’s also a self-fulfilling prophecy. Because if you’re not tagged that way, then you start to believe that about yourself and you start to perform in that way.

And so I think that it is just like, it’s such a complex and complicated problem.  And again, I’m not a working educator and so I, again, don’t, I’m not an expert in this at all, but I just want to see, like you said, see all of our kids and celebrate all of our kids because I don’t think that just because in third grade you can really quickly do have memorized the times table and do that means that you are should be tagged in one way, and the kid who’s a little bit, having more difficulty performing in that kind of assessment should be tagged in this other way and that that should affect the trajectory of your entire education.

I was like Cora and that I was able to memorize things really quickly, but that also, like I said, led to lots of anxiety because I felt like if everything wasn’t perfect that somehow my identity that was like the only thing I felt like that was good or worthy about me. It wasn’t creativity or taking this risk or having this curiosity, it was this ability to perform on these like, assessments.

And so I think that I just wanted to kind of show like how they both feel about each other in that way and how the system has kind of let both of them down. And that it, I mean, it’s serving Cora, but I don’t know how well it’s serving her. I think like I had to do a lot of soul searching. I mean like a dolphin when you get out of this gold star, like you are trained to crave this type of approval. And once that has been removed, they’re sort of like, “Well, what do I do?” Because you haven’t been taught to like follow your own, like I said, curiosity and interest. You’ve been taught to perform in this system.

Jeanie:  You got to give your own gold stars when you write those few pages or when you do that thing, right? I agree with that.

I think a lot of this book made me think about this essay I had to read by Matt Kolan and Kaylynn Sullivan Two-Trees, called Privilege as Practice (.pdf).

It’s the subtle ways that we preference some things over others in schools. It’s not like I don’t think we set out as educators to say, “Not all kids are smart.” But it’s these little subtle preferences that end up sending that message.

And so Two-Trees and Kolin use this idea of preferencing fast processors which is really common in school because we’re trying to do things efficiently. That gets in the way of other ways of learning and knowing.

And I thought of that on page one 14 when Cora and Quinn are having a conversation, I think it’s written from Cora’s perspective, and she says, “She’s quiet. I can’t see her face so I don’t know if she’s blinking. ‘Like, tell me exactly how he changed,’ I add. ‘I know what specifics are. It’s just you were quiet. I was thinking not everyone thinks as fast as you.’

It’s this moment where Cora has this a-ha because she realizes that, oh, it’s that we think differently. We need different things to do our best thinking. I don’t know, it was a good reminder of me to check, I’m a fast processor and a fast talker, and as an educator, I have to always check that about myself.

Jasmine:  No, I feel the same way, and when I briefly taught sixth grade science, I definitely preferenced, not intentionally, my fast processors, but because of my own insecurity of like standing up there and being like, “Oh my God, did they learn it? Do they know it?” And so I was so relieved every time my four or five kids who were really fast at regurgitating information, the hand shot up and they did it. And I definitely preferenced them because they made me feel better about my teaching and like a swaging my insecurities about it as opposed to trying to sit in that with my other kids and figure out in which ways I had let them down.

But that was obviously an uncomfortable emotion for me and so it’s much easier to just be like calling on the same kid who’s able to keep that piece of whatever it was I was doing because I felt validated by that. And so I think that it is complicated.

I completely agree with you that I don’t think most if any educators set out to want to make kids feel dumb or not loved. It’s just an unfortunate by-product I think of a system, like you said, that is so stressed to feel efficient for so many different reasons. It doesn’t have that time to breathe and sit in the messiness of like really figuring out are kids understanding this information or is it just this set of kids that’s able to fake that they understand this information? That was kind of me as a kid.

Like I don’t know how well I really understood the information. I just understood the bits that I needed to be able to like cough back up to do well on the assessment.

Jeanie:  Me too. I understood very well how to please teachers. That’s what I was really good at. Which meant when the teachers were gone, I was like, “Oh, now what do I do?”

I love when they’re looking for this wormhole and Cora thinks it’s in this old tree. And I my heart I love trees so much. And so I loved this old tree. I came to love it through this book.

There’s this point they have to cross a stream or a small river in order to get to the tree, and Quinn is very in her body and can do that with ease… but Cora can’t.

And so I love, on page one 27, when through Quinn’s voice we hear, “Cora can now cross by herself, and it makes me happy to think I taught her something.”

That reminds me in schools where every kid should feel like they have something to teach and something to learn. There’s something about reciprocity and being on both sides.

Jasmine:  Yeah. Yeah! I mean I just need to say yes and thank you for understanding the book and kind of the heart of that because that’s exactly right.

Everyone has something to give and share and I think sometimes we need to step back and figure out how to give them that space to shine and share those gifts without us. Because, again, it’s a self-fulfilling prophecy. If we make our kids feel like they don’t have gifts to share, they’re going to believe they don’t have gifts to share, and then they’re going to forget that they have gifts to share and bury that deep, deep within themselves.

I just want a variety of kids to feel loved and feel seen and know that they have a lot to give to this world, even if they aren’t the perfect speller on the weekly spelling test.

Jeanie:  Yeah. So, Cora and her friend Owen, her love interest Owen, are both sort of I don’t know if I would call them outliers, but they’re both non-white students at their school and they experience not overt racism, but these quiet little micro-aggressions all the time. Not just from fellow students, but from like, the teachers.

They’re doing a unit on the Middle East and they think Cora’s going to know everything about the Middle East even though she was born in the United States. Or they expect Owen because of his Japanese ethnicity, to know about China, say.

And I was thinking about my friend Mike Hill who taught me that micro-aggressions only feel micro to the person giving them. Not to the person on the receiving end who hears them all the time.

I’m often reflecting on middle grades literature as an educator as well as like how will kids read this story, but also like what can I learn from this? What do you think teachers should know about the micro-aggressions that Cora and Owen face?

Jasmine:  Yeah, I mean, again, I want to be careful about not giving any prescriptive advice to anyone, but my thinking is that always I don’t think that onus of talking about race shouldn’t be on children of color only.

We act like children of color are the only people in the classroom who have a race and that’s not true. The white kids in the classroom are white and they also have a race.

And so I think that it’s not inappropriate to engage with race and talk about race. What is inappropriate is to single out and other the children of color so they have to talk about race and they have to explain their race or know about their race and not putting that onus on anyone else none of the other white kids in the classroom. That leads to an othering and that leads to them feeling insecurity.

I mean, I think about how growing up, I was asked by so many teachers in elementary school like, “What are you?”

And what an odd question to ask a young person this is.  I think it’s disrespectful.

We used to ask people about their cultural backgrounds and say, but to do it in a way that feels empowering to the student and also doesn’t feel like they’re being singled out amongst their peers.

I think it’s this like presumptive assumption and also there’s a ratio of race for white kids and this hyper awareness of it for children of color.

And now you hear so many people saying, “Oh, race, is that appropriate to talk about with young kids. We shouldn’t do that.”

I’m just thinking children of color have been having to talk about race always.

That’s always been the atmosphere at school, at home, et cetera. It’s just now there’s a push to try to make that feel more equitable and make sure that we’re not making it like this unspoken weirdness that only children of color have to speak to.

So, I think that that’s it just treating, not to sound cheesy, but your kids in your class like with the same mode of expectation so that you aren’t you would never expect your kid who has vague Irish ancestry to explain the Irish potato famine to the whole class. And so you shouldn’t ask your child in your class with some Middle Eastern ancestry to explain the political landscape of the Middle East.

I understand teachers are busy and they’re overworked and it’s hard to know every single child, but I just think about how like it’s also about knowing your kid and knowing their relationship with their identity and what that’s like.

Again, not to just bring it back to my own kids all the time, but I was recently so impressed with my daughter’s preschool in that her teacher’s doing like a country folk tale unit and is doing all these different countries. And she wrote me an email that said, “Hey, look, I know your family has Jordanian ancestry and Lillian really has mentioned this and is proud of this. Like would you feel comfortable having Lillian share a folk tale from Jordan? How do you think Lillian would feel about that, blah, blah, blah?”

Like approaching me and trying to figure out like what Lillian’s relationship is with this so she doesn’t just put her on the spot and say, “Hey, Lillian, tell, educate all of us as about Jordan.”

But say, “Hey, we’re going to do this. I thought this could be a special thing for Lillian. Do you think she would feel comfortable with this?”

And I think that that is really nicely done because it’s like figuring out kind of what the dynamic is at home and so the kid and every kid’s going to feel differently.

The other thing that made this feel better is that it wasn’t just Jordan. She’s doing all these different countries and lots of kids all of different backgrounds that can do of German ancestry, that kids who have Japanese ancestry, she can do Indian ancestry, are sharing their folktales and sharing their country. And so it feels like a collective celebration where everyone is sharing these parts of themselves, as opposed to just putting that onus on kids of color in the classroom.

Again, it’s about making sure we understand that all of our kids have a race, even if that race is white. Making sure we’re talking about that and having open and honest conversations. So, I think the hardest thing about micro-aggressions is none of the characters in this book who do them, like, I don’t think Coach Pearlmann means to make them uncomfortable. He loves these kids and wants them to feel seen. It’s just he doesn’t know.

It’s just about increased awareness.

Jeanie:  Yeah. What I hear is we, as humans, we make assumptions. It’s how we get by in the world. We have to make assumptions sometimes, but when we don’t interrogate those assumptions, we can get ourselves in a little bit of discomfort or trouble.

And I work with a lot of educators who work with middle school kids around identity and giving kids an opportunity to explore identity in all of its different facets, all of the different identity markers. And I think that the gift of that is twofold. One is that kids really get to know themselves and each other better, but also teachers really get to know students better as they explore these different identities at a time when identity formation is really important to them. And so I really hear validation for that that strategy, and I often wonder if we leave too much to chance by waiting until we think kids are ready to talk about race or ready to talk about gender identity or sexual orientation when really they’re ready quite much sooner than we are as adults to have those conversations with them.

Jasmine:  Yeah. I love Alicia D. Williams who wrote Genesis Begins Again. I’ve heard her talking. She has wonderful things to say when she works on then a kindergarten classroom about how it strikes them when they’re picking the color of the crayon for how they’re coloring themselves in. And it, again, it’s not, I think you’re able to have kind of scaffolded conversations. Nobody is saying with a five-year-old and a six-year-old that we have to be having really heady, complicated academic conversations about race, but more just acknowledgement, again, to give these kids an emotional vocabulary.

What was so difficult for me about my childhood and my processing of my racial identity was it was talked about and also not talked about, and so I didn’t know how to express the questions I had. I just knew that it made me feel weird that I was asked these questions and my friends were not asked these questions, but I also didn’t know how to answer these questions, I didn’t know how to express that those questions made me weird. I didn’t, I wasn’t given any kind of roadmap for how to talk about it.

It’s just opening and holding space for them to have conversations at their level. It’s not about imbuing them with knowledge.

I think that’s so like so much for young people. Like that’s what I say like this book that I just presented is not about teaching middle schoolers about gun violence. They already know what that is. They live in this world. It’s about holding space for them to discuss those questions and feelings they may have about it and saying,

“I see you. I know you’re living through this. I know it’s a really hard thing that’s happening. Maybe through the form of story, you can find some of your own words to express how you feel about it, what you think about it.”

And so I think that that kind of play lots of really tricky things I think we as grownups make it more complicated than it has to be we think we have to go in and give our kids like knowledge and theories and philosophies. Really it’s just we need to listen to them and hold space to listen to them and let them know that it’s okay for them to want to talk about things like these.

Jeanie:  So, let’s talk a little bit about the lockdown drills at this school, because I found this to be really powerful.

And the school has suffered a shooting, right? And now they have lockdown drills on the regular and Cora and Quinn are re-traumatized every single time.

And it didn’t feel right to me at all. I guess I was like, “What should we be doing differently at schools? How might we approach this in a more trauma-informed approach?”

And I don’t expect you to have an answer, but I found the book to have these really good questions and really put us in the shoes of students during lockdowns.

I couldn’t help but think some of the teachers have to be traumatized by this too. They all experienced this together.

Jasmine:  Yeah. I mean, and again, think I don’t have answers. That’s the thing. I just have questions. I have frustration that as a country, I think that gun violence is such a multi-pronged issue that, yes, has to do with mental health, yes, has to do with guns, yes, has to do with toxic masculinity, yes, and sometimes has to do with white supremacy, yes, has to do with inadequate security at schools. Like all of these things can be true, and one of them doesn’t negate the other.

But I find it frustrating that, as a country, we aren’t willing to engage with the messiness and the multi-pronged issue, and instead have just like gone for the one that seems like, I guess, like the easiest route, which is just training our kids for like the inevitability of it.

And that makes me sad because I don’t think school shootings should be in the same classification as a tornado, like I remember doing tornado drills. But we couldn’t stop tornadoes and we can mitigate and stop acts of violence if we wanted to really take a hard look at all of the thorniness of this problem. And so again, I don’t have solutions at all, and I also recognize how complex and how difficult it is and how many vying different voices there are, but I think the problem is because it’s so multipronged, we fight about like, well, which of these things is it as opposed to wanting to engage with it and all of its complexity. But I think the people that are the most hurt by our inability to engage with how complicated it is are our kids.

Jeanie:  Yeah. Well, and that brings me to this other thing about your book which is that it’s very compassionate, not just to the victims of the shooting, but also to Quinn’s brother and his family. And I wondered he’s really viewed with this compassionate lens in the book, not by Cora but by others or by you as an author. And I wondered if this was intentional and if you expect to get any pushback on it?

Jasmine:  Yes, it was intentional and yes, I do. I think the first thing I want to say is I recognize that when white males, particularly young white males in this country, mete acts of violence, the compassion or at least curiosity that is shown by the media about why they did this act of violence is very different than when a young Muslim boy or a young boy of color commits an act of violence.

It is like written off as though the reason for that act of violence is because they are Muslim or the reason for that active violence is because they are brown or Black.

And I completely understand the frustration in which those two things are handled.

I have felt that frustration and that heartbreak and I get it, but at the end of the day, I believe in radical empathy and radical kindness. And these are still kids who are committing these acts of violence and to me, that’s still an indictment of our society of what are we doing wrong that our kids feel this way?

And so I think that it’s possible to have compassion and empathy for the perpetrator without excusing or forgiving the behavior. And again, I think that’s a complex idea, but I think our kids can understand it and handle it. I think that’s sometimes grownups who feel that makes them uncomfortable.

So, for me, there’s no forgiveness for what Parker did. There’s no excusing what Parker did.

There’s also an understanding that hundreds of other kids feel as isolated and oppressed by like a toxic environment as he did and don’t turn violent.

So, it’s not about making excuses for him, but it’s about asking:

  • Why do so many of our young people feel isolated in this way?
  • And does it have to do with the fact that so many of our young people, especially young boys, are raised to believe the most important thing they can be is strong? And we have a country that shows strength through violence?
  • When you start to feel scared and isolated as a young person, how do you show you’re hurt?
  • How have you been taught how to show strength?

That’s something that we should have like a conversation about.

And so, yes, it was intentional because I really, really believe in radical empathy.

I think not that it’s easy to have empathy for anyone, but I think that like empathy is a buzzword right now.

We often talk about it in terms of people who are less fortunate than us. Are less privileged than us. That’s an easier type of empathy to have. I think it’s much harder to dig deep and have empathy for someone you’re also really angry at and really disappointed in and has really done an unforgivable thing.

But I think that’s where we as a society find our humanity, if we’re able to do that.

It also gets back to if we’re able to do that, we’ll be more on the path to understanding why these things are happening because, like I said, they’re still kids. These are our kids hurting other kids.

And to me, that’s something that we need to talk, we should talk about, about why this is happening.

Jeanie:  So, you’re really connecting some dots for me, Jasmine. And some of those are, you know, Parker would have benefited from conversations about race. He becomes racialized in an environment where nobody is talking about race and the people who are talking about race are talking about it in a racist way. That’s his only exposure to talking about race as far as there’s not, it’s not, you don’t go explicitly in there, but if I think about the environment in which Cora and Quinn are going to school where they’re not really talking about it.

Then I think about the little clues we get about Parker, that’s the story. It’s my head. And then I’m thinking about what you said about tornadoes and I’m thinking fire drills. I’m thinking about growing up with fire drills and what would schools be like if we just had fire drills, but we didn’t also put in sprinklers and smoke detectors, right? Fire drills are not the only way we’re coping with the potential of a fire. We’re also doing all these other things at the systems level.

And it makes me think with school shootings, besides lockdown drills, what else are we doing as ways to mitigate these possible hateful events? I don’t know. These dots are like coming into focus for me in ways they didn’t… And I’m so grateful to you for helping me think differently.

Jasmine:  Yeah. Well, thank you for listening to me. And I think understanding for me I think the most important thing is the book is not meant, like I said, to give answers. It’s just these questions that I had that were keeping me up at night about:

  • Why have we all accepted this?
  • Why is this the world that our kids live in?
  • And how do our kids feel about this?
  • And also what do these communities look like after the news vans have left?

That’s the thing I get asked a lot about, like, “Why did you write about this for middle graders when primarily most of the shootings happen at high schools?” But this affects whole communities. These are communities that live with the violence, with this trauma for years and years and years.

And I’m just curious about kids who are growing up in this environment.

Also our kids are kind of traumatized even if it doesn’t happen in our community. Like they know about it, they know this could happen. And how do you talk to your young kids about that? I mean, that was the whole sort of inspiration for this book was me thinking about how many I talked to my oldest daughter about why her kindergarten has active shooter drills.

Like what do you say to a five-year-old about what that means about the world that they live in? And also the onus of responsibility that adults have just shoved up that we’ve put on to our kids, I think that is like the most frustrating thing to me is that we’ve basically like shoved this problem back onto them. And so that was also like in my head as I worked on the book.

Jeanie:  Well, and that shines through because the theme that, like the theme that most powerfully landed with me is the need to talk about hard things and to say them out loud and have conversations about them. And Quinn experiences that because her parents don’t want to talk about what her brother did and it’s like silence. She has no way to process what happened. And Cora on the other hand gets to see a therapist that helps her sort out her feelings. And I guess I was really inspired by how this book both makes space to talk about for us to talk about hard things like this with our students and sort of helps us think about why we need to.

Jasmine:  Yeah.

Jeanie:  How do you hope teachers will use this with their learners?

Jasmine:  What the dream would be a kind of that book club tape situation. I just feel like it’s such a great opportunity to let kids read it and share what they take from it which is honestly my favorite way for any book to be used which is that we read it all together and then we just talk about it.

Like I understand there’s curriculum objectives and all of those things that I don’t have to think about in my job, but I think that the stories are meant to be talked about and discussed. It was originally an oral art form.

So I always think that like half of the power of the story is how the reader is given space to react and respond to it. Like stories don’t exist without readers and the readers bring them to life and particularly when you’re writing for young people that’s true.

It just should be about bringing these conversations to light and letting her young people know that so many of us grownups also don’t think it’s okay.

I think there’s like this like kind of blanket of silence over this issue and I think that can lead to this feeling that we don’t care. Like I saw all these tweets that went viral after the insurrection from like middle school and high school students being like, “Oh, poor Congress they had to hide under their desks; like, we do that twice a month.”

And so I realized more and more like kids have really strong feelings about it.

I think they just aren’t given the space or the platform to talk about it until a tragedy happens. And I want our kids to be able to talk about, to be more proactive in this conversation and also feel like people are listening to them and also not give up on the idea of change. I think so many of us have become cynical and given up on the idea of change and I really don’t want our young people to.

Jeanie:  Yeah, that’s beautiful. I know this book isn’t launched yet, but are you working on anything new?

Jasmine:  Yeah, yeah, I am. So, this is a big departure for me, and I’m so excited about it because I’ve written four pretty like, heavier books that have been really emotionally difficult for me. And so in the middle of the pandemic when I was feeling really yucky, I started working on something that was kind of fun and joyful and very different from something I’ve done before.

In July I was watching the launch of Perseverance, the Mars Rover with my three-year-old and she turns to me and says, “Mommy, do you think the robot is scared?”

And right then this story just came to me where I was like that is a beautiful question. It also, what does it mean to explore, to have that curiosity to go beyond our world especially in a moment when our own world feels so claustrophobic and suffocated?

And so my next book it’ll be out in fall 2022, and it is called Resilience Mars Rover Story.

It’s about a Mars Rover and some of the other NASA vehicles that go on this journey to Mars to try to advance our understanding of Mars as a planet.

It’s really pretty closely bound in actual NASA science. It’s kind of a hog posh of Curiosity’s mission and Perseverance’s mission with obviously some fictionalized elements for the narrative, but I kind of think of it as like one and only I’ve been bought with robots instead of gorillas like that’s kind of like the jam of sort of the genre feel of it.

So, I’m hopeful that it’ll be a book that can stand lots of grade levels and that it could be a read-aloud for as young as like second grade, but eighth graders could read it and take a lot from kind of that STEM curiosity stuff. So, I’m excited about it.

And also I get asked a lot about if I’m ever returning to a verse after Other Words for Home. And it’s not a verse novel, but it’s written in really like sparse, lots of blank white space way because it’s narrated by a robot. And so I think that it’s kind of a return to that writing style and I’m excited about it.

Jeanie:  I can’t wait. I also wonder what you do to imagine the voice of a robot, but maybe that’s a question. Maybe you’ll come back and talk to us about this book.

Jasmine:  I’d love to.

Jeanie:  So much. I am so grateful that you took the time to talk about to us about this. Well, I think is going to be a super important, but it’s also just a sheerly wonderful book of its own, but I think it’s also going to cause folks to have some really important conversations. I’m so thankful that you came to talk to us about it.

Jasmine:  Well, thank you. I’m really thankful you hold space for me and asked me such thoughtful and insightful questions. And thank you for everything you do to raise awareness about books. We all really appreciate it.

 

 

#vted Reads: Brave Like That

Are you wear-your-mask-in-a-pandemic brave, listeners? Or get-vaccinated-when-needles-scare-you brave? On this episode of the podcast, we’re joined by Vermont author and educator Lindsey Stoddard, who’s here to talk about her new middle grades book, Brave Like That. We’ll talk about the many different kinds of brave you can be, along with how students know that tiny acts — of kindness, of effort, and of honesty — make all the difference in the world.

I’m Jeanie Phillips, and this is #vted Reads, a podcast of books by, for, and with Vermont educators.

Let’s chat.

Jeanie: Thank you so much for joining me, Lindsey.  Tell us a little bit about who you are and what you do?

Lindsey:  Hi.  Well, thank you so much for having me.  I’m so honored to be here to chat with you about Brave Like That.  I’m Lindsey Stoddard. Now, I was born and raised in Vermont and then spent 12 years living and teaching in Washington Heights, New York City and have since returned with my young family back to Vermont which feels it feels really wonderful to be here. And I have a three year old and a four year old son. So I’m very much a full time mom.  But I’m also a middle grade author.  Brave Like That was my third middle grade novel.  The fourth one comes out in May.  So, that’s exciting too.

Jeanie:  Congratulations!  Can you just name for us your other two books and your forthcoming book?

Lindsey:  Sure! Yeah, my first book was called Just Like Jackie and the second one is Right as Rain and the next one that’s coming out in May is called B Is For Blended.

Jeanie:  Beautiful.  So, were both of your previous books on the Vermont Middle Grades Book Award list?

Lindsey:  Just Like Jackie was.  Yes.

Jeanie:  I thought it was excellent.  Thank you so much for joining us to talk about this book which I loved.  But before we get to that, what are you reading right now?  What’s on your nightstand table or maybe what are you reading?

Lindsey:  You know I just finished last night the amazing  All Thirteen by Christina Soontornvat.  It’s the true account of the Thai Boys soccer team rescue from a flooded cave in Thailand. It is riveting.  She does a wonderful job storytelling.  Even though I like, I knew the ending because I had followed the story in the news, it was just like edge of your seat reading.  She did a great job.  That was wonderful.

Jeanie:  Oh, my goodness, thank you for adding that to my to be read list.  It was really good.

So, I just loved that this book just captured so much about middle school.  But before we start talking about the way in which it just rang so true, could you introduce us to Cyrus? Our main character in the book?

Lindsey:  Of course.  Yes, Cyrus is the main character in Brave Like That. The book opens on his 11th birthday. We know that he, as a baby, was dropped off the on the front step of a firehouse in Northfield, Minnesota.  He was adopted by one of the firefighters inside, Brooks Olson.  And Brooks Olson is not just a legend in this town for being a brave firefighter but he’s also a legend for being an amazing football player.  He holds records in the middle school and in the high school in town where Cyrus will be attending.

Everyone just sort of assumes that Cyrus will be the next best wide receiver in the league.  And no one knows that Cyrus doesn’t have any interest in being a wide receiver at all. He just doesn’t feel like he’s brave like his dad.

Like, he’s not brave like run-into-burning-buildings brave or brave like full-tackle-football brave.  So, this is a story about him figuring out what is really deep down in him. What kind of brave he really is.

Jeanie:  That’s just so middle school, right?  Like, this is really a story about Cyrus finding who he is apart from his family. Apart from his father.  And also feeling good about that as opposed to feeling like,

“What if it’s not okay if this is who I am?”

Lindsey:  Exactly! Yeah, I think middle school is a lot of that.  It’s a lot of looking outward and sort of comparing yourself to everybody else.  But then also, that that look inward and trying to figure out where do I fit and who am I truly.

Jeanie:  Yes.  We’re going to talk more about that and belonging as well because that’s a huge theme in this book that really warmed me and made me think a lot.  But before we do that, could, I wondered if you could read from Pages 97 and 98, as Cyrus is heading to his first day of sixth grade?

 

Lindsey:  Sure, of course.  Here we have Cyrus entering sixth grade middle school.

“Even though, I’ve known almost everyone in my sixth grade class since pre K, I’m feeling a little sweaty and uncomfortable and heart pounding like I do when I’m under my football pads.  My hands are all fumbling too which isn’t good because it’s hard enough to understand this schedule without my hands shaking the paper all over the place.

I have home room in 102 with Mr. Hewett, who is also my English teacher.  Even though I already know where that is, the halls aren’t quiet and empty now like they were when I faked a bathroom trip during tryouts.  And that new clean smell is already gone.  Now, it’s crowded with lots of kids who are all taller than 4 ft.8 inches.  And shouting ones another’s names.  You cut your hair.  And you got your braces off. Instead of smelling like the cleaner we used to scrub the firehouse floor, it smells like the puffs of cologne that salespeople spray when you walk through the department stores in the Mall of America.

And I’m wondering if you’re supposed to start wearing cologne in middle school and how do you figure something like that out.  I see a couple kids from last year and they already seem to know where they’re going.  No one else is holding a schedule and they’re all fist bumping and asking how summer was.  I see Marcus and Shane talking with some of the big kids from tryouts, the A team.  I wave.  But they don’t see me.  And between us is a crowd of 7th and 8th graders who are comparing arm tans and sipping out of to go cups from the coffee shop on Division Street.  I guess you start drinking coffee in middle school too.”

Jeanie:  Oh my goodness, that took me back to myself in middle school.  And the question I had was like how am I supposed to know if I’m supposed to start wearing deodorant and do I have to ask for it or will somebody just buy it for me?  Like that, just felt so real to me.  The bodies are all growing at different rates.  Some kids are little and some kids are big and…

Lindsey:  Yeah, you know, I love middle school.  That’s what I taught when I was in New York City.  And just there’s so much, there’s so much change and there’s just, their sense of justice is really high and their emotions are really big.  It’s just, it’s so exciting.  A little a little rollercoaster sometimes.  But there’s so much potential and so much excitement in that age that, you know, it was really when I was teaching middle school in New York City that I realized this is the audience I wanted to write for.  I wanted to write middle grade because their hearts are just so open and ready. There’s just so much excitement.

Jeanie:  Yeah.  But there’s this other piece, right.  Like, the changing bodies, the changing habits, kids coming, the changing clothes and their care about how they look.  But there’s this other piece that you really capture here which is belonging or lack of belonging.  One of the things, I guess I’m wondering about is you captured this notion of like when the, Cyrus enters the circle of girls actually in an earlier in the book and they immediately help him feel like he belongs.  Then in other places, he feels like really like he doesn’t belong.  And I’m not sure that middle school kids are always intentional about pushing someone else out.  They’re all just eager to belong.  They’re trying to belong in any way they can.

Lindsey:  Yeah.

Jeanie:  Is that your sense too?

Lindsey:  Absolutely.  You know, I think, you know as I was saying before that there’s, there’s so much outward looking in middle school.  You know, from the second you arrive, you’re sort of looking and comparing and, oh my gosh, she got so tall over summer.  And you know she has the same shoes as I do, is that okay?  Is that not cool, like?  There’s a lot of that outward looking.

Then also the inward looking of sort of wait, who am I?  What do I actually really love to do?  Do I, do I love football or do I just love the friends that are on the football team?  Do I even like those friends anymore and just a lot of those inward looking questions, thinking too?  And I do play with the idea of circles in the book.  You know there’s the circle of the seven girls that that joined him at the Humane Society.  The Humane Society Seven and they do have a very insular friendship.  There’s the seven of them but they do have a beautiful way of moving that they don’t push anyone out or exclude anyone.

And I wanted Cyrus to feel the difference between that kind of a circle and the kind of circle he feels with the football players in school, who, you know, he feels pulled in by them.  But then he feels other people being pushed out by them.  I wanted him to be able to compare those two kinds of circles and you know sort of how we include or exclude people and how that feels.  That happened so much in middle school.  Intentionally or not, it really does.  So, I was playing with the idea of circles there.

Jeanie:  It’s interesting though because it’s happening at middle school.  It’s happening amongst the different groups that Cyrus is and isn’t a part of.  But it’s also happening in his out of school life at the firehouse.

Lindsey:  Yes.

Jeanie:  Cyrus is seeing it happening with his peers and then he’s also seeing it happen with his firehouse family which is his father and the other firefighters, when a new firefighter Sam joins the squad.  I love Sam so much.  I wonder if you could talk a little bit.  Doesn’t give anything away if we talk about Sam?

Lindsey:  No, you know, I don’t think so.  I think you could talk a little bit about Sam.

Yeah, you know, I wanted so Cyrus is he grows up in the firehouse.

So, he has his dad and he’s got the firefighters who have been a part of his life from the time literally that he was dropped on their doorstep.  And he begins to notice the way that they move and the way that they talk when a new firefighter shows up and they’re expecting it to be another male firefighter.  And it’s not.  It’s Sam. Samantha, the firefighter who shows up. All the guys’ kind of react in their own ways.  And Cyrus is very much aware of how each one reacts.

And in particular one named Leo. Cyrus is watching as the men sort of fumble through that experience.

Also with the football team, a new boy that shows up in his school, named Eduardo.

And how the kids on his football team, the kids in his class, the kids who he, who had been friends his friends forever are responding to that too. So he has these two experiences side by side.  He does realize that, you know, if that that you know boys like Marcus and Shane who are uttering and sort of subtly bullying at Eduardo can grow up and become men like Leo.  He’s watching that happen.  So, I think there’s a powerful connection there between the boys and the men in the book.

Jeanie:  I definitely thought the words more than once while I was reading.  Oh, toxic masculinity.

Lindsey:  Yeah.

Jeanie:  This is showing the growth of toxic masculinity both in the way that the young men treat Eduardo.  Also, Cyrus when he doesn’t behave the way they expect or want him to be.  Then also Leo and his weight lifting and his sexist comments to Sam. I definitely thought that would be a really interesting thing to talk about.

Lindsey:  Yeah.  You know, because there’s this idea of, you know, Cyrus doesn’t feel like he’s run into a burning building Brave.

There’s this idea of fires and how quickly they spread.  He knows that from the way that he grew up in the firehouse.  That’s also taken into the school.  This idea that he knows how fast fires can spread.  Cyrus starts to see the bullying like a fire.  He knows that, you know, he’s got to be somebody who puts out this fire before it spreads.  And that is extremely hard.  It is really, really hard.  I think it’s one of the hardest things when you know friends that you have known your whole life are starting to act in ways that feel really uncool and really icky.  And he doesn’t, you know? It is hard to be the person to say that’s not cool. Like, that needs to stop.

In the book, Cyrus figures out a really a really great way of including his whole class in this conversation about sort of celebrating differences.  I think he finds a good way a simple, very Cyrus way of addressing that.  But he doesn’t want this fire to spread in his class.  He’s not firefighter-brave, but really he does. And he does figure out how to put out some fires which is really great by the end.

Jeanie:  He figures out, how to be an up stander in a way that’s true to himself? I love that that was — part of his inspiration is, you know, his father and the firefighters and specifically Sam.  How, Sam becomes an upstander in her way.

Lindsey:  Yes.  Yeah, she is.  She is a definitely a strong character.  So much of the book is about what kind of brave you are.  I wanted there to be a couple different examples of courage.  And Sam was really one of one of the characters I was thinking of.  Brooks, his dad really is as a supportive strong guy too.  And as we know his grandmother, you know.  So, there are a few really supportive and also like examples of bravery.  Eduardo himself, you know, he’s you know as he’s a really great example of courage and how he stands up on his own.

Jeanie:  Oh, I want to talk about all these characters.  But let’s talk about Eduardo.  I’m thinking about Eduardo speaks Spanish.  He is very small like I don’t know the word other than small.  One of the things I really admired about Cyrus, and how he becomes friends with Eduardo is, the small moves he makes for inclusivity.  So, he sits next to Eduardo.  He start, he shares a locker with Eduardo.  But he also starts to realize like, oh Eduardo speak Spanish.  This other person hadn’t thought about it.  But she speaks Spanish and maybe I could learn some Spanish from her.  There are these little moves he makes to sort of signal that he wants to make an inclusive space for Eduardo.

Lindsey:  Absolutely.  You also see through those moves that you mentioned, how, it’s not, it’s not exactly easy for him to sit next to Eduardo in the beginning.  You know, he still has his eyes on how our Marcus and Shane going to react, if I sit next to Eduardo or, you know, Marcus and Shane tried to pull Cyrus into their locker buddy ship, you know, like the three of us can share.  So, you don’t have to share with Eduardo and it puts Cyrus in this weird position.  And it takes them a little while to say no, no, it’s okay.  I’ll share the locker with Eduardo.

So, you know I think there are these little moments that that are really hard and seemingly small but they make such big differences in steps toward inclusive behavior.  You know like, I think it’s just it’s hard and it’s important. You can tell that Cyrus really does think Eduardo is kind of cool and wants to be friends with him.  But it is these little tiny steps are hard and he has his eyes on the bullies the whole time.

Jeanie:  Yeah.  He’s worried that associating with Eduardo will mean he gets bullied as well.

Lindsey:  Yeah.

Jeanie:  But that he won’t feel a sense of belonging as well.  I really appreciated that inward struggle he goes through and how clearly you paint that on the page.

Lindsey:  No, thank you.

Jeanie:  The other character I want to make sure we talk about is Cyrus’s grandmother, Brooke’s mother.  Cyrus has a really lovely relationship with his grandmother.  Could you tell us a little bit about her?

Lindsey:  Yeah.  I love writing grandparent characters.  They’re one of my favorite secondary characters to write.  Actually three of my four books, there are characters, the grandparents are very like central characters of the book.  But for Cyrus, I wanted to give him someone.  So for Cyrus, he’s a kid that has a lot of secrets in his heart.  He holds a secret that he struggles with reading.  And he hasn’t told his dad that.  He hasn’t figured out how to tell his teachers that.  He holds that secret of, you know, I don’t really love football but I’m not quite sure how to say that yet.  I’m not quite sure how to move on from that.

I wanted to give him a character, a grown-up who could see right into his heart and was very ready to support him, when he was ready to make those big statements.  To come out and say, this is actually who I am. In the book that she is right there waiting for him to be his strong self.  They do have an interesting way of communicating because she has had a stroke.  The right side of her body is paralyzed and she’s lost the ability to speak, lost the ability to speak.  So she speaks in in syllables: na-na-na.  It’s a way of communicating that is like it’s directly heart-to-heart is how, how the feeling, you know.

And I know that very well because my own nana growing up, my mom’s mom, had a stroke and paralyzed the right side of her body. It took away her ability to speak.  She was just an example of courage to me as her granddaughter growing up, just watching her never ever give up.  She never stopped trying to let us know exactly what it was that she was saying.  Even when I didn’t know what the words were, like, I knew what she wanted me to feel.

I wanted to give Cyrus, someone like that.

Someone, who could you know na-na-na a feeling right into his heart.  That’s who she is for him.  She’s also an example of courage.  She’s just a really brave woman who has to overcome a big thing.  And she learns how to be even more courageous by the end of the book.  So, it’s watching her relationship with Cyrus is growth for both of them.  And I just I love their relationship too.

Jeanie:  It’s so beautiful and it makes sense to me that you had a grandparent like that in your life because that relationship feels so tangible as I was reading it.

Lindsey:  They both, you know, they both have something that in common that’s in their hearts.  And that, you know, I don’t want to give it away like what Cyrus is real true passion is.  But he’s a lot like his grandmother.  He’s always worried about like what’s being passed down to me because, you know, I was adopted.  I don’t know you know what’s supposed to be coming through my blood and what supposed to be coming through my dad.  He has this connection with his grandmother through music.  And there’s something that’s bigger to hear that his grandmother really sees in him and he feels like he got from her.  So that’s a really special connection too.

Jeanie:  Yes.  She is fierce in her love and also in her generosity with him.

Lindsey:  Yeah.

Jeanie:  And she is slowly handing her record collection over to him.

Lindsey:  Yeah, I know.

Jeanie:  I just, yes.  So, there’s another character another adult character in this book who we should talk about.  That’s Mr. Hewett, the sixth grade language arts teacher.

And I believe that reading young adult and middle grade fiction that involves teachers and schools helps us learn a lot as educators, right.  Like, I think we can see ourselves on the page in ways that can help us grow.  So, let’s talk a little bit about Mr. Hewett and his love of picture books.  How he shares them every day.  I wonder if we might even read a little section from Page 108.

Lindsey:  Sure.

Jeanie:  Okay.  Let’s see.  It’s on the bottom of 109.

Lindsey:  “Mr. Hewett pulls out a picture book and we all start to giggle.  What?  He says.  Can’t a grown guy love a picture book?  Then he leans right in and whispers.  I’m going to tell you a secret.  I love picture books more than I love ice cream.  He’s smiling a big smile that makes his eyes crinkle.  And I can tell it’s the truth.  It’s not a fake.  He rubs the cover of the book and says, you all think you’re too big for picture books.  But let me tell you something, you’re not.  No one is.”

Jeanie:  I just love that every day in this classroom he shares a picture book in one way or another.  Often, it’s him reading the picture book aloud.  But he finds other ways to share picture books.  I love that you name actual picture books that are wonderful.  I also love that there’s this sixth grade quality that I’m a former school librarian.  So, I read many picture books to sixth graders. I completely felt this thing that you write about which is that the kids all pretend that they’re not interested, that they roll their eyes and their like, it’s so silly that he’s reading a picture book and their whole bodies are leaning in and hanging on every word.

Lindsey:  Yes.

Jeanie:  So I, I just, what was your inspiration?

Lindsey:  Yeah, you know, I mean I love picture books. I used them as a teacher for sixth, seventh and eighth graders.  I obviously read them all the time now with my three and four year old.  And the picture books that are being published now are just, they are beautiful and fresh and exciting.  I just love them.  I really just love picture books.  Also, I was really inspired by Jillian Heise, who’s an educator and a librarian.  She started this idea that happened, it’s a real thing called #ClassroomBookADay.  It’s the idea that you as a as a teacher and educator, you read one picture book every day to your class.

On average you have 180 stories that are now a part of your classroom community and just the opportunity for diversity, you know, for new voices and different experiences and authors that come from different backgrounds and characters that come from different backgrounds.

You know if you have 180 of these stories in your class by the end of the year, you’re not only learning about all those different experiences and hearing from their voices.  But you’re also creating culture and community in your classroom around them.

So that, when there are things that come up like bullying like in Cyrus’s class or uttering like things like that, you can talk about the characters in the picture book because that’s it’s easier to talk about characters than it is to talk about your own self or your friends or your class.

I just I think it’s really powerful to have stories, lots of stories, a wide variety of stories that live in your classroom in that way.  So I wanted to give Cyrus that opportunity to sort of see some of the issues that are happening in his class in the stories.  And some of the things that are happening for himself, you know, with the picture book, he read when he’s like, oh yeah, I think I might be mislabeled too.

He can kind of talk about himself or think about himself or the things that are happening in his class but through the stories and through the characters of other books.  So I, just, I just love picture books for that.  I think they’re really powerful used in all grades.  I think they’re powerful.  And so I wanted to give him that.  I also wanted to give him a really positive experience with reading, you know, because he struggled so much with his own reading comprehension that.  I wanted him to love it.

Really, I wanted him to have an experience of loving reading and loving books.  And he gets he gets to really love some of these stories and that helps him through his challenges of reading independently.  It gives Eduardo a chance to be a sort of hero too because Eduardo is the first one that says, well, I love this picture book and this is awesome. That gives Cyrus a little bit more chance to say, yeah, me too, you know.  So, I think there’s a lot through the picture books.

Jeanie:  Eduardo really shows his bravery by writing his book report on the book, I love most about one of the picture books.

Lindsey:  Yes.  Ones that speak very much to him.  Yeah.

Jeanie:  And to Cyrus.

Lindsey:  Absolutely.

Jeanie:  I love that the way you talked about picture books is like third things as ways to, as safe ways to talk about concepts about concepts of identity or who am I.  How am I showing up?  How, is it okay to be like me?  Because one of the books is Oliver Button is a Sissy. Is that the name?

Lindsey:  Yes.

Jeanie:  I get it that right.  Yeah.  And so it just gives this opportunity for the whole class to explore this notion of the different ways we can show up authentically as ourselves.

Lindsey:  Yeah.

Jeanie:  Yeah.  The picture book I want them to read.  The picture book I’m currently in love with is We Are Water Protectors, have you seen that one yet?

Lindsey:  I have seen it.  I have not read it yet.  But I have heard the most amazing things about it.  Yeah.

Jeanie:  I’m swooning.  Let’s talk a little bit about Cyrus and reading.  Because he actually, I get the impression about Cyrus from the beginning that he actually really loves stories and books.  But that he’s ashamed because of his own difficulty with reading.  Let’s talk, let’s just first describe what his difficulty is?

Lindsey:  Yeah, so.  So, Cyrus has, he’s an excellent reader like he can read the words really well.  He’s a fluent reader.  He feels comfortable doing that.  It’s the comprehension piece of, you know after I finished reading that page aloud.  What did I just read?  And he can’t, he can’t quite string all the different parts together and remember them and do a retell.  Like he’s, he has a hard time with his comprehension.  But his fluency is really great and this is what gives him the ability to kind of fake his way through.

He’s come up with a bunch of really, he’s a very smart guy.  So he’s come up with a bunch of ways to fake his way all the way through the sixth grade without really, really reading a whole book by himself.  So, he knows, you know, when to raise his hand and volunteer to read out loud because then maybe he won’t be asked a question.  And you know right when they’re going to do partner work and he has to, you know, talk about something that they just read in class, he knows that’s when he goes to the bathroom.  He’s gotten good at faking his way through.

But he does, you know, he does feel shame about it.  He hasn’t been able to tell his dad or to tell you know his teachers. He’s not quite sure when he’s just going to figure out the reading pieces.  And that’s part of the courage he needs to find is the courage to say, I need the help that I deserve.  I just don’t, I haven’t figured this piece out yet and this is hard.  This is hard for me.  That’s part of the courage he needs to sort of uncover in the book.

Jeanie:  Yeah.  It’s interesting.  I’m a school librarian by training but I’m not that familiar with reading disorders, right.  You’re right, he’s an excellent decoder.  My husband is also an educator and he’s done this hugely deep dive into the neuroscience of reading for the last two years.  He’s been really focused on that.  So while I was reading this, I stopped. I said, honey, is it, is there a reading disorder where you read fluently but you can’t, you don’t comprehend anything?  And he was like, yeah.  Of course.

Lindsey:  Yeah.

Jeanie:  Okay.  Is there to like, is there a ways to treat that?  He was like, yeah.  I was like, okay, okay.  I guess I wondered had you had a student like that.  It’s clear you understood this reading disorder.

Lindsey:  Yeah.  Yeah, I definitely had students that struggled in that way that we’re really fluent readers and loved to read out loud.  But when you did you know sit one on one with them and ask them questions about what they just read, you could kind of see them going trying to go back to the text or finding something to read back out loud to me.  So, it’s definitely, it does have a name I think and I’m not sure what it is right now but I did have several students that struggled with it in that way.

You know there’s always the opposite too where you know students, they’re not fluent readers and it sounds like choppy when they come out. Then they tell you this perfect retail everything that they just read and what they think about it.  The brain is just, it’s incredible.  It’s a really incredible thing.  And yes, I have noticed that.  I did think it was a perfect, it fit perfectly for Cyrus because he’s he has faked his way through so much that this is, that this seemed like a perfect thing for him to struggle with because it’s something that he can kind of tuck away and fake.

Jeanie:  He is very clever in all of his fake, right.  In also a book reports coming, he knows how to get about it.  He thinks ahead of time that if the language arts teacher asked him what did you read this summer, he’s going to go oh, I’m in the middle of the fourth Harry Potter.

Like, he’s got all these like strategies and I admired him for that, right.  Even though what it meant was that he wasn’t getting the help he needed because he was so good at passing.

Lindsey:  Yeah.  And in the same way for football too, you know, he, he’s in tryouts.  He doesn’t want to be in tryouts.  He’s expected to make the A team because his last name is Olson.  But he doesn’t want to make the A team.  He doesn’t even want to make the B team.  And he’s out there, you know fumbling passes and you know doing things that he’s like, oh shoot, you know like I Butterfingers this time, you know.  It’s just such a struggle to see him on the field because you know he doesn’t want to be there and he’s trying to figure out a way to, you know what he thinks will make his dad happy and what will make him happy.  He’s perfected the fake.

One of the things that Brave Like That the whole book is about is sort of becoming your most authentic true self and just giving up the fakes you know.  That’s also just what middle school is about.  It’s a big time for that for figuring out you know where are my most comfortable and what do I love to do and what, you know, what fakes can I just give up right now, yeah.

Jeanie: I just love this notion that like this big theme of showing up as your authentic self and trusting that people will love you for your authentic self.

Lindsey:  Yeah.

Jeanie:  So, I want to keep talking about this book forever because — and I’m so grateful to talk about it because I have been buzzing ever since I finished it this weekend thinking about it.  But how would you suggest that teachers use this book in the classroom?  Do you have any hopes for how it might be used?

Lindsey:  Yeah.  You know, I’ve actually spoken to teachers who are and some teachers that are doing some really wonderful things.  I think one of the things that I think it would be great for is using as a riddle out in the beginning of the school year to kind of set the tone for community. How we can work together to and use this certain language that Cyrus, towards the end of the book, Cyrus comes up with this language that we can use to kind of combat bullying and celebrate it.  So, celebrate difference, not celebrate bullying.

Jeanie:  To celebrate.

Lindsey:  To celebrate difference, you know, to move from that sort of tolerance of like, he’s different and that’s okay to — we all have something that makes us different.  And that’s what’s special.  That’s so cool.  Like, that’s something that we can talk about and be, you know, and we can celebrate.  So, I think you know if classes were to read this at the beginning of the school year, they might have a common language that they could use when they see some of the bullying that that comes up in classrooms.  They might remember back to Cyrus classroom.  And some of the things that Cyrus said.  It might be a good use for community building at the beginning of the year.

I also really, what’s something that I do when I do classroom visits or virtual visits now.  But is, you know, I put up, I am brave like and then I have students figure out for themselves what kind of brave they are.  Because Cyrus constantly throughout the book is saying the kinds of brave that he isn’t and then the kinds of brave that he finds out that he is, you know, I’m not run into a burning building brave or you know.  So, I have students right.  I am brave like and then finish that sentence.

And some of the things that they came up with are just amazing.  Like I am brave lived through a pandemic Brave.  I am brave like take care of my little sister after school Brave.  You know these statements that are stories all in, they’re all in their own.  You know, they’re really wonderful.

So I think that like having some of those present in the classroom, just sentenced strips of.  The different ways that we are brave even if they seem small, are really quite big.  Sort of celebrate that in in our classrooms.

Jeanie:  I love and that’s, what came to me is redefining what bravery is?  Redefining what it means to be brave and thinking beyond the sort of stereotypes of bravery, I love that very much.  I also think you’re absolutely right.  This is a great start of the year building belonging.  How do we want to hold each other in our classroom?  How do we want to honor each other’s strengths and weirdness’s.

Lindsey:  Yeah.

Jeanie:  We forgot to mention one of the really important characters in this book, Parker.  We don’t have to say a lot but people need to know this is a dog book.

Lindsey:  Yeah, it’s true.  That’s so funny that we haven’t even mentioned him because he’s usually like the first thing that students talk about when I go and talk to their classes.  Yeah, so on that first page, they’re having Cyrus’s 11th birthday and a dog, a stray dog shows up on the on the firehouse step right where Cyrus was left 11 years ago as a baby.  And so, he immediately forms this bond with this dog and he wants to keep it.  But his dad has this like strict, no, no pets, no way policy.  They quickly take it to the animal hospital.  And he’s put into a humane society.

His dad says, you know, don’t visit it.  We’re not visiting this dog.  We’re not naming this dog because it’s not our dog, you know, we don’t want, you can’t get close to it because it’s not ours.  And Cyrus, he just can’t.  He just can’t.  He has to.  Because he loves this dog.  He feels a really strong connection.  Now, he was the only one that the dog would approach at the firehouse and so he feels like he feels in some ways that he abandoned Parker and he just wants to go back. He names the dog Parker because he parks his nose right on Cyrus’s left shoulder.

The book is also about him trying to figure out, you know, that’s one of the secrets in his heart.  Like, how do, I am actually sneaking to the Humane Society and visiting this dog for dog walking hours.  And how do I tell my dad that actually this is something I really, really want.  I really want this responsibility.  I really want this love in my life.  There is a big dog part of this story too.

Jeanie:  I love that because it feels like the op, it’s a fake but it’s the opposite of a fake, right.  So, often Cyrus is faking things so he can get out of things he doesn’t want.  But then there’s this big switch when he’s faking in order to get into something that he does want, when he’s finding his truer self, so, good.  Gives me chills.

Lindsey:  Thank you.

Jeanie:  Lindsey, I want to thank you so much for this beautiful book.  And thank you so much for joining us to talk about it.

Lindsey:  Well, thank you so much.  It was so great.

#vted Reads: The Successful Middle School

We’re here to talk books for educators, by educators and with educators.  Today I’m with Dr. Penny Bishop and we’ll be talking about The Successful Middle School: This We Believe, by Penny and her co-author Dr. Lisa Harrison.  Thanks so much for joining me, Penny.  Tell us a little bit about who you are and what you do.

Penny:  Well, thanks for having me, Jeanie.  I’m delighted to be back.

I’m Penny Bishop, as you mentioned. And I’m a professor of middle grades education at the University of Vermont where I teach teachers — especially those who want to become middle grades teachers.  And I conduct research on responsive learning opportunities and learning environments for young adolescents.

Jeanie:  Last time you were here was over a year ago and we talked about Personalized Learning in the Middle Grades. And we’re so glad to have you back.  So, I also know that you’re an avid reader and you and I have swapped books suggestions before.  What are you reading now?

Penny:  Yeah, I love that question, thank you for asking.  I just finished last night, The Vanishing Half.  It’s by Brit Bennett, and it’s a really interesting take on racial identity and gender identity and follows the lives of a set of twins from the 1950s to the 1990s and how their paths diverged in pretty significant ways. I was up late finishing it. Couldn’t put it down.

Jeanie:  Oh, that was such a good read! I loved that one.  That book really helped me sort of understand colorism a little bit more. The way that colorism plays out in people’s lives and their experience.

Penny:  Yes, yes, the whole idea of passing was quite a, quite a new one for me as a white woman here, so.

Jeanie:  There is a book that sort of touches on similar themes by Brandy Colbert. And it’s called The Only Black Girls in Town.  And so, The Vanishing Half is obviously an adult book, but if you wanted to talk about issues of colorism in passing in the classroom, this book would be an excellent one to share with young readers.

Penny:  Great, thank you, I’ll have to check that out.

Jeanie: But this book ,which is all about identity, sort of intertwined with identity in all sorts of ways, is the position paper for the Association for Middle Level Educators (AMLE). Is that correct?

Penny:  It is! And it’s the fifth edition of that position paper, actually.  The first one I think came out in 1982, so a long time ago.

Jeanie:  The one before this came out in 2010, is that correct?

Penny:  That is correct, yes.

Jeanie:  So, it needed some updating.

Penny:  It needed quite a bit of updating. The association recognized that. They were eager to have that happen. Absolutely.  It has been updated, as I mentioned, five times now. And each update reflected important societal shifts. Important changes in what we know, based on research, about what is effective teaching and learning for young adolescents.

And I think there was a general consensus [at AMLE] that it was overdue, in fact.

Now, you’ve had Kathleen Brinegar on previously, and she has talked about her terrific book, also with Lisa Harrison, and with Alice Hart: Equity and Cultural Responsiveness in the Middle Grades.

In some ways the themes are related. Plus, there’s been a pretty strong critique of the middle grades movement as one that was very much rooted in white, cisgender, middle class, Christian perspectives. And male perspectives to some extent as well.

The first four iterations of the text represented the best of what developmentalism can offer. That’s really encouraging teachers to take into account developmental perspectives of this particular time in one’s life.  But unfortunately that came perhaps at the cost of thinking about more diverse populations. So I would say that the most significant shift in this text was to ensure that there was greater attention to diversity. And equity in particular.

This edition, the fifth edition, overtly attempts to tackle that issue. It does it in terms of complicating the notion of developmentalism — but not throwing it out. It also does it in terms of grounding the work much more solidly in research. And particularly in research by, with, for, and about more diverse populations.

Jeanie:  Thank you; that’s really helpful.

What I’m hearing from you is that the previous versions — much like ourselves 10, 12 or more years ago — were perhaps colorblind. Were perhaps blind to all sorts of marginalized identities.

Penny:  I would agree! I think colorblind is one of many areas in which it was overlooked. It was an area the field was overlooking.  Young adolescents in all their terrific diversity.

Jeanie:  So, could you talk a little bit about the process that you and Dr. Harrison went through in order to revise this sort of association position paper into how it currently is?

Penny:  I’d be happy to! It’s an interesting question and I don’t know that I’ve been asked that before. It’s an interesting one to reflect on.

First of all, it was a terrific opportunity to partner with Lisa, Dr. Harrison, because we hadn’t collaborated on something before. And although we’ve known each other professionally and somewhat personally it was a great opportunity to work with her as a colleague and collaborator.

I would say that to some extent we went with our strengths. We looked at the text very, very carefully. We both went in knowing where our strengths were, and how we might think about dividing things up.  But we also faced a lot of challenges along the way in terms of how we went about using our own voices and assuming a tone that was already laid out.

It’s really interesting to revise a text that you didn’t write.

It’s one thing to revise one’s own work — or even to revise our work together — but we were really building on something that generations before us had constructed.  We very much wanted to honor that work and build on the tone that was there — and at the same time update it.

Trying to figure out how to do that well presented some tensions.

Jeanie: Before we get too deep into the content, I want to stop for a moment and appreciate the way that you’ve woven in the voices of young people.  And so, there are these delightful quotes and poems and art and I just really enjoyed that part of the text.  And particularly, I want to share what is my current favorite.  Of course every time I look at it I have a new favorite, but on page 43, I just love this painting called The Reunion by AnLan X, 7th grader.

Penny Bishop: ""At my school, we do things as a team, whether it's finishing a project or thriving through a pandemic.  The vibrant background represents our joyful atmosphere at school where everyone is encouraged to achieve their goal.  The abstract body of people represents the school community all coming together to achieve a common goal which is represented by the red heart in the center of the painting.  This painting shows that no matter where a person is in real life, they will always have a community that has their back." --AnLan X., Grade 7

 

“At my school, we do things as a team, whether it’s finishing a project or thriving through a pandemic.  The vibrant background represents our joyful atmosphere at school where everyone is encouraged to achieve their goal.  The abstract body of people represents the school community all coming together to achieve a common goal which is represented by the red heart in the center of the painting.  This painting shows that no matter where a person is in real life, they will always have a community that has their back.”

That really gets at the heart of what this book is about to me.

Penny:  It also gets at the heart of what a good middle school is, right?  I kind of had shivers as you were reading.

Yeah, to me that one is the essence of the successful middle school, whether we’re talking about the book or a school, right? That’s how you want youth to feel in a learning community, right?  It’s the painted red heart in the center.

Jeanie: This kid really gets this in this language that we’re hearing about learning loss and recovery that comes out of policy around the pandemic and education.  She really gets it. We are surviving a pandemic together and she has a strength-based approach to the current situation that I just think is so wise.

Penny:  Yeah, and she has a really strong message in that about how we start out the “new” school year as well, right?  So, as some classrooms will be coming back together for the first time physically and as others are increasing the amount of time together, we’re really going to need to pay extra attention to how we build community. How we respond to the social and emotional needs of students. How we consider the role of trauma in any of their lives.

Yeah, it’s not going to be about this notion, this concept of learning loss that we’re hearing about, it’s really about that sense of community and building relationships and being responsive, being responsive to their needs and whatever form they’re showcasing, so.

Jeanie:  I think we can really learn something from AnLan, which is that our words matter. If we start the next school year talking about how behind everyone is, that that’s going to have not-great impact on students.

Penny:  Absolutely.

Jeanie:  Do you have a favorite poem or piece of art or quote you’d like to share from the book?

Penny:  There are so many that I love and let me just back up to say that.  I think this is one of my favorite pieces about this new edition: the inclusion of student voices and student art.  Those pieces are so important in the middle grades concept in general and yet, this is the first time that they’ve appeared in the position paper!

So I’m really grateful to the Association for Middle Level Education for reaching out to youth and inviting their perspectives into the text and then showcasing them so prominently because I do think that they reveal so much about what kids are thinking about and what matters.

Today’s favorite is actually the one that opens the book. And it’s the drawing by Mohammad, who was in seventh grade.

The Successful Middle School

 

And it’s a drawing of he says a character, could be a self portrait, could be a friend, could be just someone in his imagination, but the text on the drawing itself says: “Dream big.”  It’s a person looking up right?  He’s written underneath: “In this drawing, I made the character dreaming about his future and what he will do.  He has big dreams and is always positive about doing the best he can to achieve his goal in life.  He wants to make his school and family very proud so he can make a name for himself.”

And I chose that one this morning because I think it says a lot. The idea of dreaming. The idea of aspirations and goals and this time in life and all of the identity development and all of the aspiration-building that goes on in that time.

It also talks about pressure in some ways to me.

That young people are feeling pressure — and Mohammed’s not using that term right, I’m ascribing it. But he wants to make his school and family very proud so he can make a name for himself.

That idea that other people are aware of what he’s doing, what he’s thinking and that his actions influence others and how important pride is in his world and in his life? It’s a beautiful thing, and it’s a weighty thing.  And I point that out because I appreciate that perspective.

Jeanie:  Yeah, I appreciate the way you’re sort of teasing out the tension between aspiration and you know, obligation if you will. Like this both-and of you want people to believe in you and think you’re capable of really great things, *and* it feels like a lot sometimes.

Penny:  And it may feel especially a lot to say in 11-year-old world, you know? That’s a lot to carry with you.

Jeanie:  Yes, it feels like a lot for me now!

Penny:  That’s what I was thinking! Yeah.

Jeanie:  Oh, thank you for that Penny.  This book in my opinion starts with a bang on page three.  I just want to read a quote because I just really loved this section about halfway down the page.

“Successful middle schools are responsive.  They respond to the nature of young adolescents in all their amazing diversity and are designed specifically to support the developmental needs and social identities of students.  Educators and administrators view students in a positive way.  Rejecting the deficit perspective too often foisted on middle schoolers by society.  They are critically conscious of the fact that student’s multiple and intersecting identities influence their experiences, opportunities and perspectives. Therefore, their practices and policies are just and equitable”.

I guess I wanted to talk a little bit about how this frames the rest of the document.

Penny:  Yeah, you certainly pulled out the right piece.  I would hone in right there on that second sentence. Successful middle schools respond to the nature of young adolescents and all their amazing diversity. Successful middle schools specifically support the developmental needs and social identities of students.

In the texts that came before this one, the four other editions would have said, “designed specifically to support the developmental needs of students”.

And so, by adding in social identities? We’ve taken that notion and expanded it. That’s the thread that runs throughout the text.

Whereas the text *was* focused on supporting the developmental nature and needs of the young adolescent, this version takes social identities places it soundly at the center. That problematizes, to some extent, the developmental perspective, but doesn’t throw it out, right?  It allows them to sit side by side, acknowledging that as an age, early adolescence, there are some developmental characteristics that we can ascribe to this age range. At the same time there’s a danger in doing so without also attending to the many varied social identities of students.

That is the thread that runs throughout.

As we go forward in that paragraph, you can see that there’s an emphasis on rejecting a deficit perspective. Coming at it from a much more asset-based lens.  Introducing the concept of critical consciousness for educators and introducing the idea of intersectionality, and then of course justice and equity.  So those are really several seeds that we planted that we then water and nurture throughout the book.

Jeanie:  Yeah. I want to dig into those a little further because I think they’re super important.

When you say “problematize the developmentalism”, the way that I’m reading this is upending the assumption that all of our young people develop in similar or the same ways, right?  And saying that, in order to truly understand young people, you need to not only understand this concept that young people are developing in these different ways, but that their experiences of that are different because of their different identities.

Penny:  Exactly! Exactly, Jeanie.  To understand that concept I think the best spot in the book is actually near the back. On page 55, there’s a section called Young Adolescent Development and Implications for Educators.  And in that section we break down various developmental domains. Physical development and cognitive development, socio-emotional, and so on.  And Lisa has taken the lead on developing the framework that introduces that in particular. She’s done a terrific job here of really helping educators understand that the developmental stage of early adolescence has some attributes that are in general and in common.

As you said, students experienced them in dramatically different ways. Often, it’s their social and cultural identities that contribute to that variety of experience.  I’ll point to one example. It’s the part about adultification of Black girls.

Jeanie:  That’s exactly the example I was thinking of in my brain!

Penny:  It’s a really, it’s such a good example. It’s on the bottom of page 56, and I’ll just read a section from there.

“Making meaning of students solely through developmentalism neglects the social realities that many youth experience.  For example, research indicates that Black girls often experience adultification or the assumption that they are older than their biological age.  The adultification of Black girls peaks between the ages of 10 and 14.  When adultification occurs, Black girls are perceived as less innocent than their white peers and because they are not recognized as being their actual biological age, their developmental needs are not met”.

That’s an example of problematizing developmentalism, but also recognizing that it is in fact something that occurs.

That these developmental attributes can be ascribed to larger groups with their experience.  But the way that you’ve experienced them is different.

Jeanie:  And these subtle sort of differences in the way young people are perceived based on their identities show up in the numbers of discipline. Like, who gets disciplined more? Who gets disciplined more harshly? They show up in who gets pushed out of schools.  We know young Black women are more likely to be pushed out of schools or labeled special ed for behavior issues.  And the same with young Black men right?  And that starts in preschools.  These are really critical additions to the field.

Penny:  I think there was no question that those types of pieces were really, really important to updating the text.  And I would say that some of them fall into this sort of category where we discuss them in terms of their youth development, but probably more often, we try to make links to pedagogy. And to policy, and practice. It’s one thing to understand them on a theoretical level, but it’s another to imagine what we might do as educators about those things. Where our sense of agency as educators lies in relation to those things.

Jeanie:  One of the things that came up for me too in this section was thinking about identity with young people, right?  And at the Tarrant Institute, we work with a lot of schools that do excellent work on helping students younger and younger understand their own identities and the identities of people who are different than themselves, in order to better understand the world. In light of this, this focus in this document in middle level education it feels more important than ever.

Penny:  It does! As we think about the ways that students make sense of the world and their own identities and that of others, I’m reminded of the intersection between this work and social-emotional learning. The whole idea of social awareness as a critical competency.

CASAL has done some really important work in this. Especially in relation to also examining their initial set of competencies and going back around and saying: “Okay, how do we think about these in terms of advancing diversity equity and inclusion?” I’ve been very pleased to see how they’ve advanced that work.  There are more and more connections between those.

successful middle school

 

Jeanie: That just makes me think that in my own evolving thinking, more and more it’s not just about equitable teaching and learning, it’s also about preparing our students — all of our students — for the realities of a world that is systemically inequitable.

Penny:  Right. Developing students critical consciousness as part of our role as educators. Absolutely, yeah.  And therefore needing to think critically about our curriculum, our pedagogy, our policies, and our practices.

I think one of the biggest challenges in this book is that it’s such an overview, right?  It was designed specifically to be a slim volume that would provide a very broad overview of what successful middle schools look like, sound like and so on.  And as we think about those essential attributes and characteristics, because it is only an overview, we weren’t able to go deeply into any one of those things. The thinking was more that we would set the stage and then there are already and will continue to be deeper dives into all of these concepts and practices.

It was so tempting to provide lots more of examples and everything, but we really reserved the use of examples for things that we thought really required them. Things that might be new for readers because they were particularly new to the to the position paper. But it was a constant tension.

Jeanie:  Yeah. I’m thinking about the equity literacy framework, and about the first step is to recognize. It feels like a lot of this book focuses on that recognizing. Starting to recognize systems of oppression at work.  And I’m going to ask you a question that’s going to feel really out in left field.  But I’m going to ask it anyway because I’m kind of obsessed with something right now.  Did you learn square dance when you were in school?

Penny:  Yes, I did.

Jeanie:  I learned to square dance too.  Everybody I have asked has also learned to square dance.  It was in a lot of state curriculums, and I’ll tell you why: white supremacy.

Henry Ford hated jazz and also hated Jews, and he felt like the thing that would sort of sway us back to “wholesome white culture and recreation” was square dancing.

And so, he funded movements to get it both in our curriculums and declared as the state dance.  Most states didn’t have dances. And what I wonder — which is I think relevant, this is just not out of left field to what you said earlier about reconsidering our curriculum — is how many things are in our curriculum that we take for granted, but they’re there because of whiteness defending itself.

Penny:  I think the answer to why almost anything is in the curriculum is white supremacy.  But your point is an important one.

Not only do we see very clearly that white supremacy is rooted deeply in the curriculum.  But we don’t examine that, right? And that’s just curriculum right?  Then we could also be unpacking the learning environment and what students experience around them.  We could be unpacking the policies and how things like dress codes disproportionately target Black culture and other cultures, but not white culture.  And we could be unpacking pedagogy and the way in which we absolutely privileged compliance over pushback.  So yes, once you open the door, it’s a long, long hallway with lots of other doors off of it.

Jeanie:  Yeah. A can of worms if you will.  Well, I want to open that door a little bit.  I want to start with another quote because I think it has huge implications for educating both in-service and pre-service teachers at the middle level and beyond.

And so for you to achieve truly responsive middle schools, educators recognize these inequities. Multiple marginalized young people: students of color and LGBTQ+ young people specifically face these inequities.  Educators recognize these inequities and implement practices and policies to redress and disrupt them.  I think this really shifts our expectations for what middle school teachers, middle level educators need to know and understand in order to be able to do that.

Penny:  I agree.  I think it shifts our expectations for middle schools.  And let’s be clear: it should shift our expectations for all schools, not just those that are serving young adolescents. I will say that I think it’s especially important for schools that serve early adolescents particularly because of the profound identity development that’s happening at that time. It shifts our expectations especially given what we know about the demographics of the US population and what we know about teachers, right?

We know that white students are now the minority in US schools, and yet the educator workforce is still overwhelmingly white.  And it’s not changing any time soon.

In the year 2000, 84% of teachers identified as white. And in 2018 — 18 years later — 82% identified as white. That’s a shift of just negative 2% in more than 15 years.  So it’s pretty profound and it’s not changing any time soon.

And it matters.

It matters because teachers of color or teachers who are Indigenous, teachers who are Black, they’re more likely to have higher expectations of students, they’re more likely to confront racism when they see it or hear it or experience it.  They are more likely to advocate.  They’re more likely to develop trusting relationships with students.  And that’s especially true for those with whom they share a cultural background.

All of those pieces are really, really important for educators.

And BIPOC teachers are more likely to make those things happen.

There’s that disconnect between the white teacher and his or her or their population of students.  Then there’s that challenge of trying to recruit greater diversity into the teaching workforce.  And while that’s happening, it’s essential that we as teacher educators help educators learn to recognize inequities in policy and practice.

So it’s recognizing the square dancing in the curriculum and asking the question: why is this in the curriculum?  What’s the legacy of it being in the curriculum?  And what are the effects of it being in the curriculum?  Then it’s helping them learn to redress and disrupt them.

It’s recognition of course, but it’s moving beyond that as well.

When you think about it, the average teacher in this country is a 43-year-old white woman with about 15 years of teaching experience.  So, you consider her personality and then you consider all of these other factors, right.  There’s a lot of education to happen and certainly there are plenty of great teachers doing really good work. I’m not dismissing that.  But there are a lot of folks who have a long way to go in terms of understanding the role of racism in our schools, the role of white supremacy in our schools and culture.  And it’s a long journey to getting to the point where people are going to actually redress some of these issues.

As teacher educators, we need to work on multiple levels, right? We need to work in the teacher professional development space around this, and we also need to be informing pre-service teachers.  Pre-service teacher preparation programs really need to think about teachers who are just coming out into the field. There are multiple levers here for us to use but it’s a big project.

Jeanie:  It’s interesting because now working at the University of Vermont and with the College of Education and Social Services.  I see real differences in how teachers are being prepared to compared to when I was in my master’s program for library science.  They’re so much more talk about identities and oppression and I just love some of the things that are happening.  And one of the things when I’ve been doing my research that I became aware of is this whole line of research which is about how we’re preparing our teachers for cultural responsiveness, right.

Teachers do a lot of training, but then they land in schools where there’s not space for it.  And so then they revert back to the culture of the school which is not responsive.  And so I hear you at the both ends of that.  It’s not enough to prepare new teachers.  We also have to create schools that are ready for these teachers, so they can continue to grow those skills and thrive.  And thrive in order to serve their students, so their students can thrive.

Penny:  And I would add that maybe a third piece to that and that is that we also need to equip pre-service or the newer teachers going into the schools to understand how to disrupt the status quo.  So not just to resist the pushback, but also to persevere.  And that’s not a new challenge, right?

It’s one that for any sort of progressive movement in education has existed.  But perhaps while it’s not new, it seems like the stakes are higher than ever for that to happen.

Jessica DeMink-Carthy, one of our colleagues, is doing some interesting research on preparing teachers to be advocates in that work. She’s identifying some skills and dispositions that novice teachers find useful in that context.  And I think that’s going to be really important in the years to come.

Jeanie:  I’m so glad you mentioned Jessica because when I’m working with teachers who’ve come through the UVM program and are in schools? They’re like: I loved my literature class with Jessica, because it forced me to look beyond what I’ve been reading.  It forced me to look for diverse perspectives!

She’s having a real impact in our schools.

I want to ask you another question about this though because as I travel around Vermont — or travel by Zoom currently — there is something I hear sometimes that really bothers me.  And that’s: “Oh, well our school is mostly or all white. So we don’t need to talk about race.”

This book I think points to some problems with that statement.

Penny:  I sure hope it does because I think there are tremendous problems with that statement.  In fact I would argue that it’s perhaps all the more important to have deep and thoughtful conversations about race in predominantly white schools and classrooms.

First of all, let’s trouble that perspective a little bit.  There are a lot of assumptions that are made about people’s backgrounds and cultural and racial heritage.  So teachers that are saying that for example here in Vermont. Which is a predominantly white state.  Despite the fact that we have very rich and diverse refugee resettlement communities in our state, we have a lot of what might be *perceived* as predominantly white communities.

And yet we have a very rich heritage of Native Americans. There are folks who identify first and foremost as Native Americans.

We also have folks who identify as Indigenous.

We have folks who identify as French Canadian.

Each of those has its own historic legacies.

And then we certainly have a lot of people of color who may or may not identify first and foremost as that.

So we make a lot of assumptions based on visual appearance.  That’s probably one of the first things I would trouble is: do you think your classroom’s really all white?  What does white actually mean? Folks who come from other places, how do they identify?

Which really invites that conversation around identity as curriculum.  How do we invite identity into the curriculum, including about race and ethnicity? So there’s that.

Jeanie: Let’s back up a minute, just for people haven’t read it yet.  Because you’ve structured this book in a really interesting way.

There are five essential attributes that you outline.  Those are that education for a young adolescent must be:

  1. responsive
  2. challenging
  3. empowering
  4. equitable, and
  5. engaging.

And then you have 18 characteristics that you divide up into three categories.  Before digging deeper into those, do you want to talk a little bit about that structure?

Penny:  Sure, yeah.  Lisa and I have used this as a way to talk about what’s new in the text. Engaging is the additional attribute from the earlier editions.  Although you would think that equitable would be, given our emphasis.  We really changed the language in how it was described, to elevate the importance of justice.  There was very little conversation about justice in the earlier version.

When we talk about equitable, that’s a really key feature of it for us.

And then engaging. We just recognize that given the nature of young adolescents that an education could be responsive and challenging and empowering and equitable and in fact not be engaging.

So yes the attributes are important. What they serve to do is that they’re sort of infused across the text.  And then the characteristics really drive the structure of the text and the content of the text.

Then we have three categories of characteristics:

  1. culture and community
  2. curriculum instruction and assessment, and
  3. leadership and organization.

We also changed the order of these three.  Not that they are essentially in order of importance.  But we did intentionally frontload culture and community. Culture and community seems to be the very foundation upon which everything else can be built.  As is the notion that anyone working with young adolescents absolutely must respect and value them, that is a non-negotiable.

Jeanie: I love it!  Put that front and center on page one.  Educators respect and value young adolescents.  That does seem like a no-brainer and yet it feels necessary to say it out loud.

Penny:  It’s interesting — not to go too far down the policy conversation — but I think this is one of the reasons why having middle grades teaching licensure is so important. Because it really does say I have made a deliberate choice to work with this age group.  I love this age group.  I want to spend time helping them learn and thrive and grow in all different kinds of ways.

And in our state, as with others where there is overlapping licensure, you have folks who are licensed and could conceivably teach this age group without having had any experience with them.  You could have teachers working with this age group who are doing so by default. Who really want to teach AP Bio, but ended up getting a seventh grade general science position.  And so having this front and center is really saying: we need teachers who want to work with young adolescents.  It’s not a plan B.

Jeanie:  Teachers who see them in all their glory.

Penny:  Exactly and celebrate that.

Jeanie:  Yeah, I really love this section on culture and community. I’m doing a lot of reading about culturally responsive and sustaining pedagogy right now.  I see that showing up throughout this document over and over again.  These practices are so important.  And I just want to acknowledge and honor the Black scholars who have done the foundational work in culturally responsive and sustaining pedagogy. Gloria Ladson-Billings. Geneva Gay. Django Paris and Samy Alim. And I’m sure there are others we should name.  Do you want to give any shout outs for the folks who have influenced the thinking here?

Penny:  I would love to, yeah.  I would add Bettina Love. Who I’m sure many of your listeners know and respect her work.  She’s done really important work on the intersections of Black and queer identities and has used what she theorizes as a “ratchet lens” which I just find fascinating.  And also her amazing work on abolitionist teaching which offers some important frameworks for us on how to do some of this work.

Gholdy Muhammad’s work, particularly on literacy development and writing practices among Black communities.  And I especially appreciate her work as she was a middle school teacher herself. Those are her roots.

And then absolutely my coauthor Lisa Harrison who’s doing really, really incredible work in this area and is moving this entire field of middle grades education forward. Huge, huge shout out to her.

I will also note that one change in the book is the integration of research which wasn’t in the book in prior editions. You’ll find an embarrassingly long number of endnotes in the book.  But they’re really important because they are our way of saying: if you want to learn more, go to this person, go to this scholar.  We were really, really careful to be thoughtful about which scholars we were relying upon.  Whose truths are centered?

And so I hope that those that ridiculously long list in the back is actually a gift. That it’s useful for folks who want to dive deeper.  And that it also does highlight and celebrate these Black scholars and many others from marginalized identities.

Jeanie:  I have already added so many things to my reading list from this list.  So thank you; I see it as a gift.

The second bucket of characteristics of a successful middle school is in the curriculum instruction and assessment chapter.

And there’s just so much great text in this little document.  I mean it’s really only like 70-some pages, right.  Yet there’s so many things that I was highlighting and putting explanation points next to.  One that stuck out for me is from page 35.  It says, “instruction fosters learning that is active, purposeful and democratic”.

And I wondered if you wanted to paint a picture of that.

The Successful Middle School

 

Penny:  Sure, yeah.  I’ll point out that “democratic” is an additional term. It was sort of used in the earlier text but it’s been elevated to the point of a characteristic. That felt really important to us.  I think that we’ve talked about democratic classrooms and democratic schools and education in the middle grades field for a long, long time.  And we were very fortunate, are very fortunate to have James Bean who has done some fundamental work in middle schooling in relation to that.  His book with Michael Apple was foundational.  So, it’s not a new concept but we did feel like it was really important to elevate.

There are a lot of well-known approaches that can meet the description of active, purposeful and democratic.  But they don’t always end up that way when they’re enacted, right?

Project-based education, for example or project based learning. There’s so many iterations of that, thinking about a continuum of practice. It’s one of many places where you can have active, purposeful and democratic characteristics of the practice.

Jeanie:  Where would you point middle level teachers to to find some examples, or some paths forward to learning that are active, purposeful and democratic? Or more active, purposeful and democratic?

Penny:  There are lots of practices that could meet that if they are in fact implemented fully.

We have so many good examples: project-based learning, place-based education, service learning and especially critical service learning. Negotiated curriculum. The James Bean model of negotiated curriculum which has been riffed on a number of times in different ways and exciting iterations.  Particularly youth participatory action research, I think is an incredibly exciting way to engage learners.  And I would apply those characteristics as a set of questions as you’re implementing them.

So:

  • In what ways is my application of project-based learning active?
  • In what ways are my learners active?
  • And in what ways are they pursuing something purposeful?

And this is the one I think that is sometimes the trickiest and sometimes gets left out: in what ways is it democratic?  How have our students or how of my students been involved in identifying what and how they learn?

Identifying the problems they want to solve in the world. Contributing to learning that is personally and socially meaningful.  Those are the kinds of questions to pose when you’re pursuing those different avenues.

Jeanie:  Thank you.  That was super helpful for me.

Let’s touch on the last section which I also really appreciated, which is the leadership and organization section. On page 46, you clearly make anti-racism and equity a top priority and you even share what it looks like.  I wondered if you could read a good portion of page 46 out loud for our listeners.

Penny:  I’d be happy too.  Let me see here.

“Middle school’s policies and practices significantly impact school culture, programming, instruction, improvement efforts and family and community engagement.  Successful middle grades educators and leaders intentionally examine the policies and practices that guide teaching and learning within their schools to ensure that all student’s academic and personal needs are met.  This goal is upheld when policies and practices are student centre, anti-racist, academically rigorous and responsive to the realities of students and their family’s lives.

Middle school professionals are keenly aware of the historic and present inequitable educational experiences and outcomes for students particularly culturally and linguistically diverse, economically disadvantaged and LGBTQ students.  This is seen through disciplinary practices that result in higher school suspensions and expulsion rates of Black and LGBTQ students in school tracking practices that result in an overwhelming absence of Black, Indigenous and Latin X students and gifted education and under funding of schools in impoverished communities.  However effective middle schools purposefully work to create equitable outcomes for students and their families.

Such practices include incorporating service learning within the curriculum that connects learning to active community engagement, implementing clubs that demonstrate to students that their varied identities are valued and welcomed, incorporating ethnic studies as an integrated part of the curriculum, using restorative justice approaches as an alternative to exclusionary in punitive discipline practices.  And offering weekend and summer food programs to ensure that students who are food insecure have access to food when school is not in session.  Middle schools that implement such practices support the wellbeing and academic success of students while also showing their commitment to the communities in which they’re located.”

Jeanie:  That was perfect!

So. This is hard work. I think this is really challenging for schools.  But we can do hard things, and we must.  And so I wondered what would be your response if a school said, “Well, wait. We already have too much on our plate.”

Penny:  I worry about this.  I think nothing else is going to work until we get this work done.

Jeanie:  Yeah.

Penny:  I was actually just having a conversation last night with my husband who is a 35 years veteran teacher.  We were really grappling with sort of, how do we move schools forward in this area when there are so many other pressures brought to bear.

I was asking that question maybe even rhetorically because I didn’t really expect an answer.

And he was the one who reminded me. He said: you know what, nothing else is going to work until we get this right.  Spending time on those other things, it’s not where our energy and time and commitment is best used until we have the other piece in place.  Until we have more equitable anti-racist schools and educators, we’re not going to make the progress that we need to make on the other things.

And I would say it’s sort of a both-and, because the other piece to that is it should be embedded in everything we’re doing.

So, it’s not as though those other things get put on hold.  It’s that they’re done differently. That they’re done with an eye toward equity as front and center. As we’re examining how we improve our literacy rates, for example.  It’s about unpacking all that surrounds that and undergirds the literacy rates.  And it won’t do any good to just adopt another literacy curriculum.

Jeanie:  I totally hear and appreciate your answer.  One of the things I would add is that we’re doing work all the time in schools.  And if we do the work with equity and anti-racism at the front of our brain, we won’t have to redo it later. Focusing on it as we’re doing the work we’re doing, saves us time in the long run. It’s the right thing to do.  It’s not just that we do it because it’s efficient.  If we’re doing the work, doing it with equity and anti-racism in the center of the work is the best way to do the work.

Penny:  Completely agree. It must be done in partnership.  That’s another piece of it.  In states like ours, where we are predominantly white, and as we know with our predominantly white teacher workforce in the country, we’re going to make a lot of mistakes along the way.  It’s going to be really important to do this work in partnership. To admit mistakes and to recognize where we don’t know enough.  It’s an ongoing journey.

Jeanie:  Oh, I appreciate that so much.  It reminds me of a quote that I often think of that it stands with me all the time to remind me of my own frailty.  And that is “Nothing about us, without us, is for us”.  And so thinking about we really need to engage communities of color, LGBTQ community members and our students in this work because without them it’s not for them.

Penny, how would you like to see middle level administrators and educators using this text?

Penny:  Well I have spoken with a number of folks who are and it seems like it’s turning out to be a very useful text for a whole faculty read.  So, I’ve heard of principals, for example, who are using it as sort of the shared book for faculty development.  They’re also using it to analyze their practice. To do a self-assessment of where they are based on some of the characteristics and attributes.  I’ve heard of others who are using it in community.

They’re using it as invited text for a four-week session where they unpack a little bit of it each week with community members and parents and families.  And it seems like that’s been pretty exciting way to bring a community together around what they imagine for their school and their learners.

What I haven’t heard of yet but what I keep hoping for is the engagement of kids in it. That they will in fact encourage students to do some sort of self-assessment of their school.  And then tie it to some youth participatory action research. Because I think it’s incredibly relevant for youth and would be a great example of the kind of active and democratic and purposeful learning that we were talking about earlier.

Jeanie:  I love that so much.  Listeners, you got to let us know.  If you start unpacking this text with your students, we want to hear about it! We want to hear all about it.  Is there anything else you’d like to add?

Penny:  I’d like to thank you.  It’s such a privilege to talk with you today.  I appreciate that you’re interested in the book and I’m appreciative to any listener who’s trying to do this work in his or her or their classrooms and schools.  And I just want to give a shout out again to the students who contributed their voices and their work to the book because I think they are the ones who made it.

Jeanie:  Yeah, thank you so much for talking to me about this.  And thank you to you and Dr. Harrison for this reframing.  I’m really grateful and appreciative of it.  And yeah, it’s always a delight to talk to you Penny.  Thank you.

#vted Reads about Equity & Cultural Responsiveness in the Middle Grades

In January 2020, the Vermont state legislature proposed a resolution formally apologizing for the legislature’s role in passing a 1931 law making eugenics perfectly legal and encouraged in the Green Mountain State. Meanwhile, on the Standing Rock Reservation, in South Dakota, the future of the Dakota Access Pipeline is in doubt, but only at the cost of continued vigilance and advocacy on the part of concerned citizens.

How do these two events tie together?

In this episode, middle school equity scholar Kathleen Brinegar joins us to talk about her new book, Equity and Cultural Responsiveness in the Middle Grades. We step through two chapters in particular that provide roadmaps for educators to move into being ‘co-investigators’ with students. Co-investigators f work that is powerful, authentic, and above all, personally relevant and meaningful.

We also talk about how we’d really like to do our first year of teaching over.

Like, entirely.

Fortunately, as educators, we get unlimited do-overs. Today, for instance, is another opportunity to be better, both to one another… and to ourselves.

I’m Jeanie Phillips, and this is Vermont Ed Reads: a podcast about books by, for, and with, Vermont educators. Let’s chat.

Kathleen:  Thanks Jeanie.  I’m happy to be here.  So, I’m an Associate Professor of Education at Northern Vermont University.  I coordinate our middle and secondary teacher education programs.  I also serve as the co-editor of the Middle School Journal, along with my coeditors of this book Lisa Harrison and Ellis Hurd.  And I serve as the program chair for the middle level special interest group of the American Educational Research Association (AERA).

But I’m also a mother, a partner, an avid reader and a runner.

Jeanie:  I am so excited to have you on for the second time.  We got to be in person the last time we recorded and we talked about Cornelius Minor, We Got This: Equity, Access, and the Quest to Be Who Our Students Need Us To Be.  It’s one of my favorite episodes.

And so, I’m really excited to have your experience showcased on the podcast again this time.

Thank you so much for agreeing to come and talk to me about this book, which I love and which I think is really important right now.  But before we begin that: you’re an avid reader. What are you reading right now?

Kathleen:  Yeah.  So, I tend to always have two books going at once, a young adult novel and you know, a “grown up” book because I think young adult is for grownups as well.  But in terms of young adults, I just finished Chlorine Sky by Mahogany Browne, which was just beautiful. Such a gorgeous debut novel by such a talented poet.  I love her middle grades picture book of poetry called Woke: A Young Poet’s Call to Justice as well. I highly recommend that one.

And then I’m also reading Caste: The Origins of Our Discontents, by Isabel Wilkerson. Which I find beautiful but in an entirely different way.

Jeanie:  Yeah. I love Wilkerson’s writing.  The Warmth of Other Suns: The Epic Story of America’s Great Migration was such an education for me.  And I’m definitely going to have to add Chlorine Sky to my “to be read” pile. Thank you for that recommendation.

Kathleen:  Yeah.

Jeanie:  I love talking with you about books, but we’re going to get to this particular book.  Could you give us a little background on this book? Why this book?  And why did you organize it the way you did?  Talk a little bit about how it’s organized for our listeners.

Kathleen:  Yeah, absolutely.  So, this book came about through a long-standing desire to create a book for a mainstream middle grade audience that centers equity and cultural responsiveness in the middle grades. Because it’s something that I and my coeditors felt like, it has been a huge gap since the beginning of the middle grades movement.

I knew I wanted this book to be born.  But I also knew as a white woman that I could not birth this book on my own, right?  It was not my book to put out into the universe.

So, I had been familiar with the work of Lisa Harrison and Ellis Hurd in middle grades communities.  So I reached out to them and said, “I feel like your work, your experiences, your identities would be really important to, you know, help bring this work to life”.  And it has become the start of a really important and powerful friendship and collaboration for me.

The book itself is meant to be a call to action. And really, it’s five calls to action.

The first is the need to equitize the middle grades framework.

And by that, we mean to demonstrate the ways that critical equity-focused frameworks and pedagogies intersect with (and actually improve) traditional middle grades frameworks.  And some of those equity-based frameworks include cultural responsiveness, culturally sustaining pedagogies, reality pedagogy, equity literacy, funds of knowledge, right?

Now, these frameworks are all created by scholars of color, and have existed for many, many, many, many years.  But they have largely not been part of mainstream middle grades conversations.

And so, that was a really important part of this work.

The second call to action was to help redefine young adolescents in culturally sustaining ways.

Through the important act of identifying young adolescence as a unique developmental period, what ended up kind of happening, over time, is this essentializing of the young adolescent.

And anytime any person becomes essentialized and we start to define what’s normal, then we also start to define what’s abnormal.

That automatically put some kids at the margins.

And the groups that tend to be at the margins, in middle grades work, as in pretty much any educational work that that essentializes, are the same groups that are systemically on the margins in society at large, right?  So: BIPOC youth, youth who identify as LGBTQ+.

So that was the second purpose.

The third purpose was to counteract bias by celebrating counter-narratives.  One of the things that I view as “whitewashing” in middle grades work is the notion of student voice.

Student voice is at the center of all middle grades work and it always has been.  And that’s actually the component that has drawn me into the field of middle grades education because student voice, I think is such an important piece.

But.

The way I feel like we tend to talk about it in middle grades work — myself included — is that we talk about it in terms of empowerment, but not in terms of liberation, right?  And there’s a difference there.

So to me, this notion of bringing counter-narratives into middle grades, it’s not just about letting students pick how they want to present their learning, but it’s really about providing a space for them to define and write their own stories. In essence, to control the narrative about who they are.

And to me, that is way more powerful than the traditional notion of student voice.

The fourth call to action is to re-examine the middle grades concept.

In my 20-plus years in middle grades education, I’ve lived by this notion of a “middle grades concept”, right?  A series of practices that if used with fidelity is supposed to create the ideal experience for young adolescents.  Things like advisory, teaming, those types of practices.  But again, this model is largely based on the experiences of white middle class youth.

And so, the question that this book poses (or one of the questions) is:

What does a middle grades model look like that considers identity, and even more specifically, intersectionality, right?  Is that model still the same when we really think about the intersectionality of the identities of middle grades learners?

And lastly, this book is about preparing teachers who, I guess is the way I frame it, teach in no other way but in an equitable one.

How do we transform teacher education so that we’re moving from re-teaching to recognizing that it’s always evolving?  There isn’t a list of magic things on how to do it.  But what are the mindsets?  What are the frames of minds that developing teachers need to carry with them in order to be equitable in their teaching?

Each chapter in the book takes up one or more of those ideas and looks at middle grades work.

It’s divided into four sections: one focused on the failures of developmentalism, one on promising practices for supporting young adolescents with marginalized identities, one on building equitable spaces through culturally responsive practices, and finally one on pre-service teachers and supporting them.

Jeanie:  Oh my goodness, I feel like we could spend this whole podcast just talking about what you just said.  And I want to start with just noticing: I’ve been really frustrated that we keep *talking* about equity, but we’re not *doing*.  And so, I’m really grateful for this book that gives us a path forward in making equity affirmed. In making it actionable in schools.  Talk is important.  But at the end of the day, it’s not the thing that gets the job done.

And then I just love how you used this concept that comes out of the critical race theory of counter-storytelling. You sort of use it to re-shape the notion of youth boys. 

As students controlling the narrative I was strongly reminded of, Jamila Lyiscott and her TED talk on how if we think we’re giving students voice, we’re fooling ourselves. They already have a voice.  It’s not our job to give it to them. I hear echoes of that when you talk about allowing young people to control their narratives.

 

Kathleen:  For sure, absolutely.  As someone so steeped in traditional middle grades work, I’ve had to really recognize that. And then critically unpack these ideas that have so been a part of my pedagogy and my thinking for so long.

Really, that shift from student voice as empowerment through to liberation really is what has made the difference for me.  It’s creating space for youth to do what they already do, right?

Jeanie:  Yeah.  There’s this final thought I had while you were talking about how you’ve organized the book, and it’s this question of: can you be a good teacher without being a teacher who practices equitable teaching?  Can you be a good teacher without focusing on equity?

Kathleen:  I personally would say no.

Jeanie:  And so this isn’t optional. One of the things that holds us back, I will say in Vermont settings but I’m sure beyond Vermont as well, is pacing for privilege. Saying, “Well, these teachers aren’t ready yet to talk about race.”  But then are they ready to teach? Would be my question.

Kathleen: And I think that’s such an important question.  One that I think is at the center of what us as teacher educators should be grappling with and thinking about in terms of what does it look like so that equity work isn’t an add on in teacher education?  So, it’s not framed as this.

We learn how to be teachers, and then we learn how to be equitable teachers, right?  But what if we just learned how to be equitable teachers?

Jeanie:  Vice versa.

Kathleen: Otherwise, quite frankly, we’re centering ourselves and we’re teaching for ourselves.  And we’re not teaching for youth.

Jeanie:  Oh, you’re just giving me chills right now!  Thank you so much for that.  Yes, it’s not extra.  In fact, if we learn to teach and then learn equity, we have to unlearn much of what we learned about teaching in the first place. So why not do it right the first time?

Kathleen:  Absolutely, absolutely.

Jeanie:  Well, let’s get in.

We’re going to really focus in on a couple chapters, because honestly we could talk about this book for days if we didn’t focus in. So I’m going to start with chapter one, which is the introduction that you wrote with Lisa and Ellis.

It’s the section on developmentalism.  And it really begins as a critique of developmentalism, which was really helpful for me to read.

You talk specifically about G. Stanley Hall.  And you told a little story about him and his perspective and points of view as he did the research that led to him being called “the father of adolescence.” And so, I guess I just wanted you to unpack that a little bit for the listeners and the implications of his positionality, and the way he positioned his work and how it influences the middle level movement.

Kathleen:  Absolutely.  And I want to start by giving credit to Lisa Harrison for this, right?  So while this chapter was definitely co-created by Lisa, Ellis and I, it really centers in the work that Lisa has done for a long time as a scholar.

G. Stanley Hall is often considered the father, or grandfather or however you want to frame it, of adolescence.  In the early 1900s, he sort of popularized the notion of recapitulation theory, which is based in Darwin’s work.  It’s the idea that humans go through evolutionary stages, right?  And that has sort of formed the backbone of the developmentalism that we continue to use today.

We begin at birth, and we move through various stages to reach adulthood.  And the way that Hall defines adolescence is it’s the stage whereby humans move from their savage state to their civilized state, right? That notion of sort of becoming fully human, right?

You’re not quite human, yet you become fully human as you pass through adolescence. That notion has continued with us today.  We think of adolescence as this period of exploration, this period of time where you sort of become who you will be, right?

And some of the issues with the way that G. Stanley Hall presented it is a), he believed that white boys could move through to civility faster.  He also believed that non-white races were incapable of moving out of the savage adolescent state. That really only white boys could be like, truly human on this appropriate developmental cycle.

White females may get there, but it will take some time and some effort. And if you are not white, you will always remain in this savage state.  So what it does is it creates educational movements like the middle grades movement that are founded on these notions of developmentalism.

It centers the patriarchy and racist ideals in the very fabric of the foundation of the movement.

And it doesn’t center issues of power, privilege and equity, and therefore, in a lot of ways maintains the status quo.

Jeanie:  I’m just really mad right now. Like I’m just really ticked off that white supremacy is at the heart of this. And it makes me think about a conversation I had about PBIS recently.

And when you said earlier about defining what’s normal and abnormal behavior, situating normal firmly in white maleness means we really have to do a lot of excavating in order to figure out where subtle biases show up.

Kathleen:  Absolutely.  For me, the anger is so real because I have spent over 20 years as a middle grades educator sort of touting this developmentalist theory.  And I never learned this, right?  And that’s such an example of the way that this shows up. In our curriculum, even for teacher educators, right?  It has taken folks of color to wake me up as a white woman to say, “No, the foundation of your very the pedagogy that you have always practiced has always been racist.” Right?

Jeanie:  Right.  And so one of the antidotes — it’s even in the title of this book — is to add culture into the mix.

You and your co-editors and co-writers of this chapter argue that any look at developmental responsiveness must include cultural responsiveness in the middle grades. And so, I wonder if you could just explain what that might look like to the listeners.

Kathleen:  Absolutely.  So, while there have been some educational scholars who call for a dismantling of developmentalism, Lisa, Ellis and I are looking to the convergence of development wisdom and cultural responsiveness.

And by cultural responsiveness, I want to add, we’re including sustaining and revitalizing pedagogies when we use that term, but a convergence of the two so that we can acknowledge that there is a shared experience, right, around puberty and identity development and adolescence. While also promoting and understanding that there are unique experiences for every single young adolescent. And those experiences come out of our culture and our background.

Jeanie:  What I’m hearing you say is intersectionality.

Kathleen:  Absolutely, for sure.  Yep.  And I’m happy to share some examples of what that looks like.

So, take physical development, right?

We tend to think of physical development as there are typical ways our bodies develop. There’s a typical timeline around that development. Now, here’s two examples of the way that culture plays a part in defining what’s typical.

One is around notions of standard beauty. In the mainstream literature, middle grades literature, we do discuss issues around appearance for young adolescent girls, right?  Things around eating disorders and notions like that.

But rarely do we discuss the added implications of Eurocentric standards of beauty on our BIPOC young adolescents, right?  This includes and is often the cause of policing policies around hairstyles, right?  Such as dreadlocks and braids. And it leads to dangerous things around skin whitening. It leads to detrimental feelings about mental health issues around the way that you look.  That goes beyond, right, what we typically talked about.

Another example would be heteronormativity as the centerpiece of the way we talk about sexual and gender identity. Particularly as we talk about health education for young adolescents, because that is centered in heteronormative perspectives.

What is discussed in schools when it comes to sexual education normalizes both a gender binary and heterosexuality. It doesn’t leave space for any other way of being. Which is dangerous to youth who don’t identify within the traditional gender binary or as heterosexual. They’re forced to do their own learning outside of spaces created for that to happen.

Jeanie:  I really appreciate those concrete examples. I’m also interested and you’ve touched on it a bit, but the “both and” that I see in your book.

I heard you when you said, both cultural responsiveness in the middle grades and sustaining pedagogies. This building on the cultural knowledge that students already hold and having an asset-based lens on that. And critiquing what is oppressive about cultures. I wondered if you could talk a little bit about the both end of that.

Kathleen:  Yeah.  I believe we have to do both, right?  The reason being  because breaking down the stereotypes of what a centralized young adolescent is or who centralized young adolescents are is absolutely critical. For all the reasons I just explained.  And it’s only one component of centering equity in our middle schools, right?

If we don’t use the expanded knowledge of who our learners are to actually identify and dismantle the systems and practices that oppress them, then we’ve just fallen into the kindness trap, right?  We’re just being kinder to our students.

It’s about just talking the talk. Being kinder to our students, but not actually acting or changing things in a way that actually makes their experiences in our school systems better.

Along those same lines, if we try to identify and dismantle oppressive systems without also acknowledging the cultures, identities and experiences of our learners, then we fall into the trap of white saviorism, right?

Then we start identifying what we — and I’m using the word “we” as myself, as a white individual — then we fall into the trap of being able to say: I know what’s best for students of color. I know what’s best for students who are gender non-conforming.

And we can’t! Right? Without really actually having conversations and understanding their experiences.

Jeanie:  It reminds me of when I saw Paul Gorski years ago speak and he said, “You know, you can’t be a teacher interested in equitable teaching and not support living wage.”  And it occurs to me: you can’t be a teacher who wants all students to thrive and not stand up against racism. Not stand up against the systemic oppression and help your students to do so.

Two teachers, from Orleans VT, Kyle Chadburne and Andrea Gratton, have been doing some work last year, I believe, with students where they talked about poverty.

And some of the things they talked about in their community — which has a high poverty rate — is one, if you find yourself in this situation, when it’s not your fault, there are systems at play that are creating this.  Two, it doesn’t have to be forever.  And three, there’s no shame to it.  It’s the system that’s broken, not you.

And I think that’s an example of being able to sort of see students’ cultural knowledge, build on it, and also name the oppressive systems that are at work.

Kathleen:  For sure. A huge part of equity in education, and especially at the middle grades level, a critical component of it, is not only taking action yourself but helping students to understand how they can also take action. That they are not just passive people in these systems of oppression. Identify the ways that they and their families and their communities have been systemically oppressed, and then take those next steps.

Jeanie: I guess the thing that I want to tease out a little bit further is that this is no more political than doing nothing. That by not naming systems of oppression we are standing with the status quo. By naming them and asking students to critique them? That is every bit as political as doing nothing.

Kathleen:  Complacency is one of the worst places to be I think, as an educator.  We can’t be complacent.  Otherwise we are complicit, right? They go hand in hand.

Jeanie:  Oh, you said that so much better than I did.  I love that.  Thank you, Kathleen.

This is the perfect setup for us to move on to Chapter 9. I loved this chapter!  And I really want you to talk about it so people can get a little background.  It’s about designing culturally responsive curriculum around the Standing Rock movement.  Could you just frame it a little bit for our listeners to begin?

Kathleen:  Yeah, this is a favorite chapter of mine.  And I think one of the reasons it’s my favorite is every time I read it, I learned something new. There’s just so much to unpack in this handful of pages.

Every time I read it, I learned something new in terms of what it really looks like to create curriculum that is culturally responsive and steeped in the cultures of students.

In essence, this is the story of how two teacher educators collaborated with teachers at an Mni school to develop a curriculum for students around the Dakota pipeline.

Their intention was to explore what it might look like to develop curriculum that is truly culturally responsive.

What the authors do is they partner with Mni teachers and elders to member check their curriculum and to center not only the content of their curriculum but the instructional practices used to teach, that stem from Mni culture. What they develop is a critical literacy focus on media coverage of the Dakota pipeline protests.

And they merge traditional storytelling with social media.

What unfolds in this chapter is that through their experiences with the Mni teachers and elders, the educators realize how little they know as curriculum developers. It’s this really multi layered powerful story.

Jeanie:  We’ve recently had Judy Dow and Marie Vea do some webinars around de-colonizing place-based learning.  And the language I love that they’re using is “unsettling”. The unsettling of the settler narrative narratives.  Unsettling,not just what they teach, but how they teach it, how they engage with it. It’s just so good.  It just gets me thinking in all sorts of interesting ways.

 

I’m so inspired by this chapter.

The authors really begin by acknowledging their own identities and positionalities.  On page 84 they say,

“To understand the values of the community with whom we work we need to acknowledge first how our inherent values inform, how we listen, ask questions and draw conclusions”.

And they go on to discuss how they have to acknowledge their white privilege as they do this work.  And you sort of already started talking about how profound that experience is for them.  Can you imagine what this might look like in a Vermont middle school?

Kathleen:  Yeah. So, I want to start by saying that I would argue that without this acknowledgement of our own identities and positionalities as educators, we can’t do equity work, right?  You are not doing equity work unless it starts here.

And again: I think of the kindness movement’s colorblindness and white saviorism.  All of these notions arguably stem from good intentions, but because of their refusal to acknowledge power and difference? They end up causing more harm.

I think all of these are examples of what happens in our schools if we as educators take ourselves out of the equation.

What we’re actually doing is centering ourselves and de-centering systemic inequities, and the role each of us plays in perpetuating them. It goes back to that idea of complacency.

Jeanie:  When we talked about Stamped from the Beginning: The Definitive History of Racist Ideas in America, or when we think about Dr. Ibram Kendi’s work, I think what you’re talking about is the difference between being assimilationist — where being kind and colorblind is like, “It’s okay, you can be like us, too” — and being anti-racist. That latter is like, “Oh, how are the ways that I’m showing up limiting or demanding assimilation from my students?”

Kathleen:  Thanks for drawing that really important connection, Jeanie.

I think that highlights the way that even me as a white person talking about this work now, is centered in the work of Ibram Kendi.  And all of these amazing BIPOC scholars.

Without them, I wouldn’t be having these conversations and talking about these ideas.  Remembering to center them in this work is also a really important part of what needs to happen.

In Vermont schools, what does this look like?

In my work with a lot of Vermont schools sort of as a consultant around issues like this, the question always comes up around if we need to make sure that we’re de-centering ourselves by actually identifying, right?

What is our positionality? What is our thinking about our identities? And that’s ongoing work. That’s work that happens forever.

I find what happens is for a lot of teachers it paralyzes them.

It’s like, “How do I do this ongoing work, and feel comfortable?” Right?

And I think this chapter sort of highlights how these two teacher educators, scholars were able to do both at the same time.

Jeanie:  It’s kind of an iterative process, right?

Kathleen:  Yes.

Jeanie:  We have to assume that we as educators are never done learning. And a lot of our learning isn’t necessarily about our content area but about ourselves. How we show up for and with students.

Kathleen:  For sure.  And that means we’re going to make mistakes in the work. Like when [the teacher educators] talk in this chapter about misconceptions that they had.  You know, one was saying “I presented this to one of the elders that I was talking with, and through that I reframed my thinking.” Their whole curriculum process was iterative.

That also comes into play in how we need to teach future teachers to develop curriculum that it is iterative. We need to teach them that curriculum isn’t ever stagnant.

Jeanie:  It occurs to me that it also requires dispositions that are really hard to have as a professional.  And those are humility and vulnerability.

In my past, I have thought that when I arrive as a professional, I will be invulnerable. But what I’ve actually learned is my best growth comes from humility and vulnerability.

Kathleen:  Yes, I totally agree in every single way.  I think the more I acknowledge what I don’t know, the more open I become to being a better educator, right?  Yes.

Jeanie:  I appreciate that.  Thank you.  I appreciate how this makes my vulnerability an asset too.

One of the things I loved about this chapter is that the educators call themselves “co-investigators”.  I really appreciated that co-construction or collaborative perspective on the work.

One of my frustrations in Vermont is that  — and really thank many people, chief among them Judy Dow, for really helping me develop this understanding — is that most kids graduate from Vermont schools without ever learning about eugenics.

Kathleen Brinegar Seven Days VT article on current legislative activity around eugenics in Vermont

 

I have a lot of curiosity around that.

One thing is I often think of schools who say they’re predominantly white and wonder: do they know that eugenics in Vermont forced a lot of Native people to assimilate?

And I wonder how much how many of our students have lost their heritage because of our legacy of eugenics.

I also wonder: what would it look like to co-investigate eugenics with Vermont middle school students? Kind of coming back to this idea not just that culturally responsive pedagogies has you take students’ cultures into account but also helping them transform the world by understanding, critiquing and advocating against oppressive systems.

What would happen in Vermont if suddenly our students understood the eugenics movement and its impact on our state?

Kathleen:  Yes! So I love this idea of co-investigating as educators.

It really speaks to a type of pedagogy that de-centralizes teacher power. That, to me, is such an important notion of equity work.

It also reminds us as you’ve just said, that we can teach things that we don’t know. To me that opens up the possibility of what we can do with students in such important ways.

It goes back to that idea that so many of us feel paralyzed, right, particularly those of us who grew up with dominant identities, right?  We feel paralyzed as we realize how much we don’t know.

So this notion of co-investigating allows us to situate ourselves as co-investigators and acknowledge that our personal knowledge is incomplete. Acknowledge that publicly to our students and the communities in which we exist. That there are multiple ways to grow that knowledge with and for learners within our larger community. Our community becomes the teacher.

Jeanie:  For me, this really connects with the idea of providing personally meaningful and relevant learning opportunities.

I think that can feel really overwhelming.

The idea of it can feel like every kid is going to be studying their own thing, which I don’t think has to be true, necessarily, but like it also can feel like: “Well, how am I supposed to know all the things so I can teach them?”

And I think focusing on teaching skills and ways of investigating as opposed to content is a really powerful lever for help helping kids make meaningful connections to their learning. To have them drive the train. Or what was the language you used earlier? To narrate their own stories. To feel empowered.

Kathleen: Absolutely.  And I think part of that too is it also helps us as educators move from a deficit- to an asset-based look at our communities.

It’s that acknowledgement that our students and our communities, our assets, and should be parts of our curriculum. Our curriculum should embody their assets. The assets of our communities.

And sometimes acknowledging those assets is what really helps us dismantle the oppressive systems. To me, that’s the step up from white saviorism.

That it’s not my job to teach students how to identify what’s oppressive, and instead say, our students, and the members of our community already know what oppresses them, right?  They already know.

You’re opening them up to be the experts, right?  So that they can decide then how things need to be dismantled.

Jeanie:  I guess part of our job as educators is to get out of our students’ way.

And part of that is to dismantle the notion of what we should be teaching.

“By the time they’re in high school they should know about X,Y or Z, the Civil War, the colonies–”

How do we get out of the way of ourselves? By being critically conscious of the limitations of a canon that is steeped in white supremacy and patriarchy.

Kathleen:  Yes! I love that. [The teacher educators] based their work on the work of Paulo Freire and his work around critical consciousness.

I’m actually going to read a quote from the chapter because for me, they defined what a critically conscious educator is in a way that really speaks to me in terms of our work with middle school students.

On page 192, they say:

“The critically conscious educator must honor the dynamic ways in which young adolescents learn. And culturally relevant classrooms must position youth as intellectuals capable of thinking about how to reconcile social injustices”.

That takes me back to the work of Kyle Chadburne and Andrea Gratton, that you talked about earlier.

I also love this example they used to highlight how they became critically conscious: through work in conceptualizing this curriculum on the Dakota pipeline.

I love that they really opened about their fears. They came into developing this curriculum with this notion of what storytelling was, and that storytelling was devoid of technology, right?

And in sharing this idea with the Mni elders, the elders pushed back. The elders gave tons of examples of how technology has served to preserve their culture.  And how youth should be at the center of that preservation work through the use of technology.

That was such a powerful, critically conscious awakening moment for them. They had these misconceptions about storytelling and Indigenous culture.

Jeanie:  I love that.

When I was re-reading this chapter, I could not stop thinking about the latest Caldecott winner, We are Water Protectors. It’s about the Standing Rock movement. And it’s such a beautiful picture book.

Throughout it is this refrain that appears again and again: We stand with our songs and our drums, we are still here. 

And it’s just reminding me how common is this idea that Native people live in some past. I just wanted to bring that forward.

I feel like I could talk about this chapter forever! And I love how you helped me think more deeply about becoming a critically conscious educator.

That has resonance with the next chapter we’re going to talk about: Chapter 14.  I mean, I love this whole book, but this particular chapter feels like it should be required reading.

It’s about pre-service teachers.

But I kept thinking: wait, why are we using this with in-service teachers? Where’s the disconnect?

So I would I want to read this as an educator who’s been practicing for a long time. I needed this.

And I was really struck on page 312 with this quote:

“Classroom management challenges often communicate that educators are not meeting student’s relational, pedagogical or behavioral needs.  Young adolescents need to have personal connections with adults who care for them, to learn in classrooms that challenge them to think critically about the world around them and to know their teachers will treat them equitably and with respect.”

The authors continue in the beginning of this chapter, to talk about how marginalized students need culturally responsive approaches that affirm a sense of belonging for them.

It really made me think about knowing students well, and how this asks us to reframe that, or to go deeper than developmentalism does.

Kathleen:  For sure.  I think, what I love about this chapter, too, is that it goes back to whether our ways of knowing as teachers are more important in some ways than the students’ behaviors or misbehaviors.

Because everything that students do say — event their silences — are interpreted by us as educators in some way.

When it comes to knowing students, right, I talk about this with my own students.  It’s not just about knowing what they love to do, right?

When we talk about students as assets, it’s not just things like, they love to ride horses, or they’re really into NASCAR or those sorts of things. It really moves beyond that into:

  • Who are they in this very moment?
  • What are their hopes?
  • What are their dreams?
  • How are they defining themselves?
  • What are they trying to communicate with us every day?
  • And how might our own identities and experiences misinterpret what they’re trying to say?

Jeanie:  Yes! That rings really true for me.

As I was reading this chapter — first off, it’s really easy.  It’s written by Amy Murphy and Breanna Kennedy.  And as I was reading this chapter, it was really easy to feel remorse about my own lack in the past with students. It was really easy for me to see myself represented in unflattering ways.

Like, I could see places from my early teaching, but also places where I was like, “Oh, oh no, I see that with new eyes.” So that’s hard.  That’s hard work.  I just want to own that, that that is not easy.

Kathleen:  But it’s lifelong.  It’s one of those things that is lifelong, right?  We are never going to get it right the first time at any point.

But to me, part of what makes us equitable educators is that we can recognize when we make a mistake. We can admit what that mistake is.  And we can work with the person, or people the mistake was made with to learn how to move forward, right?

Jeanie:  You and I both do work with the School Reform Initiative, and I love their language of: we can take better action. Because it assumes you’re not going to get to best, because the work’s never done.

But you can continually strive for better action.

And for me, in particular, what this chapter brings up is, knowing students well is super important.

In order for me to truly know my learners well, I have to really do some work on noticing some of my own positionality that gets in the way of seeing them fully.

So there’s a lot of feelings that rise up.

And I guess I’m curious about a couple of things. One is: how do we strive to do that, and to be gentle on ourselves?

Like the “both and”. But also: how can we be really rigorous and interrogate our biases and assumptions, knowing that they’re human?

Kathleen: I find myself more and more, closing my eyes sometimes, as an educator, and asking myself: when I think of a good student, what do I think of? 

To me it’s this regular simple exercise to help me interrogate like:

  • What am I seeing? Like, what pops up in my brain?
  • How has that changed over time?
  • What parts of that are not changing?  And why might that be?

Then I think about based on what images pop up: what policies and practices am I implementing in my own teaching spaces that are reinforcing those notions for me?

Some concrete examples of that are, you know, I’ve changed attendance policies in recent years. I’ve changed assignment completion and revision policies. I’ve changed all kinds of things.

And I’ve come to realize how much privilege is in that statement.

How many people in our country do not have the luxury of prioritizing completing their homework over taking care of family members? Over making sure that there’s food in their house? Over like, all of those things.

So that’s been an important practice for me that chapters such as this one, remind me of regularly. What are those things that I grew up with, those assumptions that I make prominent in my classroom? Because they alienate students.

Jeanie:  I think this chapter is a lot about behavior too.

And, you know, I remember being a new teacher who had a really difficult time with figuring out what my boundaries were. There’s a teacher in your book that the book sort of follows: Emily.  And she has a lot of similar issues I had about trying to figure out how to be a young teacher who wants her kids to like her and wants an orderly classroom. That word, “orderly” is culturally defined, right?

And so I think a lot of my learning towards the end of my time in school libraries was about: is this just bothering me or is this disrupting learning?  Because if it’s just bothering me, I can change that.  I mean, I can change myself, right?

If it’s disrupting learning, that might be a different thing.  But if it’s just my issue, I’m paid to be here.  I can let that go.

Kathleen:  That parallels with the notion that our job isn’t to fix kids.

Jeanie:  Yes! Say it again for the people in the back, Kathleen.

Kathleen:  We need to work on ourselves regularly. Right?  And there’s things within ourselves that we need to fix.  But fixing kids is not part of the job of teachers.

And if we prioritize a culture of compliance, inevitably, we are going to try to fix kids so that they fit into whatever it is we’re viewing as being “compliant”.

Jeanie:  We see you, PBIS.

Kathleen:  Absolutely.

 

Jeanie:  I’ve been thinking a lot about this analogy of figure and ground and that I got from this book, my son was reading, actually, called Team Human.

This idea that when you look at an optical illusion, like the vase with the two faces, you can either see the vase, the figure, or the ground, which becomes the two faces.

Kathleen Brinegar two faces optical illusion
Image via Bryan Derksen. Licensed via Creative Commons 3.0

 

And I think of our students as the figures, right?

But our job as educators is to notice the ground — I mean, obviously to notice the students, but to cultivate the ground. So students can become their best versions of themselves.  So they can reach their potential so that they can learn.

Our job isn’t to, to focus on fixing them.

It’s on how are we watering the soil and fertilizing it and providing sunlight and, you know, the things that they need to grow?

Kathleen:  Yes, it goes back again, to that notion of how are we letting them define themselves?

Jeanie:  Yes.

Kathleen:  Right.  Are we defining them?  Or are they able to define themselves? And then we, create, as you said, we nurture an environment in which who they see themselves can, can grow and develop.

Jeanie:  And I think that’s tricky.

In Chapter 14, the authors of the chapter, Amy Murphy and Brianna Kennedy, draw on all this research on warm demanders.

And maybe we can explain what they call warm demanders. Teachers who have high expectations for all of their students and communicate them warmly. It’s not about compliance. But it is about high expectations for the learning, not the like, behaving in a specific narrow way.

That’s a tricky thing.

That requires us to get under our assumptions about what being a student should look like. What classrooms should look like.

And so how do you help pre-service or even in-service teachers see the difference between having high expectations around compliance and high expectations around learning?

Kathleen:  Yes! It’s something we unpack early and often in the teacher education program that I teach in.

I think it’s one of those ideas that, like all things around equity, has to be the lens by which they approach every part of teaching, right?

Sometimes, when we talk about this warm demander and compliance, we only think about the leading the classroom part of it. We don’t think about how the way we actually teach and what that we teach and how we transition students in between teaching moments.

We don’t always think about those pieces when it comes to when it comes to that notion of compliance.

So to me, if you think about high expectations being about the learning, the warm demanding encompasses every single part of our teaching. Not just the way we react to student behaviors in the moment.

Then, my hope is that with the pre-service teachers that I work with, that that just sort of becomes part of who they are as educators.

Jeanie:  It occurs to me that a proficiency-based system, done well, should allow that. It should allow that focus on high expectations to be more reasonable and manageable for everyone. Because it builds on an asset-based approach that says: what can the student do?  And what’s their next step for learning?

Kathleen:  To me, that goes back to this idea of, if your proficiencies themselves are not based in equitable thinking, and ways of knowing and being, then it doesn’t matter if you have a proficiency-based system or not, right?

That’s where this compliance impacts everything.

Because if your proficiencies are asking students to be compliant in what they know, and how they know it? That runs counter to their own cultural ways of knowing and being. Then, of course, their behavior is then going to respond in ways that you find non-compliant as a teacher.

So it really has to encompass every single part of the educational system.

Jeanie:  That leads to this quote from Alfie Kohn, that’s in this chapter that I just think I should write everywhere. I think this should go everywhere.

When students are off task, our first response should be to ask, what’s the task?

I think this gets at what we were just talking about, about not fixing students, but fixing pedagogy and curriculum so that it’s engaging and relevant and meaningful. Perhaps the “off task” is sending the message that these things are not relevant to the lived experiences of students.

Kathleen: Even beyond sort of not engaging and not meaningful.  But sometimes what we actually create is damaging.

Jeanie:  Yes.

Kathleen:  It actually demeans who our students are, and their culture. And it separates them, right, from their ways of knowing and being.

Of course, I would want students to act in a way that was uncompliant, right?  Because I would want them to advocate for themselves. To send that message.

Jeanie:  I am a student right now.  And I can really feel the difference in spaces that are hospitable to me as a learner and spaces that are not.

When I think about what that means, it’s instructors who are strengths-based, right? Who notice that we bring learning to the table.

And it’s about honoring our full humanity.

It’s about the professors I have that really create an environment where I want to learn and dig in. They are co-learners.

They’re not like: I know everything, and I’m going to instruct you. 

They’re like: how can we learn together?

For me, that latter? That’s the kind of environment where I thrive. As opposed to when I’m in a class where the professor is wielding more power, and I don’t feel like I can learn.

And I think that there’s a lot that echoes there with what’s being talked about in this chapter about creating hospitable spaces for young people.

Kathleen:  For sure, yes.  Based on what you’ve just described, the word “agency” keeps coming up to me.

The environments that you’ve described, you have a sense of agency in them. And that agency allows you to communicate your needs.

When I think of Emily, the teacher in this chapter, the first space that she creates is devoid of agency.

In the second iteration of what, how she could have started her school year, you see that agency.

Jeanie:  I love that because the authors of this chapter describe Emily’s experience, and then they reimagine it as counter-story.

And I’m just going to read that because I think it’s really powerful.

This is from page 330.

Emily readied herself for the school year by learning as much as she could about the 8th grade science curriculum and exploring the schools surrounding communities, which were largely Dominican and African American.  Although she had not yet met her students, she gathered preliminary information about their communities by walking through their neighborhoods, shopping in their stores and attending cultural events.  These experiences provided example she used in her first unit of the year, which focused on the processes of scientific inquiry.

Emily devoted the first days of school to developing a classroom community and establishing behavior expectations.  She stated the rules explain their rationale and gave examples and non-examples as well as model the routines that would make the class run smoothly.  Because the school expected her to teach content right away, she paired the standards with community building activities.  For example, students brought in cultural artifacts from their homes, and then made observations and inferences about each other’s objects as well as each other’s lives.  As the school year went on, she learned more about students by attending their games and events at the Dominican Community Center, and use this knowledge to design projects and activities that reflected their lives.

When she encountered classroom management dilemma, she thought critically about what may be at the root of the issue by considering her student teacher interactions, what instructional tasks she had assigned when the conflict arose, and whether her expectations were inequitable or unclear, no first years without challenges.  But Emily loved her students and was thrilled to be teaching them.

Jeanie:  I want a do-over for my first year.

Kathleen:  Don’t we all?

Jeanie:  And, you know, we get them.  We get to do over every year as teachers.  So we can we can strive for better action.

Kathleen:  Yes. We get a do-over every day.

Jeanie:  Every day, thank you.

Kathleen: We get to sort of, you know, reflect on what worked, what didn’t, and I don’t know that I would have said that honestly, prior to this pandemic.

But to me, that’s one of my biggest takeaways around teaching over this past year is every day I get to start over. I get to say to my students: yesterday felt like it didn’t work for me.  Did it work for you?  And if so, what did what didn’t write this co constructing?

To me that has evolved in a really powerful way over this past year. And I think we can do that with our middle grade students too.  How do we co-construct?  How do we honestly say to them: yesterday didn’t feel good.

Jeanie:  This is all about power.  It’s about really being aware of power and all the ways it plays out.  There are so many exemplary articles in this book, are there any other specific chapters you want to point readers to or just generally highlight?

Kathleen:  I think the best way I’ll frame it is recognizing that there are so many ways that we are essentializing of young adolescents impacts students, and sort of each of these chapters look at different ways that we do that.

There’s an excellent chapter by Matt Moulton on youth experience of homelessness.  And reframing what we think of when we think of homelessness. How the way we think about homelessness actually impacts the way we are with students and families experiencing homelessness, right?

And there’s a powerful chapter around the fact that our schools are English centric.

And what’s really interesting for me is although that specific chapter is in a linguistically diverse community, right, and it frames the fact that how being English centric in that classroom impacts negatively students. But it also looks at ways for liberating students who are linguistically diverse.

I think about the ways we do that in our Vermont schools all the time by prioritizing certain forms of English.  We constantly make our students and their families feel less than, for the different ways that they speak.  So I think even as Vermonters that chapter has a lot of important messages for us.

Jeanie:  Yes, I have a dear friend who works with refugee students.  And she talks about talking to one of her students who felt dumb.  She just posed some questions like, this is a high school student, and she said, well, what would it be like if those students you call smart, were in school with you in your native country?  And she was like, oh, I would be the smart one, then.  And it is a shame that schools are set up so that this kid feels dumb, just because of her language of origin.

Kathleen:  Absolutely, absolutely.  Yes.  So I just, you know, I want to honor all of the amazing authors and their work and the way that they’re contributing to the field through this book.

Jeanie:  Well, we’ve just scratched the surface.  So readers, get yourself a copy of Equity and Cultural Responsiveness in the Middle Grades, and follow your heart through it. There are so many places to take in so many entry points.

Kathleen, thank you so much for coming on the podcast again and for talking about this book.  And thanks for being in in a co creation space with Lisa Harrison and Ellis Hurd and bringing it to us.  I’m so grateful.

Kathleen:  I’m grateful for the opportunity to get to share it right with folks.  It was certainly a labor of love, and work that Ellis, Lisa and I continue in our work with middle school journal.  Our hope is that the ideas in this book are now continuously showing up in what we publish there.

Jeanie:  Fabulous.  Thank you.

Kathleen:  Thank you, Jeanie.

 

#vted Reads: All-American Muslim Girl

Are you there, #vted? It’s me, Jeanie.

On this episode of the podcast, we’re re-joined by one of the very first guests on our show, Jory Hearst. She returns to talk about All-American Muslim Girl, by Nadine Jolie Courtney. Jory shares her own journey through and relationship with Judaism, and the ways she found her own feelings and questions reflected in this text. But in addition to talking deeply and reflectively about religion, All-American Muslim Girl presents us with some powerful ideas about flexible pathways for learning, identity, and consent.

This. Is. A good one.

I’m Jeanie Phillips, and this is #vted Reads: a podcast by, for, and with Vermont educators. Let’s chat.

Jeanie: Thanks for joining me, Jory. Tell us a little bit about who you are and what you do.

Jory:  Hi, Jeanie, it’s so nice to be with you.  I’m excited to be back on the podcast because I got to do this once in the early phases of your podcast! It’s cool to see now you’ve interviewed all these like amazing famous people around Vermont and beyond, so I’m excited to be back.

I am a teacher at Burlington High School (in Burlington VT) currently. Although I have to admit that my first teaching job was with Jeanie at Green Mountain Union High School, where she was the librarian and I was in ninth grade English teacher.  But I am an educator, I teach reading and journalism and I do other things that at the high school. I always come back to books and I really love engaging with teens about young adult literature and also reading them myself.

Jeanie:  I think you were my second guest on the podcast.

Jory:  That might be right! I used to be on Green Mountain Book Awards I think when I first got interviewed by you. I’m no longer on the committee so, I do read more adult books now, but that was my connection to you back then.

Jeanie: Okay, thank you for all that.  So, before we start talking about All-American Muslim Girl, I just want us to be really honest that neither of us is Muslim. That we both love this book and we both want to talk about it and we want to do that well and gracefully, but we’re not Muslim.

Jory:  Yes, Jeanie when you asked me to talk about it with you, I was like I loved All-American Muslim Girl! And I was also like: I don’t think I’m the person you want to talk about it. And you said, well no, we can both love it and talk about it.

So yes! Part of what was really fun for me about reading this is I lived in Jordan for a little while: Amman, the capital, and also other places in the Middle East. Lebanon, for a little bit. Morocco. And there’s lots of references to things in here that were really fun. I studied Arabic for a while so there’s connections.

Also I am a Jewish American white human and not a Muslim American. So thanks for letting me put that out there up front.  I am not the authority on those characters’ lives, just an appreciator of her life.

Jeanie:  Yes. Well, same. I actually have way less experience than you do.  I am also white and of a Protestant background although definitely not practicing now. So we’re going to talk with deep appreciation about this book and listeners if we missed up we hope you’ll let us know because we can learn from that.

Jory:  Yes, thanks for saying that.

Jeanie:  Could you introduce us to Allie Abraham, the main character of All American Muslim Girl, Jory?

Jory:  Yes! So: Allie Abraham is a high school student. She lives in Georgia, in a sort of Atlanta suburb with her parents. Mo Abraham, her dad, is a professor and her mom — I think her name’s Elizabeth — she’s a cop. Allie converted to Islam when her parents got married.  Her mom was not raised in the Middle East or with the Middle Eastern culture.  And Allie, her real name is actually Aaliyah. And I love it.

At one point she says, “Our real name wasn’t Abraham, it was Ibrahimi.”

So her real name is Aaliyah Ibrahimi, but she goes by Allie Abraham.

And her dad, you know, he believes in the American dream. He’s the ultimate assimilationist in some ways, and has sort of rejected his Muslim faith.

But Allie is a high school student who has this new crush on this guy, Wells.  She’s fun, she’s likable, she gets really interested in practicing Islam — but kind of has to do it behind her parents’ back in this book.  And then there’s also this incredible subplot that her boyfriend’s dad happens to be this commentator on a conservative talk radio station or TV station.

So, there’s all this tension about Allie’s own kind of Muslim identity, and then this boy that she’s dating.

And I think it’s just important to state that her family is Circassian. This book gives a lot of background on it because I think even a lot of people in the Arab world don’t know this group. But they’re a group of Russian descent Muslims who now live in present day Syria. Mostly in Jordan.

And they have red hair. They’re known for their red hair and their horses, among other things.  Anyway! So her family, her dad, is Circassian and I don’t think Allie’s boyfriend Wells, had any idea she’s Muslim till she sort of comes out to him.

Jeanie:  There’s so many things I want to talk about there! And one is that the book begins, at the very beginning, with Allie on a plane. She recounts the story of being on a plane with her parents. And of her father being harassed because of his name, and then the way she intercedes and steps up to protect her father from the Islamophobia he’s experiencing.  Do you remember that moment?

Jory:  Yes, totally.  There’s a passenger on the plane who overhears him talking on the phone, speaking in Arabic. And he reports to the flight attendant, that this guy’s saying “Allah, Allah.” He just freaks out.  And this is in our post-911 world. So Allie stands up for her dad and her dad ultimately is sort of proud of her for it. But he was also sort of happy to just let it pass.

He’s like: you have to get used to this, this is just what we deal with.

And she was unwilling to do that right away.

You get this character who’s really likable and has that teenage fire which I always admire. That clear sense of justice that teens are so good at and the rest of us sort of lose over time sometimes.

Jeanie:  I’ve been thinking about this for other reasons but there’s this cost that she pays for her father’s assimilation, right?  He really puts Islam behind him, isn’t religious, doesn’t really identify in that way right and doesn’t want her to have to deal with the burdens of Islamophobia. Right?  And so, it pays off for him to sort of… assimilate, in a way. I don’t know if that’s the right phrase.

Maybe it’s that it’s easier for him to assimilate than to fight, but in turn Allie feels a sense of loss because all of her cousins and her grandmother and her family members speak Arabic.  And she can’t communicate with her grandmother very well, even though she loves her so much.  Allie feels the sense of like: how come all these other people know these things that I don’t know?

Jory:  I just, I think you’re spot on I just went back and look and I think I actually maybe mischaracterized that opening scene a little bit.  Allie does have a sense of justice and need to stand up for her dad, but I’m realizing what she’s really doing in this opening scene is she’s using the fact that she can pass [as non-Muslim] to make her dad seems safer.

She’s actually protecting him but in this way that actually sort of pains her. I think she feels that that sense of justice and indignation was real but she’s also feeling this like: I could protect him but it’s going to mean that I have to sacrifice that part of my identity. I’m just going to pretend to be a red haired white girl who’s not threatening and I’m going to use that to protect my dad. 

And I think in doing that you’re right, there’s some real sadness in that. I don’t look exactly like him and I don’t stand out as other even though he does, even though I feel that way inside.

Jeanie:  Would you read that a little bit of that section?

Jory:  I know I’m just trying to find it.

All-American Muslim Girl: "I could hear the other person’s inner monologue thinking the daughter and the wife don’t look Muslim but the dad, I -- this is Ali, I stand up slowly, no sudden motions.  Here, daddy, I say, pulling gently on his arm, why don’t we switch seats?  You can sit next to Mommy.  I never call her mommy.  Wordlessly he stands up in slides into my seat.  Please sir, I say, I called to the man who was accused my father gestering my palm up toward his empty seat, after you. He walks down the aisle frowning and avoiding eye contact.  So sorry for the confusion sir, my grandma is so silly I say, smiling as I sit next to him.  Smiling is key.  It confuses them.  Anger and indignation that’s a luxury we don’t have.  I’ve been trying to get her to learn English for years.  The dad had been on the phone with the grandma that was why they were speaking in Arabic.  She should learn English but you know how it is right?  Can’t teach an old dog new tricks.  He blinks looking back at me.  I’m sorry, you felt uncomfortable.  I’m still using my voice. Thank you so much for being understanding, sir.  It’s very kind of you.  Finally, he nods the flight attendant.  It’s okay, she scurries away relieved.  I want to slap him in the face.  I want to say, how dare you judge my father?  What gives you the right?  Instead, I draw from years of lessons and hold out my hand smiling, I’m Ali by the way."

Click or tap to enlarge.

Jeanie:  It’s all in that passage. What I can clearly see is who gets to be comfortable, who deserves comfort, and who doesn’t.  Allie has to contort herself and make herself all kinds of uncomfortable for this random passenger’s comfort in order to protect her dad from possibly getting pulled off the plane.

Jory:  Right.

Jeanie:  And I think it’s really common in memoirs of any Arab-Americans or you know, that there often is an airport scene and it’s often in the beginning.  And I think that you know, it just speaks to the airport.  After 9/11, the airport really became this kind of intense and scary place where there was this really obvious barrier of like, you have to be on guard here more. The airport really became the center of heightened fear.  And I don’t know a single person from the Middle East who hasn’t had a number of airport horror stories.

And the fact this book opens with that is both an invitation for those who haven’t read this enough, haven’t read about these kinds of characters enough, to realize how scary that moment is.

I remember when I was a sophomore at the University of Michigan I started taking Arabic. It was 2004 and I remember I had my Arabic textbook with me, flying home from Michigan to Vermont and I got pulled for a random security check.

And I remember all my friends were like: why would you ever have taken your Arabic textbook out at the airport?

And I was like, I don’t know, I didn’t think about it. Right? I’m a white girl from Vermont. I was trying to study my homework. Anyway, I got pulled, and I had to go to this other security room and they said it’s just a random screening. But it took 30 minutes. I almost missed my flight.

It wasn’t scary; nothing bad happened. I feel really lucky.

Jeanie:  “Random screening”, yes.

I just saw a report maybe last week that while we think that Vermont is above these things, it turns out that the rate of people getting stopped by police officers on the road is still disproportionate.  And so, we have our own kind of moments like that.  They’re just different.

Jory:  Yes, absolutely.

Jeanie:  I don’t know if I’ve ever been stopped by a police officer in Vermont.  No, that’s not true.  I have and I deserved it.

Jory:  Yes.

Jeanie:  Anyway, there’s way more to Allie’s story than that. One of the things is that she begins to get curious about Islam. She’s reading the Quran.  She’s going to an Islamic study group.  And she starts raising money for an Islamic charity with another girl in her school.

And what I kept thinking about when I was reading this book was flexible pathways! Like, she is doing so much work outside of her schoolwork and so much learning and history and it’s, you know, she’s just doing all of this stuff and I wanted her to get credit for it.  It felt credit-worthy.

Jory: In my teacher brain, I’m excited for her because I think she’s working really hard to figure out what is important to her.  And I think she’s just really adding depth and meaning to herself and her life, like in all the ways.

And I think my favorite part of this book hands down, is her discovery of Islam and her sort of teaching herself.

She’s worried to tell her dad about it because he’s so clearly kind of rejected Islam? In sort of this need to sort of fit in Georgia and assimilate and be Mo Abraham, and he finds religion to be really unhelpful. He’s very skeptical of it.  And so, even though her grandma, her Teta, is very religious and she loves that about her but her dad’s really rejected it.

And so, she does all this stuff: she finds a Muslim study group of girls and she starts going and she doesn’t want to tell her dad and she gets a Quran and she doesn’t want to tell her dad and I mean I sort of love that — it’s this really big deal.

Anyway, it’s such a beautiful, really soulful exploration of trying to find meaning and make sense of life through religion.

And anyway, so I think that’s my great part of the whole book is just sort of her exploration of religion.

Nadine Julie Courtney does such a — I think does such a great job of explaining a lot of stuff in this book like she really, she explains what it means to be Circassian.  She explains what Islam is.  She explains all these philosophical debates between women and Islam and how do you make sense of the Hadith and the Quran with as a woman and all of this stuff.

And also it’s not didactic you know? This book is still really fun to read.  It’s enjoyable.  It’s not — to me it wasn’t heavy handed at all even though there’s actually a lot of reader education that’s happening, I think very intentionally, through this book.  She walks that line so brilliantly of staying fun and romantic and page-turning and also being an intro to Islam.

Jeanie:  I wonder as I read it, Jory, because it felt to me like this book was seeking to educate me.  And I am somebody who doesn’t know much about Islam, the target reader for this.  What I mean by that is you know, I grew up Protestant and I think if you grow up Christian in this country it’s very obvious that Christianity is plural: that there are lots of different ways to be a Christian.

You can be a Catholic. You can be an evangelical.  Or you can be Baptist. You can be Lutheran. And Nadine Jolie Courtney does a really lovely job of painting this plural picture of Islam that we don’t often see in the media. Or that challenges the stereotypes of I think a majority of the American population.

Jory: You and I are on the same page, Jeanie, because I have just turned to page 138 and I loved this.  I thought it was really interesting and fun.  So, Allie’s friend Dua from school takes her to this Muslim study group. And at it, all of a sudden Allie just bursts into tears, right?  And there’s this great scene after this.

All-American Muslim Girl

 

Then they kind of move on? But she kind of gets this idea that like everybody has a back story.  It’s not so simple.

All of us sometimes feel like imposters and not just that but that there’s a lot of ways to be Muslim and she learns from these girls that you know some of them, there’s this whole very fun section around like, what is halal dating? Halal being the Arabic term relating to dietary laws. It’s halal not to eat pork, or it’s halal not to drink alcohol.  Sort of Islamic rules around food but that word can also be used around other taboos.

So, they talk about halal dating.

And halal dating is like definitely no sex, probably no kissing.  Maybe no hand-holding but then each of the girls have like slightly different interpretations of what halal dating means. And for Allie, she decides to really navigate for herself with Wells:  I’m going to hold his hand.  We’re going to kiss and that’s okay because it feels really good. I want to be careful and protect myself but I still want to do those things.

Each of her friends have sort of slightly different interpretations of that. And that’s normal! And okay! This group of women really embody beautifully all those ways to be Muslim.

Jeanie:  Right.  They’re all pursuing their own questions. Can I be gay and Muslim?  Can I be a feminist and Muslim? When am I co-opting the sacred text and when am I living as a liberated Muslim woman?

Jory:  Yes, yes, exactly.  Can I read another part?

Jeanie:  Please! Just tell me the page number.

Jory:  Okay. Page 176. They get into talking about whether Islam is fair to women. And they have a really powerful discussion about: how much power women really do have in Islam?  And that like a country like, Saudi Arabia maybe isn’t a fair ticket for that, and wearing hijab can be a really liberating thing.

Anyway, because their conversation is among friends and they’re all trying to figure it out, maybe this is me as an adult — being like, a boring adult — but I was really compelled by this conversation.

As a 35-year-old Jewish woman I’m still trying to figure out these questions with my Jewish female friends around like:

  • What does it mean to be Jewish?
  • How can I be Jewish but also fit in in the U.S. and be a woman?
  • When do I decide to do Jewish things?
  • When do I do things that maybe are just like other cultural things?
  • Does that make me still Jewish? Too Jewish?

And I think that’s just like the nature of trying to find your place in religion. Constantly doing that. Anyway, I wish I could hang out with them because they’re just so thoughtful.

Jeanie:  I’m going to start with this: this morning I watched an outtake from Saturday Night Live. It was Dan Levy — who I adore — and a bunch of the other characters talking about the It Gets Better campaign ,which was queer adults talking to queer young people about how much better life gets as adults?

Jory:  Yes, yes.

Jeanie:  So, essentially the whole thing it cracked me up about was, yes, it gets better except you know… we still have the same problems. It’s that idea of the model minority.  If you’re suspect at all, if you’re sort of a marginalized group, you have to be upstanding all the time. Don’t disgrace the group, right?  You have to put on that united front.

Jory:  I think you’re right.  Allie and all of her friends in this Muslim study group, they love Islam. They love being Muslim. And when they’re out in public they feel like they have to be the united front. I mean that’s what they’re saying here, right?  And that really resonated with me.They want to just show that Islam is beautiful and good. But! When it’s just them talking? They have all these questions, too, where they’re confused about things, or they’re like, is it okay to do this? 

And I love that. I love that they have found a space to let down and to get to like actually have that conversation.

In Berlin [VT] tonight I have a number of Muslim students who I know are practicing and get to talk to each other.  But in other parts of Vermont if you were the only Muslim student, if you were practicing and proud of it you wouldn’t have anyone to get to process the stuff you’re actually questioning because you probably might spend all your time trying to exert this space of like, pride.

Jeanie:  It’s like, you have to be invulnerable in public, but you also need places to be vulnerable. And to question.

Jory:  Yes! Yes.

Jeanie:  One of the reasons I thought about talking to you in particular about this book is because I know you’ve had your own journey with Judaism and that it’s something you — I guess I don’t know if you’d use this word but — reclaimed, as an adult.

Jory:  There were a lot of ways I felt like I really connected to Allie, even though we have many differences.  My parents aren’t the same religion like hers weren’t. My dad was not Jewish.  And my mom’s parents, like, Allie’s dad, my mom’s parents had really rejected their Judaism in the name of The American Dream. They wanted to assimilate. They wanted their kids to have all the opportunity, they celebrated Christmas, they stopped speaking Yiddish. All those things.

So when Allie talks about how she and her dad, their favorite thing to do is go look at big beautiful houses and imagine the American lives that people have in them? That remind me of my grandpa.

I think there’s probably a lot of Americans who may not be Muslim who might really connect to the way her dad has embraced — or tries to embrace — this country.

There’s that scene that maybe connects to what you’re saying on page 170. It’s the first time Allie really prays.  She does the full prayers and she does it with her friend and they make wudu, you know, the washing of their hands and their feet?

She says, afterward, “Honestly, I didn’t expect to like praying so much. When I’m done my head feels clear and my anxiety is just like, gone I say.  And I prayed at home a few times and started reading more of the Quran too I’ve got a ton of homework so, it’s kind of hard to keep up but I’m doing my best.”

And I don’t know. I have a real sense of that too. Like, I didn’t expect to like praying so much either but there’s this sort of ancient call that I feel in it.  And I think it’s cool to see that in a teen novel!

Jeanie:  Well, what really ends up happening is Allie ends up having to make choices again and again about how she wants to show up in school as her authentic self.

She is this really popular kid, she’s dating this popular guy and she doesn’t “look at all Muslim”. Then she starts wearing… does she wear a headscarf or hijab?

Jory:  She wears a hijab one day with her friends to school. She wants to just like, try it out and it’s way more attention than she ever wanted or expected. But I think there’s also a pride in doing it for her.  She ultimately decides I don’t think she doesn’t keep wearing it but, yes, you’re right.  She tries it during Ramadan; I think it’s one of the first days of Ramadan she decides to wear the headscarf.

Jeanie:  And she has all these moments where she’s like: do I come out?  It’s Muslim or not?  She gets an app on her phone that tells her when to pray and it goes off and then she’s very flustered.

There are all these moments where she’s like, do I want to fit in?  Do I want to conform or do I want to be my authentic self?  And I’ve been thinking about this a lot.  I’ve been really noticing the way kids are showing up and their different identities. You and I have that experience when we were at Green Mountain and kids started coming out not just as queer but as trans.

And I think we were both pretty inspired by the way that kids were showing up as their full selves. Kids in middle school really want to conform they really want to look like everybody else.  They want to wear the same clothes they want to be like everybody else.  And it’s got me wondering as I see kids around the country celebrating their differences:  Do we teach them that?  Do they learn conformity in school or is that in their developmental nature?

I don’t know that we can answer that question but it made me wonder: what might we do in schools to create an environment that values diversity and difference? And not just in name but like… deeply values our differences.

Jory:  Yes, such a good question, Jeanie.  I’m thinking about it as you ask it and the first thing that comes to my mind is just that, I don’t know that I agree with you that teens want to conform. I think teens want to be liked by their peers for the most part, right?  We want to have friends, we want to be liked, we want to feel included we want to feel like we belong.

Jeanie:  Belonging is so crucial, yes.

Jory:  You want to be part of something, right? So I think conformity is not the only way to belong but it’s maybe the easiest route to belonging.  And so as a culture we’ve prioritized conformity even though belonging doesn’t necessarily mean conforming.

Jeanie:  Yes.

Jory:  Allie has this really sweet relationship with Wells, this boy whose dad is a jackass, right?  And Wells himself has a really hard time with his dad.  Yet Wells is really supportive of Allie. When she sort of comes out to him as Muslim, she’s really nervous about it, but he’s really accepting.

He’s like, well, are we allowed to still hold hands or am I allowed to kiss you?  You know: asking for consent.  He’s trying to learn the boundaries.  He says like: tell me what it means to be Circassian?  I’m really curious.  You know, he shows up as this curious participant. And again, that’s an example of creating belonging by listening and being curious. Not about conformity at all.

Jeanie:  Yes.  So, you know a lot of the teachers I work with in middle schools are doing identity units where they’re really like, helping kids learn the language of difference.  You know, I had a teacher I work with who works with 4th and 5th graders.  And these kids in a small, rural mostly white small town in Vermont, didn’t know words like bi-racial, right?

So, they had to learn the vocabulary of difference. Learning the vocabulary of different ethnicities and races and gender identities and sexual orientations, I think allows make space for all the ways of being in a way that we don’t talk about. The way we do in literature, we talk about different perspectives and points of view.  What would it look like for us to embrace plurality the way the study group in this book does?

Jory:  That’s right.  Being American is not a monolith. And being a woman is not a monolith.  You know, that there’s all these ways that all of us don’t want to be put in our monoliths.

Jeanie:  Yes.  Yes. Let’s come back to Wells, because he’s also, in his way, struggling with: I am not my parents.

Jory:  Right.

Jeanie:  Which I think all kids are in some way.

I watched my own kid still struggle with that.  But there are some things, some values, some ways of being that my parents and I have in common, and there are others that we do not.

But for Wells, his dad is really more than just different than him, though.  His dad is really rigid and domineering and doesn’t really make space for the ways Wells wants to be different.  He has this very narrow notion of what Wells should be like. Wells’ mother on the other hand, is going to love her son no matter what.

And I thought about so many teachers teaching about the election or teaching about January 6th — the attempted coup on the capital. The insurrection. They’re holding this space where they’re teaching about this thing in ways that may be different than what kids are hearing from at home.

How do we make space for kids to navigate?

They’re coming to terms with their own understandings of the world and where they stand on important issues where they might think differently than their parents.  Middle school is where that’s starting to emerge.  But by high school, I’m sure you see kids showing up in ways that are similar to the people in their home and different.

There’s also a very convenient sweet ending.  You know, it’s a little bit YA novel ending where everybody comes together for a big party.  But, they are trying to figure out their parents and maybe are their parents going to change.  And if they’re not going to change or they still going to like their parents, and yeah. Anyway, lots of… Yeah.

Jeanie:  Do you want to read from that section?

Jory:  I was trying to see if there is something.  I think there are a couple things.

Jeanie:  What page were you on?

Jory:  I’m on page 412 and it goes on to 413.  So, Allie says:

People say being Jewish isn’t just about religion.  A lot of people are culturally or ethnically Jewish but not religious.  Despite what people say, Islam might be like that too.  No matter what culture or country you’re from or how diligent your practices or even if you’re somebody raised in the faith who walked away from it.  There’s still something greater connecting you.  You’re part of an ummah.  People think it’s solely religion but our shared experiences are impossible to escape.  They’ve invisibly shaped us.  They’re everywhere.

And this is her trying to understand her dad, right?  She’s like, he’s shaped by Islam.  He’s part of the ummah, part of our community even though he doesn’t know whether he doesn’t always want to be, right?  And then, Wells, so sweet.  You know, he says you make me believe big things are possible.  He says I love that about you.  And she’s, and then, right after she has this moment where she says, you know, she sort of realizes I’m in love with Wells, right.  And she says, I think I’m in love, I know I’m in love with Wells.  This is the top of page for 413.

And then, she says that’s the thing about love.  It’s not certain, it requires a leap.  It means stepping into the unknown and surrendering to something bigger than yourself against all obstacles.  Kind of like faith.  And I do, yes, it’s in really sweet reflection on being part, belonging, kind of like we’re talking like, this is her trying to figure out how to belong.  And, she nails it, ma’am, she’s doing a better job than most of us.  That’s why I love her, I’m like, oh, I could take some notes from Allie.

Jeanie:  Yes, totally.  I, you’re just, I read this book a while ago and you’re reminding me how much I loved her as a character, and how much I loved all the ways this book shed light on other areas of life, and how we live it, and how we show up in our life authentically.

Jory:  Yes.  And then, I have to say just for anyone listening at the end, the very end of the book ends with her dad bringing out this platter of mansaf.  Which, if you ever go to Jordan you have to eat mansaf. It’s like the Jordanian delicacy.  It’s this rice platter with lamb and the lamb is cooked in stewed yogurt. I can’t even begin to describe how decadent and rich, an unbelievable mansaf. At the end when they ate mansaf, I was like, oh my God, mansaaaaf.

Jeanie:  Well, I trust you Jory, because you are one of the best cooks I know. One last question for you.  How would you use this book with students? If you were to use this book with students, what would you do?

Jory:  I would just want to talk about God.

Jeanie:  It’s allowed to do that with students.

Jory:  That’s what I want to do.  Just in terms of.  I’d want to, I mean, you know, Nadine Jolie Courtney is funny to me because right before this, I went back to remind myself what else she’d written.  And if I’d read things by her.  Everything else she’s written is total pop, teenybopper, like dating books.  She is good at the formula of the meet-cute: the characters, the tension, people finding themselves and then finding each other. She’s got that down pat.

But, I don’t know that I would ever assign this book.  But I do think if I had a couple of kids reading it, I would be really interested to ask them, like, are you religious at all? How does that, you know, where does that fit into your life.  And how does that, is it important to you, etc, etc.  But, I sometimes, I know for me, I feel the absence of just talking about that greater connectivity to each other or the sense of belonging that a community can feel.

And it doesn’t have to be like Jewish, Christian, Muslim, Hindu.  It doesn’t have to be even organized religion, but what do communities need to have, to sustain themselves, because I do think, I think there’s a lot of that in school that we, that connectivity piece, which to me honestly as an educator is kind of the work.  And, I would never want to frame it that way because we don’t talk about things in school that way.

But I do have to admit I’m often tempted to go to rabbinical school to become a better teacher.

If I could go and spend five years deeply looking at how do you build soulful community? I would be a much better educator because I would be acknowledging that like the connective tissue that exists in a classroom, and not because I want people to be Jewish.  I don’t care about Jewishness for them, or is, you know.  But, anyway, so I think this book offers an interesting way to kind of just let people even think about like, do you believe in something bigger than yourself, you know, she talks about that a bunch in here.  She sort of has this idea that, she’s part of something a lot bigger and it feels really good to be connected to that.  And I, yes, that’s what I’m most interested in here.

Jeanie:  That’s, I love that Jory, and it makes me want to ask kids the question.  What makes you feel connected.  And I think about myself, I don’t practice and he organized religion.  In fact, if I think about the soul work I do, it’s probably most associated with paganism or something.  It’s about being in the land, being out of doors, being connected with nature.  And that’s super important to me.  But like thinking about the discreet practices that make me feel connected and they’re not that different.  Their poetry and, reflection and, presence, being present.

Jory:  Yes.  Jeannie, I know you won’t have to know, you do all kinds of soulful stuff.  You’re always like lighting candles out by the lake and I don’t know calling in the spirits man, I know you.

Jeanie:  Don’t tell my secrets, Jory.

Jory:  Oh my goodness.  Okay.

Jeanie:  So, given this book about sort of soulfulness and finding yourself exploring maybe not even finding but looking for yourself and how to show up and be in the world.  Do you have any other YA or middle grades or adult books you would recommend readers interested in that kind of novel, a books, a text.  The one that popped up for me is Braiding Sweetgrass, which I think some of those essays could be perfect with young adult middle grades readers, by Robin Wall Kimmerer?

Jory:  I love.  Yes, I think that’s a really, I think that’s a great idea.  I think Jolie, you were mentioning it at the beginning, but, Darius the Great is not okay.  Is and it just happens to be another character from the Middle East, although from a very different you know, he’s Iranian American but also has one parent who is from Iran and one his father is a white man, lives in the U S.  And, that book is all about him.  You know, he and his family go back to Iran to visit his grandparent’s, and he asked, and they, and he rediscovers that part of his soul, that missing piece of himself in being in Iran, and feeling like.  Oh, I’m fitting this puzzle together because I’m honoring all the parts of myself.  So I think about that book.

Jeanie:  He calls himself Fractional Persian.

Jory:  Yes.  Yes, that yes.  Exactly, good memory.  You think about, oh gosh, there’s so many, I mean we were talking about this before but, I was just saying you know, Juliet takes a breath by Gabby Rivera which I know you’ve also read which is a really, you know, it’s a book about this badass, bi-racial queer, character who’s taking on the world by going out to the West Coast to have this internship, and it’s, you know, similar to this book.  It’s the story that’s full of philosophy and theory and like background knowledge, like I felt like I got an education on like queer and feminist and sort of radical theory by reading that book.

And also, it’s about a character trying to find all of their missing pieces.  And, not all of them, I mean we’re not like, I am never going to find all my missing pieces, and most characters won’t either.  But even when you, even when you can relocate one piece, you know like, you just become that much more grounded like the thread to the earth connects you that much more deeply when you find that one piece to put in.  So I think that’s another book about finding a piece and fitting it in.  And as you’re saying it now, I’m thinking of like 700.

But you mentioned the poet X Jeannie before when we were talking about Elizabeth Acevedo.  That’s another book about, you know for a twin, you know a twin finding who, you know, goes to this Catholic school right.  Doesn’t she go to a Catholic.  Her mom, no, I think her mom is very Catholic, right?

Jeanie:  Yes.

Jory:  That’s the Catholic connection.  And she’s trying to find her place in Catholicism, which she has some connection to, but it also is like not.  It often makes her feel ashamed and bad.  And so she’s trying to navigate all those things and…

Jeanie:  Elizabeth Acevedo’s book, Acevedo’s books often and she wrote the Poet X, one of my favorite YA books of all time.  You’re mentioning all my bright spots story and all seemed to be about reclaiming your full self.

Jory:  Yes, or Yes, even if, or even just a piece more of yourself.  Like, getting you a little closer to feeling settled in your bones, yes.

Jeanie:  Those are great suggestions, the other one I would add is Patrons Saints Of Nothing.

Jory:  I loved that book so much and yes, I couldn’t believe it.

Jeanie:  That book is so good right because he’s Filipino American and he goes back to the Philippines.  And there’s something about this, it’s beyond religion but, ethnicity or a part of the identity that feels really important too.

Jory:  And I think what you’re.  Yes, it’s interesting this list I hadn’t thought about these books in quite this way but like, you know, being an American and I don’t know if Allie would agree with me in this book.  But, for me like, being an American, there.  We don’t realize it’s exhausting until you think about what you might have lost in the process of like becoming American, and for those of us like I would certainly be one who’s like past you know, I’ve become white right.  Like my roots have become white.  They didn’t maybe weren’t originally Jewish people were not white, but now they are.

And so, that like, all the things that you’ve lost.  And I think that my senses is like for people of color this is even greater, for so many more reasons, for violence and injustice on way larger scales.  But like, the amount of loss that exists in our culture is so massive and so grief filled, for so many people, for so many reasons, I mean, certainly Robin Wall Kimmerer and Braiding Sweetgrass, I mean just for Indigenous people perhaps for more than anybody else.

You know that, anyway, this this piece of Americanness which is so pockmarked and grief filled and, when all these teen books, you’re right, there’s this collection of books about people sort of reclaiming an earlier identity as, and bringing it into the mix of themselves.  And, that is what allows them to feel more whole.  It’s sort of an amazing, it’s not really, would be a really interesting set of, that would be a really interesting list to curate.

Jeanie:  Well, in that, what I’m thinking about is, you’ve posed these questions that for me could make great essential questions.  They are what makes you feel connected.  And then, this other one of, what does it mean to be American.  And perhaps, the enduring understanding that goes with that is being American is not a monolith.

Jory:  Yes.

Jeanie:  Oh, Jory, I’m so grateful for this conversation.

Jory:  Yes.  Thanks, Jeanie.  It’s a nice Sunday morning to spend with you, and my tea.

Jeanie:  And your tea.  Thank you for joining me.

Jory:  And just know again that I really do hope if we’ve mispronounced anything or if anyone listening felt like we did any, we misrepresented something or said, yes, I hope that somebody will let us know because I would love to make sure that we’re not.  In our excitement about Allie, and our love of her and this book, I don’t want anyone to feel like we missed a big cultural piece.

Jeanie:  Yes.  If we’ve harmed anyone, please be in touch.  We want to know, so we can get better, so we could do better.  Thank you, Jory.

#vted Reads: The Dark Fantastic

On this episode, it’s the return of Aimee Arandia Østensen! She’s here to talk with me about The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games, by Ebony Elizabeth Thomas.

We reflect on what we read growing up, and have deeply spicy thoughts about fan fiction, Island of the Blue Dolphin and what, specifically is the correct pronunciation of G I F.

(It’s G-if.)

Oh yeah, we go there.

Plus: who gets to opt out of reading certain books in the classroom? And who, specifically, can opt in?

I’m Jeanie Phillips, this is #vted Reads, the podcast by, for and with Vermont educators. Let’s chat. 

Jeanie: Thank you so much for joining me, Aimee.  Tell us a little bit about who you are and what you do.

Aimee:  Hi! My name is Aimee Arandia Østensen.  I am a Filipina-American educator. And I currently am working at Shelburne Farms as a Professional Learning Facilitator in Educating for Sustainability.  In general, that means we work with teachers and schools to support their process and practice and to integrate concepts of sustainability and equity into their work.

Jeanie:  Aimee, you were on the podcast not long ago, in the fall, talking about one of our mutually favorite books: Braiding Sweetgrass by Robin Wall Kimmerer.  And I remember that conversation so fondly, so I’m super excited to have you back on.

 

Full disclosure:  Aimee and I have been working together on a webinar called Who’s Outside? Building an Anti-Racist Bookshelf (video).

And this book, Ebony Elizabeth Thomas’s The Dark Fantastic has been crucial, as we’ve been thinking through how to go even deeper thinking about what books are we getting into the hands of students.  That’s been super fun.  So, I’m really excited for this conversation.  And I’m a little bit daunted and nervous about it, too, but we’ll get to that in a minute.

So, I’ve been really overwhelmed by how to ask intelligent questions about this book.

Because it is so smart and brimming full of insights and provocations, and has me thinking so much that I was almost not even sure where to begin. But I’m going to start at Ebony Elizabeth Thomas’s starting point, which is that she begins the book by talking about herself as a young reader. It’s on page one.

“Even,” she writes, “magic was inaccessible to me.” There was a lack of Black characters in general and Black girls in particular in books about the magic and the fantastical, she writes.

And she begins with this premise that even though that wasn’t available to her in characters that look like her, she needed magic. That all children really deserve magic.  Yet, it’s been disproportionately distributed, if you will.  So, I’m wondering, Aimee, if we might start with stories of ourselves as young readers. If we might step back and imagine just the way Ebony Elizabeth Thomas does, ourselves as little people looking for magic.

Aimee:  It’s such an interesting thought.  And I did have a childhood that was written books and storytelling.

It was just one of those things that my family did together.  Every night we got into bed and read books together before we went to sleep. Every single night.  And I distinctly remember my dad reading to my brothers and I. We read the entire Hobbit series.  We read the entire Wizard of Oz series.  And so, there was a lot of that magical fantasy land.

Interestingly enough, I remember a moment in school when our teacher was reciting, or starting to recite certain, what do you call them?  Nursery rhymes.  And I grew up in a largely white suburb of Syracuse, New York. There were literally four families of color that I was aware of in the entire school. Ours being one of them.  And out of those families, three of them were first generation or second generation Black Americans.

So our teacher was starting to recite nursery rhymes, and she invited us to, like, complete the nursery rhyme (as teachers back then were want to do).  And none of the kids in the class could do it.

But I could. Because it was kind of a point at home that we learned these American nursery rhymes.

My mom recited them and they read us books with all of them in.  And so, it was a part of my childhood.  And I realize that might not have been a part of my American counterpoints’ childhoods as well.  But there was access to those worlds of magic and fantasy and what ifs through these books at home. Constantly, yes.

What about you, Jeanie?

Jeanie:  Oh, I envy you that.  Most of my reading at home was done on my own.  We were not a family of books, but I was a kid who read.

And I would hide to read because my mom thought I would grow up to be anti-social.  And maybe she was right.  But so, I would hide often to read including in a tree house.

The first book I remember reading that was really fantasy was A Wrinkle in Time, which I re-read as an adult and did not love nearly as much as I did when I was a kid.

But when I was a kid? I loved that book. And I loved the whole series.  The thing that drew me though, at that time that was the most fantastical for me was the whole family.  This idea like: the dad goes missing, right?  And they go and search up the dad.

So many of the books I read at that time were me wishing — because my father had passed away when I was seven, and my parents had been divorced — was me wishing for whole family.  And for this sense of what I called at the time, or thought of at the time as normalcy. This middle-class family life that was beyond my family.  And so, what that’s made me think of — as I am an avid reader of young adult, middle grades fiction — is what would have happened if I had been introduced to something like The Benefits of Being an Octopus or some other story where there were families that looked like mine. I don’t remember many books like that.

Aimee:  It’s interesting, that. The idea of books in which you could see yourself.  And thank goodness, Jeanie, there are so many more books about different kinds of families that are being published now and have been for a while.

But I’m understanding now that all the books I was exposed to as a child and in school at the time we were reading, we had readers, right?

There were textbooks that were put together with stories that were pre-selected.  We didn’t have bookshelves full of books that you could go and choose what you wanted to read. What appealed to you. We were basically told to read what was already pre selected.

But looking back on that, nothing, I believe, really represented my family and my experience in any of those texts.

It isn’t until recently that I actually understood that.  So I feel like my imagination of seeing myself in those other worlds was incredibly limited.

I loved reading but I also know that none of them were like me.  But I didn’t even notice! So I wonder what that says about the impact of culture and assimilation.

Jeanie:  Right away on Page 3, our author of The Dark Fantastic writes,

“The problem of representation has created discord in the collective imagination.”

And when I read that, it landed like a thud, like a thud of truth, but also like, oh, like, right in my gut.  And I guess that’s what I hear you talking about, is this thud of like, we’ve constricted our very imagination.

Aimee:  Yeah, and that is, somehow, it’s — it highlighted my limitations.  If I’m thinking about my imagination as being within a frame; it highlighted those borders of the frame for me that I just wasn’t paying attention to before. It makes me think of things we’re exposed to these days that kind of shake up what we imagine is possible.  And then I realized, oh my God, my imagination of what’s possible has been so limited, and I didn’t even realize it.

Jeanie:  I know, right?  That’s the scary thing. When you realize what you didn’t realize. That’s the paradigm shift of like, oh, my, yes. I think all the time about education and about the world and talking to my son recently about, I’m going to say economics, but also about how schools work and how we are limited by our imagination. We can’t think beyond what we already know. So then thinking about that in our most creative forms, like writing and art, just breaks my heart.

And what you said earlier about not seeing yourself made me think a lot about towards the end of this book.

Ebony Elizabeth Thomas says she talks about writing fan fiction.  She wrote fan fiction for Harry Potter as a teacher when she first discovered Harry Potter.  She was a huge fan and she wrote all this fan fiction from the point of view of Angelina Johnson, who is the Black character, really, in Harry Potter — or at least the most well-known.

And she tried writing about from the perspective of Hermione in her fan fiction.  And she says:

“Well, I loved Hermione Granger, perhaps too much for a young adult needing to leave childhood behind.  She wasn’t a mirror for my experiences because I did not look like her.  I knew that I could never view the wizarding world through her eyes, but only peer over her shoulder.”

That makes me wonder how often our students feel like instead of stepping inside the shoes, that they’re peering over the shoulder of characters. Particularly our readers who don’t see themselves represented on the page.

Aimee:  Yes! That really struck me as well.  As a teacher, we often ask students to make personal connections to the characters, and the settings, and the challenges, within books.  We ask them to make a connection to themselves, and a connection to the context that they might be in so that they can deep more deeply relate to what’s happening in the story and engage with that.

But reading Ebony Elizabeth Thomas’ writing about fan fiction and the ways that people are needing to re-story. To re-write the story and re-envision it. That opened up a window for me.  And if that character, that fictive character, is indeed not a mirror for the students and they need to appear over the shoulder in order to be engaged? Maybe the questions that we should be asking students aren’t about, like:

  • How are you similar or different from that character?
  • Why do you think that she feels this way?
  • Have you ever felt that way?

Maybe the question is more like: “If you were in this story…” Not if you were that character, because maybe that character is so impossibly different from whoever the reader is that you can’t even. Like, my backstory that I’m coming into this just isn’t going to match that that book in that context.

What if we were encouraging students to imagine they could take their full backstory, take their context and their full knowledge of who they are, and place themselves within a story… what would happen?

I just think it’s something that we haven’t been seeing. And I say “we” grandly assuming that there are many amazing teachers out there who are doing such good things.  But I feel like I’ve missed that opportunity to engage students who broadly weren’t represented in the collection of published books to connect more deeply with story.

Jeanie:  You’re getting into things that came up for me a lot in this book. And I’m going to try to remember to address what each one at a time.

One is this notion of representation. Who’s represented on our bookshelves? Right? Thinking about who’s showing up.

And there, I think there’s a bit of a double standard in that, right?  What Ebony Elizabeth Thomas writes about, specifically in the Hunger Games chapter, is about Rue. And the outrage that so many readers felt when The Hunger Games was made into a movie, and Rue was cast as an African-American young woman. There was a lot of overt racism, but also just like:

“If Suzanne Collins wanted her to be Black, she would have said so!”

*sigh*

And it reminded me a little bit of Ijeoma Oluo when I saw her speak, a couple years ago.  She said, what if we, what if we use the word white the way we use Black or other words? So that every single time we were talking about a white person, a white political figure, or a white person in history, a white character, we put the word “white”. Because it seemed to me what they were saying is: she never said Black, so, the default is white.

Aimee:  I know that absolutely echoes my experience as a reader to this day. I recognize that my default imagination and my visualization of what’s happening in those stories is by default, white people. Unless I have indicators on the cover or in the description in the text that they’re distinctly not white.  And I haven’t even recognized that as a problem for myself.

Jeanie:  That is so disturbing to me, right?  You and I are about the same age.

Aimee:  Yes.

Jeanie:  We know this.  And we have been so exposed.  The canon has been so white that as default readers, we assume white no matter what.  And I’ll be honest, like, I think I do that too unless I’ve thought a lot about this.  I’m not proud to admit it, but unless the author is a person of color, I think I do assume white.

Aimee: I agree with that.  And I am disturbed personally, right, as somebody who I consider myself a brown person, an Asian-American, and I’m not looking I’m not even looking for myself in the book in terms of like, what my racial experiences in the world and in the United States.  I’m not even looking.  And I’m not sure if that’s a good thing or a really horrible thing.

Jeanie: What gives me hope in this book is in, again, in the chapter about Harry Potter. Specifically Hermione. The author talks about people younger than her — and I think she’s younger than us–

Aimee:  I think five or 10 years.

Jeanie:  She said that people even younger than her, especially Black girls, saw Hermione as Black. Read Hermione as Black.  They said: “Brown or dark frizzy hair and brown eyes? She’s Black like me.”

And then later, when JK Rowling wrote the adaptation for the theatre, Hermione was played by a Black girl. And that confirmed it for them even more.  But I love this distinction between Ebony Elizabeth Thomas saying, oh yes, I read Hermione as white and could relate to these younger Black women reading Harry Potter and saying, oh no, Hermione is a Black girl. There are whole tumblrs and blogs about this.

I think, to me, what that says is that our imagination is slowly being liberated.

Aimee:  I love that! And I love that we’re seeing it kind of transition. I grab that idea of emancipating the collective imagination, as well as the individual imagination.

It’s so necessary, because of the fact that you’re saying that different people are reading the same text and seeing different people within it. It means that it’s possible, right?  So often — and I think this might be a product of the education I received as a child — there was this myth that was perpetuated about the sanctity of the text. Right?  That what we read is absolute and true. There’s only one way to interpret it. A right way and a wrong way.

And I am so relieved to hear that we’re moving past that. That there’s much more room for people to interpret and imagine the life within a book in multiple ways. It’s not just in your closet or in your tree house, but as part of the public dialogue.

Jeanie:  That leads me to this other thought about the canon.  I follow Ebony Elizabeth Thomas on Twitter, because she’s brilliant. (If you’re on Twitter, you should follow her too.) And she talks a lot about how teachers and professors today are deciding what goes into curriculum and on our syllabi.  We are choosing which stories get re-told and re-storied.

Parents, families and caregivers also choose stories. But nostalgia is tempting. We want our kids to love what we loved as children.

I think this is really true in the classroom.

I think it’s especially like in high schools where everybody reads A Separate Peace, or Catcher in the Rye or To Kill a Mockingbird, right?  Those are all great books, but they’re not the only great books.

And being stuck in an old canon is problematic, right? Not just because those books were written by people who maybe hadn’t considered the troubles and controversies and the joys that we’ve experienced in the contemporary world, but also because those books were written in a time that was more colorblind and less critical of the world and of colonization and racism and the legacy of those things.

https://twitter.com/Ancient0History/status/1353808864228073472

Aimee:  I absolutely agree. You know, I think I feeling like I’m finally old enough to see that thinking shifting.  And the way that we critique, something that’s published today is far different than the way we were thinking about it 20 years ago — which isn’t that long ago.  And certainly, the books of my childhood we weren’t even imagining that we should critique them. I grew up with books like the Little House on the Prairie series.  All of the Judy Blume books, they were big in my childhood.

And, and then books like My Side of the Mountain, and Julia the Wolves, and you were mentioning not too long ago, the Scott O’Dell books. There’s a lot of relevance in those books still, but we’re reading them differently.  We have to read them differently because we have 30 or 40 years of collective shared life and thinking behind it now.  And it’s just kind of fascinating to think back to the things that we so highly valued and prized as children. They look different now.

Jeanie:  I remember in fourth grade, Miss Polink, I loved her so much.  She was the best teacher ever.  And she read Island of the Blue Dolphins to us. Scott O’Dell’s book. And I was in love.  I was in love with that book, I was in love with the story, I was in love with Miss Polink.  I was just so there I could hardly wait every day for her to read that book aloud to me.  It meant so much to me, right, that book.

And now all these years later, I know that that book — we all know that that book is problematic, right?  It’s not an #OwnVoices story.  Scott O’Dell took liberties. But I think it’s still tempting to share it.  And I’ve known many teachers, elementary, middle and high school students who are like:

“But that book has to be shared because kids love it!”

The truth is that there are books written this year that will have that same impact on students and be more culturally relevant and sustaining than Scott O’Dell’s Island of the Blue Dolphins.

If I were to teach that book again, it would be so different than when I was in fourth grade because we need to look with a critical lens at what’s happening in that storytelling.  I probably wouldn’t teach it.  I’d probably instead seek out a book by a Native writer, right.  Maybe I would seek out The Marrow Thieves say, or some other book written by a First Nations or an Indigenous person, to tell a story like that instead. And probably the students in my class would have an equally powerful experience like I had at that time. Because they’re being read a brilliant story by a person they care about.

Aimee:  I love hearing from you who is so in tune with the world of publishing and what’s coming out and how things have changed, that writing is getting better.

It’s not just the old icons that were incredible at their time and still have incredible pieces. There are excellent writers today and the way that writing is happening, it’s exploring identity and experience in different ways.  And that is so rich.

I’m one of those people that might feel nostalgic about certain books that I love and cherish for some reason and they’re old, right?  I think if I were to teach them now, I would really want to give kids that opportunity to be fan fiction authors as they engage in those books.

Rather than having them write about: if you were facing the challenge that whomever was facing, what might you do?  I would ask them to reimagine the story in a way. You know? Take certain elements that we think are important, like the arc of the story, and reimagine it.

And that could be an amazing kind of substitute for a book report, right?

Jeanie:  I couldn’t agree more! As I was reading this, because Ebony Elizabeth Thomas is deeply wrapped up in this fan fiction community and talking about transmedia and all these interesting things, I was like, why aren’t we assigning fan fiction?  Why aren’t we giving it as an option for kids to like, put themselves in the stories? To imagine different characters or imagine different outcomes?

And then also I was thinking about the other point I wanted to make from earlier, about the power of counter-story.  I know that interested both you and I to talk a little bit about how she uses counter-story or talks about using counter-story in this book.  Do you want to explain or shall I?

Aimee:  I would love it if you set it up, Jeannie.

Jeanie:  Okay, so counter-story comes from critical race theory.  It’s this idea that we can learn from telling the story from a different perspective from the non-dominant perspective. That that that is a form of not just resistance but of scholarship.

And so, in this case, one of the counter-stories that Ebony Elizabeth Thomas tells, is that she reimagines The Hunger Games from Rue’s perspective.  Rue takes center stage and this comes from fan fiction, actually. Plus it’s the label of a GIF.  Do we say G-IF or J-IF?

Aimee:  I say G-IF.

Jeanie:  I’m going with it.  GIF!  This is from page 63.  Can we just stop and talk about this for a minute?  Thresh doesn’t make an alliance.  Thresh doesn’t waste time liking Katniss. Because Thresh knows that either he must kill her or she must kill him for one of them to win.  This is the only way he can repay her for protecting Rue when he couldn’t.  It’s the only way he can repay her for honoring Rue when he couldn’t.  He honored her by sparing her friend, the girl who would have died for her.  The revolution really doesn’t start with Katniss.  It starts with Rue.

Aimee:  I love that.  I love that re-centering of an event or a moment in a story because often we’re stuck in the lens of, in that instance, Katniss, right? We’re seeing it through her experience and we’re centering her storyline, her plotline.  And I love that that in that entry.  There’s re-centering.  There’s thinking about Thresh’s experience, and then also Rue. Like, centering Rue that in that very, very pivotal moment.

And if you don’t stop to wonder, to kind of do a 360 view of a scene, you’ll just keep going.

It’s easy and it’s amazing to get carried away with the life of a book and let it just take you away and not necessarily have a lot of agency while you’re reading.

But wait: that excerpt that you just read just reinforces to me that it’s so important to stop and do a 360 view and reread or re envision the situation from multiple character’s point of view.

Jeanie:  You know, there are a couple places in this book where Ebony Elizabeth Thomas asks, is it that Black kids don’t like to read?  Like, is it that Black and brown kids don’t like to read?  Or is it that we keep giving them books and hoping they’ll connect with characters that are very unlike them, right?

Aimee:  And I think we don’t really know. Right?  Because we haven’t done the study.  And yet, why would the second thing not be true?  Right?  Why?  Why can’t we put things out there in front of kids that really do reflect their experience in the world at least as an entry point?  Right?

Jeanie:  When I was a K-6 librarian, I did this workshop with the Flynn Theatre, and I think it was called Words Come Alive.  And I really loved it. The thing that felt true to me as a reader, and as a mother who read to her son, is that reading is really about connection, right?  Reading to my son as a young person was about him being on my lap. About cuddling.  It was an emotional experience.  And when I saw kindergarteners come in who had been read to in the thing, I noticed that they felt the emotion of the story. Like, they got wrapped up in the emotion of the story.

That’s really why we read. Because it makes us feel things, right?

And kids who hadn’t been read to, often felt disconnected from the story. Or looked to disconnect from the story.

So what Words Come Alive did is it had us have kids stand up in their own bubble space, right? And they would act out the story not like a play, but like, I remember Scaredy Squirrel and I’d be like:

“Scaredy Squirrel was really scared! Could you show me what that would look like?”

And the emotions would play out in their bodies and their faces. What we were doing was building this emotional connection to story.  And I do think there’s something to this experience of a reader and noticing: when do you feel emotionally connected to a character?

I have some curiosity about that!

  • When does that happen for students?
  • When does that happen when we’re reading aloud?
  • Who feels connected?  Who doesn’t?  Why?
  • And how we might use that to think about representation in our stories?

Aimee:  I love that question, Jeanie. Often as an educator, we asked those questions about how kids are connecting to story as a means for assessment of student learning.

But what if we asked that same question and used it as an assessment of the collection that we’re offering?

Or our role as curator?  And how, what a good job we’re doing of that.

Or if it’s creating an environment so that kids can have meaningful connections to story.

Jeanie:  Oh, my goodness, Aimee, you are speaking my language.  This is delightful.  Because I think so much about formative assessment and formative feedback, not just being feedback to learner on how to get better, but for being feedback to teacher about like, what are we doing that’s working or not working?

And so, whether it’s the collection or the curriculum, right, like: who sees themselves in the curriculum? Where does it feel relevant and connected to student’s lives, right?  This feels really useful.  And if it doesn’t do either, how do we help them make that emotional connection? How do we find curriculum and content that already feels emotionally connected for them?

Aimee:  You and I have been doing some soul-searching and internet-searching these past few weeks as we’ve been reading The Dark Fantastic, but also putting together our thoughts for that Building The Anti-Racist Bookshelf workshop.  And one of the delightful things that we found is that there are so many resources out there, and great lists of books that appeal to different types of readers and have representation across the spectrum.  It is so heartwarming to see that it’s not that hard to go find inspiration about what other books we could be adding to our collections.

Link to slidedeck for Who's Outside? Building an Anti-Racist Bookshelf

Jeanie:  It’s been a delight.  And I think about like: this book isn’t just about representation in general.  It’s really about representation in what Thomas calls the fantastic. What she also refers to as “a world that never was”.  She gives examples like Tolkien’s Lord of the Rings (which you brought up earlier) or Barrie’s Peter Pan, Harry Potter.

And increasingly, there are so many more fantasy or fantastic books available written by people of color.

I know that the Binti trilogy is a huge favorite with my colleague and friend Life LeGeros. That’s by Nnedi Okorafor. Tomi Adeyemi’s Children of Blood and Bone series is another one that’s really like ringing true for readers.

Also Justina Ireland’s Dread Nation, and I am currently really loving this one (although it’s more of an adult or older young adult book): The City We Became by NK Jemisin. I’m reading that in tandem with The Dark Fantastic.  And what I’m really interested in is the way that NK Jemisin is subverting the dominant paradigm.  So, in this book, The City We Became, our heroes are this motley multicultural crew, right, from all sorts of backgrounds.

And our villain is Dr. White.  She is a white woman.

She dresses in white.

The evil tentacles she creates are white.

And I just love the way this book is handling topics like gentrification and white supremacy in these really subtle ways where white is the evil. There’s more and more available in this realm of magic that is so important because Ebony Elizabeth Thomas talks about how if you want to see Black and brown people in literature, you have to look at realistic fiction, historical fiction — and it’s all about struggle.  What if you just want to see representation in a way that’s imaginative and fantastical and magical and not just in the struggle?

Aimee:  I think all of those things are so exciting, Jeanie.  And I’m listening to you talk about The City We Became and that kind of binary of black and white and one being evil and one being good.  I haven’t read that book yet but I’m wondering about what your experience is in having that turned on its head.  And if it’s resonating beyond the book into the way you’re seeing the world.

Jeanie:  That’s a good question.  I am wondering myself if I would notice it as starkly as I do if I weren’t reading Dr. Thomas, right?  That’s one wondering I have.

There’s this point in the book — I’m actually listening to it on audio, and it’s a brilliant audio book because it has all these added production layers that I’m just loving — but there’s this one point in the book where a young woman from Staten Island whose father is a cop and she’s Irish-American, and she talks about how she’s in the car with Dr. White and she can’t see Dr. White as evil because Dr. White is all the things she associates with not evil.  She’s white and she’s female and she’s well-dressed, right?  And so, you’re really seeing white supremacy in action.

Reading that, listening to that, at the same time that there was a coup happening in the Capitol that we didn’t take very seriously because they were white people? Was this moment of like resonance with the text.

I’m kind of loving it.

I’m loving this subversion and the way in which it feels really relevant in this moment.

And I suppose that gets me, Aimee, to this conversation you and I have been having over and over again about windows, mirrors and sliding doors.

So, so often when we talk about representation in young adult literature we’re talking about mirrors.  If you’re white, you’re like surrounded by mirrors. Because so much of children’s literature is written from a white perspective. The second most popular perspective one is animals.

And then at the far end, are Indigenous and Native youth who are looking in a mirror the size of a makeup compact. Teeny tiny little mirror! And so much for the conversation is about who sees themselves represented.

But I feel like there’s this other conversation that’s becoming more, increasingly more important to me which is the conversation about windows.

And you and I have been sort of playing with this idea of what would that info graphic look like if it was less about mirrors and more about windows: who do we see represented that’s different than ourselves?

Aimee:  We’ve been talking a little bit about Rudine Sims Bishop and her concept of windows and mirrors and sliding doors.  That’s a very commonly heard phrase that’s used when we think about literature. 

Ebony Elizabeth Thomas takes a different quote from Rudine Sims Bishop than we often hear.  At the end of that quote, she says, Rudine Sims Bishop says:

My assessment was that historically, children from parallel cultures have been offered mainly books as windows into the lives that were different from their own, and children from the dominant culture had been offered mainly fiction that mirrored their own lives.  All children need both.

Jeanie:  Yes, I’ve been thinking more and more about how that if we drew that infographic as windows.  It would just be everybody looking through a peephole at such a narrow slice.  And that hopefully what I’m seeing now in children’s literature publishing — although not fast enough if we keep following that infographic — is that peephole is sort of starting to expand.

So maybe now it’s like a porthole in a cruise ship.

Infographic with visuals representing diversity in children's books from 2018.

Aimee:  Yeah. One of the teachers we were having this conversation with suggested the idea of a snow globe as the window.  That it’s a 360 view of mostly whiteness.  And I don’t know if this was her intention but it’s a shiny glass surface.  So, for her being a white educator, it was really reflecting back who she is.

That’s kind of the world of literature that she’s surrounded by.

And yet there is this little — it’s an interesting metaphor because you can see through a snow globe into things that are beyond, but it’s really not within your immediate household so to speak.

Jeanie:  We just get glimpses. If all of those glimpses are just like, I worry about those glimpses becoming a single story.  And I think I know that Ebony Elizabeth Thomas talks about this idea of a single story too.  And so, by all means, read The Hate U Give with your students.  Like I think that’s a crucial book to read with students.  But if you’re only reading books where Black and brown people get shot.  That’s a single story, right?

So read The Hate U Give but also read The Season of Styx Malone, right?  Like also read books, read the Binti Trilogy with your students or Children of Blood and Bone.  Make sure that you’re not only reading books by Black and — books by and about Black and brown people that are set in the civil rights era, that are about struggle, that are set in inner cities.  And one of the things that you’ve really been keeping an eye on and thinking about is books about Black and brown young people that are outside in the natural world.

Aimee:  Yeah, and there’s when you talk to people who consider themselves to be nature educators or people who are connected to nature.  And want to build that relationship before their students or between nature and their own students.

There’s a canon of books in circulation that are very common. Books like Blueberries for Sal and We’re Going on a Bear Hunt and My Side of the Mountain and Hoot. These are all books whose characters are white, and it’s not something that is necessarily in focus when people are experiencing these books.

But when you are repeatedly exposing students to books that are only portraying white people in joyful, playful, exploratory relationships with the natural world? And there’s an absence of Black and brown people having those experiences?

That puts this limit on our imagination.

It really limits the window.

And as you were saying, we’ve got so many books that are about Black struggle and brown struggle. Now, there are wonderful ways for young students to learn about history as a storytelling entryway, but then they need to go deeper into the facts of what happened.

But if Indigenous people, Black people, brown people, people from different parts of the world that have immigrated to the United States over time are only portrayed within these problematic moments in our history, then it deprives all of us of the possibility to imagine joyful positive thriving Black and brown people.

It also limits our imagination on who can show up to celebrate life. Who can show up to solve the problems that we’re facing, who can show up as leaders.  And who can show up as like a good friend. Someone that you can confide in, somebody that you can have a meaningful relationship with.

So, when I look at the canon of books that’s portraying this nature of relationship, and I see predominantly white characters? My concern is the limit on our imagination of what’s possible in that relationship.  And who can be present.

Jeanie:  It doesn’t make it impossible but it makes it less probable.  I think about one of my heroes is Bryan Stevenson who wrote Just Mercy.  And I heard him interviewed recently on Krista Tippett’s On Being.  And he was talking about how he grew up, he didn’t know a single lawyer.  He didn’t know a white lawyer.  He certainly didn’t know of anybody who was a Black lawyer and he became a lawyer, right?  And that’s possible.

It’s not that it’s not possible but how do we make it less of a struggle?

Or less like, you know, just to use the Hunger Games, since we’re talking about it earlier, how can we make it more like may the odds be ever in your favor? Not just for Katniss but for Rue, right?  Not just for white kids but for all kids.

Aimee:  I’ve been thinking about the Hunger Games this morning.  And wondering as I read it before the movie — which is really hard to separate in my memory these days because once I see a movie that I can’t see what I saw before the movie.  But I was wondering: How did I experience that book? Like, who was I identifying with as I read it?

I’m pretty sure I identified with Katniss.  She doesn’t mirror me but I think she’s framed as the heroine of the story.  She’s framed as something admirable and desirable, right? In terms of like, who one could be.  As a reader, that’s who I put myself in the place of.

But I wonder, you know: what impact does that have on my imagination of who can be that heroine.  Could it have been Rue?

And Ebony Elizabeth Thomas gets deep into the significance of Rue and the possibilities of who she could be as a Black girl.

All of the kind of significance and symbology that she has as a Black girl in current modern society, and how it’s problematic that she almost couldn’t be Katniss.  That she had to fulfill the role that she did as possibly as catalyst, possibly as a sacrifice, possibly as an assistant to the heroine.  But there were limitations on acceptance of her as possibly becoming the lead heroine in the story.

Jeanie:  Well, and there’s all this wrapped up in who can be the innocents of childhood. Thomas writes about how that was always meant to be about the innocence of white childhood, right?  And I want to mention two things about this.  She talks —  Ebony Elizabeth Thomas talks a lot.  We love her, don’t we?  Can we just say how much we love her and her thinking?

In talking about the problem with innocence in the Dark Fantastic, Ebony Elizabeth Thomas on page 55 writes:

Something about Black childhood confounds children’s and young adult literature, which is why Black characters are often trapped in narratives about slavery, Civil Rights, ghetto survival, or survival in the White world. While historical fiction and contemporary realism are important genres for Black childhood and teen life, Black children and adolescents are often missing from other kinds of stories, especially stories like The Hunger Games.

And she goes on to talk about when we think about childhood as innocents, it’s “not as a symbol of innocence but as its embodiment… This innocence was raced White.”

I think that’s really powerful.

And I think it’s really problematic. Right?

While I do have hope that authors like NK Jemisin and Tomi Adeyemi et cetera, are transforming that, it made me think of two things.

One is it made me want to re-read so many things with this critical lens.

And two, it made me realize there is such potential in using books like the Hunger Games, young adult books, as ways to analyze literature that is missing from especially high school curriculum.  You middle school teachers are great.  You’re often using these amazing middle grades books.  But I want to see more of this read, this like critical analysis of young adult literature in high school.

Aimee:  I wholeheartedly agree with you.  And  I think you and I would have absolutely loved having that opportunity as high school students to critically analyze the books we were reading which happened to be To Kill a Mockingbird and Huck Finn and Romeo & Juliet.  Those were the things that I was reading in high school.  And I would love the chance to go back and look at that from a critical lens.

When you were reading that excerpt about the Hunger Games and the innocence of a child and it being associated with white children only, it kind of sparked a different side of that coin for me.  Which is this idea that Black children especially in this country are born into racism.  And that’s something that is reality for them since the day that they’re born and can be aware of their surroundings.

And I’ve had the experience in teaching where parents of white children want to protect their innocence for an extended period of time. Of not wanting to know what not wanting their children to know about the civil rights movement and slavery and racism in history much less racism today as we experience it.  Parents have been wanting to protect their young white children from it.  This is not all parents but some parents.

And I understand that in terms of, you know, developmentally appropriate timing to take on challenging issues for students at a time when they can process it, when they have the ability to cognitively.  However, there’s this tension for me that Black children don’t have that grace.  They need to address and understand the reality of racism from the time that their feet hit the ground.  And so, it’s related to this idea that we can’t imagine collectively, we can’t imagine the innocence of being held by a Black character.  And that, but then we also protect innocence for our white children more so than we do for everyone else.

Jeanie:  Oh gosh.  There’s so much there.  I feel like we could talk for days about this.  And one of the things I’m thinking about is I’m thinking about how often in schools we perpetuate these notions that the dominant group can’t experience art and culture by the non-dominant group.

I saw a tweet the other day that said every time a librarian hands a book that features a female protagonist to a boy, a kitten feels the warmth of the sun or something like that.  I’m kind of butchering it but like I totally felt that because there’s this assumption that boys won’t read books about female characters.  That would lead female characters in the same way that there’s this assumption that white kids won’t read books about that focus on Black and brown kids.

And that makes me really sad because I think that’s a huge part of why we are where we are today.

I was listening to NPR right before the Georgia runoff election and I heard this woman interviewed and she was from Georgia.  And she’s saying:  well it has to go for Trump. Georgia had to have gone for Trump because everybody I know voted for Trump and I’ve been to three Trump rallies.  Everybody at the Trump rally supported Trump. 

And I was like: “Huh. That’s our problem with windows again.”  That’s like I can’t imagine another reality because I’ve only had my reality.

Aimee:  Well said.

Jeanie:  I’ve only experienced my reality.  She gets to vote for who she wants to vote for.  But the fact that she couldn’t even imagine anyone outside of her own experience, to me, is like a problem with the canon.  And so, we just had Dr. Dena Simmons who is amazing, at the Middle Grades Conference on Saturday.  And she was asked a question about, what about people who want to opt-out in thinking about racism?  And she was like you mean white people want to opt-out, right, because Black people don’t get to opt-out.  Brown people don’t get to opt-out.

And so later somebody brought up that their school is — their middle school was reading Ghost Boys by Jewell Parker Rhodes, and that some families were opting out.  Do we let kids opt out of The Catcher in the Rye?  Do we let them opt out of Shakespeare?  Like, why do we let them opt out of stories that focus on Black and brown students especially when, you know, when they’re experiencing violence like we see in the real world, right?  And also, please don’t make that the only book your teaching about Black young people.  Like, please, don’t let that be the single story you’re teaching in your middle school.  So, it’s brought up a lot of feelings for me.

Aimee:  Yeah, but it speaks exactly directly to white privilege and the fact that we entertain the question that some people can opt-out.  And it’s clear that it’s the families of white children that are choosing to opt-out.  Why are we even entertaining that question?

Jeanie:  And why don’t all kids get to see themselves in playful ways and in fantastical ways and magical ways which is really the question that our author here, that Dr. Thomas is asking.  Okay, I have one more thing I want to ask you about.

Aimee:  Great.

Jeanie:  Because you help me think so much.  I’ve been thinking a lot about #OwnVoices.  Meaning, the #OwnVoices movement is really about it’s not just important that we have Black and brown characters on our shelves.  We want those be written by Black and brown authors, right?  And that who gets the right to tell whose story.

And I’ve been thinking about that because well, because of NK Jemisin’s book.  I’ve been thinking about, she writes all sorts of characters, right?  So, she is a Black woman and she’s writing a character who is Native American.  She’s writing a character who is Indian-American, first-generation Indian-American.  She’s writing a character that is Irish-American.  And I’ve been thinking about like oh, is that okay?  Just like I will not read American Dirt, because it’s a Mexican immigration story written by a white woman.

Yeah, I don’t need to read that.

But what it’s got me thinking about is, is it easier for Black and brown people to write stories about white folks because they’re immersed in white culture?  And is it really that white folks need to avoid that because we are not.

Aimee:  That is so interesting, Jeannie.  And I have to tell you it’s resonating with me in terms of our experiences, our different experiences in settler colonialism.

I experienced white culture with the ability to see it from the outside because it’s very different from what my home culture has been, what I was growing up with.  And as a child it felt like dissonance of like why can’t I be like all the other families.  Mom, why can’t you be like Kendra’s mom?  She lets her do this and I want to have these kinds of clothes and I don’t want to eat that kind of food.  So, it was this tension for me really under the umbrella of assimilation.  But it was real because the tension was always there.  I was heightened, my awareness was heightened around home culture and dominant culture.  And I didn’t have those words.  And I didn’t have the words for white culture at the time.  It was just this heightened awareness of difference.

And so, you know, as I’ve gotten older, I can see the water that I’m in.  I can see what those cultural touchstones are that are different from my home culture.  And I’m aware of it and I can make choices about it.  Sometimes I’m not aware of it.  I want to put that out there.  I feel I’ve got biases I don’t know what all of them are.  But when I do become aware of it, it’s easy for me to understand there’s something different because I’ve lived something different.  There are many more something’s different.

But so my wonder for you, Jeannie, is like, how do you experience settler colonialism and culture of whiteness?

Jeanie:  Oh gosh, we need another hour or two.  I think that’s a really great question.  And I think I don’t know about other folks but as a white person, a white woman, it has been a series of paradigm shifts, right?  Like, and I have to continually look for paradigm shifts to help me see, to help me get enough distance to see the brainwashing, to see the water, right, that I swim in.

I think that’s why I seek out books like Ebony Elizabeth Thomas’ is to help me see more clearly what I haven’t been able to see what I’ve mostly lived and been indoctrinated into.  And so, taking a class with the amazing Marie Vea last summer to think about decolonization was really intense. Being friends with Judy Dow and learning from her and from you, and from so many people from my friend Rhiannon Kim, from so many people in my life helps me to like sort of step back and see the world a little more clearly, less myopically.

And so, there’s a quote Christie Nold sent to me from this blog from Chad C. Everett.  His blog is called ImagineLit, one word.  And I just pulled it up because I think it’s really relevant and it could be in conversation with this book, and in conversation that we’re having.

https://twitter.com/JPhillipsVT/status/1354404607913549831

So, I think about one of the ways in which I start to learn to shift perspectives and see the water of racism, is through relationships with people of color.

One of the things that makes me really sad about the current state of our world is that we’re more segregated than ever.  I had so many different kinds of friends in all sorts of ways in college.  And as you move beyond college that becomes less and less likely because our world is so segregated. One of the avenues in for me is that I grew up really poor.  So, poverty in a way, my experience of poverty even now as a very middle-class person is one intersection that allows me to see classism more clearly.  As a woman, right, like I can see patriarchy a little more clearly.

I don’t know if that answers your question or just muddied the waters further.

I’m really interested in this notion that it’s not enough just what’s on our bookshelves.  It’s also about the media we consume, who were in conversation with, where we get our news, who we’re friends with, who were following on Twitter.  Like, we need to make sure that we’re seeking out diverse voices in all aspects of our lives.

Aimee:  Jeanie, I think that what you’ve landed on is that we need to instill that practice of seeking out diverse voices.

And I think it’s not just about diversifying the bookshelf.

But then, you know, putting those books that speak of different experiences and counter-story, putting them in the hands of students and centering them.

So, it’s not just enough to say well, if I have this book on my shelf maybe that one boy who happens to be brown and is interested in sports or music or whatever it is, maybe he’ll find it, right?  But maybe that book is more important, not more important, but just as important for the light-haired girl who is living her Barbie world.  And that works for her because maybe she’s never going to be challenged.  So, I think it’s, again, it’s about diversifying our exposure, right?  It’s not just about making the options available but putting it in somebody’s hands.

Jeanie:  Becoming comfortable having conversations about it.  So, I would challenge our listeners.  I would challenge teachers.  My guess is that if we stacked up all the books kids are exposed to in their schooling, there’s going to be this enormous stack from white perspectives.  And there’s going to be a much, much, much smaller stack from nonwhite perspectives, all the different nonwhite perspectives together.  That infographic that we’re going to put in the transcript is going to, is going to show what that kind of would look like.

So, I’ve been thinking about this.  I’ve been thinking about it as a reader myself.  If I only read Black and brown authors for the rest of my reading life, and I read a lot, I’m still never going to catch up, I’m still not going to balance those stacks.  So, if we as teachers only read books from the perspectives of marginalized communities: Black and brown people, poor folks, queer folks, right, differently-abled folks, like, we would still never catch up with the perspectives kids are exposed to from dominant culture.

Aimee:  We would never catch up but we’re pushing on the edges of our collective imagination.  And honestly that is what we really, really need to do to have the capacity, to collectively imagine a future that’s better for all of us, and not just for some of us.  And I think we’re unknowingly limiting that future visioning by the media exposure and whose voices get heard and whose stories get told, because we haven’t yet developed that collective muscle of really envisioning a different future.  It’s — we just are so limited, and so I am excited about that possibility.

Jeanie:  And I’m excited about expanding our collective imagination to what is curriculum, who’s represented in the curriculum to what is — how kids engage in the world and like looking beyond the ways they’re engaging in the world.  I would — I think that Ebony Elizabeth Thomas gives us this great language to really push past not just what’s represented in the Fantastic as she calls it, but in our world, right?  Like, how do we expand our collective imagination?  And you, Aimee, have really helped me expand my imagination in so many ways.  I want to thank you so much for working with me, for collaborating with me on the webinar, which was really your instigation, I guess.  I’m collaborating with you and for collaborating with me on my own thinking.

Aimee:  And Jeanie, I want to reciprocate that gratitude because I did seek you out as a partner because I had this idea of, you know, this idea of building the anti-racist bookshelf.

I had some ideas of my own but I knew that they weren’t quite where I wanted my thinking to be at.  And I wanted to push them further.  So, I invited you to join me as a thinking partner and a co-facilitator because I knew that you could add something to my thinking and push my edges in a way that I needed, and that is definitely healthy.  So, I thank you for playfully engaging in these conversations with me and entertaining the Fantastic and doing the introspection with me around how are we limited and what is it that we’re not yet seeing and understanding, and what do we need to do to start understanding that?

Jeanie:  I love being on the learning edge with you.  Thank you so much.

Children of Blood and Bone on #vted Reads

On this episode of #vted Reads, we welcome Erika Saunders back to the show! Erika agreed to guest-host an episode, talking about Children of Blood and Bone, by Tomi Adeyemi. She’s joined by Philadelphia-based educator Monique Carter, as they talk about:
  • the emotional resonance of your own language, especially if it’s lost and you ache to find it;
  • what it feels like to finally (!) see yourself represented (right there!) on a cover of a book;
  • and why everyone — especially in Vermont and Vermont schools — should read this book and others that bring us closer to understanding multiple perspectives, histories and stories.
As 2021 has not shown its best face to the world in this first half of January, this is a good and powerful listen, most especially about Monique’s dad’s advice to “never yuck someone’s yum…” Enjoy!

 

Erika:  Hi everyone, I am so excited to be here.  For those of you who don’t know, I am guest-hosting this time on #vted Reads.  My name is Erika Saunders.  I am a recent addition to the Vermont area.  I moved here about just almost seven months ago now in the June from Philadelphia and I’m now a proud member of the Burlington School District. And I’m going a little crazy because I am here with my sister friend.

For those of you don’t know what that term is, sister friend, she is more than a colleague, she is more than a friend, she is practically family at this point. And I am so happy that she agreed to be a guest here for us to discuss today’s book.  Without further ado I am honored, thrilled and beyond excited to introduce to you all my sister friend and fellow educator Monique Carter. Monique, please introduce yourself to everybody here.

Monique:  Hi, my name is Monique Carter.  I am a mom, first of two lovely girls. Hopefully you will not hear them in the background.  I am a school teacher.  And I teach students math in this school district of Philadelphia. I’ve taught in a friend’s school before, taught in a charter school in one of the most challenging school districts in Delaware County in Pennsylvania.  Now I teach in Philadelphia. This is my fourth year with the school district of Philadelphia and I teach fifth graders and sixth graders math.

Erika:  Thank you.  Monique is being extremely humble, everyone.  She is a beyond-phenomenal educator and teacher; she is extraordinary.  We met when we were both working at Science Leadership Academy Middle School in Philadelphia, a project-based, inquiry-driven school.  That’s how we met. And like I said, we have become sister friends at this point.

Thank you so much, Monique, for joining us.

So, let me get started so that everybody understands what we’re going to be talking about today.  I have to give just a little bit of background.

So, I would often go to Barnes everybody or a bookstore. The only one around in Philadelphia was that one.  And my son and I both love to go to bookstore.  We would just spend hours in the bookstore, right?  And even before I was a teacher I tended to go towards the young adult fiction because, you know, there was a certain point in time where the quality and the interest level of it just ratcheted up. You know, before our day.  I don’t know about you but I remember the Judy Blume days, which again was phenomenal but nothing like what we have now.

Once I started teaching, I was always looking for books that kids would be interested in. And I remember walking into the store seeing this cover and honestly feeling like… drawn to it. As if the book was reaching out to me to say: come and pick me up.

Children of Blood and Bone by Tomi Adeyemi

 

Do you see this gorgeous, gorgeous representation?  Never before had I seen a cover that represented us in such exquisite ways.

I mean: from the gorgeous white hair, reaching up to the sun the way our hair, you know, will go up. To the exquisite skin color and everything.  And when I purchased this book, I don’t know if you remember, Monique, but I literally went walking around the school holding the book up and just walking into classrooms. Not saying anything, just waiting for the kids to notice.

Monique:  I remember.

Erika:  You remember that?

Monique:  I remember.

Erika:  Talking about representation for a moment: I, in my lifetime — I’m a huge reader, huge lover of books — and I had never seen anything that looked like this.

And then being as equally flabbergasted and excited when I saw the queen author who also looked like me. Whose hair looked like mine, you know, even that inspired me.

So, we’re going to be talking about this extraordinary book both for the places it’s gone with its storyline — which again I hadn’t seen before, right, was literally taboo in my home —  to the representation that we see.

I mean, I’ll go into it a bit more, but I wanted to start out really saying — because you and I have talked about it, you know, a lot being in the school that we were in in Philadelphia, with the population that we taught. But: what exactly does this book mean to us? To people like you and me? We’re similar in age (although I’m a little older).  But: we’re similar in age, we’re both mothers, we both teach, you know, Black children. (Let’s get real, right?)  And have done so for a long time.  So, talk to us. Talk to me. What does this book mean to you?

Monique:  Now the reason why I wanted to say that I remember you walking around being so happy about this book, is because when I saw it, I almost yucked your yum.

Erika:  You know, you got to explain to folks what you meant by that.

Monique:  All right, I yucked your yum. And the reason why I’m saying “yucking your yum” is because I have a seven-year-old — about to be eight —  and you usually tell kids:

“Listen, with food, if it’s something that someone else likes, if you do not like it, just keep quiet about it. Or say like, ‘Oh that’s different for me!’ You don’t say, “oh that’s yucky.”

It’s something my dad always taught me as a little kid.  Like if you see food there, it’s food. It sustains someone and it’s none of your business to come and just yuck it.

But I opened this book up, and I looked at the map and I was like… there’s a map on the inside!  I looked at the map and in college, I remember studying what they call in this book, the — or what’s considered The Reaches as a part of some religious traditions that are more unconventional.

Children of Blood and Bone
Map detail of inside back cover. Click or tap to enlarge. Photo: Audrey Homan.

 

And so, I’m looking and I’m looking and I see, I see things like Ogun. I see things like Babalú-Aye, I see Orunmila, I see Shango, I see Yemoja.

And then I see Ori, I see Oya… and I’m like what is Ayao?

Ayao. I was like: that’s not a deity in the Orisha list of divinities.  Orunmila, and then they have Oxossi here and I’m like, what is this about? And I was like, wait a minute, Oxossi and animals? I had a whole perception of what this should be based off of the words.  And I was like: “Oh man, this is one of those that’s going to take our names and just do a whole bunch of different things with it.”

All right.

What I probably should have done was just try to read the very first chapter, so that I could have a little bit more information about it for myself.

Because at that time I was in a place in my discovery — not saying that this is the very first time that this has happened. But that was a place in my discovery where I realized that there were very few books that featured brown kids.  And this was around the same time I was reading Marley Diocese [sp?] book when she starts talking about how she came up with a list of books that had African-American protagonist.

When my daughters got together and my nieces got together, we kind of did something similar. We did a monthly chat where we featured books that had female protagonists, African-American females that were the protagonist of the book. At the same time, my daughter was reading Percy Jackson and we just discovered, Tristan Strong Punches A Hole in The Sky.  And it was kind of along the same kind of like vein of Zetta Elliott’s Dragons in a Bag.

I was looking at a lot of her work and she was sharing a lot of the teachings of other people, saying that a lot of brown kids don’t have fantasy stories where there are brown people who are the major protagonists in the story. If you think about fantasy, if you think about cosplay and a lot of things like that, you don’t have too many African-American protagonists.

So, when I read Tristan Strong, I was like: whoa, like that was amazing! And then just understanding that premise and revisiting *this* book and thinking like: oh, this book is a fantasy book.  I usually focus on kids who are brown and I focused on kids since those are the ones that I teach.  I focused on kids who are living in what we call inner cities who have to kind of juggle, like, too much of real life sometimes, and fantasy. Now I can’t say the children who are in inner cities don’t have an opportunity to fantasize.  But in their stories or usually the stories that are presented to them in class, I don’t think that they have as many opportunities to look at themselves in a book and read about that fantasy.

When this book right here, gives the kids that I teach in Philadelphia an opportunity to now see themselves in those roles of characters who are magical or who have certain powers? It’s kind of — it’s been what we’ve been wanting it for so long.  And in part that’s why “Black Panther” was so appealing. A story that’s really out there advertised on main media outlets presenting something that’s based in Africa. Something that’s inherently, strong, powerful and magical. So.

Children of Blood and Bone : Black Panther movie poster

 

Erika:  Yeah, I’m so glad you went there.  I have for so long in my teaching career — and being a parent — looked for books that had Black characters in the first place, right?  Let’s start there.  Let alone the main character and the story not be based in slavery. Based in seeking freedom, based in hardship, based in a position of emptiness or despair. There’s wonderful, wonderful Black authors producing this work, but getting it out like you said in the mainstream? I was so disheartened to see book after book after book come through were the young black male.  Because again, we know that that finding female characters is hard enough right?  It’s come a long way, it’s come a long way, but, you know, for powerful strong women characters it’s hard enough.

Especially that the books that I was seeing for our population, right, were of a young Black man who’s in trouble with the law. Who lives in poverty. Who is overcoming thing after thing after thing and again: these can be good powerful stories but they can’t be everything. That is not all of who we are and it does not represent us in a totality. I mean sadly, Monique, I didn’t even think we could have it.  The fantasy, you know? The spectacular, the Harry Potters, the genre, right?

And for me again, I can’t help but go back to this cover. And kudos to the artists, because the beauty of seeing our dark skin; a dark skinned female with a blue tint to her eye?  You could just tell there’s this imposing beauty and strength, with again, the hair that reaches up.  I just thought: this can’t be. You know? This can’t be. And then to open it and see a Black female author with natural hair.

Someone who looks like us.

I literally walked around the school with this book because I wanted the kids in school to see.  I wanted the white kids to see as well, you know, how we were represented. For me, this was the — I don’t want to say the conclusion because we’re still looking — but this was finally what I had been searching for my entire career.

And then to see it taking place in a fictionalized area of the continent? I wasn’t even making the connections to the actual deities and things because I did not have that background.  But just to see this powerful young woman and our culture of origin which again, when you see that, it’s slavery, right?  It’s pain. It’s depicted often in a very negative sense of “less than the primitive.”  Like you said with Black Panther, what we can be in that power and everything we bring?

I’m so glad that you mentioned that because I remember us talking and you saying, “Wait. Is this okay for the kids?”  Because, you know, what is this, right?

And then seeing such a rich story.

I’m going to lean on you a little bit when we start talking about actual character names and things for, for correct pronunciation.  But I remember thinking about that where I was struggling a little bit. Because again: the wording and things aren’t something I’m familiar with.  And I thought: this is going to be a problem.

But then I remembered: how easily do we accept that in books where there’s white characters?  Harry Potter, when I first read Harry Potter, right?  There were words that were not part of our vernacular that aren’t real.  These weren’t even real! And yet I learned to say Muggle and things of that nature. We do it in other areas and yet I even felt a little like, is this going to be okay?  So, I’m glad that you brought that up.

And, you know, this is a great transition to kind of talk a little bit about, there’s so much going on.

Monique:  Yeah, there’s so much in this book! Like, just a, just a whole idea of: is this okay for the kids?

Because I know personally when, when kids ask me like, “Oh Ms. Carter, what’s your religion?” I usually tell them like, I’m not Christian.

Then [they respond with]: “Oh you’re Muslim, right?  As-salaamu Alaykum!” Like, “Wa-Alaikum-Salaam!”

But I’m not Muslim either.

I practice a religious tradition that is related to a lot of the deities here.  And a lot of people don’t realize that even some of the people in *their* Christian churches practice the same tradition as well.

Now the reason why I was asking if this was okay is because a lot of these deities have their roots and things like Candomblé (which is in Brazil), and in Santería, which you could see in a lot of Latin American countries. Puerto Rico, Cuba. And it has a foundation also in Verdun. And that right there: just saying the word “Voodoun” is a lot for a lot of people.

Just understanding that right there, when I first looked at it I was like, “In the classroom?  Are we sure is this okay?”

And then just to understand that a lot of people in our school actually read this. And they got a chance to meet the author when she came to Philadelphia.  That right there I think blew my mind. Just the things that people can either overlook or not necessarily play too much attention to while reading something like this.

I took in a lot of the Harry Potter books and the Percy Jackson books. I listened to them because I read very slowly.  And if you look at those books, they’re very thick books.

So, when you, Erika, really got into it and when the kids were visiting the author, I was like, you know, what?  I need to give this book another chance. I ordered it so that I could listen to it online.

And I listened to some of it and then I stopped.  But then we talked about doing something like this and, and reading the book for it.  And I said, okay let me just read the book.

I listened to the first chapter and I heard some words in there and I was like: I have to look at the book. You know, I have to actually read the book because I am so charged visually, that I need to see the actions, whether they go this way or that way, because they use a lot of Yoruba words in here. A lot of Yoruba phrases in here. And even though I don’t know how to read Yoruba or to speak Yoruba, I know what an accent could mean for the same word on the same letter.  This could mean something positive while this other thing could mean something negative.

It could change the whole sound of the word.

And so, having the actual words here so that I can see them was, I would say, an absolute gift.  It came to the point where I was listening to the story while looking to see how they were spelling things in the book.

Because my understanding of this book and how it came to be like it was? Was weird for me.  For me it almost followed my family’s, I guess “experience” coming to the States and being a part of the tradition that I’m in now.  And just understanding that: coming from or being kidnapped from, my family being kidnapped from, different places in Africa, being kidnapped from different places in West Africa, we lost the language.

There’s a part in here where the main characters Zélie is talking about how she hasn’t heard Yoruba in such a while.  And then understanding that that is a tool of colonization: just making sure people do not understand the language.

Reading this book here, I actually stopped to look up every single phrase that I could possibly look up because it meant a lot to me.

When I looked up Inan’s name and read that it meant “sun”.  And then when I looked up at Zélie’s name and I saw that it meant “reserved” and she’s not reserved in any sense of the word.  That was part of my approach to reading this book and that really made it a different type of journey for me.

I’m glad I read it right now because I had time to read it, and I could relate it to my experience as, I’m just going say as a Narasimha worshiper.  Had my sister read this (who was not a Narasimha worshiper), this would have been a complete, this may have been a completely different story for her.

Erika:  That’s a good point that you bring it up, I am not [a Narasimha worshiper].  So, the experience I’m getting from reading it and I have gotten from reading it, I’m certain is I believe, still powerful.

You know, there’s so much going on in our country. So much going on for Black people — the history we talked about, kids not understanding where they come from. It’s always negative, starting with slavery.  And when you mention colonization, having everything about us and our origin stripped away, whitewashed and demonized? When I was growing up, a book like this — even the title, Children of Blood and Bone. What?  With like you said, voodoun.  But that sort of deity worship. Or wizardry or magic. It was seen as so negative.  In lots of ways it still is — I know there were the protests around the Harry Potter.  I remember those few days because I was teaching and had even sent a letter out.

But once again the power, to me, of bringing this book forward in the setting that it’s in, bringing another view of the African continent the way Black Panther did, right? How powerful that is.

I’m going to read a little bit about a little piece of it now and I want us to take a moment to really talk about what this book means in terms of, for us as a people right?  I had not read the Author’s Note because it was in the back. It’s usually in the front right?  And so, I didn’t even realize where she was coming from. This is this is from the author herself, Tomi Adeyemi. It is powerful and it again had me thinking in a lot of different ways what this book might mean, so.

 

Children of Blood and Bone by Tomi Adeyemi Author's Note
Children of Blood and Bone, by Tomi Adeyemi. Author’s Note. Click or tap to enlarge.

 

Erika: I almost feel the need to like hold a moment of silence after that.  When I read that, Monique, which was after we had decided to read this because I’ve had this book for I think three, four years?

Monique:  Yeah.

Erika:  Right, do you remember, it was early.  I think it was your first year.  When I read where she was birthing this, I was like: wow, now what more does this mean?  You know: what more can we get from this for our people? And I thought: what a powerful approach. You know? This can maybe make a difference in different lives.  Do you want to speak at all to that and again to the struggle that we have?

Monique:  Well, it’s funny because since the authors note was in the back, I didn’t pay much attention to it either.  And I leave right at, close to finishing the book.  I read much of it, and I’m just going to bring us to maybe a line or two lines before where you ended where it says, just like Zélie and Amari: we have the power to change. 

Right before that it says, we are the children of blood and bone.

This is why I feel like language is so important.  And I think there was a hint of that in the story when Zélie was like, “Oh! I haven’t heard Yoruba for such a long time!”  That’s one of the tools.

When we were brought here, when we were brought here and we were made to work, we were not allowed to speak our language. We were mixed up with people who did not speak language. Because this language is power, this language is powerful.

I don’t know everything that’s being said in the in the Yoruba words before then. But she does say, “We are all children of blood and bone” which helped me understand the title of the book. But in that, it says egungun. And for a lot of people who worship Orisha, egungun means ancestors.

So, I’m wondering if that translation of “bone” relates to the bones of our ancestors. Just understanding the connection to ancestors.

And when you think about certain points in the book like, I remember us talking about a certain or specific place that I wanted to read from, and I couldn’t find much of anything.

But there is one part in the story where I was like, whoa, wait a minute! When Zélie — I don’t think I’m giving away too much — had to find three major items. She had to find the stone, she had to have the scrolls and she had to have the dagger. But the dagger was made out of the bones of one of the people who were a part of that that magi or that leaders, almost that spiritual leaders.

And so, thinking about those three elements and that ended one of the chapters, it was maybe like 40 something or 50, and she was like: “Yeah! I have the stone, I have the blade and I have the scrolls.”  And saying something like we’re ready or giving the sense like we’re ready.  And so, like for me being an Orisha worshiper, I’m just like, whoa, wait a minute, that’s like the complete package.  So, when I think about my experience and my family’s experience, we’ve been kidnapped, right?  We were here, had to go through the Middle Passage, had to go through the genetically shaping experience of trauma of slavery.  And we had to go through Reconstruction.  We had to go through the 60s, the 70s, the 80s, and Lord, mercy — the 90s, in New York City.

Erika:  Speak it now. Speak it.

Monique:  We had to go through that.

And in the meantime our shrines were abandoned and what did we have to hold on to?  Our language? We had our sacred text which were really a collection of stories. And we had elements of nature, so things like stone.

For us to be bringing that over with us and for people to be practicing that today and for people to be moving from Christianity?

I grew up as, as Baptist, Baptist Christian. And we — *sings* — Came! To! Serve! the Lord!

Every Sunday. I was there. Then I went to college and I found out all of these symbols that I was living around — I lived in a part of the Bronx that was highly populated by Latinos and specifically Puerto Ricans.

In my particular neighborhood there were botanicas.

And in those botanicas you had all these different symbols. I knew of them, I was aware of it.

And I was like, that’s that stuff.  We don’t play with that.  We don’t go in that store unless we want to hit the numbers or we want like, a little fortune-telling session.

Then when I got to college, I realized that these things were steeped in African traditions. And this is an African tradition.

When I got my first reading, they said: “Oh my gosh, you’re the chosen one.”

And I’m like: what are you talking about?

Like, they said it to everyone, but it was such a powerful moment. You are the chosen one in your family. That is: you’re meant to bring people in your family back to a tradition that they once practice before.

Once I got there  I started learning about, oh my gosh, I need to have a better connection with my ancestors.  There goes that spear.

Then as I was becoming a practicing a Orisha worshiper, I learned more about Odu; there’s a scroll. So I’m collecting all of my things for my magic to return.

For me, this was that type of journey.

The entire story played out that way. When we’re thinking of the Diviners: oh yeah, they’re the ones with the white hair.

And I was like: oh wait a minute.

Even though Zélie’s family are a family of Reapers, like …her hair is white. White is for Obatala. Obatala represents, yes, kings.  But he also represents beggars, vagrants, anyone who is special ed — or considered special ed,  because we know that those who are in special ed are some of the most gifted students that we have. That is who Obatala represents and to some extent you wonder like if we, as brown people, if we are the Obatal’s.

Are we all trying to find or get our magic back?  And then, once we get it how do we keep it?

That’s what reminds me about Adeyemi’s statement in the back.  Like, when she says: “Now let’s rise. This is our moment.  This is our moment to rise.  We have every opportunity to now collect all of our artifacts so that we can actually rise. ”

That’s what this book was for me as I was reading it; this was like a journey. This was to some extent my journey.

I was speaking to someone about it and he was telling me like, whoa, I totally would not have read the book that way.  I totally would have not have not read the book that way.

Erika:  Because I didn’t.  You know, there’s so many reasons why I’m so thankful that you agreed to do this.  Like, yes you’re my sister friend. Yes, you know I could have twisted your arm, but I didn’t have to, I didn’t have to.

But I don’t have this deep knowledge that you do which makes this such a revelation for me wanting me to dig back into it.

And I want to touch upon a couple of the things you said.

One of them being, you know, people coming out of Christianity — I’ve said it before: it gets to be a touchy subject.

Like, you said when we came here — excuse me —  when we were kidnapped and dragged here (words matter), and stripped — stripped in every sense. From the clothing literally, right, stripped of clothing, and stripped of adornment, stripped of titles.  Stripped of all of the, you know, prestige and positions, stripped of language, stripped of spirituality practices.  And what did they replace that with?  Our religion became the religion of our oppressors.

And we don’t even think twice about that now, you know?

When you said people moving away, you were sitting there talking about things like the stone and the bones. I mean we’ve had that idea of like we stand on the shoulders of our ancestors.  But I think there’s that understanding now when you talked about bringing stones.

Anyway, can you I mean, can you talk about share the story you talk to me about when a white person encountered some of our magic? Please share that story.

Monique:  That particular story. Recently my daughters helped to put up a little free library in our neighborhood.  And I joined a little free library kind of a Facebook group.  But one of the owners they posted a picture of the cover of Children of Blood and Bone.  And the next one in the series. What’s the name of the next one?  Oh it’s right in here.

Erika:  Children of Virtue and Vengeance. I got it.

Monique:  Children of Virtue and Vengeance.  They took a picture of this, someone donated this book and the next book in the series.  And for a lot of people that would have been like: oh my gosh, when can I go and get that book.

But her response was: “Someone donated these books here and I had to pull them out because I didn’t know what type of worship they were condoning.”

And so yeah, there were a number of responses there.  A lot of people were saying like, oh those books are golden. Like: “You need to put them in your little free library! That was a gift!”

There was someone else who responded in a way that was a little bit more angry that called her racist and said,

Why do you think that when you see these images it’s automatically with some negative magic, something that is turning people over to ‘the dark side’?

I’m paraphrasing because it was a lot meaner than that.  But just understanding that, just the picture here brings people back to that “understanding” that there are two sides.

There’s the good side: white, clean, foreseen.  And then there’s the dark side.

And it’s in part why I was asking you like: is that okay?  Because God forbid if I mentioned the word Voodou in class. That’s in part why this book is absolutely important.

Now, when I was mentioning the stuff before I wasn’t Christian-shaming, I was sharing my experience. I believe that our family was meant to explore some things other than Christianity.

If Christianity brings you to your life’s mission, you go and you be you.  Because even in Christianity, we as brown people have made it into something that satisfies us. However I am choosing a different route.

But yes, the whole idea of like Voodoun and worship and shrines and things of that sort and those being negative.  I know at some point, my daughter will deal with that.

Having something like this would help her to kind of connect with that in a way that she could really pick up on. She’s a real Harry Potter, real Percy Jackson person. We kind of read this together so that I could explain to her what these things were, what these deities were. For her to understand the beauty of them and the connection to nature, that is not always something that’s promoted — at least in my experience — with Christianity.

Erika:  I’m so glad you brought that up because again, it’s here we go, right? We have to explain.

I am not Christian-shaming, I am not saying that Christianity is bad. The double standard, right, where — what I what I said was we never even thought twice that the religion that and I agree that we’ve made our own, right?

We’ve brought in some of our ancestral — you know, with the drums and music — which is a very, you know, ancestral place to be. Versus the loftier songs that came from, you know, the more Eurocentric.

But what I’m saying like you’re saying is we weren’t even allowed to think that that’s the connection.  And whether or not, right, we wanted to continue to pursue wonderful again. I’m if, anyone asked I’d probably say I’m, you know, Christian. Or at least, you know, spiritual.

But we weren’t even permitted because of the double standard that this was such a negative thing.

We know, we started as kings and queen and have that second thing. And I think this is a perfect segue into, you know, this is this is Vermont Ed Reads and you and I could talk all day and half, and we’ll continue to write about why this is so important for our children, and for our people. For all of our people.

You know, as we continue to struggle, we’re recording this the week of the insurrection where the rest of America is starting to understand and see the severity of the double standard.

Monique:  Oh yes.

Erika:  And that is the most extreme of the most extreme.  And although many of us, I mean, you and I have talked about it, you know, we’re happy that you’re starting to understand that.

You know: Dear Father, it took literally a siege upon the Capitol, you know, and the sort of lack of aftermath, right?  There really wasn’t much of an aftermath for people to start to say, oh wait, now if they were Black people, I’m not sure this would have gone mainstream media.

The segue I want to say is: why is this book important for everyone?  Not just Black America?

I’m in Vermont, I am in the Burlington School District. It is one of the more diverse, I think the second most diverse, with a much higher percentage of the acronym BIPOC — which I do not like. I don’t like it.

(Because you somehow managed to take everyone else and still other them, right. Everyone except white people and other them into this one category that perhaps white people can wrap their head around. But I digress.)

And, you know, bringing different types of literature centered around people who don’t, you know, look like the traditional Vermonter.

Also knowing as I’m learning that there are still — I’m sure you can appreciate from what we’ve talked about still a lot of school district in Vermont — that diversity is minuscule.

We both know in the Philadelphia area once you get out of Philly proper, right?  And when I say “out of” for you all who don’t understand, I mean literally across the border line. Those school district’s look very, very different.  Probably a lot more like Vermont.

So, what I’m leading to is: why is seeing this, experiencing something like this, important for people who don’t look like this?

Monique:  I would think one, because as being a part of being anti-racist, you’re being more active.  Whatever that means in your realm or in your community. And reading.

A lot of people have been doing a lot of reading.

I feel like in order to, as a part of the process to become more anti-racist (which a lot of people are working on right now) you have to study stories. You have to study stories.  Stories are generally the history of a group of people.

And in this book you have language; language can be its own story.  Language is its own story.

If you’re trying to find out more about different people, go find a story about those. Like, don’t read adult books — or in addition to your adult books, read some children’s books about stories that are related to a religious tradition or to a group of people.  A

For some groups of people you can’t even separate the religious tradition from the group of people.  Reading those stories, we call them a part of keys.  I’m looking over there because there’s my next book, Yoruba Tales.  I’m sorry, it’s not the book we were showcasing but…

Erika:  All about books, Monique.

Monique:  But this is the next book, I’ll be giving my child because it will talk about the gods. Gods and heroes.

Another way to learn more about a culture or group of people is to just investigate the stories and then see how the language is attached to the story.

For instance, I know egungun translates into something that is different in your book.  But our understanding of it is “ancestors”.  By breaking down that language so that you can understand what something means to a particular culture, I think speaks volumes. When you pick it up in a story, it is so much more fun and you’re more than likely, I think, to remember it.  Then you can share that story with other people instead of saying like, “Oh, I found out that this group of people, they like to do this” or “They have no word for this in their vocabulary or in their language”.  You can share a story.

Erika:  That is so powerful, Monique. I was thinking too, being an educator here in Burlington School District,  part of it was, you know, the new superintendent [Ali Dieng] coming in at the same time I came in. Bringing in this equity aspect and wanting it to be front and center.

And I was sitting here thinking just the ways you were talking, when you were talking about the maps and the language.

Imagine a history class that is using this book to understand.

Imagine you’re starting with this book, as you’re discussing the people who make up America, you know, instead of starting with just slavery.

If you’re going to be anti-racist, teach through the lens of social justice, which to me again… I mean: so you’re going to teach truth? You’re going to, you’re going to teach the truth now?  Because what we’ve been teaching hasn’t incorporated the truth.

So, in order to understand even who we are and what this country is, we must incorporate it all.

We must have our children understand all of our children, everyone’s differences because those children grow up.

The children in front of us grow up and become leaders. Whether that’s in the political realm, whether that’s in our communities, they will help to make decisions that affect everybody.

They may choose to go off and try to destroy that which they don’t know and fear.

Monique: There’s something in the book about this.  It actually says like, the reason why they have tried to or they attempted to take magic away was because at one point they love them.  They love the Diviners and they love the fact that they could do magic.

Then that changed to maybe jealousy, and then to fear. That’s when we talk about the rates that they had and there’s still a huge fear.  Even there’s even a fear amongst Inan (I think his name means “son”.)

Inan, who was like, oh my gosh I hate magic but–

Oh… wait a minute…. I will give that point away.  Wait a minute!

So: that which I fear is now me.

Erika: Well that could be a whole another session.

Monique: That’s a whole other session. because some of the notes I wrote in here about Black people calling other Black people maggots.  And I’m like, oh wait a minute.  This is not too far from today.  But this is why stories really, really help you understand not only a culture but it can also help you understand the historical advancement of the culture.

I know when from my daughter’s school, we were planning Dia de los Muertos, a  celebration which is Mexican — or at least how we consider it nowadays is I believe, we consider it to be Mexican in origin.  And then as part of the celebration, I wanted to play a game of bingo.  It’s called loteria.

And when you purchase it they have one little space on there that says, “El Negrito”.  It’s supposed to stand for the little black man.  And so, you go and you interpret it with those eyes.

It’s funny because I had a conversation with one of the ladies that was helping me to organize it.   She was like: when you get lots, make sure you get a newer version.

And I knew exactly why.

I knew.

I was like: oh she’s speaking to a brown person and she realizes that it has, and I was like, oh, are you talking about the El Negrito?

She was like, yeah, yeah.  It doesn’t really mean what people in the United States.  And then I was like hmm…

That truly was a study of the culture for me.  You know, you study a culture, you do some of the things that are done, you play the games.  You read the stories and you learn the history.  And sometimes the history is learned through the stories.

So, just reading a book like this helps kids I think to kind of connect with the story.

One thing that I’m trying to get kids to do in school, Brown kids in particular.  When they are in a classroom and history is presented for them.

If they are not a part of that narrative or that story? As a student part of their job should be to say:

“Oh excuse me, where would my story fit in here?

People love stories about their culture.  Why do we think Hamilton was such a huge hit?

Erika: I want to hit upon something you just said which was, you know, when a child doesn’t see themselves, they should be empowered to say hey where?

And what I want to say to, you know, Vermont educators who are listening as well as anyone else: we should be raising Children who should stop and say,

“Hey, where’s *anyone* else?”

You know, where there’s a noticing that we’re really not talking about — where is that?

That’s the kind of education that we should be instilling in everyone so that we start to notice who isn’t represented when we talk about equity and we talk about that.

And not only like who’s not representing but also what’s happening around the world at the same time.

Monique: I think the most confusing part of studying history for me as a young kid was understanding that something that I studied about that was happening in Europe was happening around the same time that something else I studied the following year.

So, yes, it’s good to study history and it’s good to have different perspectives.  And also just keeping in mind like what else was happening around this time in different parts of the world.

I have a wonderful advisee at my school.  And she is — our family is from Nigeria.  So, of course, she read this book.  She had a lot to say about it.

But as we were talking about all of the stuff that was happening here — coronavirus, coronavirus — she kept bringing in information about Nigeria.

She was like: Ms. Carter, did you hear stuff about SARS.?

And I’m like: Oh baby, I don’t know.  Let me look it up real quick.  

That was my job as an educator.  She did something that was that showed me how empowered she was.  She knows that I would just say like either yes or no, and I would be very honest with her.  But then, I would do some research about it.

So like now I say to myself, oh wow, what else is happening inother places in the world.  And so not only do we need to bring in other people’s stories.  But when we study like certain periods in history, we need to find out what else is happening in different parts of the world and that can help to bring in other people’s stories.

Erika:  And I’m glad you mentioned other people’s stories.  I know Vermont overall, you know, particularly here in Burlington has seen that influx of different cultures.  And, you know, how do you serve, how do you meet needs things like that.  Again, stories, you know, allowing children to see themselves and ensuring that children understand there is more than just them.

Monique:  Yes.

Erika:  At the center of the universe.  And I love that you said around the world because we as Americans, you know, we really had that, we’re the center of the universe.  And you know, I know, I know we could go on  and on…

Monique:  Yes, yes.

Erika:  We’re going to see maybe if we could do a Part Two. Or up to a  seven, right?

One of the things that I’ve heard of Vermonters doing is sort of this library audit, book audit.

Click or tap to enlarge.

 

I still say: even if you have half of the books that are outside of the culture of your white Eurocentrism, that’s still not enough.

We’ve been teaching for centuries from that one. Let’s flip the script, you know, and almost bring in the majority of representation for a bit.

But I just want to offer you an opportunity, Monique for you to, you know, final thoughts.

Again, we could go just on and do a dissertation.  But kind of as a way of wrapping this up, what final thoughts would you like to ensure that you share, you know, during this time that you and I have together?

Monique:  Probably just a thought that that occurs to me right now that might be my final thought is that: this is not final.

Books are meant to be read more than once.

One of the gifts that my daughter has reminded me of is that in different states like reading, I would see her read a book — a really thick book.  And probably a month or two months later, I would see her re-reading the same book.

And I would say to myself like, why are you reading that book over again?

She was like: mom, you know I love to read.

And I was like: are you picking up a least some different things in there?

She was like, yeah I love this part.

And I was like, I hope you’re looking at it in a different way because now you have two more months of life and now you can give it possibly a different perspective.

I was going to pick up the book I Know Why the Caged Bird Sings, just so I could reread it.  I read it last when I was 12.  Can you imagine what I would be bringing to that particular story that I didn’t have when I read it the first time?  I would say like this is one of the awesome parts of having kids.  You get to re-read all of the stories that you read just make sure it’s appropriate.  But I hope to come to this book again at a different stage of my life and to re-read it.

 

The neatest part is that my daughter is reading it or read it the same time that I read it which means we have two different perspectives.

So just talking to her about: hey do, you know, who Oia is?

And for her to say like: oh yeah, I know.

It was just a magical moment for me. To think about, we had that conversation based off of a book that we read. A mainstream book that we both read.

I hope she gets a chance to re-read this as she gets further into her Orisha worship.  And I hope she gets an opportunity to read this with then a different lens.  I hope in another stage of my life that I get a chance to re-read this with a different lens.

It’s funny being an author of a book, people take your story and they make it theirs.

And the only thing I’d love to ask her is like: where were you when you were reading the story.  What was your interpretation?  Because I read through it or something like, does she do this on purpose?

So, my final thought is that books were are made to be read and re-read.  Read it, read it again, read many books again. In different stages of life they have different lessons for you and the challenge is just being open to the messages that books might have for you.

Erika:  I don’t know if there could have been a more powerful message than that.

You bring so much, Monique.  I’m going to tear up.

This is not the end.

This is not a final that that books are meant to be read and re-read.

We certainly know that among other literature, you know, Shakespeare, other books that are still in circulation in classrooms and standard readings.

So, I know I got something else out of it even preparing for this as I was reading it.

I know after I read her remarks, I got something different out of it.  After speaking with you, I’ll get something different out of it.

There’s not enough thank you, to say to you for spending this time with me and agreeing to do this.

Vermont, I’m one of you now, but there’s a piece of me still in Philly.  There will always be. There’s a piece of me still in Ocean City.  I am a Black woman. A proud Black woman. And every single student, child in Vermont needs to experience the beauty, the wonder the mystique, the power, the magic of Children of Blood and Bone.  And your children can.  They can, they’re ready for it.

I want to close with this because those words hit me to the bone: “We’ve been knocked down for so long. Now let’s rise.”

Thank you, thank you so much.

Thank you too, #vted Reads, for allowing me to guest host! I’m Erika Saunders.  I hope you’ve enjoyed our time together.

Again, my deepest thanks to the one and only one Monique Carter, my sisterfriend.  Everyone take care.  Go out.  Let’s get into some good trouble.  Children of Blood and Bone, could be your first step.  Thank you.

#vted Reads with Jason Broughton

Lovely listeners, we have such a treat for you today. Joining us on this episode of the show is Vermont State Librarian Jason Broughton. Now, when I asked him to be on the show, I also invited him to choose the book we’d be discussing, and he chose the wonderful graphic novel ‘Marbles: Mania, Depression, Michelangelo and Me’, by Ellen Forney. And I learned so much, both from the novel, and from Jason Broughton.

A content note for this episode: as the title of Ellen Forney’s book suggests, we’re going to talk about mental illness. If you’re not in a space for that right now, we still love you but want you to take care of yourself, and understand completely.

That said, we had a wonderful conversation, about art, about teaching, creativity, Led Zeppelin, getting to know your parents as an adult, and what, specifically, the Vermont State Librarian gets up to.

And on that note: I’m Jeanie Phillips, and this is VT ed  Reads, a podcast by, for and with Vermont educators.

Let’s chat.

Jeanie: Thanks so much for joining me, Jason, tell us a little bit about who you are and what you do.

Jason:  Hello, my name is Jason Broughton.  I am so thrilled to be with you today to talk about a book.  And this case is a very interesting book.  But about me, per se, I am your State Librarian for Vermont, and Commissioner of the Department of Libraries.  And within that, my role is to assist our department, assist the libraries of the State and we act as a State library for State government. We like to call ourselves “the library for libraries”.

Jeanie:  Well, as a librarian I’m super excited to have you on! I feel like I’m having a celebrity on, so thanks so much for joining us. Do you want to talk a little bit before we jump into this book? Do you want to talk a little bit about what you’re reading right now? What’s on your nightstand?

Jason:  Oh my goodness. Well, right now, there’s a couple of things. And one of them I’ll probably bring back up.

One of them is a book, can’t think of the author right now [EDITORIAL NOTE: Jenny Lawson] but it’s called Let’s Pretend This Never Happened.  And it really is a conversation about a woman talking about the experiences of her father.  I haven’t finished it completely because it’s quite amusing.

She brings out her history in which her father was a taxidermist. You have to imagine him, she says, basically, in the middle of the night going out or something hit an animal like roadkill he’s dragging it home.  He’s reconstructing it.  Once she talked about an example of she was reaching in the refrigerator, and he had put a snake in there so it could die and she was trying to find a sandwich.  So, she pulls out this half alive, half frozen snake. It’s a weird thing.

But it’s really a conversation about when people think they know their parents, and they tend to want to say, “Well, you don’t understand: my parents are much worse than yours.”

Jeanie:  That sounds like a lot of fun, actually!

Jason:  It’s a really comical book, yes. It’s really light-hearted and funny. And it just makes you get  a sense of: if you think your parents — which we all do at a certain point in our lives — don’t understand you as an adolescent. As you age, you’re like, “Wait a minute, my parents had to be teens as well. What am I talking about? They too had these situations!”  So, she kind of helps people recalibrate their understanding of their parents a bit when they want to complain. I know my parents were very different, but my father never took on taxidermy to explain things to me, so…

Jeanie:  This sounds like a great gift for my son, actually.

Jason:  Correct.

Jeanie:  You said you were reading something else?

Jason:  Yes, I have a book that was recommended because of the visualing images of it; it’s much more sobering.  It talks about the transatlantic slave trade, but it’s done through imagery. The Middle Passage: White Ships / Black Cargo, by Tom Feelings. But it really is just a visual book. And the way Feelings draws it — going from the time of people being loaded onto boats from Africa, and then coming out to the New World and other parts of South America or even Great Britain — it’s just a moving, captivating book.

And that goes into, I guess, parts of our conversation today. To talk about books that are filled with imagery, but particularly graphic novels. Which is something some people want to say, “Well, isn’t that like a comic book? Sort of, kind of?”

But we now have this new plethora of formats I call “visualization-style books”: visual style materials that people are embracing.

Because sometimes things can be text-heavy, but graphic novels are in a whole host of items. I mean, they now have all the superheroes and some others.  And then you have things like William Shakespeare as a graphic novel. I mean, you can find anything now! That was so refreshing, but stunning to see like, “Oh! Graphic novels are going into places where comic books did not go!” Where it can be a social topic, like we’re going to talk about today.

Jeanie:  I love that. And this is my regular, like, annual reminder to folks that reading a graphic novel is reading.

Jason:  Yes, it is.  *laughs* Yes, it is. Very much.

Jeanie:  Graphic novels are books and they have text. For me, especially, reading a graphic novel can be more challenging than reading plain text, because I have to slow down and look at the images and make sense of them. And so, this is just my reminder to folks that when kids are reading graphic novels? They’re reading.

Jason:  And I do want to add a plug. If people want to take it one step further real quickly: what a lot of people might not know is that they do have access to a wonderful tool and resource that you probably know about called The Center for Cartoon Studies.

And if you actually want to learn how to draw, this is a wonderful way because they do a lot of things that go through how to deal with emotion.  And right now, they actually created a graphic novel talking about COVID, and how to help your child go through COVID and talk about a variety of items.

They also did one with democracy, because this year has been an interesting conversation, talking about: do we all understand what civics is? Because people have forgotten about civics.

Jason Broughton democracy

So, if you want to even just take small steps and saying, well, I’m not an artist, I would highly suggest connecting with the Center For Cartoon Studies, because they have a lot of cheap to high-end programs if you’re interested in doing it.

But it’s a way to also allow yourself expression. To kind of say, “Well, this is how I’m feeling”, and you get to draw a little angry person and figure out how to make it look like you’re angry. This is therapeutic as well.

Jeanie:  Absolutely. That sounds fabulous.

So, often when I do this podcast, I reach out to a guest with a book and say, hey, you have a lot of expertise on this, you want to talk to me about this book? This was different. I reached out to you and said choose a book. Let’s talk about it. So, do you want to talk about why you chose this graphic memoir, Marbles: Mania, Depression, Michelangelo and Me?

Jason:  Yes! Well, I would say last year, this time I was here. As I like to say it now  — like all parts of our state library staff have talked to me it’s as if we’re kind of like, in the Hunger Games, if people know how that’s dystopic future.  And they say it this way: we’d be talking about anything prior to COVID as, “In the BeforeTimes…” *laughs* The BeforeTimes.

So, I in the BeforeTimes, which was last year during the summer, I went out on a date with a wonderful woman. And we went up to Montreal, and we were there to see Trevor Noah. She had gotten tickets and whatever else.

And yes, we had a wonderful time going to the massive hall there to see him. But the weird part was this: we tend to be very outgoing, sociable people. And we were in line with hundreds of people. And we were just talking about library stuff and work, and the couple behind us started to listen to us. We didn’t know that and the next thing you know, we kind of turn to them, in conversation with them.

Before we knew it, they are like, would you like to come over, both of you for brunch tomorrow?

At first we were like, who does this? We could be murdered, you know, in Montreal; I know this. But we’re still having a good time, so we thought about it. We thought about the next day and we said, you know, let’s just go. So, we actually brought some cheese and wine, and we met with them.

And they’re a biracial couple, and so they had biracial children. We ended up in this wonderful conversation with these Canadians. And it was just an amazing experience.

But in that however, we decided before we departed, we went out to a store.  And one of the children was talking about dating a young lady. Because he was just about to go to college. And we were just listening.  And that’s not the reason why they wanted to talk to us. He’s just sharing.

But as my date listened to him, she said, “So you’re dating a young lady that you think might have mental illness.”

I was like, “Oh.”

And the librarian part of her kicked in and the store, she looked around and immediately went to a clerk (she knew how to speak French). Before I knew it, the person came out with this book I have never seen. Now I knew graphic novels, as a librarian, but I’d never seen this.  Before I knew it she says,

“If you trust me, even though we’ve only met each other like, today, I highly suggest that you read this book. It’ll help you understand her (because you shared some things with me personally).  And if you agree, feel free to give her this book because it might help her.”

Before I knew it, they wrote back to us many, many months later: that book helped him understand that [his girlfriend] was manic-depressive, and what he would need to expect.

As far as I know — I had lost track with them through social media in a while — but the unique part of this before connecting with you, about four weeks ago, I decided to reach out to the couple who was in Canada. I said it’s been almost a year. I asked, well, how you doing with COVID?  And we talked, and the mother said, you know, they’re still together. And I was like, oh, wow!

So, that book was a recommendation. And I was so stunned. There’s a graphic novel for manic depression.

And so, when I got back, you know, just coming across the border to Vermont, I immediately ordered the book. I said let me read this and see what this is like, because I don’t believe graphic novels are now taking on medical topics. But they are, and this book was so stunning that I was shocked to realize that someone had put it into a graphic novel, their experience of living with manic depression.

Jeanie:  I love that story. Thank you so much for sharing it.  So, I just want to put a note out there for our listeners that this is a graphic novel; it’s in comic form.

It is not for young people. It’s an adult book. For many reasons.

But I just want to put that out there for folks: don’t go buying this for your middle school aged kid.  This is a book we’re talking about to inform us to think about it but it’s really for adults to read, much older teenagers.  Yeah.

Jason:  I fully agree with that because while the topic is not necessarily adult in nature; children do have forms of manic depression. But this book is really geared to adult populations, or conversations with adults in navigating some interesting things with the disorder.

And once you examine it, you will see why. This is a really wonderful book that will give you insight into what people *might* experience, based on how they’re thinking. That can be very surprising.  But it was definitely stunning to see like, oh, this is all here.

From when you’re in mania, think about it: you’re going to have an excess state of how you think about life. You might do some really risk-taking things. And that is of an adult nature.

And then the depressive side in which in some cases, the person just can’t even move. Like, they’re in the room or on a couch eight to ten hours a day. Didn’t get up and eat, just sat there. So, it’s an interesting book.

Jeanie:  Yeah. So, let’s introduce our listeners to Ellen Forney a little bit, who is both the author and illustrator of this book and its main character. It’s about her life.  Do you want to talk a little bit about who Ellen is?

Jason:  Oh my goodness! Well, she is on the back.  I can read that for people to let you know.  What was stunning to realize — she has a wonderful image on the back of the book — is that she is a lifelong cartoonist.

It is a national award-winning book with that, and she collaborated on one called The Absolutely True Diary of a Part-Time Indian. She was nominated for an Eisner Award in comic books for I Love Led Zeppelin — for those who know who that is, it’s a band of a certain era. I still listen to Led Zeppelin interestingly. She’s also the recipient of The Seattle Stranger Genius Award in Literature.  She teaches comics courses at Cornish College and Arts in Seattle, Washington.

She has been on the East Coast a couple of times. One of my dreams would be to try to see if she would come and talk to the library community and to Vermonters about her items, because the book is also a former bestseller.

And you, I mean, you get it, I’m quite sure you will see why.

You will probably be stunned to realize that this would be something that somebody could put to drawing with emotion and in a way that is completely understandable to where it goes into refreshingly surprising, to absolutely stunning.

Jeanie:  Yeah! So, this book captures me right away because she begins the book with getting a tattoo.

A tattoo.

Within the first couple of pages. And I was sucked in. I wanted to see that tattoo — which I did get to see eventually in the book — but that tattoo process really begins this spell of mania that she’s having.

Jason:  It does.

Jeanie:  And when she’s in mania, she feels super productive. She’s really connected, right? And she is the life of the party.

Jason: She basically says in one part, I am with the universe.  And is so elated. Like she and her mind believe she understands everything.

Now, some people would say, “Well, I feel like that sometimes.” There’s a little bit of a difference in this because as you go through the book the first part is as you just mentioned.

It doesn’t kind of show you exactly what’s going on in her life but she seems extremely happy.  But as you go further on, and things start to hit more realistic tones.  It’s: “Why did I do that?  I shouldn’t have done this.” And you get to see what it might feel like when someone feels:

“I’m on top of the world.  I can bake 40 cakes right now.  And I can definitely do golf at the same time.”

And it’s: no, you can’t.  That’s impossible.  You need to calm down type of feel.

Jeanie:  So, yeah! And so then when she hits these depressive states —

Jason: Ugh.

Jeanie: –like you talked about where she, like, shuts down. She feels like her productivity goes way, way, way, way down.  She’s not making art, she’s not connecting with people. And she gets in this really stuck place.  She starts to question some of the things that were so good about her mania, right?  Like she starts to realize like, “Ohhhh, it just *felt* good.

Jason:  Yeah, maybe I shouldn’t have gone to the tattoo artist on a whim and said draw this on my back. *laughs*

Jeanie:  I don’t know if she regrets the tattoo, but she does regret other things, right?

She has this, like definite swing, and she starts to seek out help.

I think I just want to pause for a minute and say, like, one of the things that I loved excessively about this book was her courage and her vulnerability and her willingness to come out as bipolar and be so honest about her experience. Because I think that in our world takes a lot.  It takes a lot.  It takes guts to do that.

Jason:  When you say that, I think one of the wonders that I loved about it too is early on, you realize she realized something wasn’t right. And that she needed to talk to someone.

She wasn’t trying to self-medicate.  Well, she kind of was.  For example, when she started meeting with the therapist, the person sat her down in a nice way.  And she’s still kind of up and elated.  And it was interesting to see well, how might a person take the news that they’re ill?

Jason Broughton

I know what would happen if someone told me that oh, Jason, I’m so sorry, you have cancer or you have liver failure or your brain has this tumor.  In your mind, you know how you would take that.  But when someone has to tell you: “I need to sit down and tell you this.  Given what you told me, I believe you might actually have a mental disorder. ”

And you immediately begin to see her saying I’m not crazy.  And she’s like, “I’m not saying you’re crazy.  I am saying I think you’re manic depressive and you might be put on medication”.

And then you see the conversation: I don’t want medication, I heard medication does blah, blah, blah to this, my creativity is going to go down.

So, it gives you this embodiment where the stigma of any mental illness comes in the minute someone says you are not considered what I like to question as normal.

I personally believe we are all not normal. We all have our quirks.

So, when you hear people sit there and say you’re not normal?  Well, let’s really talk about what you’re saying because *I* think it’s abnormal. You’re telling me I’m not normal?

But Forney is fearful of being labeled that way because she knows how society will see her if she has to openly let people know that she has a mental disorder. Because when you hear that people think, “Oh, you’re crazy.”

Jeanie:  Yeah. She really worries about whether people will trust her and the judgments they’ll make of her.

I love that you drew that parallel to other forms of illness? And I think about, you know, in many ways what she’s going through parallels that, right?  Like, she’s not sure. She has to go through years of drug treatment to figure out what drug, right?

Jason:  That’s an interesting journey too! I was stunned by that because you think, but as probably for a lot of things and any disorder, you go from a standpoint of not having that you watch somebody and you realize, “Wow, I thought you would find a drug within a couple weeks and you’d be better.”

It took her years to find the appropriate drug to get her to be stable, she says, and it was just interesting.

Jeanie:  And combinations of drugs, right?  And the side effects she had to deal with. It’s quite a journey.  And that can happen for physical illnesses, right?  It might take a couple tries.  I have friends who are going through multiple cancer treatments, right?  And it takes a lot to go through that.  But it’s a little bit different. But I think we have this notion that it would be a quick fix.

Jason:  That’s what I thought, too.  And when you said about the cancer, I will give you something that it’s slightly humorous but it’s also slightly sad.

When I was younger, an aunt of mine ended up having cancer and she survived until it was naturally time for her to go. But I would never forget my mother was talking to me and my brother, and my father was at the table.

I grew up in South Carolina, very rural. But think about how we talk about disorders of a certain period.  And how in some cases, this is still done.

I will never forget sitting there at the table with my mother.  She says, I want to tell you about your aunt.

And you knew it was serious because the voice is a little bit low and slow.

When she said it like this, I’m eating, my brother’s looking at me and we’re like, “Oh, this is going to be horrible.”

My mother leaned over to us and said she has cancer, in a whisper.

If you knew me, as a child, I had a scientific mind, I later got a degree in biology.  But I didn’t have any emotion. I looked at my mother and I said, “I don’t understand why you’re whispering. It’s just us four in this house, right?  Why are you whispering?”

And like, my aunt was not there. But it let me know when I was older, I told somebody that same story and they said you have to understand that is how people thought.

Like, when you had cancer, it was, Shh, you can’t talk about it, you know you can’t. 

I was like, “But can’t you just say, ‘Oh, I’m so, sorry, you have cancer’?”

It’s like no, you had to almost whisper it. You have cancer, shh, don’t talk.

Jeanie:  You’re making me realize we’ve come a long way, right?  But I think that what Ellen’s point is in this book is pushing us to come a little further, especially around mental illness.

Jason:  I agree. I agree.

Jeanie:  So, I’d love to this as a way to step into the shoes of somebody who’s dealing with a serious mental illness and like, see what the journey is like?

But part of her journey is specifically about: will I still be creative if I treat my bipolar disorder?

Because creative people are — and I’m using air quotes here ‘crazy’, right?  Like there’s this this stereotype or this notion that part of their creativity, that part of Van Gogh’s creativity came from his mental illness.

Jason:  I fully agree.  And that is one of the conversational thoughts when you think about creativity.

For example, you will even hear people say “supplemented”.

“Why don’t you have a couple of glasses of wine? Why don’t you do some drugs?  Your creativity side is going to come out.”

And you do hear that from contemporary society to say that is a way to I guess, let your guard down of inhibition so the energy flows out.

This book wonderfully discusses that.

Because she lists all the interesting people because her therapist said, well, you need to know there’s a lot more people who were on medication who are also are bipolar.  And it was stunning for her to also provide that to us by way of this graphic novel because she too didn’t know that there are a lot of people who had disorders in a way where they were like,

“No, that’s just it, we believe it might help their creativity.  Or maybe that’s the way they express it because of how their disorder is? But it’s not something to hide or keep quiet.  It’s to say, take the whole package.  This is what this person is, and they are using their gift to allow us to see that.”

And I thought it was like stunning because in the book people will find very unique.  They will list people that you may know and other people that you might not know who actually were manic-depressive.

Jeanie:  Right! And I think one of the reasons you and I both love this book is because it’s a librarian’s dream. Because she goes through this inquiry process, right, this research process to look up all the creative folks who have mental illness or bipolar disorder in particular.

Jason:  Yes!

Jeanie:  And so, she’s really weighing these two things to me.  It was like the scale tipping back and forth throughout the book of her artistry, her creativity, her ability to be productive as an artist versus suicide. Death. All the side effects of having bipolar disorder.  And so, she’s thinking about the tradeoff between these two things.

Jason:  Correct.

Jeanie:  Right?  So: “That could happen to me. But if I medicate, if I get rid of this side of myself, well, I won’t be who I am.”

Jason:  I won’t be this creative.

Jeanie:  Yeah! Will I lose who I am in the world as a creative?

Jason:  It was a tug of war that was quite interesting because, for the reader, you should know that she literally is — I  almost said in this way, my feeling was it was like being on a ledge. And you’re hanging on with your little tiny fingertips and you’re thinking:  I believe I can pull myself up.

But there’s a part of you that says, look, what just happens if I let it go?

Jason Broughton

And in her case, it was this: I want to still be productive. I know these drugs have side effects.  I was just still surprised to see that she was able to still keep that thread of herself saying, “But I need to get better. I don’t know what that looks like. I’m being told to take medication.”

Because in other books, you might find the person might say, well, I just give up, I’m just going to succumb to the depression and the anxiety and live off that.

It was really interesting to see her pursue the therapy. To continue for years and eventually begin to grow into it.  It was just this wonderful thing to see because it takes you through it first as opposed to oh, I know that this book is going to end with it. Oh, I didn’t even see this part coming.

But she relapses a bit.  It’s a struggle.

And when she is depressed, it is graphically in a way, I think that we all understand, in which she shows one way or another she is wrapped up.

She’s in her bedroom. It’s just the bed. She is in the bed and another image shows she’s still on the bed. She lives up on the bed. And she’s still wrapped up. She is in another image leaned up on the bed. She leaves the bed, goes in another room and then lays down on the couch and goes back to sleep.

Jeanie:  Yeah.  The images in this book, the graphics in this book, just like most graphic novels, extend the story and make it more visceral and powerful than it would be if it was just words.

And I thought that there are so many times in this book, from the sketches from her sketchbook to the way her art changes on the page based on what’s going on, like the very style of her art.  It’s just so powerful the way she presents both the joy and the mania and the grief in those in the depression.

I got to tell you, though, the part where my educator brain, my teacher brain, like sparked big time, was when I could see using this book to like understand mental illness in families or in students.

But the part that really grabbed me was when we got to Page 202 and 203, where she starts to say, wait a minute, what even is creativity?

Jason Broughton

Where she takes into the definition of creativity and the reason that sparked for me is because I work with a lot of teachers who are trying to implement the transferable skills, the Vermont transferable skills, one of which is either creative and practical problem solving or creativity.  There are different names for it in different schools.  But I love this page because she says creativity isn’t easy to pinpoint but most researchers agree on this particular definition of creativity.  And then she goes on to say that it’s thoughts and behaviors that are original and useful.

And she breaks it into three components.

One is a person, in order to have creativity, you got to have a human who, two, is engaging in a process of thinking, problem-solving in an interesting way.

And three is to create or produce an identifiable outcome.

So, you got to have a person, they got to go through a process of problem solving and thinking creatively and then they have to produce something.

That thing doesn’t have to be tangible, right?  It could be a poem, it could be a, you know, it could be a change in norms, classroom norms, but this idea that something comes out of it.  And that was such a like, more open-ended definition of creativity than sort of, I think what I, for example, have been stuck in, had been stuck in earlier in my life, which is this idea that creativity is for artists.

Jason:  The part that stood out to me on that page were two things, one of them quite comical. But as you said, the definition of creativity and it’s by Andreessen 2005.  His thoughts and behaviors that are original and useful.

And the part that made me laugh was if you’re able to see this book, the one that says person, there is an image of a person with a characteristic.  And the characteristic is I free associate and I wear unusual clothes.  And then it says, or it could be the chosen occupation.  I’m a poet.  And then it says, especially in the creative arts, including art, architecture, design, music, theatre, writing, poetry, and it gives a citation, and then it goes into that process.  So, people might say, well, yeah, that’s a usual suspects.

But if you really pull that apart, there’s a part of me my own personal that is saying, okay, for creativity, there sometimes overwhelmingly is this interesting little quirk that we have.  And even if you want to look at people and say, well, I don’t know anybody who wears unusual clothes or I think is kind of this hippie, pay attention, you’ll be surprised to see some time your own boss do things in a way where you’re kind of like, why is everything centered this way?  And it’s because they have some type of design they’re trying to mete out, some type of unique way of looking and then you just as I call it, just peel back the covers a bit conversation opens up to say, do you like to do interesting thing?  And you’d be surprised some people say, I paint it, I do this, I would shop, I bake.  There’s a whole host of things that will all of a sudden just come out.  And but yet, these people aren’t going to say, well, I don’t dress like a hippie.  I don’t dress with loud clothes on.  But it’s oh, there’s an artist underneath here.  What does that look like?

Jeanie: I love that. I also think sometimes creativity shows up in professions that we don’t think of as creative.  And so, educators are some of the most creative people I know because they’re always problem solving, to think about how to help kids learn, right?  And if it didn’t work out the first time and being creative about how to get kids interested in the first place, how to stretch them and grow them, like, I am always enamored and struck by the creativity I see teachers use in the classroom with their students.

Jason:  That’s like amazing.

Jeanie:  So, it’s not just because you’re a teacher and you’re a knitter, it’s a teacher.  It’s because you’re a teacher and you know, like, you know, it’s not just that like, or that you bake, although those things are creative, and I love them.  It’s that just by the act of doing your job and meeting kids where they are, there are, you have to exhibit a lot of creativity.  And so, I really appreciated the way this made me think outside the box of what…

Jason:  Would you say that?  Teaching is such a creative profession when people really look at it, it is a sometimes being upfront, a soul draining position.  But when you really peel back the layer, and I’m talking any teacher, public, private, you have asked the person to go into a room to connect with on average as little as five minds all the way up to 50 including professors up to 100.  And this person is supposed to remember your name, find something a little bit more about you that helps them remember that.  And then amongst all of the other people understand you in a way in which you are talking in a general format where they get a topic and then say, well, Jeanie, I know for you, I need to give you this analogy which helps you learn.  Jason, for you, I need to show you this little video, if people understand, that is stunning.

That is an art where, you know, people at least enough to say I believe I know you enough and what captures you and will allow you to learn.  That is beyond artistry.  Because if we think about our standard lives other than close friends and family, you can’t walk into a room and immediately begin to say, oh, I noticed something a little bit about you.  And I think this saying it this way or showing it to you this way is going to help you remember that.  Not many people can do that, let alone do it for a year.  And then all of a sudden people remember you years down the line saying you might not remember me from 30 years ago, you taught me in kindergarten, but here I am.  You made me and they might say I don’t even remember you but thank you, you know, it’s…

Jeanie:  Educators, Jason and I are your biggest fans.

Jason:  It’s a wonder.  It’s a wonder.  And when I said I remember when I say that, I remember my kindergarten teacher Mrs. Honeycutt.  She was like the nicest white woman in the world in the South.  Oh, and she had long hair.  It was the era of the 70s. Long hair that when she sat down to read us books went to the floor, but she was so nice. I will never forget her.  How many people can actually say that that people do something so profound when you’re so young that you can never forget them?  That is stunning.

Jeanie:  Thank you for sharing that.  I love that.  So, the other thing I thought about this creativity piece is that one of Ellen’s struggles, I think, mirrors the struggle we’re going through in schools as we think about creativity as a transferable skill.

And so, I think one of the things she’s struggling with is: is creativity a fixed quality or talent that I just have, right?  By right of being bipolar or being born the way I’m born? Or is it a set of skills and dispositions that can be cultivated and practiced over time?

And it was really interesting to me that even if she’s struggling with this, she’s always sketching and creating.  Even though they’re just sketches in her sketchbook, she’s using her creativity to practice and to work this out over time.

I was really intrigued by the sort of the back and forth of that that she’s struggling with this idea, using this thing, the skill and the set of skills and dispositions to struggle with this thing.

Jason:  I agree, because also, we can tell the reader and her images no matter what are very expressive as you go through the book.  But they do seem to as you go through obtain a little bit more refinement.  Like you don’t want to say she’s getting better, I actually say she is becoming more representative of how she is feeling, depending on what you say that.  Going on, I love how educators are trying to grapple with but the goal to me is we don’t want to make it so scientific, you know, to say like, oh, tick, these things are going to be artistic?  No, I do believe we all have the capacity to be creative, particularly if something has happened to us where we were one thing before and then something else comes out like in other words, if I lost use of an arm, and I was very creative in painting, I would hope that now all of a sudden, I am able to do something with the other one arm in a very interesting way where you’re like, oh, it’s not the same thing but he just used it in a different format.  So, when you say it’s an embodiment, I do agree with that.

The thing that people need to probably consider is, how does it express itself based on what is occurring in one’s life?  Because we can all look at stuff that we have designed early on, and we might have thought this is really it.  And then all of a sudden, years later, you’re like, this is crap, burn it, that dorky stuff.

And so, it’s an interesting thing to say, well, why did you change?  What happened that made you not feel like this is a part of the body of your work?  You know, I see it and sometimes we want to have perfection.

I did put something out on social media the other day because I too had this problem in the sense of the quest to chase perfection.  And I listened to something that someone just basically said just remember Confucius.  And he basically said it is better to have a flawed diamond than a flawless pebble.  So, I should tell you right there.  It’s better to take what you got and say, oh, I’m as close as I can be to this as opposed to well, here’s this perfectly good nothing.

Jeanie:  Well, I think a lot of teachers are thinking about these, these transferable skills.  And I’m really focused on creativity here, but there are others as well, I’m thinking about how do we foster this in young people, right?  Like, how do we provide opportunities for them to cultivate and grow their creativity, right?  And so, in many ways, for me, it’s less much less about assessing it and or even teaching it but rather just like finding…

Jason:  Expression.

Jeanie:  Finding the places where it fits into your existing curriculum.

Jason:  I agree.  And I also think, here’s the part that our listeners might not know.  So, before we started taping everyone Jeanne and I had some interesting conversation to just about, you know, you think about your parents.

I can look back now and say, I had wonderful parents as I age and I’m coming to the point where I was like, oh, you just hate saying, oh, my God, my parents were right on some of these things.

But now, I can look back and say my parents allowed me and my brother to express ourselves.  We grew up in a rural area.  You could allow your children to literally run out in fields five and ten miles away from the house and they know you’re coming back. Just like you need to be back in the house by the time the sun is about to set.  The parents never kind of really said like, I don’t really worry about my children, right?

I think they’re going to find their way.  When I say that it allowed us to look at nature in an artistic way, play with the nature.  But we went into camps and stories and we did a lot of handmade things.  We also did things that were bond.  I think in helping as an educator, if you can find ways to allow children to simply express the topic as they best can under their own guides for what the examples are.  It allows you to begin to not hone them to do it right but to say, okay, your thing is not necessarily drawing at this level.  But I definitely know that you can sing.  Why don’t you make a poem or rap song or tune out of this?  This person can draw and you can say, well, painting is your thing, but you also, I mean, let the person begin to do that because sometimes people are so multifaceted they themselves don’t know which one they want to hone.

But the thing to me is at a young age, it really is like when people say you are 20 times more to have literate children if you at least have books in the home.  We know this.  If the parents at least are reading, the children are going to read.  So, if you yourself have forgotten how fun it is to be creative, your children would be more creative if you allow them to see that you are creative.

Jeanie:  What I hear you talking about, Jason, and you didn’t use this language, but I’m going to use it is flexible pathways.  How do we provide personally meaningful learning opportunities for students to be creative in the ways that suit them and knowing that creativity isn’t one size fits all?

Jason:  Correct.  It’s like going to a paint, but the best example I’ll give is I have experienced recently to go to brunch and paint and sip, which I love which let you know what I was doing on this, I am an adult just like, you know, I can paint and drink.  But within that, the room had a bunch of people where — what I love is the presenter came out and said we’re going to do this Halloween theme.  And right off the bat said some of us are going to paint and try to be exact, that’s fine.  Some of us might say, oh, just go with the flow.  And I was like, oh, how nice.  So, I’m going along with them.  And then all of a sudden, I realized I could not draw it exactly the way that I might have wanted to.  I took another path.  And everyone was like, but this is very different.  And I just was — I felt comfortable because they said, you could do that as opposed to I looked around and there were some people who had mirror images of what the main presenter had presented.  And I had, like, gone off the rails.  I was like, yeah, the moon is here in this haunted house but I kind of drew a mountain behind the house.  And they’re, you know, it looks like Dante’s Inferno on the bottom of a canvas, you know.

Jeanie:  I wonder if you might share a picture that we can put in the transcript.

Jason:  If I showed what we were supposed to paint as compared to how I said, I’m just going with this over here.

Jeanie:  I really want to see your painting now.

Jason:  I will send you a picture.

Jeanie:  Jason, before we start to wrap up, I want to know, are there things that the Department of Libraries can do for teachers?  Are there things you wish educators knew about what you as State Librarian do or what the Department of Library does?

Jason:  Oh, my goodness.  As I said, we are here for librarians in particular.  We would urge a lot of people to please visit their local public library, their school librarians, and of course, the academics.  Because librarians, I will say this up front, some people are going to be horrified or want to put their hands in their ears.  Libraries are not about books.  Everybody, if you’re not careful, you pay attention.  Some people oh, he’s not a librarian!  I’m a librarian because I like what’s in the book.  The book is just the format.  And as we go forward, print will always be here.  But if you think about how you grew up, if you say you love books, which are the longest serving format, then if you want to show your age, please send me and I’ll give you my address, 8-track cassette tape that you had been growing up, if you say you really still love it because you can’t find eight cassette track player right now.

So, you can see that formats and designs have to change over time.  And an understanding that what really is impactful for you is if that wasn’t an eight track cassette tape, it’s a tune that has probably been, guess what, transferred to a CD now transferred to streaming.  And what you really are in love with is the song itself.  The format is just right now.  Print again is never going to go away.  So, we like information as librarians.  What we would try to do is try to help people with literacy and learning.  We are not educators.  There are librarians who do know how to teach.  But the main role of a library is to guess what to be literate, which is to expose and to allow a person to examine.

So, I would say if you are welcome to it, we have a lot of resources.  Feel free to contact me and I can always direct you to some of the statewide resources that we provide such as the Vermont online library, which has a ton of items that you can examine.  But we also do a variety of things that we connect with, guess what?  The Arts Council is a partner and friend to us.  We also work with the Humanities Council here in Vermont.  And so, you can see we are all over the place.  We even this year, and well last year too, work with Northeast Organic Farming Association NOFA.  And we did a wonderful thing on agriculture and cooking.  And you might say, well, why is a librarian doing that?  Because it’s information, any type of experience that allows you to sense means that you are learning whether it be through sight, sound, and a whole host.  We also have what is known as the able library, we renamed that and it’s important that we rename it because I’m a person and proponent that says please stop talking about service populations.  If you understand that the foreman name was the Library for the Blind and Physically Handicapped.  That name is really packing them in, they’re all come into that library to be associated with it.  So, we renamed it the able library about the service.  Stop talking about the people.  Talk about how you’re going to help the people, which is the audio Braille large print and electronic resources library.

Everyone wants some of those.  But when you say the Library for the Blind and Physically Handicapped, yeah, I too, would not be coming to that if I knew that name was over time, because you would say, well, I don’t want to feel that way.  But we’ve had it where a lot more people are participating not because of the name but because they know the services that we have.  So, we offer Vermont and Vermonters and residents quite a lot by way of the public library, school, academic and also the department itself.

Jeanie:  Oh, I’m so, grateful.  I love the way you touched on all the literacies, like, it’s about literacy of all kinds.  Also, thank you, I’ll be singing the Doobie Brothers for the rest of the day because when I hear a track tape, I’m in my uncle’s blue truck listening to the Doobie Brothers all over it.

Jason:  For me, it was my father and my uncle.  Again, not sure so many Vermonters would have been listening to this but it would be known as a Rolls Royce was the name of the band.  But you know the tune because they made a movie out of it and it was carwash, which was Carwash.  So, that was it.  The interactivity my father have that going on in the, and in fact, I never forget the car is a Lincoln within that.  So, again, we’re showing our age, a lot of the younger people are like what is an 8-track tape, right?

Jeanie:  They can Google it.  Jason, I cannot thank you enough both for bringing this really beautiful book into my life and also for the super fun conversation.

Jason:  Oh, you’re welcome.  You’re welcome.  And if anyone wants to know, I am this serious.  I tend a lot of humor.  But yes, I do have somber conversations.  But this book sort of happened through happenstance.  But then when I think back, the universe allowed us to share that and I was wonderful.  Even though I no longer I’m dating the woman who I’ve been up with.  But it was a wonderful experience to have her be such an interesting resource because she is very similar to me in which even though I clock out usually at 6 o’clock from this job, I’m still a librarian.  So, if you were to come to me and we were out talking, you will hear me say, oh, you said you’re going to make a flam bait.  But there is a book that you need to be looking for.  So, you go look because I want to fix a car.  Oh, you need to go to chillers and hear, I don’t turn it off.  It is my life where you can tell me, I’m like, oh, there’s a book for this.  Let me let me show you where this is that you define this here.

Jeanie:  We have way too much in common.  I’m so grateful for you.  I hope you’ll be a guest.  I would love to repeat this yearly.

Jason:  Oh, perfect.  I would be happy.  There’s so many the world of, you get it, books is so wide.  There’s a lot of topics that we could cover in a variety of things.  So, I’d be happy to come back and discuss any types of topics that we can help anyone who is appreciating art science, conversation, learn by way of a book.

Jeanie:  Thank you so, much.  I’m already looking forward to that future conversation.

Jason:  You’re quite welcome.  Thank you for having me.  Thank you everybody.

#vted Reads about PBIS

Listener, how do you feel about positive interventions, behaviors and supports? I don’t mean in general — in general those all sound fine and dandy — but when they come within 100 yards of a school, they turn into PBIS. And that’s another ball of wax entirely.

Today author Thomas Knestrict joins me on the show. We’re going to talk about his book Controlling Our Children: Hegemony and Deconstructing the Positive Behavior Intervention Support Model. If that sounds like a hot n’ flossy title, then listeners you are in for a treat. And even if it doesn’t, you’re in for a treat anyway, especially if you, like me and like Dr. Knestrict, are deeply suspicious of the PBIS model.

(Spoiler: we’re deeply suspicious of the PBIS model.)

That said, we do try to be fair in examining what PBIS can and can’t do for Vermont students.

(Okay, we’re mostly fair.)

But I’m still Jeanie Phillips, and this is still Vermont ed Reads: books by, for and with Vermont educators. Let’s chat.

I’m Jeanie Phillips and welcome to #vted Reads  We’re here to talk books for educators by educators and with educators.  Today I’m with Thomas Knestrict and we’ll be talking about his book Controlling Our Children: Hegemony and Deconstructing the Positive Behavioral Intervention Support Model

Thanks so much for joining me, Thomas. Tell us a little bit about who you are and what you do.

Thomas:  So I am a professor of education at Xavier University in Cincinnati, Ohio and I’ve been here for 15 years.  Previously, I was at a couple other universities you may have heard of: Miami University and then a very small liberal arts college called Mount St Joe’s.

I taught for 15 years before that in public schools. Mostly Special Ed. That’s kind of where my interest in Positive Behavior Intervention Supports (PBIS) really came from, because of the work I did in Special Education.

And I had two areas of research. One with PBIS, and the other with studying families who are raising kids with special needs, and something called family resiliency.  Both are related to Special Ed, but they’re a little bit different. 

I am a professor of early childhood education though they hired me years ago as a kind of ah to infuse the program with inclusive practices and ideas of equity, those types of things.  So I found a home I’m here to stay so married got three kids adult kids all graduated from Xavier, all doing well and now my wife and I we sit around and we hike and we drink wine and have great time, so it’s wonderful.

Jeanie:  Sounds like a fun life in Ohio.

Thomas:  It is.

Jeanie:  Thanks so much for joining us to talk about your book and its relationship to what’s going on in Vermont.  I guess my first question is: why write a book about PBIS?  

Thomas:  I’ve done a lot of teaching. And so coming from a teacher perspective, I always saw behaviorism is kind of “the poor man’s management system”. I saw a lot of problems with it. 

In my early teaching career, I taught special education. I taught kids with emotional disturbances. And it was a completely behaviorist model that we used in the classroom: it was all rewards and punishment. 

And what I found was that rather than teaching new behaviors? We were very good at controlling behaviors. But when we were there or when students moved on to another environment? They failed. They hadn’t internalized anything. 

I likened it to — and I think I do in the book as well — to kind of a drug addiction. You get addicted to rewards (and even to punishment) and when that’s withdrawn, you have withdrawals. You have difficulty dealing with things. So that’s kind of where a lot of my initial thoughts came from.

And as I became a practitioner of PBIS, I thought it was ironic that we called it *positive* behavioral intervention supports because it wasn’t very positive at all. It was just a method I saw through practice. This is an important distinction. 

I think there is good intentions with this model, but inevitably I found that the practice of the model devolves into its lowest common denominators: carrots and sticks.  And I found that it impacted kids of color more negatively, and kids who came from lower socioeconomic backgrounds. I noticed that they were stuck. 

Then the last thing: being a special educator, I think what I’ve noticed is allegedly, PBIS is supposed to present special Ed placement.  The idea being that if we intervene soon enough on these behaviors, we won’t need to identify Special Ed. But again in practice what I see PBIS using is to quicken identification. To hasten that.  And that’s a whole another row you could walk down. We often call that the school-to-prison pipeline for good reason.

And so I thought with all of that going on, I thought: nobody is really taking a deep look at this and deconstructing it.  So I thought I’m going to do that.

Jeanie:  I so appreciate that. And there’s so many follow up questions I want to ask! But I’m going to start with equity, because you named that specifically.

In Vermont — as in many places around the country — we’ve been talking a lot in schools about equity. About doing professional development equity, and thinking deeply about equity.  For me what your book points out is that PBIS is a deterrent to equity. It’s mutually exclusive, really.

Part of it is that there just isn’t enough space in PBIS for diverse ways of being and knowing. To value diverse ways of being and knowing. And then it relies on hierarchical power structures and inevitably, as you point out in the book, it leads to disproportionate numbers of students of color and students from low socioeconomic backgrounds being stuck with the label of special Ed or being marginalized in other ways. Being pushed out. The label ends up harming them. I guess I want to expand a little bit more on how PBIS might exacerbate existing inequities.

Thomas: I think if you if you really take this apart, piece by piece, one of the first things they tell you when they’re teaching you about this is, “We need to have behavioral expectations and they need to be communicated to the students.”

Well, when you have schools who are primarily white middle class women and white middle class men you have a biased view of what’s expected behavior. That’s problematic right there. 

So a kid gets in trouble, discipline-wise and it may not have anything to do with his level of engagement in class, but he’s violated some norm that he didn’t even know he was violating. That’s a problem for me.

As a teacher for 15 years, the noisier my room was and the more chaotic it seemed from people coming in, typically the more learning that was going on in my classroom. And so I think you’re exactly right. We need to ask:

  • Whose behaviors are expected?
  • And who’s creating those expectations?

And almost never are the students involved in creating in the classroom rules. 

So I think that’s fundamentally a problem.

One of the things we’re working on here [at Xavier University] is we’re trying to recruit more students of color into the education program. We’ve had very little success in doing this. And I think that will help with disproportionality, right? If you have teachers who look like the kids that they’re teaching and come from that same kind of cultural window and perspective then your expected behaviors will be different as well. I think that they stand a better chance of learning and succeeding. 

Jeanie:  To me, part of what I’m hearing too, is it’s one size fits all behaviors, and that one size is white.

I know that in the book you really dive deeply into the roots of PBIS, specifically applied behavioral analysis.  And you link it in my mind pretty firmly to the same routes as eugenics, right? This idea that there’s a normal. That there’s one way of being normal. I keep thinking about how PBIS is a kind of sanitized white supremacy in action. Like, we don’t call it that, but that’s what I’m seeing it as. 

Thomas:  I could see that.

Let’s put it this way: there isn’t a conscious movement to make this something race-based. This is all underneath. It’s very subliminal. To me it’s like the idea of being “woke”, right?  If you’re not aware of your bias then you’re going to continue to recreate it.

So my hope with this book is that people start to really look at their practice, especially behavioral expectations, and say, “Yeah, that’s biased. I need to adjust it in this way.”

The purpose of this first book was to lay out the theoretical kind of foundations of what I’m looking at. But now the next book is going to be okay, now we have the foundations here’s how to do it and here’s what it needs to look like. My hope is this next one will be more widely read and we can start making some changes with this.

Jeanie:  Before we dive into sort of the way ahead from PBIS — how to reform it or change it or transform it — could you describe a little bit more about the roots of PBIS, and some of the problems that those roots pose when we talk about things like equity.

Thomas:  When you look at the research on PBIS, it’s almost exclusively done by people who have been trained as school psychologists

They largely have never been teachers and they’re almost always trained in a behaviorist way of looking at modifying behavior, typically applied behavior analysis.

The Alberto & Troutman book on applied behavior analysis is like a stalwart in behavior management classes and special Ed programs and regular programs all over the country and universities.  And it’s all behaviorism. It’s cleverly phrased and cloaked bribes is what I call them. “If you do this, then you get this,” right?

The idea behind all behaviorism is that if you structure the rewards and punishment in such a way, you will increase the behaviors that you want to see, and extinguish the behaviors that you don’t want to see. 

Well, it doesn’t work.

But the point is that within the context of school, when you’re teaching 30 kids in a classroom that’s just not a reasonable way to go. It automatically devolves into the lowest common denominator off very simple bribes. 

If you remember, PBIS is three tiers.

Image credit: Center on PBIS, https://www.pbis.org/pbis/tiered-framework

Tier One is the universal way of looking at how to manage behaviors in the classroom. 

When you look at the way schools develop Tier One, it’s inevitably a set of bribes. “If you guys follow these rules–” (which, by the way, the students didn’t have any play in creating) “–if you do this, then you’re rewarded with this.”

To me, that’s just kind of a lazy way to teach. It’s just not, as a teacher, what I’m interested in. I’m interested in how into it are the students? How engaged are the students in learning this? That’s absolutely nothing to do whether they earn a trip to the treasure box at the end of the day.

You have kids who you can tell immediately if they’re turned on by what they’re learning. And in my 15 years in the classroom, that’s what I focused in on. School psychologists don’t have that perspective; they have this theoretical perspective. They come from the outside into a classroom and impose this structure on us and say do this and everything will be fine. 

Jeanie:  To me it sounds really transactional.  

Thomas:  Right. When I present this to teachers in the classroom, they think it sounds really great, but they’ll say,

“Wait a minute, have you ever had one of those classes where you just got this really volatile group of kids and their behavior’s all over the map and you have to take control??”

Well, I’m very clear in this model there are going to be days where you have to take control of the classroom. You have to externally control behavior because of safety, or because of just the sheer level of chaos. But what I find in schools is they never come off of that right. They will say: “I need to control my kids so I’m going to bribe them and I’m going to threaten them and I’m going to do all this stuff externally and then when I get peace I never change, I continue with the bribes.”

Okay, well as a parent I know there are times when I have to lay down the law, because children need that reminder every now and then. But the predominance of my energy is on helping them develop new ways of choosing behavior.  We just stop with the control.

Jeanie:  Right, we never take time for the other things that usually takes longer, right.

Thomas:  It’s incredible. As a teacher it’s much harder.

Jeanie:  Yeah and teachers may not have the support they need, right? And if you’re in a PBIS school the whole school has to be PBIS, so…

Thomas: What’s the law now? You have the IDEA: the special education law mandates that they have PBIS system, a multi-tiered level of support behavior management model. It’s mandated which is another incredible thing.  I just find that so incredible that we were mandating it. 

Jeanie:  Do you want to talk more about that?

Thomas:  Well we’re mandating basically a racially and class-biased model of managing children’s behavior.  

And then on top of that —  I think this is what keeps me up at night — not only are we mandating it, but we’re producing students who are addicted to awards and punishment. Who have no better reason to do something hard other than they get something for it.

Jeanie:  You mentioned engagement earlier and we use in my work a lot the Schlechty Model of Engagement. So what you’re talking about right now is really equated with what he calls ritualistic compliance, right? And that’s not true engagement.  Are you familiar with that model?

Thomas:  Yeah,  exactly. You’re spot on with that. I don’t know if you’ve ever taught before, but when you’re in a classroom, there’s a difference between internalized engagement from students and ritualistic-based obedience. 

There’s some kids who could do that and they could do very well with that, but I’m telling you right now, there are fully a third to two thirds of kids who don’t do well with that.  So when we’re looking at the achievement gap inevitably they’re usually poor and they’re usually brown-skinned and it impacts them more dramatically.

There’s a really interesting area of research called field sensitivity, right? The research says that there are two broad types of learners.

You could be a field-sensitive learner, and that learner needs interaction. They need language. They need to talk about what they’re learning. And they need to share it with other people.

Then there’s field-independent, and it’s all internal with them. Our schools are predominantly field-independent places.  They don’t encourage that discussion and noise and collaboration and working with things. 

If we reward the field-independent learners, we automatically disadvantage the field-sensitive learners.  

And the other piece to that is that field sensitive learners are predominantly underrepresented people.  

Jeanie:  You’re bringing up for me a couple of books that have already talked about on this podcast and one is Carla Shalaby’s Troublemakers: Lessons and Learning from Young Children in School and thinking about the way that some of our learners are canaries in the coal mine for when school classrooms are unjust. 

And then I’m also thinking about our book at the Tarrant Institute for Innovative Education, which is called Personalized Learning in the Middle Grades.

We have all these vignettes at the beginning. And the learning in those vignettes are compilations of really amazing classrooms we visited.  The learning is really chaotic, like you described earlier. Like it’s noisy, not everybody is doing the same thing right and it can feel really chaotic. 

And so what that brings me to is the way in which PBIS and behavioral methods in the classroom privilege the perspective of the teacher, right?

The power is all in the teacher and their comfort. Because I’ve been in that classroom. I’ve taught and I’ve been in the classroom where everything is chaos, and I’m like, “Oh my gosh, is everything okay?” and then I realize I’m the only one *not* doing what they’re supposed to doing.  I’m the one that’s looking around and everybody else is learning.

So it’s that difference between being able to spot the difference between compliance and engagement. 

Thomas:  Yeah. That engagement question led us to the second study that we did.

We looked at Tier One strategies. And one of the first ones was, “What kind of things do kids engage with?”

So we went into a bunch of schools in the urban area here and looked at classrooms that were doing project-based learning.  We measured — and this is really simple, but it was really simple — we looked at the level of engagement *and at the same time* charted behavior using the PBIS model that they were forced to use.

Very often what we see is we’d see terrible behavior reflected on the PBIS point sheets, but deep learning in our research on engagement. 

So it’s obvious project-based learning is something that many kids respond to. Not all kids, but many kids do. Pedagogy is never talked about in a Tier One strategy. It’s not ever talked about, because there are certain things that kids respond to and there are certain things kids don’t respond to and that’s just the fact.

Jeanie:  Oh I love that! I just want to say that again: pedagogy is not talked about as a Tier One strategy. That feels like a huge oversight.

Thomas:  There’s this fidelity index you’re supposed to use when you’re developing your Tier One. 

Constructed by school psychologists, the only time they mention the word “pedagogy” is when they say, use the appropriate pedagogy to teach the children about behavioral expectations. They don’t mention teaching strategies; they don’t mention grouping. There’s a ton of research on pedagogy and engagement, but they don’t look at any of that and it’s because they’re not teachers. That, to me? That’s the point. They’re not teachers, so they wouldn’t think of that.

Jeanie:  So essentially instead of fixing systems and making systems designing systems to be more engaging for young people we’re trying to fix kids.

Thomas:  The fact that we think a kid needs to be fixed is a problem to begin with.

Jeanie:  Exactly, oh my gosh. Yes, okay.  I see that in a different way even than when I read your book, so thank you for that. 

I want to talk pedagogy a little bit. And I want to talk about Vermont.

You’re probably not familiar with our Act 77, but it’s this legislation we have that asked us to personalize learning for our students in Vermont. It has these three main components.

  1. Knowing students well; so thinking of that as personalized learning or PLPs, we often think of it as personalized learning portfolios or plans. 
  2. Providing flexible learning pathways, so that learning is more personally meaningful to learners. 
  3. Proficiency or competency-based assessment; assessing what matters. 

They’re intertwined, like DNA strands, right? They’re spiraled together.

So I was starting to think about the ways in which PBIS — which is in all of our Vermont schools, or most of our Vermont schools — is interconnected with these three different parts of the law. And I wanted to process that a little bit with you. I wondered what you thought about PBIS and how it either promotes or prevents teachers from knowing students well, knowing students and their families well.

 Thomas: Theoretically I think if in good faith you look at what Tier One is supposed to do, like what the outcomes are?  They say a solid Tier One strategy will be enough for 85% of the students to manage their behavior; they won’t require anything else. Good Tier One strategies would include getting to know the kids and creating a relationship.

Our education program here at Xavier is based upon this really great, great quote, and it goes:

“There’s no significant learning without significant relationships.”

James Comer said that and that, to me should be the fundamental base of all Tier One strategies.

Jeanie:  So can I just ask you… Can I needle you a little bit about that quote in your book?

Thomas:  Yeah I know what you’re going to say, but…

Jeanie:  Alright, do you know what I’m going to ask?

Thomas:  Well I think it comes from a book that is very controversial and people find ironically to be very culturally biased, but I don’t think it takes away from the quote itself.

Jeanie:  Okay it is the only place I checked that you cite Ruby Payne.

Thomas:  But I’m not, I’m citing James Comer, go ahead.

Jeanie:  From her book.  But I have to say finding her in your bibliography was surprising, and my friend Alex Shevrin Venet pointed this out:  there’s this uncritical reference to her [Ruby Payne], so I was curious about that.

Thomas:  So we all know the impact of Ruby Payne and we all know people have jumped on that for various reasons, but I love James Comer and I like what he has done in the schools in DC. 

The whole human capital piece, I find compelling. When you’re looking at social justice, this is my perspective anyway — and realize that I’m at a Jesuit university, so we have kind of a Jesuit version of social justice.

But it’s the idea that when you limit or prevent opportunities to people, including access to resources and including access to human resources, that’s a social justice issue.  So that James Comer quote comes to me from that social justice place.

Jeanie:  Could you just repeat it, because I feel like I threw a wet blanket over it and it’s actually a really great quote.

Thomas:  Yeah, so:

There is no significant learning without significant relationships.

Jeanie:  Yeah.

Thomas: You’re not the first one to call me on that, by the way.  

Jeanie: I’m going to read a little bit from your book, because this is a piece that when I was revisiting your book, jumped out to me. It feels significant about this knowing students well and it’s talking about the model that PBIS is based on. 

This [PBIS] perspective of human behavior is logarithmic in nature and denies any heuristicly derived information or insights. This is a specific perspective of human behavior that denies anything but observed behavior and affects the lens in which they view children.  ABA requires that the behavior be targeted, observable and quantifiable. An outside manipulator is required to create the external controls necessary to motivate students to behave in a way that those in power deem as appropriate and desired.  Often the content of the child’s life is not taken into consideration when problem solving.

Thomas:  God, who wrote that? That was beautiful.

Jeanie:  I am a person who questions the impact of PBIS a lot. And when I challenge PBIS, people who are PBIS fans will say to me, “Well, it’s not always implemented correctly is the problem.”

But this seems like it’s baked into this idea of like, “Oh no we’re going to give the same reward. You get more tiger bucks!” Or your otter paws, or whatever it is. It doesn’t seem to take into account the specific context of a kid’s life. 

Thomas:  You’re absolutely right. I do think there is something to be said about implementation, I think.

Not because there’s anything theoretically correct about PBIS. It’s about *this* model merging with the model of engaging teaching: they just don’t mesh together. You can’t have a PBIS model and really emphasize engagement in the classroom. To me, they’re mutually exclusive. 

So when I’m talking about the heuristic nature of human behavior, I’m talking about this emphasis of identifying and targeting behaviors and looking for that one behavior and not having any discussions about what’s going on in this kid’s head or in his life. Not knowing anything about the context that he’s bringing into the classroom.

So many times — and I use this in my class a lot — I say chapter one happens when the kids aren’t at school. They bring all that affect from chapter one into chapter two when they come into your classroom.  It probably would serve you to know what’s happening in chapter one.

That’s what I’m talking about. That’s not valued at all in the development of interventions, typically.

Jeanie:  So that that makes me think of a couple of things.

One is, it’s not just that it interferes with knowing students well, it interferes with doing something. Applying that knowledge of how we know individual students well, to their educational plan or to our teaching or to what they need in an educational setting, right?

In Vermont a lot of teachers — myself included — have lived in small towns where we like, go to the grocery store with the kids we serve, we know their families, we taught their siblings. It’s not– these are not big schools.  And so we might know students well but PBIS might get in the way of us actually applying what we know about students for their best interests.

Thomas:  You’re going to be seen as a giver and a taker and that doesn’t develop relationships very well at all.  If you’re seen as the manipulator, then they’re going to resent you in the end.

Jeanie:  So it’s transactional. 

Thomas:  Yep.

Jeanie: The second component of our Act 77 in Vermont schools is this idea of personally meaningful learning opportunities for young people. This idea of flexible pathways. That school doesn’t need to look the same for all students.

And this really gets at pedagogy.

When we think about this at the Tarrant Institute, we’re thinking about project-based learning, and service learning. We’re thinking about education for sustainability, building in lots of voice and choice for students. And really I think this is also where social justice education fits in, right? Kids having a real role in the world. And so I’m wondering if you see any contradictions between PBIS and flexible pathways.

Thomas:  Oh absolutely. I mean, inherent in the DNA of PBIS is imposed structures and imposed norms.

So yeah: the kids don’t have much say in any of the interventions that are developed in Tier One, Tier Two or Tier Three. 

I do see teachers who have managed to create meaningful relationships and flexible pathways for kids in spite of having to also do PBIS interventions as well. A lot of times when I’m talking about this book people think I’m just like, negative on everything. Now, there are a lot of teachers doing really good work in spite of this, but it’s always *in spite of* PBIS.

With flexible pathways to me, the whole idea of it used to be called differentiated instruction. And now the big term is Universal Design for Learning. And all these ideas basically come back to what you’re talking about: the idea of finding what flips the switch for the kid and engages him. And I don’t think we need a fancy name for that: it’s just engagement.

It’s about these 10 kids over here in your classroom are switched on by this, and these other 10 are switched on by something else. There’s very useful strategies that we can teach people in order to give them flexible pathways to learning, but it’s always *in spite of* PBIS.

Jeanie: That’s interesting to mem because I think of Universal Design for Learning as a way of removing obstacles to learning. Like, being really cognizant of what the obstacles are and removing them.

I’ve been thinking a lot about the ways in which we tend to plan for the middle, and PBIS seems to be about creating the middle, and getting everybody into this middle zone, right?  And I’ve been thinking a lot about how UDL asked us to plan for the margins, right.

I was your field-independent learner, right? And for so many of us it’s really easy for us to plan for other field-independent learners or to plan for that middle: those well behaved children. Those kids who were without learning disabilities, or kids who look like us, act like us, are like us. So what would it look like to instead plan for the margins?

Not just pedagogically, not just instructionally, but also in our classroom environments and in our the structures and the culture that we build in the classroom.

Thomas:  Now, my career started in outdoor education. I would take kids who were from urban Cleveland, who had behavior problems and we would take them out into the woods and they’d camp and they’d hike. Here are the kids that were horrible in the classroom and their behavior was really dangerous many times, but we took them out into this new environment and they’d have choice and voice. They had choice and voice.

Because that’s one of the fundamental things about outdoor Ed, is choice and voice. And then there were no behavior problems.

So I’m thinking why don’t we take that and apply that into school?

We try to fit all these kids into this square peg, the square peg of public education and they don’t all fit. So why don’t we change the hole that we’re trying to stick them into? I’m all for that.

What I’m finding those politically and culturally is that it’s a really tough nut to crack. It’s really hard to get people to listen to that, especially now in these times. Montessori, though? I gotta tell you Montessori has done a really nice job with this. They have a very loyal, almost militant following with families who have their kids in Montessori school, so I know it can be done.

Jeanie:  You’re also reminding me of something we talk about at the Tarrant Institute which is that project-based learning, PBL, shouldn’t be dessert. And so often we’re so focused on skill-building, like, “once we get all the skills in place then we’ll do the fun stuff.”

I think that what flexible pathways and what really good pedagogy tells us is that if kids are engaged enough doing rich, meaningful, relevant learning, they’ll learn the skills. 

Thomas:  Again, from my experience in the classroom I found that to be true. But I also found it to be very labor-intensive for a teacher to teach in that way.  Again, it’s much easier to do it teaching to the middle than it is to teach to the margins. It takes a lot more planning and a lot more energy.

Jeanie:  The third part of Act 77 is proficiency-based assessment, and what we at the Tarrant Institute think about as assessing what matters.  And so part of–

Thomas:  Wait, who determines what matters?

Jeanie:  Well yeah thank you! Do you want to say more about that?

Thomas:  No, I want to hear what you have to say about it.

Jeanie:  So, in Vermont, we’re big fans of local control. The AOE, our Agency of Education, put out some guidelines, but each school, each district determines what matters for proficiency-based graduation requirements.  I’m a big fan actually, of proficiency-based assessment as a lever for equity, because I think it more clearly (ideally, in a well planned proficiency-based system) outlines what the goals are for students to learn. Ideally, there’s some flexibility in there, too. 

There are certain things that every kid needs, and then there are places where kids can explore and develop their own expertise. Those indicators are really clear. Kids demonstrate that they’ve met the indicator through a body of evidence, right? And so it takes some of the guesswork out, and the bias that goes with that. 

In our setting, schools also have to develop a set of transferrable skills, these skills that cross traditional disciplines.

Instead of just science and math and language arts and history, kids also need to demonstrate their growth in collaboration and communication and creative problem-solving and self-direction. 

And that’s a place for me where the rubber meets the road with PBIS. 

In many of the schools I work with, they have PBIS systems K through 8 and I’m talking to middle school teachers in grades 5, 6, 7, 8, and the teachers are like: “These kids can’t. They just can’t do self-directed learning.”

That’s problematic for me because it’s a really deficit viewpoint. To me, it’s like, no wonder! They’ve been given tokens and treats and rewards for compliance all along, why would they be self-directed learners by the time they get to you in a system that rewards compliance??

Thomas: Right.

Being an early childhood educator, authentic assessment is really important to me, right?  The idea that the way you’re assessing the kids’ proficiency has to match with how they learn and what they learn, right? My problem with a lot of what we call proficiency-based assessment now (at least in Ohio) is that it almost never matches what they’re experiencing in the classroom. Or their learning style.  It doesn’t give you an accurate read, right?

My view on this is that you establish what you’re measuring, all right and you use it in a way. You establish what you’re measuring and then you have multiple data points, multiple and diverse ways of measuring those things. Then also measure it over time as opposed to just one moment of assessment.

Again, though that takes time and that takes energy. It’s much easier to give a standardized test than it is to do authentic assessment.  So I do think PBIS caters to kind of a more standardized way of measuring things, right. So if you look at the way interventions are measured, it’s largely quantitative. If you look at the research on PBIS, they always measure it in terms of what we call ODRs, Office Discipline Referrals.

Jeanie:  Oh, oh, oh, I am familiar with ODRs. I am the mother of a son, I know all about ODRs.

Thomas:  What that measures is how often you’ve been kicked out of class, right. It does not measure engagement. It does not measure any growth over time, it just measures that one thing. 

Jeanie:  Oh it totally makes sense. I also think, like, don’t we want to graduate into the world engaged citizens and not obedient citizens?

Thomas: In a capitalist society we want obedience. And to me that’s the larger book I have out in my future is linking these ideas to capitalism. I think that there’s a lot to be said about that connection. How our structures of schools evolve, what our expectations are to what we teach, and how we teach it, and how we assess it. It’s all about creating obedient citizens and especially obedient underrepresented citizens. We don’t want them to be assertive, no, we want them to be very well behaved and know their place. 

I think again: it may not be eugenics, but it is blatantly racist.

Jeanie:  Well, I’m troubled by that because I do want to graduate engaged citizens and I know many Vermont educators do; we want students engaged in the democratic process. We want students engaged in their social institutions, right. 

And I want to step back a little bit and say: I totally heard what you said and I should have been more clear that proficiency-based assessment actually for me only works if instruction changes. If we’re clear about what we want to teach, then we teach it in a way that kids can learn it and they get lots and lots of formative feedback. 

While you were talking it occurred to me that these rewards, these Tiger Bucks and Beaver Paws or whatever they are that kids get as a part of PBIS are their own kind of feedback.

And it’s not feedback that asked for growth or changed, right. We’re teaching kids that feedback is just something that you get.

I know in schools having taught K to 12 that one of our struggles is teaching kids how to engage feedback for growth.  How to give feedback so kids can grow and learn and then how to help kids learn to take feedback and use it to grow and learn.  In a way these tokens, this tokenized system is counterproductive to the kind of ways we want kids to receive feedback. 

Thomas:  Absolutely, can I recommend a book to you. 

Jeanie:  Yes please always.

Thomas:  Okay so we use this in our assessment and observation class, it’s called Embedded Formative Assessment by a guy named Dylan Wiliam. He’s a Brit but it’s exactly what you’re talking about; it’s authentic formative assessment. It really emphasizes how to get feedback, how to guide learning and guide behavior.

Jeanie:  The other thing that I’m hearing about all the time, all over Vermont schools, is trauma-informed instruction right. We’ve got all these schools that are talking about equity, talking about personalized learning, talking about trauma, and then spending a week every summer going to the Best Institute to learn about PBIS. 

And so Alex Shevrin Venet, an educational leader in Vermont (and a really fabulous person), does a lot of PD work around trauma-informed practices. I recently went to a webinar with her where she talked about how these two approaches are mutually exclusive.

Thomas:  That’s a really important point, I haven’t done a lot of thinking about that but that’s absolutely true.  Yeah because when you also factor in the idea of knowing children, right, they make it mutually exclusive. Because honestly a lot of teachers don’t want to know about the trauma students are experiencing. They’re like: now I teach reading, I don’t want to know about trauma. Can you imagine?

Jeanie:  I don’t want to put words in Alex’s mouth but from learning from her, I think what she would say is we don’t need necessarily to know kids’ specific trauma histories.  What we need to know is the way that trauma impacts kids’ behaviors and their ways of showing up in the class. She uses a term a lot that I saw in the last chapter of your book where you’re starting to outline some solutions or ways to make PBIS more socially just, which is: unconditional positive regard. 

How do we hold kids in an appreciative way with unconditional positive regard even when they’re struggling, even when their behaviors are completely inappropriate? Because there may be logical reasons, logical things happening outside of our classroom that are feeding into that, that we need to understand. 

Thomas:  Right. And PBIS often doesn’t accommodate that type of thinking. It’s like either you’re behaving this way or you’re behaving that way and I really don’t care about what the reasons why we just need to stop it, that’s just that’s fundamentally part of behaviorism by the way.  I mean if you go back to the root of  Skinner and watch and they’re like no there is no inner life that matters.  The only thing that matters because we’re a science after all is what we observe and that that DNA is still visible within PBIS practice.

Jeanie: That just breaks my heart.  I have to tell you that I loved that I could see where you cited Parker Palmer, I’m a big fan of Parker Palmer’s, and his book, Courage to Teach and his reflective practice. So this idea that we operate under a system that denies an inner life to folks? And then the contrast of Parker Palmer ,who’s all about authenticity and showing up and being reflective about your inner life? There’s a lot of dissonance there for me.

Thomas:  Lots of dissonance, yes. 

Jeanie:  Okay so I want to get practical here. I know you’re going to write a book about this and I can’t wait to have you on to talk about it and to read it, but many of our schools all of our schools are deeply invested in PBIS, so I guess I’m asking: what are some tangible steps they can take if they’re not able just to ditch it?

Thomas:  In the book, I start to develop this a little bit, but my observation is that when people are intervening on student behavior, they often start with the student and they start with this deficit model. 

“What’s defective and how do we fix this about the kid?” 

And I think they’ve got that backwards.

I’m a big fan of Urie Bronfenbrenner and the whole ecological way of looking at development. When you’re looking to intervene, you start on the outside and work towards the child. The child should be the last place you end up. You should be looking at these subsequent ecosystems to see what’s going on there.

In my mind, as a consultant who does a lot of behavioral consults for schools, it’s almost always something else besides the kid that is the cause of these behaviors.

Very often it’s the teacher and what’s going on in the class. They don’t really like to hear that, but that’s been my finding.

So if we start from the outside and start looking at where this kid is coming from:

  • What’s happening in his chapter one?
  • What’s happening at home?
  • And what do other teachers have to say about him?
  • What do other people have to say about him?

Then slowly only go towards the child.

But when you’re talking about behavior change it’s an inside out.

Jeanie:  Again I hear fix the system, not the child. It’s not a child, the child doesn’t need to be fixed, the system needs to be fixed.

Thomas:  I will say this: there are kids who are damaged. I don’t know that “fixing” is the right word we should use, but they need a different kind in a different level of support. 

But I would say 2% to 3% is all we’re looking at for kids who are so damaged that they require some control, actually. 

I think there are those kids out there, but regardless: there’s still the impact of all these ecosystems. Start there. 

In the second place is this idea of responsiveness, right? The idea that a classroom in a school has to be responsive to kids.  It has to be. The kids have to have power within that ecosystem.  They have to have the ability to choose, the ability to control, they should be the ones helping you create the rules in the classroom and the culture in the classroom, and it should be based upon what they want out of their school year, right?

Jeanie:  A lot of our schools have responsive classroom and it seems interesting that they’re holding both PBIS and Responsive Classroom. 

Thomas:  Does it.

Jeanie:  I love what I consider in the last chapter of your book — which I highly recommend people interested in transforming PBIS read. There are a couple of things that seem to be just like these guiding principles, or things we should all believe. And we should believe them not just in the back of our heads, but actively believe them. They should show up in our practice.

And they are this:

You say each child is to be respected. I would rephrase that as children deserve to be respected. Every single child deserves respect.

The second is all children can learn. Absolutely! Like, that should be a fundamental belief that we act on every day. 

The first six years of a child’s life are a sensitive period for learning.

And then I love number four: children naturally enjoy learning and working hard if allowed to direct their learning. 

Like, children love to learn! And when people say these kids don’t want to learn, I’m like: what have we done to them then? That seems like it’s our problem because anybody who’s been around young children knows they love to learn and experiment. 

To me, these are  fundamental principles that should that should show up everywhere in a school culture, these beliefs. 

Thomas:  There’s a researcher, her name is Constance Kamii.  And Constance Kamii, she’s a Paiget-based scholar and she looks at child development that way.  But one of the things that I love about her work is this idea of: why do kids hate math? Why, when they’re older, do they say, “I just want to avoid math and I don’t like it”. 

And she traces it back to how math is taught. 

One of my ideas about intellectual autonomy comes from her, this idea that our pedagogy has to want to develop kids who engage. But kids who are intellectually autonomous who can talk about their thinking, they can defend their thinking. If they’re working on a math problem they could defend their answer and explain it. 

When you teach math from that perspective it’s freeing, it creates autonomy and it’s fun to learn.  And to me that really speaks to this whole idea of why people hate school.

The research shows that by third-grade kids define themselves as either liking school or hating school. As either being good at math or bad at math. Good at art or bad art by third grade. You’re what, nine years old?

Jeanie:  I had to overcome the trauma of fourth grade being kicked out of chorus. I didn’t sing out loud again until I had an infant in my life, for years. You probably still don’t want to hear me sing but …

Thomas:  You got a cool microphone to sing into.

Jeanie:  So you’re reminding me of a couple of things and like, really coalescing for me a couple of ideas. One is, I’m going to use some language from Parker Palmer, which is this idea that learning math is one of our birthright gifts.  And that we are taking those from children when we don’t provide environments where they feel like mathematicians and learners. Because we are born as humans to do math, every single one of us.

And you mentioned Constance Kamii. But I think of Rochelle Gutierrez and her work around re-humanizing mathematics.

Thomas: Yeah exactly. I so wish I could go back in time and learn math that way because I don’t like math at this point. I avoid doing math and I’m here I am at this university where there’s all these eggheads around me and I got to admit sometimes, yeah I don’t like, I don’t like math too much.

Jeanie:  So no quantitative research for you.

Thomas:  Well I could do it. I don’t like it though.

Jeanie:  There’s a lot more in this chapter about how to transform PBIS, are there any other big points you want to make before I ask you one last question?

Thomas Preparing the environment, I think is underrated. And I think that there’s a lot more to preparing the environment than just how you set your room up, right. It’s this planning.

One of the things I do, one of the activities I take my students through, is this idea of the work you do before the kids even come in the classroom is important. It’s proactive and it is a Tier One strategy: thinking through your routines, thinking through the age group and the developmentally appropriate practice that you need to use in things like restroom breaks and lining up and cafeteria. Those things you have to think through, we call them the RRRs: Rules, Rituals, and Routines.  You think about those things before they happen.

Those are Tier One and I think the bottom line is if you have to be forced into a PBIS model, then let’s spend a whole lot of time developing this Tier One. 

Let’s really hit 85% of the kids who require nothing else than we think through deeply these things that will proactively prevent disengagement and misbehavior.

That’s kind of the final word I would say.

I also talk about preparing the curriculum, right.  There’s a lot to be said pedagogically.  There’s a lot wrong with what we do pedagogically, particularly in fourth through 12th grade. 

I think preschool through third grade thankfully we do a fairly good job across the country. But beginning in fourth grade, because we switched to a departmental model, we become much more content-oriented.  I think we have decreasing productivity and decreasing developmentally appropriate practice as the kids get older.  So I think there’s a lot of preparation that could be done with pedagogy too.

Jeanie:  One of the things I often think about is how as educators, we can have our imaginations limited by what school was for us. It’s one of those professions where you enter into a profession that you experienced is a young person. 

You don’t usually do that if you become a police officer or a lawyer or even a doctor — you don’t spend every day at the doctor’s office like internalizing what being in a doctor’s office looks like. 

But school we internalize all these things about what schools should look like from our own experience in school and then we come into school and we often reproduce that — even if it wasn’t good for us and our classmates. 

And so I guess one of the things I’m thinking about is the way in which your book asks us to imagine classrooms and schools in a different way. To look at them in a different way. To like, actively hope for something different than what we experienced.

Thomas:  Yeah that’s very well put and I believe it can happen and I’m not a young man anymore, but it’s what keeps me coming to work every day because I know I’m having 100 students come through my program every year and I’m sending them out with these vibes and I think that’ll make a change.

Jeanie:  So that’s a really hopeful, that’s a really hopeful way to end.

I’m really grateful, thank you so much for talking, I could hear your email dinging, and I know you’re a busy person.  I want to thank you so much for taking the time to talk to us about PBIS and to do so in a way that isn’t fatalistic, to do so in a way that’s hopeful and leads us forward.

Thomas:  Well and thank *you*. Everybody has an ego and it’s so nice to be recognized for having written something and that people like, so thank you.

Jeanie:  Well I like your book a lot, it mattered a lot to me and I can’t wait to read your next one.  Thank you so much.

Thomas:  You’re welcome!

#vted Reads: So You Want to Talk About Race

In this episode, we get real about what educators can do in their classrooms to make a more equitable playing field, how to walk that fine line between supporting student activism and co-opting it, and how to juggle the competing demands of educational and intersectional change. Also, we talk local soccer. It’s a full workout in this episode, listeners! I’m joined today by educator, parent and activist Life LeGeros — who is also my co-worker — for So You Want to Talk About Race, by Ijeoma Oluo.

Because we do want to talk about race, even if we might not get it right 100 percent of the time. Neither will you, but it’s vital that we keep on trying, and use books like this to nudge us forward.

I’m Jeanie Phillips, and this is #vted Reads: books for, by and with Vermont educators. Let’s chat!

Jeanie: Thank you for joining me, Life.  Tell us a little bit about who you are and what you do.

Life:  So, my name is Life. I live in South Duxbury VT, right near Harwood High School up in the foothills of the Green Mountains. Lived in Vermont for about five years. I work with middle schools around the state. Mostly in the Northeast Kingdom right now, supporting them doing student-centered learning. And I have the great pleasure of working with you here at the UVM Tarrant Institute for Innovative Education. That has been one of the honors of my professional career and my personal life. I’ve loved getting to know you and becoming friends. And yeah. We help schools and then do a little blogging and researching. It’s basically my dream job.

Jeanie: Thank you very much for those kind words.  I have to say, same. It’s been such a pleasure getting to know you and your family. But also, I just love how you push me to think more deeply about lots of issues, but especially issues of equity. Thanks for that. And this book is part of that. But before we get into this book, what are you reading right now? I know your whole family are great readers but what are you reading right now?

Life: I completed a book this morning, yeah.  Not just a book but a grown-up book. A fully grown-up book. Because most of the fiction I read these days is like, YA.  But I read a grown-up book: The Overstory.

Jeanie:  Oh, I loved that book.

Life:  It was just one of those deals where friend was like part way through it and they were just like you got to read this.  You got to read this.  I’m reading it. It took me a while to get into it because it’s like, many different stories separate …that flow into one.  And I’m not sure where I sit with it honestly. Overall, it gave an artistic kind of perspective on many things that I’ve been thinking and feeling.  And I’m definitely very interested in like following up in getting a field guide and reading more about trees and their interconnectedness.

But just in terms of being overwhelmed and feeling like climate change is just a horrible thing that we’ll never get out of? I think it was a nice different perspective on that. I’ll be processing it or a while, so it was very affecting.

Jeanie: You and I both spend a lot of time out in the woods of Vermont.  And I have to say that book changed the way I see trees. It changed the way I sort of have a quiet dialogue with trees on my hikes.

Life:  Totally.  I always feel like trees are, you know, a reminder.  And then for this to say, well, they might be literally trying to like communicate something that you could tap into? Is a really cool idea. It’s true.

Jeanie:  I see, yeah, I love that.  So, let’s talk about this book.  So You Want to Talk About Race by Ijeoma Oluo.  I guess my first questions for you about this book are: who is this book for? And why might Vermont educators and students want to consider reading it?

Life:  I think broadly it’s for Americans. Part of her point is that there’s a systemic limitation/dismantling of our ability to even talk about race.  And that gets in the way of changing those same systems.  And it’s intentional. It’s there for a reason. It structures a way to think and about talk about race. Everybody in America, we live in this supremacist society. That’s a limitation.

But I think that more specifically, I think it’s best for discussion groups.  I think it’s just that’s the way I’ve read it through.  And now I’ve used it in discussion groups for the last year and a half and it’s been really, really good for that. The length of the chapters is perfect.  The way they’re set up as a question? It’s just really, really good for that.

Jeanie:  Do you want to talk a little bit more about that discussion group.  What that looks like and what came out of it? What emerged from it?

Life:  Yeah.  So, the Waterbury Public Library — I think it was through the Vermont Humanities Council — had a speaker come about a year-and-a-half ago.  I’m forgetting his name at the moment but he’s a professor from Southern Vermont.  I can figure out who he is but his talk was on the history of race. And it was a good talk. But I found myself during the talk calling up transcripts from Seeing White from Scene on Radio because I was like:

“Wait, that’s not the way I understand it. I think you might have the history wrong here.”

He got doing this talk and I was all fired up and I started like reading bits of the transcript and challenging him on stuff. But he was like really cool about it.  He was like, “Oh, I see that perspective at here.”

Anyway, it just launched into this amazing conversation with the dozen or so people who were there.  And by the end of it, that professor said, “You know, I’ve given this talk all over Vermont.  This is like the best post-talk conversation I’ve seen.” And someone else in the room was like yeah, we should really try to keep doing this.

Afterwards Judy Byron, the Waterbury librarian and I ended up chatting. She was like, “We just need a facilitator, you know. Would you would you want to do this?”  And I was like well, let me think. Then my wife helped me identify like, maybe this book could be something for that. So, we came up with this thing and start advertising it. Third Tuesday of the month, and we’ve been meeting monthly for the last year-and-a-half. Basically, we read a chapter per month until the last few months when we’ve been reading two. By the end we had a list of I don’t know 60, 70 people who had come to at least one.

Each chapter meeting was probably like between 12 and 20 people. And I would use it as an opportunity to write something up on Front Porch Forum every month beforehand with a quote from the book and maybe a link to something else and kind of, you know a way to get it out into the community even if for people who aren’t attending.

We fell into this nice rhythm where we would start with agreements from Courageous Conversations.

Courageous Conversations Compass so you want to talk about race

Anyway, at the last couple sessions, we used the compass as well and then we would do kind of an activator that could be accessible for people whether they had read the chapters or not. Maybe a little video or a quote from the chapter or something for people to kind of contemplate and then talk about in small groups. That usually left us with like 25 minutes or so to just have an open conversation where we’re making connection to the text.

Then just thinking about next steps, I think probably what we’re going to do is have a couple of people co-facilitate another round with this book. Potentially they’ll use some of the same activators and the emergent curriculum we created (or whatever you want to call it). And then maybe we’ll have another group doing something like slightly more intensive for people who did the first round or something. I think it could lead to a variety of kind of community learning experiences here.

Jeanie:  Life, I think that you get at something with this process.  It’s really interesting to me in that there’s this tension that talk isn’t enough.  But if we don’t do the talking — especially as white folks — if we don’t start having the conversations, then we also don’t act.

Thinking about our friend and colleague, Katy Farber. And our friends Christie Nold and Emily Gilmore. Our friends have been using the BARWE approach — Becoming Antiracist White Educators — to have conversations in schools about race. Again, it’s this idea that as white folks, we need to educate ourselves about race and not expect people of color to do that for us.

And while talking isn’t enough, we have to start somewhere.

It feels like we need to have those conversations even in order to sort of get underneath our own internalized fears. Racism; our own internalized stuff.

Life:  So true. BARWE, I think is interesting because that’s, you know, specifically for white educators. With this group, you know, we pose it as a community conversation.  And, you know, I think certainly the first meeting or two, everybody that was there appeared to be white. (I mean, my dad is a person of color, but he can look white or otherwise; he’s kind of chameleon in that way).

So I think when you asked who it’s for… I don’t want to say this book is for white people but I think it’s an amazing entry point into this work that probably, people of color are going to find sort of basic in some ways. With our group, we had a couple Black women, some people of color, start to dip in and out.  But the way they interacted with the group in some cases was really interesting.

One of the people had actually moved away from our community and was actually calling in from Las Vegas. She was like: “Whoa, I wish that was going on when I lived there!”

Another person, she would just say, “Don’t put me in a breakout room right now. Like I want to be here. I’m inspired by this work. But. It’s also incredibly painful.”  And she would share that with the group. Navigating that was a little tricky. But as Oluo says, figuring out how to do this work together is a big part of the work.

Jeanie:  Yeah. You’re going to read something.

Life:  On Page 230 in her last chapter which is titled, “Talking Is Great But What Else Can I Do?”  I love this passage. This was actually the one that I ended up posting on Front Porch Forum for people.

So totally what you said: that tension between “I gotta act” and “I gotta learn”. The learning is not enough. Do both all the time, just go for it. But you got to learn too.  I think that applies especially to white folks.

Jeanie: I love that. She’s ending the book in a way similar to how she starts it. On Page 45, she says, “You’re going to screw this up.”  And my question to you as somebody who’s sort of been doing this work for a while and who works with teachers who are doing this work is: how do we get past the fear to have the conversations we need to have about racism? How do we get past our own vulnerability and being scared that we’re going to say the wrong thing or we’re going to mess it up?

Life:  Yeah. I think one is just doing it enough. Once you’ve messed up a few times, you realize the world didn’t end. You’re less afraid of it.  So it’s just the practice.

And then the other thing is it’s relationships, right? The more you get out there and do it, even if you’re messing up sometimes. How you deal with those messed stuff matters. You’re more likely to have authentic relationships with people that aren’t like you because they’re more likely to trust you. They see it, you know.

But two; those relationships? You can lean on them. You can say it like, bang:

“Yeah, sorry. I messed that up and I’ll do better. And I know you’ll get to see it because we have a relationship and we’re going to hang out again.”

And I think that goes for teachers, too. If you have a relationship with students and with families, you just have that little bit of extra room. So that when you mess up you can explain yourself as well as you can.  But you’re also going to keep in there and they’re going to see how you deal with it.

For teachers, it’s like on one hand, the stakes are higher. Because if you mess up, you have young children in your church. And wow, this really seems like this is really amplified.

But on the other hand, you’re about teaching and learning and growing with your students.  So when you mess up? Those are incredible opportunities to model what it looks like to mess up and to move on and to grow.

Kids learn more from what we do than what we say, right?

If you can look at it like that, then hopefully you can see the benefits.  The benefits outweigh the risks or the drawbacks.

so you want to talk about race

 

Jeanie:  What I’m hearing from you in part — or maybe I just know this because I know you so well — is humility. Like, being able to be humble and know it’s going to be okay if somebody calls you in. I’ve had so many friends and colleagues in my life call me in gently or “call me to my better self” when I mess up, knowing that I want to be somebody who walks the talk, right?  They sort of pull me gently to my best self when I don’t realize I’m not there. That I’ve said something that’s misaligned with my core values.

So, I really appreciate that because I think it can be excruciating to be called out or called in, right? It can hurt.

And yet, you know, if we get defensive, it’s going to hurt worse than if we’re like humble and able to sort of say, “Oh okay, I need to think about that. You’re right. I have room for growth.”

So, when I looked through the chapters of this book, what I really appreciated when I first read this was that there were so many things that if somebody challenged me on — like, “Why can’t I say the n-word?” or “What about reverse racism?” —  knowing that I had an answer but not being able to sort of frame it in little sound bites? Was always hard.

But this book almost is like a cheatsheet to that.  I can imagine for some folks, reading it could be like: Oh, I’ve gotten that wrong in the past. Right.  It’s a gentle calling-in as well.

Life:  I think the way that Oluo structures most of the chapters is just so ingenious for that. They tend to usually start with a personal narrative or a story from her experience that certainly if you’re in that latter category and wondering, “Wait, why is that a problem?” Boom. It brings you there immediately.

She grabs your emotions.  She makes it personal and you’re there.

And then she kind of lays out the more technical reasons. This is why this is wrong. Or this is why you should think about it in a certain way. It kind of gives an analysis.  And then she always gives a “here’s what to do about that!”

Those parts, just within like, 10 pages? Is just so incredibly well done.  I mean, that’s why we, you know most of these sessions, we really dealt with one chapter and we could have spent multiple sessions on them and they’re just so, so rich.

Jeanie:  So, when I read this book, I read it just for myself.  But re-reading it in preparation for this conversation with you, it occurred to me so many of my schools right now are doing some sort of identity work and doing identity wheels with their students and helping kids think about their own social identities and the identities of others.  And on Page 12, I was like oh my gosh, this should be, this should be a little text that we use with our middle school students when we’re talking about this stuff.  So, I’m going to read a little bit because I really just love this section on Page 12.

It says:

Race was not only created to justify a racially exploitative economic system, t was invented to lock people of color into the bottom of it.  Racism in America exists to exclude people of color from opportunity and progress so that there is more profit for others deemed superior.  This profit itself is the greater promise for nonracialized people- you will get more because they exist to get less. That promise is durable, and unless attacked directly, it will outlive any attempts to address class as a whole.

This promise- you will get more because they exist to get less– is woven throughout our entire society. Our politics, our education system, our infrastructure- anywhere there is finite amount of power, influence, visibility, wealth or opportunity. Anywhere in which someone might miss out. Anywhere there might not be enough.  There the lure of that promise sustains racism.

White supremacy is this nation’s oldest pyramid scheme.

I just think that’s so powerful.

And as I was just re-reading it, I thought of the This American Life episode, Nice White Parents. And the way power plays out in that in that story.

I thought about all the times we’re asked to focus on class instead of race because we’re a mostly white state.

I thought of a majority white state.

And I thought of just all of the ways in which we talk about race without really getting at the way in which it’s constructed for a specific purpose, which she lays out really clearly here.

My question is: do you, like me, see potential for this in use with identity units with students? What might you do with this section of text?

Life:  I love that idea! Yeah. This is a big question for me and for Vermont educators that I hear often. What’s the entry point to talking about oppression, ultimately?  And there seems to be kind of, I wouldn’t say an emergent consensus, but there seems to be a movement towards identity. Identity could be the entry point. Thinking about identity, and then social identity.  And from what I know from my short time here, that’s a big shift.

I think it used to be much more common to say it’s got to be class. Class is the entry point. Like, we have economic disparities in Vermont. They’re really obvious.

Right now during the pandemic, one in four Vermont families are food insecure. And I mean, we know these people. They’re in every single school in the state.

So I think that identity and social identity are big, and they’re linked to oppression, absolutely.  And I love that passage you read because it draws these things together. They’re intertwined but it’s pretty much always about race in some part.

If I want to go back to that question of which one is the entry point? I’ve come to the conclusion (with the help of Christie Nold and others who helped guide me on this) that starting with race is really important for a couple of reasons.

One, because it’s the sort of most central mechanism in our country, America.  It is the history of America.  It’s the way that this exploitation and oppression has been actualized.

And then two, whatever your entry point is with these conversations, the skills can transfer; these analytic skills of thinking through oppression and systems. But if you don’t start with race, you might never get there, so.

You know in theory, if you start with class, you can learn a bunch of stuff and then be like, now let’s think about race through these same lenses, oh wow —  but it’s quite possible that you just won’t.

Talking about this stuff in schools is really hard.

When you talk about identity, social identity, connections to oppression — like, who you are getting in there? And so forcing us to kind of think about what does it take to create a classroom culture, or a classroom community?  A brave and safe space where we can get into this stuff? And it’s a great shortcut to asking: what is an ideal classroom culture community? Just to recognize you can’t be jumping in there day one. What kind of classroom do we want to create to be able to have these conversations in authentic ways?

Jeanie:  It’s so interesting, you and I were on a team together at the Middle Grades Institute, and one of our participants from Middle Grades Institute, Margaret Dunne at Mount Holly School, organized this whole identity union unit. And she’s teaching fourth and fifth graders, and she was a little nervous about talking about race with her students, I think all of whom are white.

So it was the end of the day, the kids were tired and she was like, “Okay, I just need you to hang in there for a little bit more, we’re going to talk about race.”

And they got so excited. They were so eager to have this conversation that she thought was going to be super hard and they jumped right in.

And we’ve been hearing stories of lots of students in Vermont,who are passionate about talking about race and racism, in school and out. So I guess: what are some ways do you think that schools can honor that passion and find ways to help students document their learning? Maybe in a PLP or in some other way, so that so that it’s not just like, oh, you’re having that conversation on the side, but: this is important learning. How can you show evidence of all the learning you’re doing in this area?

Life:  As we’re in these learning spaces I often hear might be like: what do I do with this? And one starter step is teach somebody else. That’s an action, you know.  It could be your uncle, it could be your community — you know, my eight-year-old a few weeks ago,  just started making a slideshow, you know?  She’s got a slide like, “What is BLM?  What is Black Lives Matter?” She’s like, trying to express it, right?  And my wife and I, we were like, yeah, we got to get this out to your relatives! They won’t listen to me, but they might listen to you!

That’s a starting point.

But think too about community-based learning. Think about different organizations that students could be connecting with who are doing this work on the ground, and how they could be supporting that and influencing that. And then, hopefully, with all of those things, there’s some chances for reflection and documentation through a PLP or otherwise, where they’re consolidating their learning and charting their journey into something to look back at later.

Jeanie:  I? Love that. I’m thinking also about the Black Lives Matter rally I attended last spring, organized by Rutland High School students, right?  And then I’m thinking about the SOAR students at Tuttle, the Students Organizing Against Racism, as well as teaching those who attend Dynamic Landscapes or The Rowland Foundation conference more about intersectionality and how to call out and call in when they hear racism. Or the students at Winooski right now who are asking for a more racially diverse curriculum, right? And more anti-racist teaching approaches. And thinking about YPAR, at Edmunds and all of the students all over the state of Vermont who advocated for and agitated for flying the Black Lives Matter flag. All of that is evidence, right?

And I guess I’m wondering about: are those flexible pathways? Are those ways for kids to do personally meaningful work being honored at schools? Are they or how can they be? Or how can we start to incorporate this kind of work into our proficiency-based system and give kids credit for this hard work. B ecause it often feels like it’s extracurricular.

Life:  Yeah.  I mean, I think that that’s a tough one.  I mean, I honestly think that unfortunately, our systems are set up in a way that has white dominant culture built in so deeply that by the time they would be truly honoring this work, it almost feels like a co-opting.

So, for example, if you’re going to try to grade students on their ability to act on what they’re learning about oppression, you’re sorting and ranking them based on how well they’re responding to our hegemonic forces?  I mean, it just, it’s like almost antithetical, you know?

I’m just thinking about, like, my daughter. I just gave that example like that slideshow was for nobody, she wasn’t doing that for school, she was doing it for herself. She shared it with the family. What she did, the way she talked about BLM, I was just like, “Wow. Okay, I didn’t even know you understood it that well. Amazing!”

Or you know, Or as you mentioned, SOAR: Students Organizing Against Racism. A lot of what those students are working on, they’re not part of a PLP. They’re not part of the curriculum. It’s extracurricular, technically, but still interwoven. I mean, they’re changing the displays in the library, they’re standing in the hallways, bearing witness, you know, with signs, they’re ready to jump on those moments to speak up and speak out.

So, I tried to, like measure it, feel, you know, we’re going for a collective movement, like it’s not competitive, it’s like the opposite.  You know, when Christie a couple years ago, I had the honor of documenting her identity and equity unit and it culminated, you know, there was there was a performance assessment to see like, where kids have gotten some of the concepts and I had a chance to interview a bunch of these kids, and just the way they were talking was so sophisticated, blew me away, beyond what you’d hear from 90% of adults and for sure, but the real culmination of it was art.

You know, she brought in teaching artists, some students did spoken word stories, some students did visual art, some students did poetry and they held in, you know, a big event where students shared and there wasn’t a grade, because it was what it was, it was like we came together, you know, you expressed yourself by doing something by weaving your identity and your fire into the this expression.  That’s it.  We experienced it together.  And almost feeling like, yeah, putting a grade on that would be, you know, that was her decision and I agree with it.

 

 

Jeanie: Yeah, I’m definitely not interested in grading, this kind of work, but I am interested in valuing it and I’m thinking about how powerful it is when students do this work, that they’re demonstrating– like your own daughter — communication skills, right?  Or creativity and problem-solving, and being able to identify and advocate for a change in policy that’s racist, right?  Or in the case of students find the Black Lives Matter flag like overcoming, figuring out how to communicate to the public to the community and persevering in the face of opposition, like how is that not self-direction?

I feel like there’s so many ways in which we don’t value the authentic work of students that demonstrates deep learning.

Life:  Yeah, I agree.  No, I mean… I feel like  if we could have a transformation of the systems that flexible pathways were reality, and they were honored through, you know, story and connections with those areas of growth, you know, student led connections, that’d be awesome, that’d be fantastic like, I would love to see it go there.

Jeanie:  So, yeah, that leads to this next question that I have, which is I’m thinking about Ijeoma Oluo and also Ibram X. Kendi. They both define racism in this way that moves it away from individual hatred, or somebody saying words that are offensive…to this idea of systems of oppression. And that includes schools, right?  And you and I are in the business of systems change in schools. So, I guess my question for you is: what do systems, school systems, need to do in order for education to become more equitable in Vermont?

Life: Wow. You don’t mess around with these questions.

Jeanie: Could you just solve everything, Life?

Life:  I mean, I think what we just talked about I think the competition like ethos of schools is a huge basis for an equity.  And I think that comes out in grades but it comes out in other ways, you know, like that there’s this idea that your parent’s jobs are to advocate for the “success of their specific kids” when success is defined as somehow doing better than others.  So, there’s definitely like there’s just this like, ethos thing that is like a really big thing to tackle.  But I’m I think that some of the, you know, what’s come under the standards of personalized learning are ways to do that.

I think challenging, like grading is, is hitting that head on.  And I think that’s why it’s so hard and it causes so much controversy, because ultimately, yeah, those, you know, grading, sorting ranking, that’s all part of the whole, that’s what race was graded for.

Jeanie:  It’s part of that pyramid scheme.

Life:  That’s right, it is the pyramid scheme.  Well, how you’re bad you off you are, there’s somebody that’s below you, so you know, you’re doing good and you might be able to climb the ladder.  Yeah, all that stuff, so I think getting into a place or it could just be more of a collective endeavor.  I think that, you know, certainly like to do that we need to have investment.

Like I just I don’t know, I just don’t think we can transform our school system without further investment.  I just don’t think there’s enough people enough time or energy to go around, like if we can’t get that far from the status quo and the shifts are too incremental, as long as it feat there’s like a scarcity situation happening, you know.

Jeanie:  Right.  It seems like scarcity is one of the fundamental principles of the idea of the pyramid system too, there’s not enough.  As opposed to thinking there’s an about like, scarcity versus abundance.  There’s an abundance and how do we make sure everyone gets what they need versus there’s not enough, panic, how do I get what I need, right?

Life:  Totally, totally.  And just yeah, it’s just like, it’s a limited amount of opportunities, so we have to figure out some system for who gets those.

Jeanie:  It’s a zero-sum game, right?  Like that there are winners and losers, as opposed to thinking.

Life:  Yeah.

Jeanie:  Yeah.  We can all be learners.

Life:  Like, I think, you know, school sports, right?  So, a place where competition shows up.  And I’ve just been lately, thinking about our local high school. We had a half dozen girls be told this year: you cannot play soccer anymore. “Sorry, you’re done.” And I’m just thinking about like, how is that okay?

Jeanie:  Oh my gosh, that breaks my heart.

Life:  We have a beautiful community soccer program. So many kids play it, they get so much out of it.  And now they’re in ninth grade, you know, just young teenagers and you’re going to say, “Yeeeeeeeah, not for you anymore.”  I’m just, like, blown away. Somebody told me: “Well, you know, one of the girls came to the practice — the three-day tryout, right? And on day two, she threw up because she was so out of shape. So maybe she doesn’t deserve it.”

And I’m thinking, that is the most backwards thing I’ve ever heard.

This kid wants to come and run around *every* day and you’re going to say she doesn’t deserve it?

I’m coaching third and fourth graders, thinking: which of these kids at some point, their community is just going to say: “Hey. We know you love this, we know it’s really good for you, but sorry.” What would it take for our high school to offer another six slots? Even if we had to offer another JV team like this stipend. Like a couple thousand dollars a year?

It’s like pennies for like, what could happen!  Even if we had to say at 12th grade, okay, now it’s varsity or bust.  Like if you had to leave that room in place, you could still give these kids three more years of involvement.  Right now, during the pandemic, it’s so obvious that teachers don’t have the support they need. Or administrators.  People who are in the school, they’re just fighting. And it’s heartbreaking because it really comes back to investment and resources.

And I feel like that’s a place where Act 77 personalizes learning. If we can only incentivize people to work harder or change slightly the way they’re doing it within the confines of: you have this many kids and you’re in a classroom and you have to talk them through this many hours a day.  But unless we have investment, we can’t really change it.

Jeanie: I love the way you used sports is that analogy.  Because this whole “you only deserve to do this if you’re good at it”?  Wait, what?

I had an exchange student and she worked *so* hard to learn to play basketball. She wanted to play on the basketball team. She’d never played basketball before because she’s from Mongolia.

And she got cut from the team.

She cried for two days on my shoulder. Two days! She cried on my shoulder for two full days before she took up track. And yeah, track was fine, but she wanted a team. She wanted to be on a team, and she missed out on opportunity because of exactly what you’re talking about. And that really, got to me and got me thinking about how often we do that. Who do we think it’s okay to leave out because you’re not good enough? Right?

Life:  There’s a broader social thing going on that makes us think that we don’t have enough, right. The scarcity thing is an overarching narrative. But there’s also like this justification that: well, that’s what the real world is like.  That kid’s going to leave high school at some point and go out into a world where she’s not going to get a winner’s medal for not being good enough, so we have to toughen her up.

And so, I think that’s like another place to just say: our school system should be a place where we do everything we can to create what the world should be.

We should have this as a place to dream. To go beyond what we even think is possible at the moment. Let the students lead us. Because their ability to dream is so much beyond ours. So much beyond mine as a white male adult.

I think the other obvious thing for how to change is to bring in a truly powerful curriculum.

And that means flexible pathways. We’re talking about where kids are actually doing stuff in the real world.  But also making sure that there’s no kids in the state, white or otherwise who come out of our school system, not understanding Black history, and the history of oppression. Making sure there’s no kids not able to analyze it. No kids who aren’t motivated to think: this has got to be better.

I have a passage I want to share too.  I think it’s really related to that.

Life:  Okay.  So, this is from the chapter, “Why Are Our Students so Angry?”, which in our group was a really powerful discussion, because we had so many educators involved. But Oleo shares the story of her own child and what they’re going through and just some of the stuff they’ve experienced in school.  And she comes back at the end of the chapter, on page 188, just kind of like reflecting on how she knows a lot, but she trusts that her kids know more. They’re doing stuff that will just blow our minds if we let them. Talking about the adult generation, she says:

This is the same for our role as the adult generation in society.  It is our role not to shape the future but to not f— things up so badly that our kids will be too busy correcting the past to focus on the future.  It is our job to be confused and dismayed by the future generation.  And trust that if we would just stop trying to control them, and instead support them, they will eventually find their way. My goal as a writer and an activist is not to shape future generations.  I hope to give a platform, a foundation for our young people to build upon and then smashed to bits when it is no longer needed.  That is what our kids are doing right now with all the work we have done, all that we have dedicated to them.  They’re building upon it, so they can smash it all down and it’s a beautiful thing to see.

I think that applies to teachers.

Like, if you’re teaching about identity and oppression and analyzing systems and changing the world, you’re not just trying to create little automatons to do your bidding, you’re giving them a platform and then you’re saying, “I’ll support you, however you end up doing it, because it’s probably going to be better than the way, I’ve tried to do it, because look where we are right now.”  I think that goes double for a state like Vermont where we tend to pat ourselves on the back about our exceptionalism and say things are great. Yeah… they’re not so great.

Jeanie:  What I’m hearing and what I’m thinking about is that I’m thinking about this concept of standing on the shoulders of giants.

This way in which knowledge is always moving forward. I’m doing all this work on culturally responsive pedagogy, which started as culturally *relevant* pedagogy.  And it’s grown because people pushed on it a little further.

Like what about not just relevant, but responsive?

And then: what about not just responsive, but sustaining?

This idea that knowledge and understanding grows over time. And that’s what we want for our students, right?  We want them to see the ways we come up short and take it to the next step, or rebuild it.

Life:  Absolutely.  I think that that idea you cited from Bettina Love earlier speaks to that because when you’re saying look to queer black women.  Part of what you’re saying is they know what’s going, like if you want to stand on the shoulders of giants. They’ve been fighting this fight for a long time and you start there and you’re starting at the best possible place to then go. And shift things a little bit to make it a little stronger.  There’s so much expertise there, you know.

Jeanie:  I saw Ijeoma Oluo speak in the fall of 2019.   And one of the first things she said was specific to schools. She said we should ground our work in the non-negotiable belief in the humanity and dignity of people of color instead of the edification of whiteness.

I didn’t get that at first. But then she expanded on it. Specifically, I think she’s talking about pacing for privilege, right?

And so she says, you know, you bring up race or racism at a school meeting or whatever, and you’re going to inevitably hear from like well, everyone, except for a couple of people. And those quiet people, they don’t want to talk about it, but they’re still good teachers.

And so my first question would be like, who are they good teachers for?  Can you be a good teacher and not think about equity and race?

Life:  No.

Jeanie:  Yes, thank you for answering my rhetorical question.

And then what she says is: why are we spending so much of our energy trying to change one or two people?

Like why not just continue to do the work and make these resisters obsolete? And so, I guess I’m asking you if you’ve seen schools like that? Because it seems to me a lot of times what we do is we back off because we’ve just made a couple people uncomfortable. Meanwhile all the people of color, either on faculty or the students are already uncomfortable. But we’re pacing. We’re backing off, because we’re doing that edification of whiteness. We’re making the white people feel comfortable.

Life:  Um, have I seen places that are like pushing it forward in a sustained way? I think that the edification is far more common and typical.  Even in places where there’s a collective commitment and a certain amount of investment. I see folks who really want to move, or feel like this is just so slow. And so, I get the concept of saying you got to move at the pace of the need. But um, it’s just super complicated.  I mean, there’s a whole urgency of white dominant culture that you don’t want to fall into.

But the real paradox, especially in predominantly white institutions, is how to do the work without amplifying the harm, right?  I mean you know from the outset the harm is going to fall disproportionately. People of color are the most impacted; that’s a given.  But the faster you go, does it hurt worse?

If you’re saying there’s some people that we’re just going to move forward and those people are going to have to either move to a different school or they’ll eventually retire?

Well…. what happens in the meantime when they have students of color in their classrooms?

Because even the most skilled teachers, when that stuff comes up, there will be push-back.

When it comes up in your classrooms, and students of color are being harmed right in that moment? It’s a really difficult thing to address and to make better.  So, you look at that spectrum from those people through to the people who  don’t even believe in it and don’t want to deal with it at all.  …I haven’t really figured it out.  I think it’s really tough.

Jeanie: The other thing Oluo said at that presentation that I think goes hand in hand with this — and that I think you and I have had some recent sort of related experience with — is she said that if you don’t at least have a process written down for how to deal with racial aggression, you are failing your students. You can’t come up with a process when emotions are high.

She said she recommends that you imagine that the worst will happen and plan for it.

I think about this. I suspect that most of our Vermont Schools do not have a plan in process specific to racial aggression against teachers or students of color.

We haven’t always handled that well when student athletes of color go elsewhere and get called names. And so, I’m thinking directly around that. But then I’m also thinking about some experience you and I have had recently where teachers plan some anti-racist curriculum, right?  And then they go teach and they get pushback from families, or *a* family.  It’s usually just one family, right?

And so how do we prepare in advance, whether it’s for racial aggression, or for when we get pushback on our curriculum, because we’re teaching about Black Lives Matter, we’re teaching about racism and families are like whoa, whoa, whoa that’s too political or that doesn’t belong in school.  How do we prepare ourselves with that because we know it’s going to happen?  Instead of being surprised and then not handling it very well.

Life:  Yeah.  Um, drawing on those surprises come up a lot.  Christie Nold and Netadhe Stoddard, who’s somebody who’s doing this work in the Northeast Kingdom, they suggested one way to look at it is as a sort of tiered system of intervention. Some students, particularly white students or students who are steeped in internalized dominance? They’re going to have a reaction and they’re going to need extra support. Just like we would with you know literacy or math.

Tier One instruction, this is what we’re doing for everybody. Here’s the goal of it. Here’s what it looks like when it’s good. That’s where we’re putting a lot of energy.

But what happens when it’s not working? And here are the signs when it’s not working. The kid is asking these kinds of questions or the kid is pushing back in these kind of ways exhibiting these kind of behaviors. What do we do?

so you want to talk about race

Here’s Tier Two.  Here’s our plan. Let’s involve the families.

And if that doesn’t work and it’s going way sideways? Okay, what’s the next level. What’s the Tier Three. What’s the intensive support.

To me that’s a helpful analogy because it says yeah, you got to have a plan. But it also says that this is a non-negotiable, right?  We’re not just like hey let’s expose more people to this and it will be better! It’s like no, like every kid is going to come out of our school system with this kind of understandings and these skills of analysis.

Really when I look at it it’s even more crucial in some ways than math and literacy. A kid comes out without math and literacy, in some ways that’s a bummer for them. The kid comes out without understanding how racism operates in this society and that they’re right back in there contributing to it and possibly in the worst cases like really doing a lot of harm to people around them and themselves? That puts them in a really bad place.

And it’s not always about reactions. It’s about the pro activity, right?  Getting really serious about:

  • What kind of classroom culture do I need to create to have these conversations?
  • What kind of school culture do I need?
  • How do we be proactive about this?
  • Can we have affinity groups for students of color facilitated by expert educators of color to create healing spaces for these students?  To have a little bit of one space where they can come and share about the inevitable stuff that’s going to go down.
  • How do we be proactive about how we communicate with our community about this?

It shouldn’t it be just one teacher sending home their curriculum letter and oh and, you know, by the way we’re going to be dealing with these “tough topics” this year. It should be: where is the administration going to come down? How are they going to offer some community learning and some communal spaces?  How are they going to signal the community?  Hey if you have a problem with this go to this person.  Don’t be going to the teacher.  Don’t be going to that person.  He’s seen the teacher.  Don’t go to the school board.

But, you know, here’s the process because again this is non-negotiable.  This is part of the central purposes of schooling.

So, I think yeah, there’s a lot of thinking to do. They’re both proactive and having plans in place for how to react to specific situations.

Jeanie:  As a former school librarian, one of the policies I leaned heavily on in instances like this was our collection development policy.  And what it meant was that if somebody objected to a book in my library collection, they couldn’t just say, “Remove that book!”

They had to submit in writing.

We had to form a committee. The committee had to read the book.

We couldn’t just look at the title or take somebody’s word for it.  We had to read the book.

What it meant was that when somebody challenged a book, and the knee jerk reaction always of the administration was to pull the book, it was my job to say wait a minute, we have a policy.  “Family, I understand totally. I’m willing to listen to you about the problem you have with this book. Could you please fill out this paper?”

Nine times out of ten, they wouldn’t. Because then they had to write the thing down that bothered them, or that scared them. But when they did there was a whole process in place. It made it easier for me to rest assured that I could purchase books the way that professionally I am trained to purchase books, but in a way that was responsive to the needs of my students.

Without worrying that somebody was going to get mad that I purchased a book about sex ed for my high school students or a book about that had queer characters in it that kids deserve to see themselves and their family members in books.  And so, it makes me think about we need to rethink policies in schools and think about how our policies preparing us to deal with the inevitable which is, you know, racial aggression or other kinds of aggression in schools.  And then also, how our policies preparing us for when we get pushed back on our curriculum.

Because more and more I think teachers want to be teaching about this stuff.  But they don’t necessarily feel like the system will have their back.

Life, we’re out of time, but I can’t tell you how much I’ve enjoyed having this conversation with you.

Life: …that was over an hour? That went so quick. I love talking with you.

Jeanie: Let’s do it again! Let’s talk later! I really appreciate your insights, I really appreciate you sharing your session-by-session guide on how to use this book with a discussion group. Thanks for coming on the show.

Life: Thanks for having me.

vted Reads: The Hate U Give

In this episode, we sit down with the executive director of the Vermont Humanities Council, Christopher Kaufman Ilstrup. The Vermont Humanities Council runs Vermont Reads (not to be confused with Vermont *ed* Reads), in which they choose a book for our whole state to read, ponder and talk about. This year, that book is Angie Thomas’ powerful The Hate U Give.

and that is the book Christopher and I mull over on this episode of the show. What can this popular YA novel about police violence against Black bodies teach a largely white state?

I’m Jeanie Phillips, and this is #vted Reads: books by, for, and with Vermont educators. Let’s chat.

Jeanie: Thanks for joining me Christopher.

Christopher: Thank you so much for having me Jeanie. It’s really great to be here.

Jeanie:  Do you want to tell us before you read a little excerpt, a little bit about who you are and what you do?

Christopher:  Sure. I’m the Executive Director of Vermont Humanities. We’re the state affiliate of the National Endowment for the Humanities and we’ve been around since 1974. And our mission is to really make sure that all Vermonters have the opportunity to read and learn throughout life.  We do a lot of different programs, but one of the programs that many Vermonters are very, very fond of is Vermont Reads, where we pick one novel each year and work with that novel in communities throughout the state for the entire year.

Jeanie:  Excellent! I love Vermont Reads and I’ve been reading your selections for many years and I’m so excited to have you on the show. You indicated that you’d love to start with a little bit of a reading from The Hate U Give by Angie Thomas. So I’m just going to turn it over to you.

Christopher:  Yeah. So this is an interesting book for these times because it addresses police brutality against African-Americans.  And so I’m going to start with a short excerpt from the book. It starts with the main character, Starr, who’s a 17-year-old girl, talking to members of her family the day after she has witnessed the shooting of one of her childhood friends by a policeman. 

“I borrowed your hoody, Seven,” I mumble. It’s random, but it’s better than nothing. “The blue one. Momma had to throw it away. Khalil’s blood…” I swallow. “His blood got on it.”

“Oh…”

That’s all anybody says for a minute.

Mama turns around to the skillet. “Don’t make any sense. That baby–” she says thickly.  “He was just a baby.”

Daddy shakes his head.  “That boy never heard anybody. He didn’t deserve that shit.”

“Why did they shoot him?” Seven asks. “Was he a threat or something?”

“No,” I say quietly

I stare at the table, I can feel all of them watching me again.

“He didn’t do anything,” I say. “We didn’t do anything.  Khalil didn’t even have a gun.”

Daddy releases a slow breath. “Folks around here gon’ lose their minds when they find that out.”

“People from the neighborhood are already talking about it on Twitter,” Seven says. “I saw it last night.”

“Did they mention your sister?” Momma asks.

“No. Just RIP Khalil messages, fuck the police, stuff like that.  I don’t think they know details.”

“What’s going to happen to me when the details do come out?” I ask.

“What do you mean, baby?” my mom asks.

“Besides the cop, I’m the only person who was there. And you’ve seen stuff like this. It ends up on national news. People get death threats, cops target them, all kinds of stuff.”

“I won’t let anything happen to you,” Daddy says. “None of us will.”  He looks at Momma and Seven. “We’re not telling anybody that Starr was there.”

Jeanie:  That’s really powerful. Oof, there’s a lot going on there and I wonder if we might use it as a segue to ask: why did the Vermont Humanities Council choose The Hate U Give for Vermont Reads?

Christopher: It’s a tough book and it’s very relevant at this moment, of course. We really chose it because last year our Vermont Reads Book was March by John Lewis. That book is also a really powerful book with a fair amount of violence in it. You know, it’s the story of John Lewis growing up and joining the nonviolent civil rights movement of Dr. Martin Luther King, and it goes through a number of different events in the congressman’s life.

It goes through crossing the Edmund Pettus Bridge, and the beatings that happened there. It goes through the lunch counter sit-ins and the violence that happened there. And it goes through a lot of the jail time that John Lewis and his fellow organizers went through.  But one of the things that we thought about as we worked with that book was that for many people it feels like far away history, even though it was only about 60 years ago. For many people — especially young people — that feels like it was very, very long ago.

And we felt like it was important to recognize that the civil rights movement that John Lewis started is not over.

You know, as we watched the congressman in his final weeks visiting Black Lives Matter Plaza in Washington D.C., that was very much the message that he wanted to give to young people today. This movement is not in the past, this movement is now. And that’s really why we felt like it was important to continue the conversation with a book that really dives deep into some of the work that the Black Lives Matter movement is doing today.

Jeanie:  I love March and John Lewis is a hero of mine. I watched Barack Obama’s eulogy (video) and was really touched by him saying, “Be more like John Lewis.”

John Lewis, I know, centered love in his work, and thought of his activism as an act of love, and the civil rights movement as something that embodied love. That justice is a form of love. 

And so I carry that, and Barack Obama’s words about John Lewis, in my heart. And I think a lot about how could I be more like John. 

So I’m so grateful that you bring him into this conversation, and bring this book into continuity with last year’s Vermont Reads book. And with his life really.

I’m also wondering: you say that John Lewis says that the civil rights movement isn’t just ancient history, it isn’t just in the past, but it’s also something that I think a lot of folks associate with the South. And here we are in Vermont. I think that bringing this book here is also a way of asking us to deal with our own racism here, when we think of ourselves as not a very racist state.

Christopher:  Yeah. You know, I think that’s very clear. We see that especially in the last six months or so. That there have been so many really intense examples of the work that we need to do in this state. That we continue to see threats made against Black organizers. We continue to see Black organizers actually leave their communities because they and their family don’t feel safe. In a way that’s actually part of the story in The Hate U Give.

There’s a big, there’s a big debate that runs throughout the book between Starr’s parents, about whether they should stay in the community that they live in. Whether or not it’s safe for their children. And I think that’s very much true for folks of color, for organizers all over the place. It’s not something that disappears when you cross the border into Vermont. We like to think that we have a very safe state but that is that is not many people’s experiences. 

Jeanie:  Right. And the statistics also don’t bear out that we’re a non-racist state. Right? Because people of color are way more likely to be stopped by police officers, right? As just one statistic. Or people of color who live in Vermont are way more likely to be incarcerated, right? And so our statistics show racism in action.

Christopher:  You know too, just one statistic that came up yesterday again is that Vermont incarcerates Black men at the highest rate in the nation. We are number one and there’s some very systemic problems there.

Jeanie: This is our issue too, right?  When you talked a little bit about the debate within Starr’s family, about whether to leave, I had marked a piece of the text on page 52. Starr’s father, Maverick, is really loyal to his neighborhood; the neighborhood is really important to him. He runs a business in the neighborhood. Starr’s mother, on the other hand, his wife, is really interested in moving out to the suburbs, to a place where she feels like her kids will be safer and where her brother Carlos lives. And Uncle Carlos is also a police officer.

So I’m just going to read a section of this because I think it’s really relevant to what we’re talking about here in Vermont as well:

Page 52 of The Hate U Give

So there’s something about this for me that’s like how timeless this book is even though it was it came out of a very specific time because of how little movement or progress we’ve made in this area and then also a way in which it brings it home for us, even if we think we don’t live in a place that has this kind of incidents happen.

Christopher: You know, I think it’s true we keep seeing this story over and over and over again.  In this fictional treatment, we see these dynamics happening that you just see in community after community all across the country. And you see them here in Vermont as well.

But I also want to turn it a little bit and say there’s some really crazy stuff that happens in this book. There is some really deep systemic racism; there’s some really deep pain. They’re telling a deep story, they’re in pain — but there’s also a lot of joy in this book. And each time I read it, that comes out to me more and more. That there is a community in Garden Heights that is really looking out for each other.

Garden Heights is the name of the neighborhood that the fictional neighborhood that Starr in her family live in. And they know everyone: they know all the neighbors, all of the parents’ generation are taking care of everybody’s kids, the grandparent’s generation knows everything that’s happening in the community. They talk a lot about being outside in the streets, talking with one another.

The scenes where they are gathering, or in a celebratory space, are really wonderful examples of community culture. That I think is just beautiful. And it’s also really relatable in many ways. When we think about our own neighborhoods here in Vermont, there’s some really crappy racist stuff that happens here; we have deeply embedded systemic racism. But we also care about each other and these communities as well.

We also have some of the same issues that exist in Garden Heights, so that’s another thing that that came up for me. Particularly thinking about how much they struggle with systemic racism and economics. How much they struggle with systemic racism and the drug culture and the gang culture. Like, that is not stuff that only exists in an inner city neighborhood, right? The opioid epidemic. And as prevalent in Barre or Montpelier or Winooski or Brattleboro or Rutland as it is in the fictitious Garden Heights — or anywhere else in the United States. There’s an important message there too, right? That this is not a community that’s at a distance.  We can relate to this. These are things that happen in our communities as well.

Jeanie:  I think what I’m hearing from you is that Angie Thomas takes this real strengths-based approach, this real asset-based approach, as she’s writing this family, this community, and  this story.

So even though this terrible, awful thing has happened to Khalil, and Starr’s a witness to it and it really rips apart the community, there’s also this sense of Angie seeing all of their gifts and their love for each other. The place that that struck me most acutely is the really beautiful relationship between Maverick and Lisa. Between Starr’s parents. The way that they’re able to hold the tension of this challenging moment and still love each other, and love their three children.

And I think that’s really important. I think that a lot of books about race have been about conflict, or about pain. So Angie Thomas’ book is about that, but it’s also about strength and about wholeness.

Christopher:  Yeah. There’s so much beauty in that, and also a lot of humor, you know? I think one of the things about Maverick and Lisa’s relationship is that they do have a lot of conflict about this tension between the suburbs and the neighborhood, but they do hold each other very much in a loving space. They have that argument and they embarrass the crap out of their kids all the time with the way that they love each other, and how public they are about the love that they have for each other. 

That is, I expect, so relatable to anybody who is a teenager watching their parents interact with each other. Or anybody who’s a parent trying to push the buttons on their kids to make them react. There’s a lot of humor in that and it’s so strength-based. It’s all about assets. And there are so many assets in the community that Angie Thomas has written. 

Jeanie:  It’s redemptive, right? Because Maverick hasn’t lived an ideal or perfect life. He spent time in jail and he’s come out the other side of it as a business owner, as a family man, as a pillar of the community, really.  And there’s something about that redemption that feels really hopeful to me.

Christopher:  Yeah, and his relationship with Uncle Carlos, Lisa’s brother, who raised Mav’s kids during the time he was in jail is a really interesting and complex relationship. Because Uncle Carlos is a cop. He’s serving in the same precinct as the cop who murdered Khalil. So there’s a really interesting tension between the two characters and their approach to community-building. Mav has this kind of incredible sense of organizing in the community, and Carlos comes at it from a more traditional policing perspective, but they’re often coming at each other in ways where they have to look beyond the stereotypes of cops or gangbangers. I find that an interesting piece of this book as well.

Jeanie: The part of the story where we get this contrast between Uncle Carlos and Maverick reminded me of the Jason Reynolds book called All-American Boys. Have you read that one? It’s a white perspective and a Black perspective; two perspectives on an act of police violence. I think what Angie Thomas is really getting at is the plurality of ways that we can think about these issues.

You know, the book starts with this big arc, if you will: an act of racism where a police officer acts with excessive force and ends up killing a young Black man. But there are also the smaller acts of racism that happen at the private school that Starr attends. I’m particularly thinking about her interactions with Haley and Maya. I wondered if you wanted to talk a little bit about that sort of quieter kind of racism that that gets spotlighted in this book.

Christopher:  Yeah you know could I read another short passage from the book actually that gets right at that.

It starts on page 71. In the on-going battle between Lisa and Mav, one of the compromises that was made is that the three kids are sent to a private school in the suburbs, close to where Uncle Carlos lives. It’s called Williamson High School. Connie and Seven and Starr are all students there, and it’s an almost entirely white school. Starr has two girlfriends: Haley and Maya. Haley is very, very white. Maya is from a Chinese-American immigrant family, but this little passage is as Starr is getting out of the car to go to walk into the school in the morning. She says:

Page 71 of The Hate U Give

Jeanie:  Yeah. That passage really highlights for me what it must feel like and be like to code-switch as a regular part of your school day.

Christopher: A lot of people might not know what code-switching is. Code-switching is what Starr is talking about in that passage where you really have to become another personality in certain situations.

I first learned about code-switching not in the context of racism, but in the context of Queerness. And feeling like you behave in one way in a certain group of people, and you behave in a different way among another group of people.  And although I know that code-switching as a concept originated in communities of color, it does apply to other kinds of difference. Where you really have to hide in many ways.

And what Starr is doing is, is pretty classic.

She doesn’t tell people what her life is like in her neighborhood. Not because she’s not proud of her community; I think she is proud of her community. But to have to compete with some of the other private school kids.

One of the things she talks about is they’re all saying where they’re going on their Christmas vacation. They’re going to the Bahamas, to the family home in the Bahamas, or they’re going to Taipei to visit their grandparents. Starr doesn’t have any of that and she can’t compete with those kids. It’s hard for her, as a teenager, to figure out that she can hold on to other things.  It’s a complex piece of her story. 

Jeanie:  I think about Starr and other folks who have to code-switch in order to fit in to dominant culture dominant narratives, right? How much work that is. And how little credit it’s given, right? To read a situation and know which version of yourself to have ready. And then all the work! All the sophistication. The sort of literacy that it is to be able to do that.

To know how to speak to your community is both a strength and a tremendous burden, right? It’s a lot to ask a 16-year-old kid to do. 

Christopher:  And they’re doing it all the time, right? They’re learning it from a very young age. 

I can say that from my own perspective, as a young person you learn very quickly what’s safe and what’s not safe in any given situation.

We recently did a training for librarians who were going to be working with this book and that’s one of the things the trainer talked about. Right away, to a room full of largely white librarians, she told a story about how as a Latino woman she spends much of the time scanning the horizon for “shit that’s about to go down”, I think is the term that she used.

And I think that’s true for anybody from a marginalized population. Constantly aware of your surroundings and what might be dangerous.

That’s very much what Starr is experiencing at Williamson.

 Jeanie: I read this book in 2016, as a librarian. I was at a library conference and I got an advanced reader’s copy. And I saw the poster then (which is different than the poster now) and knew I needed a copy of this book. I read it right away. 

What I remember in 2016, is that I had a 16-year-old son at home. 

Same age as Starr, right.

And in this book, in chapter two, when they first get pulled over, Khalil and Starr, Starr immediately starts remembering the talk she had with her parents. One talk was about the birds and the bees. And then the other one she says, the other talk was about what to do if a cop stopped me. 

Page 20 of The Hate U Give

Starr continues throughout this or deal with the police officer to keep remembering her father’s words. 

And I remember reading this you know it’s on page 21, it’s the beginning of the book and realizing I had never once had a conversation with my son about what to do if you’re stopped by a police officer, never.  And feeling both the privilege of that and the shock of that and the pain of what it must be like to have to have that conversation early and often.  And so thinking about thinking about what you just said about how people of color have to navigate spaces and the difference when you are when you occupy an identity that is in that represents the dominant culture.

I guess I’m just still sitting with that. Remembering how much that hit me at that time. 

Christopher:  Another resource for folks would be Ta-Nehisi Coates’ Between The World And  Me. It’s letter that Coates writes his son, which is that talk that Black parents have with their children. Those three lines:

  • Keep your hands visible
  • No sudden moves
  • Only speak when spoken to.

They repeat this over and over and over again through the book.

I think that’s a piece of this that white folks do have a really hard time understanding. That the relationship we might have with the police in our community is very different from the relationship that other people might have to the police in their community.

I live in Montpelier, and in our schools there’s a big debate happening right now about the school resource officer, who is a cop, who is assigned to the school district and spends time in the schools. The officer wears a gun in the building. And there are a lot of parents who have expressed concern about having an armed police officer in the building. A lot of them are concerned because of the association of school resource officers with systemic racism and the potential for police violence, particularly against young men of color.

And we’re a very white community. There are lots of other parents who just cannot get that. Who just are not able to get that understanding of: keep your hands visible, no sudden moves, only speak when spoken to. That the relationship that we have to the police is not the same as other people’s relationship to the police. And that it’s traumatizing for some children because there’s generational trauma associated with that relationship. 

With all due respect, many Vermont cops are wonderful, wonderful people. They’re not engaging in violence against young men of color or young people of color, but that does not change the fact that the generational trauma that is associated with police is still there. And it’s borne out by our statistics, that we put young men of color in jail at a higher rate than any other state.

Jeanie:  I think that’s one of the reasons why this book and books by people of color are so important for students in mostly white schools to read.

I’m thinking about Rudine Sims Bishop, who in the 1990s, wrote a piece about windows, mirrors, and sliding doors (.pdf). And there’s a great graphic I’ve mentioned before, where if you are a white young person growing up in this culture because of the way you are represented in books and the media, it’s like you’re surrounded by mirrors.

Diversity in Children's Books 2018
Infographic citation: Huyck, David and Sarah Park Dahlen. (2019 June 19). Diversity in Children’s Books 2018. sarahpark.com blog. Created in consultation with Edith Campbell, Molly Beth Griffin, K. T. Horning, Debbie Reese, Ebony Elizabeth Thomas, and Madeline Tyner, with statistics compiled by the Cooperative Children’s Book Center, School of Education, University of Wisconsin-Madison: ccbc.education.wisc.edu/books/pcstats.asp. Retrieved from readingspark.wordpress.com/2019/06/19/picture-this-diversity-in-childrens-books-2018-infographic.

Everything’s mirroring back your own experience, which makes it seem like your experience is the only one.

If you’re a person of color, your mirrors get smaller and smaller to the point where if you’re Native American, the way you see yourself in media and culture is like the size of a compact, right? Teeny tiny.

And that’s harmful for people of color who don’t see themselves represented, but it’s also harmful because of the way that white folks are overrepresented in their own experience of media and books. Right? That they think that there’s only one way to experience the world.

For me, we can’t — in schools — read enough books by and about people of color, written by own voices. Stories of people of color and other marginalized voices.

Because we are so inundated, and we’ve been so inundated with our own stories, that we need to welcome in other version, so we have a more pluralistic and understanding view of the world.

Christopher:  You know, that essay has come up over and over again for me in the last couple of weeks, so I’m glad you put it in the resources for folks. Listeners, you all should read it. It’s quite illuminating.

I mean, it’s arguably harmful, right, that we’re two white people talking about this book together. Right?  We have biases and perspectives and misunderstandings that are pretty much ensuring that there are pieces of this work we don’t get. That we don’t understand. And we at Vermont Humanities have heard that critique, you know?

Why are you, as a historically white organization doing work with this book?

And it’s a painful critique to hear. That you can’t just read a book and get it, right? Because we’re smart people; a lot of us are English majors, we read a lot. You know about new criticisms, I went to Kenyon College. The reality is that there are places where I’m going to mess up often and I have to be very, very careful about that.

And so one of the things that we’ve decided to do which we haven’t typically done in the past in Vermont Reads is offer facilitated assistance to every community that wants to work with this book. To help them address some of the pitfalls some of the places where we could fall down, where we could make mistakes. Among the biggest of them of course, is that as white folks, we could assume that all young people are having the same experiences. 

For many young people of color in Vermont, their lives here are  radically different from the experience that Starr has in this book.

This is a novel, it’s fiction, it’s not based on somebody’s actual experience, although it draws a lot of elements of truth out of history and out of the current, current day.  We have to be careful as teachers, as librarians, as organizers around this, to make sure that we’re recognizing the complete humanity of the people that are in the room with us when we’re having these conversations — and not make assumptions about what people’s experiences may or may not be. 

And I hope that we’ll do a good job but I’m also sure that we’re screwing it up every day.

Jeanie:  And the only thing worse than screwing it up would be not trying it all, right?

I can’t let the errors I’m going to make in my own whiteness stand in the way of me reading and talking about books by people of color, right? And I can’t expect people of color to do that work. So I totally hear you and couldn’t agree more.

Five years from now we’ll listen back to some of the conversations I have about reading, about books and be mortified, right? At how little I knew. Because I’m always driving to learn more and I won’t learn more if I don’t try, right? If I don’t lean in. 

I really appreciate that you just said that and holding the tension of both of those truths. For me, fiction in particular gets that deep truth. Like, I learned so much about what I don’t know, the lived experience of others through fiction. Not because it’s factual but because it hits on what it must be like to have daily experiences of micro aggression in a way that I can’t walking around in my white skin. 

Christopher:  You know, I go back to another one of my favorite books, The Color Purple by Alice Walker. As a young person, this really meant a tremendous amount to me, right? Because there was a mirror there of a clear experience in a serious relationship with Shug, but it was also a book that got really, really challenged particularly when it was made into the movie by a white guy, by Steven Spielberg.

It was a book that was showing too much that white people wouldn’t understand. That there was too much violence in it. Particularly violence against women by Black men. And it was a book that was dangerous for white people to read. Yet, you know, looking back, I’ve probably read it 10 or 15 times now over the last 30 years, since it came out in the early 1980s. I guess almost 40 years ago now. 

And I think about this book, The Hate U Give, and I think there’s some parallel qualities.

What does it mean to have that internal view of the community’s dynamics? 

There is tremendous strength in the character of Seeley, in The Color Purple, for example, in her relationship with Shug. The women in that book particularly the women but some also some of the men, show tremendous strength. That is also exists in this book The Hate U Give: tremendous strength in community. I think we want to really hold onto that. What are the assets that this community has? What are the things that they are doing to support each other, to love each other, to hold each other up, even in the face of this tremendous violence? That’s really important. 

Can I read another little piece?

So this is where we started at the beginning of the conversation: Mav and Lisa had said to Starr  nobody’s going to know, you’re not going to tell anybody, nobody needs to know. And they felt like that was that was their way of helping Starr to cope with this tremendous violence that has been visited upon her. That was their way to protect her and to protect the family from the consequences of being the witness. 

But by the middle of the book they’ve all kind of changed their minds.

Starr has decided to testify in front of the grand jury about what happened in hopes of getting justice for her friend. I’m not going to read that piece, but I’m going to read the first time she goes to the police station to talk with the detectives about what happened.

It’s the beginning of chapter 6 page 93:

Page 93 of The Hate U Give

I’ll stop there.

Jeanie:  That feels like a really important passage, do you want to say more about why you selected it?

Christopher:  Again it goes back to this notion that I don’t get it. I don’t have the same relationship to the police that many of my friends and colleagues do. That I can walk into the police station and think that it’s a place where I can go to get help. 

What Starr does when she walks into the police station is she sees all the guns that might kill her or her mother or her father.  It’s a base experience that is entirely different for some people versus other people. And that’s so important as readers and as change-makers that we’re able to understand that experience.

Jeanie:  That brings me back to when you were talking about the school resource officer and different perspectives on that, right? And thinking there are probably kids walking into schools even in Vermont for whom a gun on a school resource officer triggers trauma, right? Or brings up something that makes them feel uncomfortable, or makes them feel unsafe in some way. Maybe not because of an experience with a cop, but maybe because of an experience with a gun, right? 

Maybe because of something that’s happened at home or in their communities. And this assumption that because it’s a cop everything’s okay, doesn’t apply. It doesn’t make it okay for all people who walk in. It doesn’t change the biology of what happens for them when they see that gun.

So I’m loving this conversation! I could talk about Starr and her family for the rest of the day, but I want to hear more about what’s happening around this book with Vermont Reads. You talked a little bit about offering facilitation, but how are you supporting communities as they talk about this book? What are some of the events that are happening?

Christopher:  Well, some of the traditional ways that Vermont Reads works is that we pick a book, and we create a resource page around the book. We think about several different things when we’re picking the book:

  • We think is this a book that can be widely read from middle school on up;
  • Whether or not the book will lend itself to collaborative projects;
  • Is it at a literacy level that a lot of people will be able to read it?

The Vermont Reads project is not meant to be a book group where you read the book and you talk about it. It’s meant to be project-based, where you read the book and you talk about it and then you do something. 

We don’t want to choose a book that is already being widely read or widely taught. So for example, I was recently reading The House on Mango Street by Sandra Cisneros, thinking well that would be a really great book. It just so happened that that book came out just as I was graduating from college. So as I checked it out with several of my colleagues, I said, “Well that’s great, but now every eighth-grader in America reads that book.”

And I didn’t know that because it came out after I had already had my educational experience.  So we wouldn’t choose a book like that that’s already being widely taught.

We picked this book because it really does lend itself as the follow on to March, but also because there’s so many opportunities in it for communities to do something later. We know, for example, that many communities that are doing work with this book are also engaging with the social justice action committee at their church, or the youth anti-racism organization at their school, or a Black Lives Matter chapter in their community.

That there are opportunities for people to read the book, learn from the book, and then take some sort of action.

We also are super aware that we’re in the middle of a pandemic right now.

And the pandemic really shut down Vermont Reads for quite a number of months, because we are pretty old fashioned and we rely on paper books. So we bought 4000 copies of The Hate U Give and for four and a half months, we couldn’t ship them anywhere because it wasn’t safe. It wasn’t considered safe to ship the boxes out.

So we’re just now starting to see projects happening. And there’s been tremendous demand (which is awesome) and actually a bit of a shift from when we started with the book at the beginning of the year. It was a bit of a slow start and some librarians actually said I’m not sure if this book is really going to work out for us, but then of course history cut up with white people and we had several more horrifically violent situations happen and suddenly The Hate U Give is pretty popular among white folks because they really want to learn.

So it’s our responsibility now, as it picks up, to make sure that we are being responsible with this book.

I mentioned earlier we’re providing trained facilitators who can help you with complicated conversations in your community.  And we’re making a lot more suggestions about what kinds of things you might consider doing to follow up with this.  I’m excited to see what people come up with and what kinds of things happen ,I’m also you know excited to think about what other books people might read, might they read between the world and me.  Might they read White Fragility and some other books that then inspire people to take the next step in their journey?

I hope so but we’ve got a lot a long ways to go, right certainly for us and for my humanities this is not something that is one and done will be at this for a long time certainly for the rest of time that I am around, but I hope long after that and specifically on The Hate U Give we decided to extend it another six months because we did lose that chunk of time because of the pandemic and so we’ll be working encouraging communities new projects with this book all the way through June 30th of next year before we start the next book.

Jeanie:  What do you hope schools will do with this book? What are your hopes for how it’ll don’t know spark change or conversation in public schools?

Christopher:  Yeah you know I think there’s a few things that I would say, I hope that they’ll use it and indeed if they’re going to use our books they’re required to use it beyond the curriculum, right it’s not just a book where they could say, hey send me 25 copies and the ninth grade honors English class is going to read it.  They’ve actually got to involve another community organization and I hope that it will spark a partnership with that community organization whether it’s a social justice group by the local church or a youth organized activism group in their school that will carry on and they’ll continue to build that partnership you’re over a year.  I hope it will also encourage them to really get more get more involved in understanding what communities in Vermont are struggling with around these issues, I mentioned you know early on that the problems that Starr is experiencing in her neighborhood are not limited to communities like Starr’s, right.

That a big part of Khalil’s story is that his mom was an addict and that is a story that is relevant to thousands of Vermont children and if we can learn some empathy around that and some do some change making around that here at home, I think that would be a great outcome and of course you know one of our challenges here is to make sure that people understand that Khalil’s moms experience as an addict is not because she was black, it’s because of the racism that impacted her whole life and those kinds of forces that economic injustice that systemic economic injustice exists in a lot of places.

Jeanie:  Absolutely, especially with as you mentioned the pandemic has changed your program and cause you to extend it, but the pandemic is also wreaking havoc on the economic lives of Vermonters, right.  That we know that there’s a lot more food insecurity and income insecurity right now because of COVID-19 and that to me feels like another thread work some of our students conceive themselves in this book the struggles in this book.

Christopher:  Lights or food, lights or food that’s a theme that comes up a lot and that’s the thing that very much at play in Vermont right now.

Jeanie:  Yeah, well I have great hopes for how this is going to play out with the schools I work with and I’m really excited that more and more kids are going to get read the book and you were kind enough to drop off a beautiful copy to me I’m going to put a picture on the site in case you haven’t seen it, the Vermont Reads edition of The Hate U Give which is a lovely copy, thank you for that. 

Christopher:  You’re welcome.

Jeanie:  I wanted to make sure that you had a chance to talk a little bit about Jason Broughten and the conversation he’s going to be having around this book.

Christopher:  Yeah, so you know as you know Jason Broughten is our state librarian and I love that he always introduces himself that way.  I’m Jason Broughten your state librarian and he is going to be having a conversation with our dear friend and colleague Dr. Laura Jiminez, she is a professor from middle grade novels young adult novels, studies the use of a young adult literature and anti-racism work specifically done research around The Hate U Give as well as a lot of other books.  She has a great blog that will get you the link for the resource page.  And they’re going to be having a conversation with school and public librarians on October 1st and we will be linking to the recording of that conversation after the fact and we’ll make sure that you get it for your resource page, it’s been exciting to partner with Jason over the last year and a half because for my humanities and that live really share strong interest in anti-racist organizing and using books and literature in anti-racist organizing.  So it’s nice to have that partnership with him.

Jeanie:  That’s really exciting I look forward to that and Jason has actually agreed to be on the podcast and to choose the book for us to have a conversation about, so I’m really excited about that as well.

Christopher:  You know what book he’s going to read.

Jeanie:  No he is holding me in suspense as of now, so I’m going to reach back out say have you, he said he had several in mind, so we’ll see when it comes up with.  And I’ll be curious to know if it’s a young adult book because we do a lot of work around young adult or middle grades books.  But we also talk about adult books that maybe help with professional development of teachers or give us a different lens on teaching.

Christopher:  Can I actually maybe put in a plug for nominations for Vermont Reads.

Jeanie:  Please.

Christopher:  So we are always looking for suggestions of excellent Vermont Reach choices and there is a nomination form on the Vermont Reach section of our website where you can put in your suggestion why you think it would be a great Vermont Reads book.  I can tell you now that we will be starting the next book in July of 2021.  We’re very interested particularly in books that might address issues of climate change and from my perspective I think it would be very interesting to have books that talk about climate change through a perspective of racial justice and what is climate change going to.  How is climate change going to impact different communities around the globe over time?  So if anybody has great ideas around that theme we would love to hear them, but other ideas are also always welcome around any theme.  I’m looking at a book right now in my office that I have been loving, it’s called We Contain Multitudes by Sarah Hoekstra and it’s about two boys in love with Walt Whitman and with each other.  And that is an amazing book, so maybe that will make of Vermont Reach appearance at some point, but please go on the website and nominate your favorities so that we can consider them.

Jeanie:  Oh Christopher be careful what you wish for.  Do I have to put my name on all my nominations?

Christopher:  You can do whatever you want, you can put whatever name you want.

Jeanie:  Because I already have one that hits your boxes, are you ready.

Christopher:  Awesome.  Yeah.

Jeanie:  Are you ready.  One of my favorite books of all time is a young adult book written by a First Nations author from Canada, Cherie Dimaline and it’s called The Marrow Thieves.  And it’s a dystopic piece of fiction that is utterly gorgeous and it’s about some folks, young folks and older folks surviving in a post climate change world.

Christopher:  This is crazy but we were sitting around eating lunch outside on our front lawn of Vermont humanities the other day with a couple of our new staff members and we went around the circle and I said what are you reading, and one of our folks said I’m reading this amazing book called The Marrow Thieves.  I never heard it before.

Jeanie:  It’s the best, it’s amazing, I feel like I need to loan you my copy because you know because you brought me The Hate U Give, usually at the beginning of the show, I ask people what’s what they’re reading, what’s on their bedside table and I feel like you’ve just given me we contain multitudes to add to my list.  Is there any other book you’re reading a book you’ve recently read that you want to share with us?

Christopher:  Well we contain multitudes definitely also a Canadian writer, although the book takes place in Minneapolis, which is a lot of fun because it also brings in Prince, which is quite…

Jeanie:  I love Prince.

Christopher:  Quite wonderful, so I would suggest that I am also wrapping up now MT Anderson’s amazing epic The Astonishing Life of Octavian Nothing, Traitor to the Nation, which I have not read before.  A lesser known work of his that I think everybody should read is Symphony for the City of the Dead.

Jeanie:  I loved that book. He actually came to my library to talk to students about that book that’s a phenomenal book.

Christopher:  Awesome, well I’m hoping I’m fingers crossed that I can talk from my youth orchestra into doing a partnership with us around that book at some point.  Although the rest of my team tells me it’s too complicated and too depressing to talk about the Russian Revolution, but I think it’s a great book and too depressing that’s totally relative.  There’s a lot of joy and Shostakovich as well is the hard stuff. And that you know on the more grown up side I’m reading a book about Adam and Eve by the fellow who wrote Swerve Stephen Green Block historian which has been really interesting especially as it feeds into the Adam and Eve narrative in the astonishing life of Octavia Nothing, that’s been cool.  One final suggestion, Lovecraft Country by Matt Ruff. A very popular TV show on HBO right now and the TV show is terrific, but the book is even better.

Jeanie:  Nice.  So I think your dog is telling us it’s time to wrap up, but…

Christopher:  Probably.

Jeanie:  I just want to thank you I’ve lived in Vermont now for 20 years, I’ve been aware of Vermont Reads for a number of years and one of the things I’m most grateful for about Vermont Reads is that you get folks reading YA.  That you bring books that are meant for young adults or middle grades and get a large cross section of people to read them.  And I think we live in a world where it’s easy to think that young adult or middle grades books or just for young people but they’re not.  And I’m just so grateful when adults read books from young people’s perspective and when they realize how great YA is.  So thank you.  From on the bottom of my librarian heart for getting more people to read books like The Hate U Give and March.

Christopher:  Yeah, we love YA and we love it for everybody.  It’s really, it’s really a great opportunity for folks to learn about things they, they never thought they would learn about.  And The Hate U Give is a great example.

Jeanie:  Well I cannot wait, I’m going to be looking for projects that emerge from the way communities are using this book to spark conversations and make change.  So I’m looking forward to those examples and I’ll make sure that pack the transcript with links to a lot of the things you mentioned and to your website.  I want to thank you so much for taking the time to come on and talk about The Hate U Give and about Vermont Reads.

Christopher:  Thank you so much for having us, we’ll come back any time.

#vted Reads with Jo Knowles

Yeah. Me too.

Everything is a lot. Everything… keeps getting to be even more of a lot, and somehow we expect to throw a smile on our faces and, whenever someone asks us if we’re fine, to pretend we are, instead of saying:

‘I’m sad. I’m struggling. I’m overwhelmed. Please just let me lie here facedown in a carton of chocolate ice cream until next spring.’

Listeners, in all these things you are not remotely alone. I am frequently not okay. I am exhausted. And I just watched my audio engineer projectile-vomit feelings of overwhelm at our colleagues. And I realized we are all in it together; we are all feeling the over-the-topness of this moment .

And it’s not even swimsuit season. And we’re no longer 13! (Thank goodness.)

Today on the show, I’m joined by one of the kindest people I know: young adult author Jo Knowles, to talk about her book Where The Heart Is. It’s a book about love, loss, one-piece swimsuits, and trying to reconcile those feelings of what we think we’re supposed to be for other people, with who and how we really are.

Thanks for joining me again, listeners. I’m Jeanie Phillips, this is #vted Reads, a podcast about books by, for, and with Vermont educators. Let’s chat.

(Unless you don’t feel like it, in which case that’s okay too…)

Jeanie: Thank you so much for joining me Jo. Tell us a little bit about who you are and what you do?

Jo: Hi, thanks so much for having me. It’s really an honor to be here and just talk with you today. So! My name is Jo Knowles, I write young adult and middle-grade fiction — or what we often call Tween fiction, these days. And I also have a picture book and picture book coming out next fall, my first one called Ear Worm and it’s about a little worm who gets a song stuck in his head. And he needs to try to figure out who put it there.

I also teach writing for Southern New Hampshire University and their MFA program. It’s called Mountainview MFA and it’s a Low-Residency program. And so, teaching and writing those were my two things.

Jeanie: So a) I can’t wait to get a copy of Ear Worm. That sounds like a great book, congratulations on that. It sounds like a great book to read aloud to our Tween readers even though we think of picture books for younger folks.

Jo: I am so excited. The whole idea is such a silly story, but I had a dream that I had this great idea for a picture book. And then I, you know I got up in the middle of the night and I wrote it all down because I was so excited because I thought it was such a great concept.

And I woke up in the morning and I went to find my notes and I said to my husband, “What happened to the notes I took about the picture book idea I had in the middle of the night?”

And he said, what are you talking about?

…I said: “Didn’t I get up in the middle of the night and write down the story?”

And he said no.

Then I thought: oh my gosh. Did I dream that I had this idea? I was all upset. Anyway, I took the dog for a walk later that day. I was walking in the woods and it all came back to me. So I came home and I wrote it.

Jeanie: I’ve met you several times because you’ve come to my former school library and done amazing work with students around writing and talking to them about your books. And I wonder what it’s like to be a Teen and Tween author — and now picture book author — in a COVID world, where you don’t have some sort of ready access to readers?

Jo: Yeah, it’s very heartbreaking. I’m not going to sugarcoat it. One of the biggest joys about writing for kids is meeting kids and just being able to share, not just my stories but my own personal story. Because I think when I’m doing school visits, when I talk about my own journey to becoming a published author and getting over my own shyness and things about public speaking. That’s when I really feel that connection to kids.

And, you know, sometimes afterwards there’s always at least one kid who comes up and they’re shy like me, and they got brave somehow. They’ll indicate some special thing about them that made them feel close to me.  For me, those are the moments that I just cling to. Especially when I’m struggling with my own work and thinking I can’t do this anymore, why do I do this.

I think of those kids that I’ve touched and I miss that already.

You know, I can still do Zoom visits with kids and that’s fine. But, there’s just something about being able to recognize a kid in the audience with whom you’re making a special connection. Face-to-face or in-person visits allow you to take it to the next step. Allow that kid to come over to you privately and sort of say something that they didn’t feel comfortable saying in front of their entire school or their class.

But you know, we’ll just make up for it when it’s safe again to travel.

Jeanie: One of the things I just heard from you — I heard so many things, but one of the things I want to follow up on is like: writing is hard, even when you’re a writer.

And I remember you talking to my former students about that: that writing is a labor no matter what. And I think there’s this mistaken notion that for writers it’s really easy for them. But, could you talk a little bit about writing being hard and how you approach such a challenging work?

Jo: Well, it’s hard for different reasons, right?

Sometimes it’s hard because the words just aren’t flowing for whatever reason.

And then, sometimes it’s hard because you’re writing a difficult scene. Or you’re writing something that comes from a really personal place and you might feel nervous about sharing that in a story. Or there just might be something where you’re putting your character in harm’s way. You know that that’s part of the story arc, but that’s really difficult to do for anybody who has read, See You at Harry’s, that was certainly the hardest book I ever.

So and I do tend to write about sort of sad or difficult things that happened.

I write realistic fiction. And so naturally most of my stories are about overcoming some kind of obstacle and it’s usually physical and personal. (Most often, it’s also happens to be something I, myself, have experienced and survived.) And so, those moments are usually the hardest part for me.

But then there’s also other times where it’s just getting through the murky middle of a book where you had this great idea or concept and then you’re just sort of,

“How do I get to the end? I thought this book was going one place and now it seems to want to go another place? How do I reign it in and make this a story that’s going to actually be publishable?”

So that’s a challenge.

And then like with my most recent book that I’m still working on right now, Where the Heart Is. There’s a little sister in that book named Ivy. She’s a secondary character. But, I’ve been working on a novel about Ivy, for the past couple of years now. It’s a younger middle-grade, so Ivy is nine years old and just the voice originally kind of came to me as third person.

I wrote it and then, my editor gave me comments. And I revised it.

Then she gave: “Still not there yet. I’m not connecting with Ivy.”

Finally, I had done big revisions. Like, maybe three really big revisions with my editor. And we had a heart-to-heart phone call. And I knew it was bad.

I knew it was something wasn’t working still.

And she very gently suggested that maybe I should try first person instead of third person.

(For any writers listening, you know that that doesn’t mean doing a find and replace. It means starting over. All over again, with a blank page.)

And so I rewrote the entire book again.

But that was it! As soon as I started it, her voice just flowed out of me and it was fun and enjoyable.

And I had come to really dread working on the book! Butthen once I had her voice, it was such a joy to sit down and write again.

That’s another example of when it’s really hard to write. But then I think advice for any writers listening is just allowing yourself to acknowledge that sometimes a book takes more than one try. Nothing is ever a waste of time.

I couldn’t have written that book in first person without having done all the work that led up to it. Because I needed to understand Ivy’s story so fully before I could step into her shoes. I had to write those drafts to really understand what the book was that I was trying to write. Once I did that? Then it was easy. It just flew out of me and it was fun and I loved it.

So there’s a lot of work to writing.

I know some writers can, you know, write a book in a month and I’m so jealous of them. But for me, it’s a much longer process. Someday maybe I’ll get a little bit faster, I don’t know. I’ve written 10 books now and it’s not getting any easier.

Jeanie: Well and so first off, Ivy is just such a likable character in Where the Heart Is that I can’t wait to read her story. She’s a hoot in this book. So I’m looking forward to that one.

The other thing is the reason I loved having you come to Green Mountain Union High School all those years ago — and why I kept inviting you — is because having you and writers like you come and share their story of writing? I think it helps kids see not just in terms of writing, but in terms of other things. Like the way to utilize feedback, to make something better. We think that people like writers for example, are just really good at things, but really it’s all labor, it’s all effort.

And you always told such interesting stories about that effort to my students. And you brought revisions to show them!

Anyway, one more question before we get to Where the Heart Is. Where you as a reader Jo Knowles, what are you reading right now?

Jo: Oh, I am almost finished, I’m actually reading an adult nonfiction book, which I normally I’m just constantly reading middle-grade and young adult books. But I decided to sort of just take a little break and I’m reading this fascinating book called The Man Who Quit Money by Mark Sundeen. He’s a colleague of mine, we both teach in the MFA program at SNHU and oh my gosh, it’s just this fascinating story of a man who decided to give up money and how it’s really about his life, how he came to that decision, but then also how he pulls it off.

Jeanie: I can’t wait. So, let’s get to Where the Heart Is. Could you introduce us to our main character Rachel, either through her voice reading maybe a little bit or just tell us about her and who she is to you?

Jo: Yeah, I mean 13: it’s so hard. And there are so many expectations from your friends, from your parents, from teachers, everybody.

You know like, “Oh, who’s her first crush going to be?” And then they tease, you know, tease each other and all these things. But, we just kind of make assumptions about that, right?

And there’s some kids who are just not ready to have those feelings yet. And I think sometimes they just feel like so confused or like outsiders almost. Because they’re not part of that conversation. Or they don’t want to be part of that conversation yet; they’re not ready to be. Yet for society, it’s just: “You’re this age, so that’s when these things are supposed to be happening.”

That’s really hard.

And then I think it’s especially hard with somebody who has mixed feelings and they don’t even know, you know:

“Do I like girls? Or do I like boys? Do I like anyone?”

It’s such a difficult time for so many kids. We don’t always acknowledge that. We don’t take it seriously. I think we can joke around and be like, “When are the engagement plans?” Not realizing that can actually, you know, be hurtful to a kid who is feeling under pressure for all kinds of reasons.

Jeanie: Right. And friendships are changing. Kids’ brains are changing. Their bodies are changing, right? And in this book, it’s summer time. Rachel’s dealing with like this new pressure around bodies because of bathing suits and swimming, and swimming in the swimming hole. I think it’s easy to forget that kids arrive at all of those changes at different times and in different ways. But they carry a lot of meaning and a lot of stress and strain for kids.

Jo: That’s the other pressure, right? Who’s developing now? Who looks good in a bikini? Or:

“Why are you wearing a one-piece? That’s for babies!”

All these things that people say to each other. They’re not meant to be hurtful, but they can be.

And so poor Rachel, she’s really struggling with so many things because her parents don’t have a lot of money. She can’t really go out and buy a new bathing suit. So she’s got these hand-me-downs and she feels so self-conscious.

I mean that was me, when I was 13, I was so uncomfortable with my identity, my body, like everything. And so I just really wanted to write a character like that because, I think one of the reasons I was so shy as a kid especially at Rachel’s age was, I was so insecure and unsure of myself. And I know I wasn’t the only one. And I wanted to provide a character in a book like that for kids like me, who really wanted to be able to identify with someone who was struggling with all that stuff.

Jeanie: I really see this in the book. Especially at the end of the book this idea of insides and outsides. That’s a phrase I use often, when I need it: don’t compare your insides to somebody else’s outside.

But with Rachel, she presents in one way. Like, all of the adults around her think of her so capable. All of the young people around her think if you have a best friend, everything’s going right for you. And all she can see is the inadequacy of her clothes and how insecure she feels. How uncertain she is about who she is. But the people outside don’t see that about her.

This is from page 254. Her father says,

“You’ve been a wonderful big sister this summer. And you’ve taken on a big responsibility with all those animals. You don’t complain when your mom and I can’t buy you things. And you’re just a good kid, Rachel. And you’re teaching Ivy to be a good kid, too.”

I think about all my internal griping about my bathing suit and hand-me-downs. Maybe on the outside I seem good, but I’m not always so great on the inside.

I guess I love that.

I often feel that about myself like people are like, oh you’re doing fine. And I’m like, oh if you only you could peer inside of my head a little bit or inside my heart a little bit, and so I feel like that’s just part of the human condition. And you really give kids I think somebody to identify with, who seems fine! But who’s really struggling.

Jo: Thank you so much. I may be a little teary just listening to you say that! Yeah… I think social media is another example of that where, I can present myself any way I want on social media. I can show pictures of myself having the best of times. But, you know, I might be really struggling. No one would know that.

And I think that’s the way with so many kids. It harkens back to what I was saying earlier about connecting with a kid in an audience, because when I go and speak at schools, I try really hard to be as honest as possible about my own insecurities. And with what I struggled with as a kid.

Then I always see a little nod, you know, by one of the kids.

I just try to nod back, but not be obvious.

But I want to be like I see you, I see you; I know. We’re connecting. Like, I want them to know that they’re not alone. And that’s why books are so great for kids, right? Because when they see themselves in a book, it’s this moment of recognition where they know… they’re not alone anymore.

So I think the more that authors can write as honestly as possible about what kids worry about — and not trying to create these wholesome perfect characters — but really characters who are trying their best, but aren’t perfect.

Those are the examples I think that our readers need.

And especially with Rachel’s family, just… the financial hardships that they have. The number of kids who have written to me to tell me that they know what that’s like. I was telling a group of middle schoolers where the idea of Where the Heart Is came from which is.. it’s probably the most autobiographical of all of my books.

When I was in — I was older than Rachel and this happened. But. My family’s house was foreclosed on. We had to move out of our childhood, my childhood home, my beloved home.

And I told the whole story of that.

Afterwards, a little boy came up to me and he said, “I am so sorry for the hard time you went through. May I give you a hug?”

Those are the hugs I’m talking about, right? Like that’s — that’s the connection. Because then, I looked to his teacher and asked is it okay if I give him a hug. And she said yes.

But while I was hugging him, he said: “I’ve been through those hard times too”.

It was this moment where I felt like he needed to be closer to me to tell me that secret, and a hug was the way.

Yeah. That’s when I know writing about the tough things in an honest way is the connection that you make with kids. When you’ve done it honestly, they appreciate it,and they can learn from it.

They can — they can see hope.

One of the things that, even though I write about sad things or hard things, I always try to offer hope — realistic hope — in my books. And I think that that too is a responsibility of an author when you’re writing for younger kids. They appreciate it and it gives them hope for their own situation. They’re connecting with you. I felt like even though he was giving me hope by giving me that hug, I was giving it back to him as well.

Jeanie: Oh, I just love that story. Everything about it.

One of the real opportunities of this book is to be shared with kids as a read-aloud. It’s about a family who is struggling economically, financially and dealing with economic pressures. The reality of what that looks like that the parents aren’t getting along all the time. The kids are eating makeshift meals, right? That struggle is real for this family.

And that was already a reality for many Vermont families — and many families nationwide — but it’s a growing reality with the economic pressures we’re under right now because of COVID. Families out of work.

This book feels like a really important thing; a thing where we can talk about these pressures without talking about our own personal experiences …necessarily. That’s really important.

But, I heard from a librarian last year, that their faculty did *not* want to do a class read on The Benefits of Being An Octopus, Ann Brayden’s book because what if it was too close to home for some kids.

Now, having grown up poor myself, all I could think was that I felt seen when I read that book. I would have *loved* to have felt seen in that way as a young person without ever having to confess that my family was struggling. Does that make sense?

Jo: Yes. Yes it does.

Oh that.

Okay. So… when I was a teenager, I didn’t really like to read very much. And one of the reasons I think now, looking back on that, is because books did not reflect my reality. They made me feel bad about myself.

I never had the perfect lives that these kids so often had. You know I love Judy Blume, for example. But I always felt like even though the characters were flawed and they had challenges, they were so safe. Not even just Judy Blume but, many of Beverly Cleary’s books, too.

I never felt like the character was in danger. I knew it was going to be fine, and nothing felt really, really serious, right?

And then when I got older I read The Chocolate War by Robert Cormier.

Now, that is a very difficult read. Horrible things happened in the book; the characters are not nice people. But for me, it was the first book that felt honest about what life was really like. It was the first book that reflected my reality. I grew up watching my brother, who’s older than me, get beat up all the time. I saw teachers bullying my brother because he was gay.

That was my reality. That good people “could do bad things”, and that wasn’t present in my, in the books that I had read yet. And that was the first book that moved me to tears. That made me feel real, and that I wasn’t alone. It wasn’t just me who was having these experiences. It was A Thing. Bullying was really a thing, and it wasn’t something that was just, oh someone’s teasing you. But the real depths of what it’s like to be severely bullied.

And so that book just confirmed everything for me. It helped me feel like a real person.

And I, I remember thinking whoever this Robert Cormier is, he tells the truth. I want to do that.

I want to be like that. I want to disturb the universe, you know like famous line in that book.

And so, when I hear that someone might be concerned about sharing a book with a kid, with a story that that might reflect their difficult reality because it would be too hard to read another story about somebody like them? I can’t… I can’t quite fathom how you would come to that conclusion.

Because kids need to know that they’re not alone.

And in books — like Ann’s book — there is hope and they need to know that too.

So, it seems very sad to me that somebody might keep a book from a child for that reason because those are the kinds of books that can really — and I don’t mean to be overdramatic —  but they can save kids’ lives.

I mean, I honestly feel like The Chocolate War got me in a moment of real vulnerability. If I hadn’t had that book and then all of his other books that I read after that one, to remind me that I wasn’t alone? I’m not sure like, what I would have done. Or how I would have felt.

Or even how I would have survived that really, really rough time in my life.

So, no!

If anyone is listening and hesitating to share a book, you could ask a kid for one thing.

For example, See You At Harry’s has a death in it, right?

Now, I was doing a school visit and it was for a middle school. And I was going to talk about all of my middle-grade books.

So, I was going to talk about See You at Harry’s and how I got the idea for that, and Still a Work in Progress, and Where the Heart is.

And one of the teachers, when they saw the slide before the big assembly, they saw the slide of See You at Harry’s and she came rushing over and said, “Are you planning to talk about that book?”

I said yes.

And she said “Well, what are you going to say?”

I told her I was going to talk about my brother, and why I wrote the book. It was inspired by my own experience with grief.

So she said before you do that let me go, talk with someone.

Meanwhile, I am about to speak to 450 kids. I’ve got my speech ready, and I’m not sure what’s happening.

She comes back with one of the assistant principals and they say:

“Well, we have a student and she’s in the audience and she lost her brother last year. We haven’t shared the book with her, even though many of the other kids have read it because we think it will be too disturbing for her to read this book. So, please don’t talk about that book for the first presentation because she will be in the audience.”

Okay! I’m trying my best to sort of figure out how do I respond to this.

Meanwhile, other teachers could see that there was an issue coming up, and so more teachers came over to find out what’s going on.

And then, someone luckily said let’s talk to the guidance person, who’s like a therapist or something. So they went and got the therapist.

Meanwhile, time is running out; I have no idea what I’m going to do for my presentation.

I’m trying to be sensitive and think oh my gosh, you know? But now we’ve gone from teacher, vice principal, principal, therapist.

And the therapist says, “Why don’t we ask her?”

So! Somebody ran down the hall, found the student, told her about my book and what I was going to talk about and she said–

“Oh! I would love to hear what happened to her!”

Because it was a connection.

Somebody finally had also experienced that same kind of pain was in the building. And was going to talk about it.

It was great. It turned out to be exactly what this kid needed.

And well I, I share this story because I understand that the first reaction of these teachers, it wasn’t censorship. It was that they were trying to protect this student mwho had clearly gone through something that was very traumatic and they didn’t want her to be in any pain.

But in doing that they almost lost this opportunity for this kid to meet somebody who had a shared experience with her, who could really help her feel seen.

Thank goodness the therapist went and asked her directly what did she want, what do you think is best for you. You know, she knew the answer to that!

I think we need to trust kids more.

So, yes, if you know that you’re about to share a book with somebody who might have a shared experience and say this might be sad for you to read, or it might be helpful, what do you think?

Let them decide.

We have got to give more power to our kids. Especially when it comes to what they’re ready to read. Because those stories, they help kids grow. They help kids have more empathy for others.

I think that so many of the students in that school then, knowing that their friend had been through something similar, then read the book. Then they really had a better understanding, what it might have been like for their friend. So, we’ve got to keep sharing these stories and not be afraid of them.

These things happen, you know? And for anyone who hadn’t experienced any kind of tragedy yet in their lives, now they know what it could be like. They’re prepared. What better way to experience something difficult than in a book first before in real life? Books help prepare us for all of these things.

And so, yes, it’s hard.

You don’t want your child to read a book and cry, but I don’t know, maybe we do. Maybe we do want them to have those feelings and really under, have feelings of intense caring for others.

Goodness knows, we really need that right now, so.

Jeanie: I just love that whole story and your analysis of it. It just really rings true for me. And I think about if we don’t share stories about a family like Rachel’s family in this book, it’s also an active eraser, right?

We pretend like this doesn’t happen but we know that a large percentage of our students in schools, all over the country and in Vermont are facing economic hardship.

Jo: Yes. And I and, and to kids who are *not* having that experience understand what it’s like. So that the next time they might be tempted to make fun of somebody for whatever they wear to school, maybe they’ll think twice about it and understand that this kid might be going through a hard time. And maybe what they really need is a friend, you know?

Jeanie: Yeah. Well and you brought up See You at Harry’s, and I have to admit that I am a person who reads books to cry. I find that cathartic experience to be an important part.

I think about reading a lot to my son when he was younger — or any children — as less an educational experience and more a shared relational, emotional experience. Because for me, and the books that I read? I put down books that don’t tug at my heart in some way. Or don’t wake me up emotionally, right?

That’s what’s really important to me is that I, is that I’m feeling while I’m reading.

When I read See You at Harry’s, I sobbed *so* gutturally, that my family thought I was hurt or injured, right?

It’s really like one of those books that wrenched me more than any other.

So, thank you for that experience.

You know that sounds crazy, but I was so attached to those characters.

And one of the things I find about your books, Jo, is you write family so well. And as an educator right, it just seems to be we can learn a lot just from how in you write families. So, thank you for the families you share with us.

Jo: …Thank you.

Jeanie: But one of the challenges then, as a reader and I imagine even more as a writer is that I found myself in Where the Heart Is. I could probably say the same about See You at Harry’s in wanting a happy ending, but knowing also that I would be disappointed with a happy ending. I was *yearning* for things to work out for Rachel and her family.

But I also knew that if the rich neighbors across the street bail them out or they suddenly got an inheritance, I would feel cheated.

So, I’m wondering: how do you balance that? How do you love these people and give them a realistic ending?

Jo: Yeah. That’s a really hard question to answer.

Actually, I think my stories are all about — if I’m going to just sort of simplify it — they’re about survival. Surviving hard things together.

When you talk about family, I think things that happen when you’re 10 are going to affect every member of your family. It’s a group experience and you all have to survive it together.

When I think about family and your comment about that, that’s probably why because it’s not just Rachel’s journey. It’s this thing that happens and affects her sister and her parents and her best friend too.

So you have to sort of explore that as the author. You have to explore how would this affect each of these family members differently. How do they come together to get over this hurdle?

And in See You at Harry’s for a large part of the book, they don’t. The mother really retreats into herself; this is a family adrift in their grief. And I think a lot of this part of that book was how they find one another again and realize that the only way they are going to move forward is by figuring out how to come back together again, and live as a family without this one piece that was there and now has gone.

That’s really difficult.

And in Rachel’s case, the father is telling her she’s such a good big sister in helping Ivy through all of this. But! I think part of Rachel’s success in getting through all of this, was having a little sister to rely on and love, and know that she has to be a good role model for her in a way.

The family is all really connected in all of my books because surviving together requires that.

In Still a Work in Progress, the main character, Noah, his older sister has an eating disorder. And the story is so much about how the family is disconnected *because* none of them really know how to be in this situation: walking on eggshells all the time, wondering if the sister will relapse.

And then when she does, whose fault is it? They just want to blame each other and they’re just so confused and lost and helpless-feeling. A lot of that book is about how the family comes back together; that’s where the hope is. The hope isn’t that Noah’s sister has this miraculous recovery and she’s never going to get sick again and she’s fine. The hope is in the coming together of the family members.

I’m thinking about that now. I’m like, oh wow I just write the same book over and over again. But that’s really how it, how it happens, right? Feeling adrift and then finding one another. That to me is the hope in those books.

That’s something that you can give readers who are going through a difficult time: to understand that it’s each other. If you have each other hold on to, you know you can get through this.

That sounds cliché but so often that’s what we have to remember is that you have each other.

And you may have to live in a different house, it might not be as nice as the one you were used to you, but you’re together and you love each other. And you have other days ahead where maybe things will change again.

But really trying to just find love again, when you’re feeling very alone? I think those are some of the themes that I really try to work on. Those are things that I think we can all attain. Some may be more difficult than others but that’s something I can provide.

Jeanie: Thank you for that answer. One of the things I really notice in your writing is the way in which you write your characters — including families as a character —  through this strengths-based perspective, right? Like you’re always looking for the places they’re capable and strong. It makes me think if there weren’t challenges, those wouldn’t show up this much.

Part of respecting your characters is giving them the challenges that you know that they can handle, because they can do hard things.

Rachel and Ivy are prime examples of that, right? They show up. All of the characters in this book, all of the young people in this book? Are given the opportunity to demonstrate all the ways in which young people are superstars. All the ways in which they’re so capable and more than just at helping you when you can’t figure out your phone. They have lots of other things too.

Jo: We have to give kids so much more credit than we do. Sometimes we forget. Especially right now, when I see kids doing super-creative things. They’re stuck at home and they’re finding ways to make the most of it in such beautiful, admirable ways. And that can travel beyond COVID and throughout life. But we need to remember to acknowledge and celebrate those moments because sometimes, they just seem so small but they’re huge. Any moment that you have when your kid does something cool, just acknowledge that.

Jeanie: Or somebody else’s kid. The girl across the street from me does the most beautiful sidewalk, chalk art. And it brings me so much joy on my dog walks because I don’t have a kid in my home and in my daily life right now. But her art is always uplifting and positive, and it just brings me so much joy.

This slideshow requires JavaScript.

 

I finally told her that the other day because I realized I was carrying all this joy from her art inside, but I hadn’t expressed her how much it meant to me the things she chalks on the sidewalk across the street.

Jo: Oh, I’m so glad you had an opportunity to tell her! I bet that meant so much to her. I bet internally that went a really long way and will probably stay there for a long time doing good things. I’m so glad you got to do that.

Jeanie: So, do you have any suggestions about how teachers might use this book in the classroom? Questions they might pose? Problems they might use with students?

Jo: There’s a free teacher’s guide on my website that my publisher put together! (.pdf)

But one of the things that I really had fun doing with kids when I was visiting around, was asking them to write some favorite childhood memories of their own or sharing some special thing about their family. Or a family tradition of some sort that’s unexpected. That only their family does; something like that. Something positive, something that brings them joy.

Jeanie: Like the birthday banner in this book. That seemed like a specific family tradition, they put up a birthday banner for each family member’s birthday in the morning. Is that the kind of thing you’re thinking about?

Jo: Yeah! It doesn’t have to be something huge but some little thing that maybe only their family does, that they think is special. Even describing their relationship with a sibling. The best day you ever had with your sibling. Focusing on something that’s positive.

I try to give lots of examples so students don’t feel pressure to come up with some big thing. It’s the little things that I can pull out ideas from Where the Heart Is that Rachel and Ivy share.

Jeanie: One of the things I love about reading fiction is I think you get to, to real deep truth through fiction, more than with nonfiction. We think of nonfiction as factual but to me like the deep truths are in fiction, but there’s also often in fiction little snippets that I could imagine pulling out and using with the class.

One of them, from your book is on Page 246. It says,

When you learn vocabulary words in school, you memorize the definition. And you have a good idea of what the words mean. But it’s not until you feel them that you really grasped the definition. I’ve known what the word helpless means for a long time. And desperate. But I’ve never felt them. Feeling them is different. They fill your chest with the horrible sense of dread and guilt and despair. Those are more vocabulary words that you can’t fully understand until you feel them.

And so, I’m thinking about using this around vocabulary or spelling or word use or just like what really makes you feel something and feeling about how powerful that little snippet could be in the classroom.

Jo: I like that.

Jeanie: Thank you so much for taking the time to talk to us about Where the Heart Is for sharing your story as a, as a person, as a human and also as a writer, and for being so vulnerable Jo. I, I, there’s so much strength and vulnerability and I really appreciate that about you as a writer and, and just the way you show up here and with kids to talk about your books and, and your work. Thank you so much.

Jo: Thank you so much. That’s really kind and means a lot to me coming from you. Thank you very much.

I just know that right now, while kids are transitioning from Zoom to classrooms and then back to Zoom as things have been flowing with the virus that, I hope that we can give kids the space to feel like they can just get lost in a story and that that’s enough.

I know we always talk about how do we use the book in the classroom, but sometimes, I think we just need to share these stories and let them, and let that be sometimes enough that we are connecting through feeling, going through a journey all together.

So, sharing books out loud, reading to each, reading to kids no matter what age, I think that that’s one way to feel connected at a time when we feel so disconnected. Stories have always brought us together. And I hope that we try to hold on to that and allow space for that as we are pressured to have all of this education time. Stories are always teaching us so many things, and I think that’s probably enough just to experience them together.

Jeanie: I love it. I’m all for the marketing campaign, stories as self-care and community care.

Jo: Perfect. I will make that T-shirt.

#vted Reads with Elijah Hawkes

Listeners, I’m angry.

I’m angry about the failure of our political leadership, the unmitigated disaster of climate change, and the risks we’re asking our educators and students to take right now. I’m angry, and I’m hurt, and frustrated, and I’m not the only one. I know you’re angry, and I know our students are angry.

Our schools have long been held to the idea of being zones that are or should be, entirely free of politics.

But how does that work in the real world?

Are our students free of politics when they walk through the classroom door? Do they take their anger off when they put on a backpack, or turn on their cameras?

On this episode of vted Reads, we’re re-joined by Vermont principal Elijah Hawkes. Hawkes has written a book called, School for the Age of Upheaval: Classrooms That Get Personal, Get Political, and Get to Work.

It’s a powerful, powerful read, by which I mean that you can read it as a talisman against the notion that as educators we should stand by and pretend our students don’t see, hear and feel about politics as it unfolds around them. You can read it in order to figure out how to address your students’ anger — and maybe your own.

I’m Jeanie Phillips, and this is Vermont Ed Reads. Let’s chat.

Jeanie: Thank you for joining me, Elijah.  You were very recently on the podcast at the end of last season, but I’m going to ask you to introduce yourself again, tell us a little bit about who you are and what you do.

Elijah:  Hi, Jeanie. My name is Elijah. I’m currently principal at Randolph Union.  I’ve been here nine or ten years now and delighted to come back for another year with this fabulous faculty, staff and community.  I grew up in Vermont myself, in Moretown, and then left for college and found my way to New York City where I was a teacher and then a school principal in New York City. I also lived abroad and worked in schools and school settings in West Africa for a couple of years.  well, all of that experience just affirms for me the importance of small, community-minded democratic schools and so it’s a pleasure to be here at Randolph Union and to be talking with like-minded educators. Like you.

Jeanie:  I’m super excited to talk about your book.  But before we get to that, I like to know what people are reading! What are you reading now?  Last time, I think it was The Water Dancer.

Elijah:  Oh, yes, it was The Water Dancer. I’m reading a book of essays, long form essays I’d never read before by James Baldwin called No Name in the Street, and it’s written much later than a lot of his other essays, so I’m enjoying reading it.  It just feels like a different kind of Baldwin’s voice to a certain degree, a little bit more meandering, and free flowing but it always comes back to where it wants to go.  So, No Name in the Street, by James Baldwin is what I’m reading.

Jeanie:  Thank you for that.  I haven’t read that so I’m going to have to add that to my list. But I’m also reading essays right now. I’m reading Ross Gay’s The Book of Delights.  They’re little small essays and they’re so delicious.  I highly recommend it. 

Okay! Let’s talk about your book.  There’s a lot to talk about in this book.  But I’m going to start just with the introduction, because you start by talking about anger.  And I think this might be a time when kids could really feel angry. 

I think if my own son is any indication, this is a time where you can feel really angry with society, given COVID, given the conditions of right now, given the political situation.  And so, you say “We need their anger, and we need it to find its voice.”

I’m going to read that again, Audrey, you say we need their anger and we need it to find its voice.  And I don’t think of anger as being particularly welcome in schools.

So I wanted to know more about what you meant by this, and maybe even a description of what it looks like.

Elijah: I think I start to talk a bit more about what it looks like in the get personal and to get political chapters where I think you’re right that young people today is experiencing what they are likely to be experiencing, watching the behavior of adults behaving in ridiculous and unjust ways, seeing the way their society is going.  They have a right to be angry at the state of the world.  They’ve been born into a world of runaway climate change that is likely to make civilization difficult for them to live in.  By the time they’re in their older years (and even sooner) they have a right to be angry at the state of the world they’ve been given, so a kind of righteous anger, a kind of anger at the state of injustice.  And so, I think that that anger is something we need and we see it in the streets and its, it can force really positive change in our world.

So, in the get political chapter, I talk about the need for ideological dissonance and debate that is, like, ideas and ideals that are being debated and upon which kids can grasp and channel their sense of what is unfair and what is not right about the world in political and political directions.  So that’s oriented towards policy change and social change as opposed to directed towards themselves or towards other people in some kind of demeaning way towards others or shameful way towards oneself.  And so, the get personal chapter touches upon that as well.

I think that better again that if a child is – if a young person is feeling wounded or in pain in some way, children are too likely to internalize that as being somehow their own fault and so it can lead to feelings of shame.  Something that then gets closeted.  So if the world has mistreated them rather than them feel shame about that in some way or feel like lesser than I’d rather they be upset with the world that has been mistreating them, and that they find a way to express who they are, the stories that they’ve lived, and that they also have a sense of, like, how to shape their world for the better.  But that’s something about what I mean by we need their anger.

Jeanie:  I feel like part of what you’re saying is that we need to harness their anger. And part of doing that is giving it boundaries or using a phrase. Our mutual friend Mike Martin uses “limits as liberators.” Like, sort of giving it some structure and also giving a sense of something to rebel against. Something to sort some values and morals and cultural, traditions and beliefs, and ground them a little bit.

Elijah:  Yes. Absolutely. To be both grounded and to have something to resist. I think but I think that that’s part of why it’s important for the adults in a young person’s world to have strongly held beliefs.

Whoever those adults might be, I think it’s important not to avoid complexities. Not to be a simplistic black-and-white thinker, but to have strongly held ideals and to express those in no uncertain terms.

As a lot of the writers that I quote throughout the book do when they’re talking to young people. So that they have something to either say: “Yes, that resonates with me and there’s a model that I can follow” or “No, that doesn’t resonate with me that’s a path that I’m not going to take.”

If adults are too wishy-washy or too ambivalent or too juvenile ourselves in our own pursuits and pleasure-seeking, young people won’t get that kind of mature confrontation with ideals and tradition that they need. 

Again, like you said, either to have something to adhere to or something to reject.

Jeanie:  I think what you’re asking us in that chapter about getting political in particular, is to show up as our moral selves, right? To show up and not shy away from politics and from conflict. And I guess what I would ask is:

What do you say to folks who feel that politics doesn’t belong in schools? Or that my morals as an educator don’t belong in schools?

Elijah:  I think that I think everything is political, really. I think that our lives are shaped by common circumstances and those common circumstances whether it’d be the 90-degree temperature in September that causes us to issue heat warnings such that we can’t hold soccer games? Or whether it’d be the economic divide between the haves and the have-nots. Whether it’d be the quality of the water in our streams, whether it’d be who has money for lunch or not.  I mean, I don’t know. Like, what is not political? What is not in some way shaped, either in in distant or very immediate ways by policy contexts by people in positional power?

So, I would reject the notion that, like, politics doesn’t have its place in the classroom. 

I think that whatever we might be talking about has connections to policy contexts. And so when I say get political, I mean, put things in a policy context. Think about who has power to shape the world, and claim some of that power for yourself, and know how the world works in that regard.  That’s what I mean by get political.

Now, there’s a book that I cite in that chapter called The Political Classroom, which is more of an academic text by some professors who are really interested in knowing how politics in the classroom engages young people.  And of course, they find that classrooms where people are debating controversy in political issues are very engaging for kids. 

But what these researchers also found is that the classroom can be very engaging for kids across the political spectrum, if the teacher withholds their own personal political beliefs. 

Those classrooms can also be deeply engaging for kids across the political spectrum, if the teacher is more transparent about their personal political stance. 

So, a lot of it is about the tact of the teacher in terms of how you share who you are as a person outside the walls of the school.

I chose to be pretty public through my writing, and in other ways about where I stand on the political spectrum, I suppose.  And I think that over time that actually serves me well in working with a diverse community of people.

…How to say this? 

I think it would be worse if people thought that I had a hidden agenda by which I was trying to manipulate their child.  Whereas, if I don’t know if I’m having a conversation with parents and I think yes, I think healthcare is a human right.  I think that there should be universal healthcare for all, I can be transparent with you about that.

At the same time, I can support students having debates in the classroom about it in really thoughtful ways that are pedagogically sound.  But you as a kid and you as a family, you don’t have to be, like, wondering what my agenda is.  You can be empowered to disagree with me in really articulate ways.

Jeanie:  Right.  I really appreciate that stance and that way of holding yourself in the world and being transparent about what you believe, and being open to other people’s ideas and feedback. I’m not the first person to say this by any means, but this idea that when we think we’re being neutral, we’re actually political on the side of the status quo. And so when we’re refusing to discuss these tricky issues — whether it’s climate change, or immigration, or any of these things that are sort of larger discussions in our culture — we’re sending the message that it doesn’t matter. That we don’t have much say in it. And that the status quo is just fine.

Elijah:  Yeah, I think that’s true.  And status quo is an unmitigated disaster for, like, much of the world’s population right now. 

I was with a group of teachers and other educators in a certification program and they were they had read the book over the summer as part of their program and many of them chose to focus in on the very question that we’re talking about right now.  And I think we’re really wrestling with, “What do I do with my own beliefs as a teacher in the classroom?”

And we got into a conversation about, are you always going to perpetuate the idea that there are two or three or four equal sides to every political topic?  Like, where would you *not* do that?

You know, like, if, when it comes to Nazism, are there two equal sides to that to that political stance?  Well, no. 

Okay, so you’re going to draw a line there and you’re going to take a stand.  That’s good. 

What about climate change? Are you going to say there are two equal sides to climate change? Like, right now? Teachers, school principals: are you going to say that there are two equal sides to that and you want both sides to be heard and want young people to make up their minds? No, you’re going to take a stand on that.  Okay, good. 

Like, I don’t know. Where you draw the line in where something is really, really important to the world and you’re going to sort of like, hide what you feel is right?

Jeanie:  I feel the same way about hate speech, right? O homophobia. There’s a clear line for me.

Elijah:  Yeah.  Again, that said, I don’t think that teachers being transparent about what they feel is right for their world and for the children and it, precludes them from enabling children to really become evidence-based critical thinkers who are accepting this and discarding that as they make up their own worldview.  In fact, how elsewise, can they do it? They need adults in their lives, who are presenting them with strongly held evidence-based beliefs that are also grounded in personal experience, they need to see that.  And then they need to again, like, be able to decide if that’s something that they are going to accept in their world as true or a path forward or not and young people will, they will make up their own minds.

Jeanie:  Much of your book get seems to me is about process. It had me thinking back on my own life. About how I came to believe what I believe. Where my ethics and morality sort of formed. How do we create conditions for kids to develop their own sense of self in that way?  Develop their own beliefs and identity — you talk a good bit about identity in your book — and give them space to do that, instead of just assuming that they can make sense of the world.

Elijah:  Yes, right.  I don’t know if this is quite the appropriate analogy or not, but like, I often think about, like, when I’ve needed to acquire knowledge and skills and haven’t had it. And intentionally seek it.

I think often about how when I moved back to Vermont.  When I grew up, I never used a chainsaw very much.  My dad did and other people did, but I never did. And so, when I came back to Vermont and became a homeowner, there were some work to be done around the place with a chainsaw.  I had friends who knew how to use chainsaws very capably.  So, I went to my buddy Chris. I was like, “Chris, like, can you show me how to cut down a tree in a safe way?” Like, I very intentionally went to someone who felt like they knew what they were doing, to mentor me into that skillset.

Jeanie:  One of the examples you use early on in the book is about a student who, like, your chainsaw, has an interest, but her interest is depression. Because she’s experiencing it. Because she’s in pain because of her own depression. And she does a project: she makes in video about depression. And so, in a way, the educator she’s working with is giving her the skills she needs. Is mentoring her in the skills she needs to talk about, to voice, this thing that’s important to her. 

And, and I love that example because I think that’s really powerful way to capitalize on interest.  It’s a really great example of a Flexible Pathway. 

But I’m going to just poke at it a little bit, because I can imagine that some of the educators that I know or work with might say, “Yes, but how does that help meet curricular goals?” Or question the validity of that kind of personal work. So I’m going to put that question to you.

Elijah:  Well, I guess yes. I can appreciate that question, although I think that any documentary filmmaker might very well push back and suggest that the skill sets that [they] have in order to make this film certainly fall into the realm of the language arts. Certainly fall into the realm of digital literacy, and depending on the subject area may very well dovetail with science standards or social studies standards or psychology. So it’s not hard, I don’t think, to connect a project, like, that to our graduation standards. 

It may be hard to view it as test prep for an SBAC test in mathematics. But then again, a child who feels more self-assured and confident in herself may very well do better on a standardized test than the girl who walks into school with her, you know, bangs down over her face and a lack of a sense of pride and a lack of a sense of her own voice and place in the world.  Because through that project, this girl was telling a story that she’d never before told. And I kind of believe almost every story wants and needs to be told. On its own terms when the time is right.

And so that’s part of what that’s part of the subtlety of all of this is that, how do we help young people find that time? And that time may never arrive in the years that they’re with us.

You know, I was just in a professional development session with the Vermont Principals Academy over the summer and I offered a poem that I thought we could read. Because we were talking about Vermont and we were talking about race and racism and we were talking about people being in our classes and our colleagues and the poem is called, “Every Traveler Has One Vermont Poem” by Audre Lorde. 

In that poem, a speaker of the poem — who one can presume is Audre Lorde or an African-American person like her — is in Vermont and she’s called the n-word by a young boy on a tractor.

And one of the participants in the session over the summer said that there is a story that she carries with her, that she feels sometimes the need to tell the people she’s working with in schools —  but she hasn’t told it yet. But seeing something of her story in that poem? Was important. And was humanizing. It brought her a step closer perhaps to sharing some of the story that she feels the need to tell. 

So, in that summer professional development session she didn’t share her story. But she acknowledged that there was a story inside her and she saw something of that story in the literature.  And so, she and that story are working it out.  At some point, when the time is right that story will be told, and the world will see her and she’ll see herself in the world in a new way and perhaps even more complete way.

Jeanie:  I can’t love the idea of sharing story and the power of story enough. I think that really led me to one of my favorite quotes from your book is on Page 12 and it says — it’s about a specific student but it could be about any student —

Better we help her find the words, and that they be spoken in safe and supportive spaces, with adults who care to listen. Better they be written in ink than in blood. 

And I guess the question I have is: how?

You give many examples in this book of how to help young people find the words, over and over again. In your examples of Jeremiah and other students, right? And this young woman. But I guess the “how” I’m really interested in is: How do we, in the limited time we have in schools, teach or encourage adults to care to listen?

I think schools often feel really times starved and it can be really easy.  I can think of myself countless times not having time to really hear a student that needed heard… and that haunts me a little bit.  So, I guess that’s the question I’m putting to you is: how? How do we make that a reality?

Elijah:  Well, gosh, it feels to me like there’s ample time.  So, maybe it’s more the question of: how do we work with adults such that they care to listen and create the space?

Because I got a typical high school class and I’ve got students with me? More than 200 minutes a week? For 10 months of a year? That’s some time. So, maybe it’s more about how do we as adults ready ourselves to create the spaces where those stories can be told and heard. And I think that may be the real key to this, to unlocking these spaces in schools. A lot of adults aren’t comfortable with the pain that young people carry. And that they even themselves may carry.  A lot of teachers, a lot of English teachers, may be very comfortable talking about Faulkner but not talking about themselves.

A lot of math teachers may be comfortable teaching algebra but not reflecting on their own racism, right?  We need to create spaces for the adults in the building to have those conversations and do that kind of work. And then that helps us all learn how to personalize our interactions and see the world we live in policy and political context. We have to practice it as adults.

That’s some of the work that we’ve been trying to do at Randolph Union, which is just like, to very regularly in our precious faculty meeting time, to sit in small circles of five to eight people and do some of this work together. Where the listening is practiced, where people start to get a sense of how meaningful it is to feel heard…

And to have opportunities — invitation, not coercion — but to have opportunities to share a story or to see that story reflected in what something. What someone else has shared.  So, I think creating adults who are ready to listen means practicing and doing that work as the adults in the school.

Jeanie: I couldn’t agree more with the idea that listening is a skill we have to develop that it’s not something we’re really, that comes really easily to us especially in this current moment, in this current culture. 

That to me feels really connected with another quote that I love that reminded me of Carla Shalaby’s Troublemakers. And it’s specifically about Jeremiah, one of the students you write about and that says:

“Love. Any other response seems inadequate.What else can be said other than love him?”

Listening feels like a really act of love. And so part of what you’re saying to me about relationships and circles and the ample time is about prioritizing love. Prioritizing knowing students well and that’s another place where I can hear folks, maybe folks that might say focus on the 3 Rs, you know, the Reading, Writing, and Arithmetic say that’s not the job of education.  So, what do you say to that? 

For me I say learning is social and that relationships are key. But that that L-word, the love word, I think can be challenging for folks.

Elijah:  Well, what I, I guess what I would say is… I guess I would say to someone who is skeptical about the focus on relationship building, I would say give it a second. Give us a little bit here.

Like our advisory program at Randolph Union? We based it on some of the work of U-32 in past years where they have about, you know, six year at least in the past they did a six-year relationship between an adviser and students and families.  So, when we first launched this kind of advisory program at Randolph Union a bunch of years ago, there was a great deal of skepticism.

But now? It’s one of the most important questions that new parents for our school want to know. “Who is going to be my kid’s advisor?” Because they’re going to be with them for so long. And they know from their neighbors and from their siblings how important that relationship is over years and years and years and years and years.

Or in a classroom: if you give me a semester to do really powerful work with young people and then let that work be shared, watch that girl’s film on teenage depression, the work and the students will speak for themselves.  It will be of such undeniable power and relevance because the young people speaking about who they are that it just want, it just can’t be questioned.

We got to share that student work. Don’t just keep it in the classroom.

So if we’re doing really meaningful work with young people, again whether it’s with their names attached or even anonymously, share the powerful stories that we’re hearing and that students are writing because the power of the stories will speak for themselves. And every parent that’s out there and every neighbor and community member and grandpa and grandpa? What they want most of all is to see and hear the young people in their lives and to know them as whole people. So, the work will speak for itself. 

Sometimes it’s just a matter of finding the time and the means to share it.

Jeanie:  So, I have two thoughts about that, and one is I think that exhibition of student work is really crucial as an antidote to, like, judging schools by test scores alone. Because test scores give you such a narrow, small, little, biased I’ll say, notion of what’s happening in a school. 

But student work, it tells more of a story. Coming back to story again and student’s stories. 

And one of the things that I really saw in your book was a kind of listening to students and not just what they say and not just what they write, but listening to how they hold their bodies and the work they’re producing and the work they’re *not* producing and, like, this kind of deep full listening to kids.

And that reminded me a lot of Acts 77 and PLPs or personalization, right? And that we have to know kids really well in order to create flexible pathways that matter for them, right? 

And that this kind of works that you’re talking about is part and parcel of that work. I’m really playing devil’s advocate. And I’m going to quote the fakequity blog that I really love, where they say: “the devil has enough advocates.”

But I’m going to do it anyway, which is:

If I’ve got 15 or 20 students in my classroom.

If I’m a middle school teacher.

Or if I teach 50 or 60 students a day, how do I operationalize that kind of deep listening?  How do I not leave some kids out? How do I not just listen to the loud kids?

Elijah: And how do you help the students who don’t want to speak, or feel comfortable speaking? Because all that takes time too.  So I mean there’s some discussion of that kind of pedagogy in the book. Of course, it’s really important for the classroom teacher to establish a climate of trust where the norms — whether they’re crafted with the young people or not — that the norms are norms the adults are going to uphold. That they’re going to make sure that it feels like a safe space where there is kind of, like, boundedness and contained-ness that the adult is helping to create, so a person can feel safe sharing their story.

I think there should be opportunities for work to be shared anonymously, as well as with your name attached. 

I think there’s nothing more fun than reading a child’s work to them. Because there may be students who can write the most wonderful thing — but they’re afraid to read it themselves to their peers.  So, the teacher could read that work to their peers. Or you bring in some older students to read the work or you bring in some of your drama students who want nothing more than to read in a performative way, and bring the child’s text to life. 

There are ways to create a very celebratory culture that values the questions kids ask and the stories that they tell, and finds ways to share what young people contribute whether it’s anonymously or not.

I don’t know, I think there are ways to create those spaces.

And then if you’ve got a lot of students, there are lots of different ways to display and share student work.

Sometimes I’ll walk down the seventh grade hallway here and they’ll just be 60 or 80 very short poems on the wall; no names attached, but every student’s voice is out there. 

And then I think also, you know, over time there could be discussion forums and other, like, Socratic seminar.

I’m thinking of the discussion forums that have been really carefully scaffolded over time, so that students again feel supported by the teacher and by the work they’ve done in sharing their voice and sharing their opinions. It’s certainly possible and we’re blessed to be here in Vermont where there are so many different models of that and so many teachers who are willing to share their work.

If a teacher wants to do this kind of work, the resources are out there to help them do it.

That said, it’s also important that the administrators of the school are willing to support it. That’s key as well. 

And it’s important that teachers hear from their administrators that we’ve got your back if you’re going to be doing work that has personal and political intersections as long as we’re doing that carefully. Like, work carefully. I’ve got your back; I’ll support you and we can do this well together.

Jeanie:  You’re right. The Get Personal chapter gets really specific and I really love the ideas.  They’re about building trust in the classroom and how to go about that. Modeling that vulnerability, being yourself in the classroom, being willing to share your story to be person of yourself. 

I really love this idea of it being an invitation rather than something that’s coercive or compliance-oriented, right? That the engagement is an invitation. And that kids get to join in or to put a toe in when they’re ready, and ease in. 

But the last thing in that chapter is about validation and praise, and it didn’t strike me the same way. 

I questioned it a little bit.

As somebody who has really done a lot of work giving praise and validation to students in the past? About a year or so ago, I listened to a Hidden Brain episode about clicker training and, you know, just giving feedback that’s nonjudgmental. And it really struck me that as a student myself, I was so wrapped up in the validation and praise from others, that I didn’t actually ever know when I was doing good work myself. 

And so, I guess I’m just going to question that a little bit, about the role of validation and praise.

Elijah:  You said as a young person, it sounds like you were more focused on the external validation and didn’t have your own sense of, like, when you were doing something worthy of the praise or not? Can you say more about that a bit?

Jeanie:  Well, I think we’re all attention-seeking, right?  And some kids when they don’t get attention go about it in a negative way, right?  We see that in classrooms all the time. 

But for a kid like me who was very compliant, and a good little girl, I often went about getting attention by trying to do my best work. Not because it was my best work, but because I wanted the teacher to give me that star. That gold star, those kind words, right?  And I won’t even just say as a young person. I think even as an adult, it’s taken a lot of work for me to value my own growth and my own work internally as opposed to looking externally for folks to approve of it. 

I’m just curious about that, right?  

Elijah:  What I’m thinking is that it’s certainly not healthy to create a culture in the classroom where everyone’s motivation is dependent upon some external rather than intrinsic motivation.  That’s certainly, that’s really not healthy.

That said I feel, like, positive feedback, goes a long way towards motivation, as well as sort of modeling. 

I guess, if a student presents something that has, you know, like several strengths about it and several weaknesses, sometimes, especially early on in a class, we just accentuate the positive because that shows the rest of the class what kind of work is worth doing. You don’t even have to say, like, I wouldn’t do that. There can be a strong emphasis on the positive, especially at first, and you can help create the criteria you’re seeking to attain by emphasizing the positive aspects of what people are doing.

I don’t know; I just feel like a lot of positivity and enthusiasm goes a long way as a teacher and is part of loving the kids. 

And again, just an abundance of care and validation — but kids know when something is empty. You can’t be insincere; that will be a problem. You can’t just throw fluff out there.  Like, you can’t praise someone for asking a question when they didn’t actually ask a question.  You have to be a careful listener and you have to be sincere and you also have to be balanced and share the love with everybody.

Jeanie:  Well, that makes me think when I got to page of 132 which is in the Get Meta section.

You talk about a strategy that Alex Shevrin Venet uses in her trauma-informed teacher toolkit, and that’s: disconnect before you correct. And that positivity really rings true there for me. Like, “I can see you have your head on the desk” — a question can follow. “Are you feeling tired or hungry?” Instead of just saying “Get your head off the desk!”

I think it was just the words validation and praise that brought back my own experience a little bit.  So, I can really appreciate that.  Thank you for going deeper on that.

Elijah:  Yes, sure.  I appreciate your question.

Jeanie: I am a huge fan, so I’m going to move along to the Get To Work chapter. I’m a really big fan of the Get To Work chapter.  I’ve actually written a little bit about this for a school librarian audience about doing, I think I called it work that is real.  When I think young adolescents, young adults but also little people, can really do really work that’s relevant and meaningful and engaging to them.

It’s a little bit like going back to your chainsaw example of like: it’s going to do real things, right?  

We see that in action right now. right like the Winooski students for anti-racist education. They’ve just made huge changes in the Winooski School District based on their activism. And that’s work that’s real, right? 

Elijah Hawkes

And so, any time we can get kids out and doing the real work of testing water quality and streams or developing prototypes to solve a real problem feels really powerful to me. 

I wondered if you had any examples from the book that you’d like to share with our listeners from Randolph Union.

Elijah:  Yeah, in terms of the in terms of the get to work modality, yeah I think that well, let’s see. One example that I talk about in the book, which is from Randolph Union from a couple of years ago, was a local community organization, Economic Development Corporation needed a place for their board meeting or their shareholder meeting or some large annual meeting and they asked if they could use the school.  And I said, well, yeah you can use the school, but how can the young people help you organize and pull off the event? Because there’s a lot of work that we could do in having you here that we could learn from. 

So, the students at the tech center helped make the food for the evening. And the students from some of the project-based learning classes helped provide some of the content for the evening.  It’s just a matter of looking for any opportunity to put young people to work doing the doing the tasks that the community needs doing.

There’s no reason to not do work that the community needs doing. You know, I think it’s a problem and we should look to reform teacher preparation in this regard. 

It’s a problem that I could be a student at Harwood Union High School who really liked and did well in his English classes and then go off to college and university and really like and do well in my English classes and then go on become an English teacher and replicate what I did in my English classes and have no contact with any professional other than teachers.

And that could be the same for science. And that could be the same for math and that could be the same for almost anything. 

Jeanie:  Yeah I really love that and I love pulling in community partners and asking them what work needs doing, and how can our students do it. I’m also thinking about how much our core classes and teachers could learn from tech centers and wood shop teachers. And I just think about how much energy goes into the school play or the school musical. How excited kids get and how that’s this high stakes performance. And what could the rest of us learn from the drama teacher who puts that on.

Too often those things are sort of shunted to the side and treated like they’re not the core, or they’re not even those core subjects because so often that denotes like, the other things they’re less important.

And yet I think we could learn so much about how to make our classes more relevant and meaningful and engaging from those disciplines because they do real work.

I still have the lamp I made in wood shop in middle school all these years later.

Elijah: I think that sometimes maybe it could be helpful to think about it’s not always about reaching out into the community. It can also be about just doing the work that the school needs doing. 

Elijah Hawkes

So, for instance, one of the things that’s worked well here it at Randolph is to take what used to be an after school endeavor and a kind of club activity, that is, the world language students going abroad. Going to Spain or Morocco or France or wherever, that used to be an after school activity.

We pulled it down into the school day and made it a teacher’s prep or responsibility and enrolled students who wanted to be there in the class. Of course, there was also an after school component for the students who couldn’t be in the class but by making it a class it could become so much more than students raising money.

It could be students in partnership with Planting Hope from Montpellier, an organization that does work in schools in Nicaragua. The students could be co-planning their own travel to Nicaragua, developing their own materials that they’re going to then use when they’re in the schools in that in that country. 

It could be writing the grants themselves to the foundations to raise the money to support their trip so that any kid can go regardless of their financial backing. Writing emails to airlines and picking up the phone with travel agents and learning these real world skills.

Sometimes it’s about opening up the space in our classes to just do the stuff that the school needs doing.

Jeanie:  It reminds me of Peter Stratman, one of my fellow Rowland Fellows from my cohort does this thing called Cabot Leads. Every middle school kid gets a job in or out of the school. So some kids are working as assistants in the PE class or as mentor readers with kindergartners, but others are in the cafeteria, right? Helping with food prep. Some kids are going out into farms and helping with the milking.

Elijah:  They’re doing work that they’re interested in and it’s worthwhile.

Sometimes when we just ask young people what they’re interested in, of course that can lead in powerful directions but it but I think having as a point of departure what needs do we have collectively or do you have or that can start to fill that the work that’s done to meet a need can be very, very important words.  If I’m just interested in something it might be slightly more superficial.  I’m not saying necessarily is, but I think as the first point of departure is thinking about our individual and collective needs is a really, really powerful way to start the work of getting to, of getting to work.

Jeanie:  Well, and I think that the research, the newer research points out that people are happier not when they’re pursuing a passion but when their life feels purposeful.

Like having a sense of purpose. Feeling like you’re making a difference in some way. That you’re meeting a purpose. That, to me, is about community need. That’s way more rewarding for folks than just pursuing an interest or a passion, right?

Elijah:  I think also if you’re talking about needs as a point of departure, it can neutralize some of the knee-jerk reactions to anything that is political. If you’re focused on like, there are hungry people in our community — that’s obviously a political concern. 

But if your point of departure is focusing on that need? Then if the teacher is courageous enough, you’re going to get yourself to the policy context of that hunger.  Focusing on needs is a way to get to the personal and political in ways that are: how can you object to that? Of course, we’re talking about something political!  We have people who are homeless in our community! That’s a political concern!  It’s all interwoven.

Jeanie:  It makes me think too that if you’re doing that well then you’re not just sort of raising money. When you get to what you call the political context, you’re moving past just the savior mentality or quick fix mentality. You’re actually having to understand the real issue.

Elijah:  Yes, absolutely I couldn’t agree more and that’s part of why I advocate for a shift in terminology: from “service” to “citizenship.” Think less about serving others and think more about my rights and obligations as a citizen in the society to which we all belong. 

Of course one could be a global citizen, but where do you really practice and build a muscle of helping others in a way that like, you’re held accountable as well? It can only happen in close proximity at first. You really need to see the impact of your actions, the mistakes that you make, and how those mistakes reverberate among the people that you’re working with.

 And so if we build our citizenship muscles and sensibilities in our own communities first and build outward global citizenship can come but I agree with you.  We need to also be sensitive to the needs right here at home where we can really start to feel our privilege if we have it, our power and of course we have it if we organize and work together collectively.

Jeanie:  Yeah, I love that. I love that. I guess something I’ve been thinking a lot about is the word “reciprocity.” The give and take. 

And one of the things that I’ve talked about in other episodes is like: who gets to serve?Sometimes we only let, you know, we only let the gifted kids serve, right?  So how do we make sure everybody who wants to, gets to have impact? Right?  Everybody wants to be engaged in that way. That’s a human need, to be connected and to be helpful to others. 

And your book is a lot about that. How do we create conditions so that kids get to have that need met, and not just be alienated from themselves in their communities and their cultures and their schools?

 I really appreciate that.

The last chapter before you write a lovely letter to teachers is about getting reflective and metacognitive and it makes a great case for me about PLP’s or portfolios. Places that we can capture those reflections.

First page of Chapter 8: Get Meta, Elijah Hawkes
Click or tap to enlarge.

I don’t really have a question about that, just deep appreciation for the resources and the perspectives you share. The strategies you share in that section. It’s a chapter I’m definitely going to be using with the teachers with whom I work. 

Any thoughts or anything you’d like to add or any snapshots of that chapter you’d like to add for our listeners?

Elijah:  Yeah, I talk a little bit about the student, the student portfolio presentations or effectively it’s like a personal learning plan or personal learning portfolio at the end of eighth grade, at the end of 10th grade, 12th grade, it could have been you know at any grade level but it is, we do them at the end of the year here at Randolph Union.  It’s like a huge scheduling nightmare.  It’s worse than scheduling exams.  It’s really hard to do it well because we want to kids to be presenting to their advisor as well is there a past teacher and a future teacher.

And so, it’s hard to put those panels together but it is so healing, it is so important for educators to just sit and listen to young people talk about who they are as people in as learner’s.  So, it’s one of those ways that we create like really meaningful academic and personal rites of passage in the school and it means a lot to the students because of course they’re building their vocabulary and their sense of and their sense of self and where they have struggles and they start to learn how to ask for help and where they have strength so they can learn how to apply those strengths.

It’s really good for young people.  It’s also really good, really good for educators especially if it’s like I’m going to get to teach that kid next year or I worked with that child last year and look how far they’ve come, it could be such a healing ritual and the stakes feel really high but in a like a traditional bureaucratic accountability sense the stakes are very low, it’s not an exam.  Yeah, you have to do it but really does your promotion to the next grade level depend on it?  No, not really.  But it feels really high stakes to everybody because people are sharing of themselves and it’s public speaking in your own community where you feel accountable and where you have those relationships.

I think it’s well worth the effort to have those personal learning journeys shared in person. 

Jeanie:  Yeah, I have the Compass School is down where I used to live and I spent some time at Compass School with students being on their panels for their senior portfolios and I hardly knew these students and I had tears in my eyes and it was such a beautiful process to watch them go through that and it reminds me again of two things that we talked about earlier. 

One is exhibition night. Community members being able to come in. Because they always have community members on their panels, and see the impact of school on this kid. 

And then two was the power of those stories. Coming back to the young person’s story and their developing story. Their developing narrative of themselves. And so I really appreciate how we’ve come full circle in this conversation, really thinking about that quote from the very beginning which I’m going to read again.

Better we help her find the words, and that they be spoken in safe and supportive spaces, with adults who care to listen.

I love that.  Elijah, thank you so much for this book.  I’m really grateful that it exists in the world and that I’m going to get to use it with teachers that I work with and thank you for talking to me about it, I really appreciate it.

Elijah:  I’m very grateful for the conversation, Thank you Jeanie.

Elijah Hawkes

#vted Reads with Aimee Arandia Østensen

This show is a little different. Listeners, I want you to think of this show… as a pre-show.

Let me explain.

Today I’m joined on the podcast by Aimee Arandia Østensen and we start discussing the book Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants, by Robin Wall Kimmerer. I say ‘we start’ because once we were underway it quickly became clear that everything Aimee and I wanted to say and feel and share about this amazing book could never fit in one single episode. So I’m going to say this is a beginning of a conversation about outdoor and place-based education, the concept of becoming indigenous to a place, the magic of Superfund sites, and how we are going to encourage ourselves to hold each other *capable*, rather than accountable.

And that means you, listener. I am holding you capable.

I’m Jeanie Phillips, this is Vermont Reads: books for, with and by Vermont educators.

Let’s chat.

Jeanie: Thank you so much for joining me, Aimee, tell us a little bit about who you are and what you do.

Aimee:  Hello, I’m so glad to be here with you, Jeanie. Thanks for inviting me. So I am a first generation Filipina-American educator. I grew up in upstate New York, taught for about 20 years in New York City, as well as in the Catskill regions of New York State. And now I work for Shelburne Farms as a facilitator in professional learning and education for sustainability.

Jeanie: Oh, that’s a great introduction. You are so much more than that! To me, you are like one of those wise humans that I look to as a beacon. Thank you so much Aimee, for joining me.

And I have to admit, I’m really nervous about this episode.

Because Braiding Sweetgrass is one of my very favorite books ever, says the person who really loves books. So I’m worried that I won’t be able to do it justice. And the only thing that is setting my mind at ease is that I’m having this conversation with one of my favorite educators ever: you. And so I feel like, since you’re here, we can do this justice.

Aimee: I feel the same way, Jeanie. And the only way that I can approach this work and honoring Robin Wall Kimmerer’s work is to, as a learner to sit in the seat of a learner, but know that I’m always eternally in the process, and digging more into what it means to be in this world.

Jeanie: Yes. For our listeners who may not have encountered the wonder that is Robin Wall Kimmerer and Braiding Sweetgrass, let’s give a little summary or a snapshot of this book. The tagline is: “Indigenous wisdom, scientific knowledge and the teaching of plants.”  How would you describe this book for folks who are new to it?

Aimee:  I love how Robin Wall Kimmerer does those three things that she put out there and she gives voice to simply being? As well as the value of Indigenous knowledge. And weaving a contemporary perspective into all of that. So that it has meaning for everyone.

The thing that I love about this book is so much of what she writes in this book is simply about how to be human. And how to learn from the world about what it means to be human in its most exemplary form. And so, it’s relevant to everyone, despite your background and your perspective.

Jeanie: You said that beautifully. I think what I would add is that Robin Wall Kimmerer grew up in New York State.  She is an Indigenous person herself. So, she grows up with this wealth of tradition and knowledge from her family. From her tribe, from her people. And she always knew she wanted to be a botanist.

And so she goes to college, and she has to really fight to get the degree that she wants. She’s not immediately like, welcomed into the scientific community, but she becomes a botanist and a lecturer. And so she has these two really deep fonts of wisdom: this scientific knowledge that she gets as a college student, and this embodied wisdom and knowledge that comes from her people. And the way she weaves them together is so beautiful. And so “both and“. She walks the “both and” way of being in the world.

Aimee: I also feel that in her walking the “both and,” it’s a model for all of us who are not self-described as people who are native to this country, or Indigenous here, to see the past, the present and the future of Indigenous peoples in this country. As well as weaving our own stories into the stories that she tells and shares.

Jeanie: That’s delicious. So, I guess approaching this episode has been really challenging for me, because there’s so much in this book. How do we use it as a tool to inform teaching and learning? Specifically: place-based teaching and learning?

I guess I have this overarching question that I don’t think we’re going to be able to answer in a few minutes but maybe can be the frame for our whole discussion. And that is: How might a teacher use this book to understand the world differently, or to expand their understanding of the world? Very specifically going outside the door to the world in order to inform your teaching practice?

Aimee: I think what Robin Wall Kimmerer does throughout her entire book is speak to this relationship between self and land. Really there’s this underlying sentiment that: what is the quality of that relationship we have with the land? And how does that inform our actions, our decisions for the present and for the future, and the world that we want to create?

And so for educators — especially folks that are embracing, perhaps a place-based education approach — the beginning of exploring how place can be the context for our academic content and the action of learning and teaching? That is the seed of how we design for curriculum. I want to pause there because I’m not sure what I said actually made sense. *laughs*

Jeanie:  So Aimee, I have two questions. And the one I want to start with is: how do we define “land”?

Because there is this idealist inside of me that when you say that? Sees some rolling meadow but maybe not my own backyard, or the space between the sidewalk and the street, out front of my school. Will you just give us a definition of what you mean when you say a relationship with land?

Aimee:  Yes. As an educator who worked in urban settings for a really, really long time, I think of one end of the continuum of what I mean by “land” at this point, could be the neighborhood. Could be stepping outside the door of the school to explore the sidewalk. And what we can discover there on the block that the school is on, looking at the buildings across the street, looking at the buildings we inhabit, from the outside of the school building view.

It can start with just stepping outside and exploring our neighborhood. Maybe walking around the block seeing:

  • what business is there
  • who’s living there
  • who’s walking by

Getting to know the people in the neighborhood and in the area, not just as figures whom we pass by but individuals with stories to tell, and gifts to share.

A relationship with the land starts with opening the door and stepping outside.

I’ve entered into numerous discussions with a shared friend of ours, Judy Dow, who’s an Indigenous educator and scientist — and for me, mentor. And she’s also been a guest on #vted Reads.

We’ve had many conversations, she and I, around the use of the term, “land” or “landscape.” And often in our shared teaching, I would encourage people to get outside and look at the landscape and do a survey of what’s available to you in the landscape that you see. What questions are there? What are the things that we could find out more about?

Jeanie:  I could ask you about the rooster in your landscape whose making a little bit of a racket. He wants his voice heard on the podcast.

Aimee: Yes! *laughs* He is part of my landscape and part of my relationship with this plot of land right here. And he is persistent in his intention to be known, and part of my daily rhythm. I’m welcoming my friend —  I think his name is Fuzzball — to this podcast as well as to this conversation.

So, Judy and I had entered in these conversations about “landscape” as a term versus “land.”

And the difference that I’ve come to understand is: “landscape” is the environment and the way that we experience a natural or built place that has been intentionally shaped by humans.

At Shelburne Farms, where I work, their landscape architect was brought in to create an experience that we have with that specific place. The natural geographic forms and the topography still exist, but they have been intentionally altered so that our experience is with a built landscape that appears natural.

The term “land” as Robin Wall Kimmerer and Judy Dow refer to it, is more all-encompassing. And goes beyond the human formation of our environment to include all of what has been given to us by the natural world. And… all of the relationships that are possible within that site.

I’m hesitating here because I think that there’s a bigger definition that I’m not quite grasping. So Jeanie, I’d love to hear your thoughts on how we might be determining what we’re talking about with land in this discussion.

Jeanie: What I love about this book is that Robin brings us essays from all different sorts of land sites and learnings and teachings. She talks about her relationships with all sorts of land features, right? Or specific places on the land.

For example, a pecan grove becomes a place of story, for learning. The field where she grew up, where wild strawberries grow, becomes this really significant place for learning. The maple trees around her house in upstate New York, and the sugaring that happens there, which we can very much see as a place that many Vermont educators think about when they think about land, right?  And a garden.

But there are also these sorts of unconventional places, I guess I would say. And one of them that really struck me — and I was trying to find which chapter it’s in. But she visits a place where the land is reclaiming what was that like a Superfund site alongside a lake. Do you know what I’m talking about?

Aimee:  I absolutely know what you’re talking about. And that chapter, “The Sacred and the Superfund,” describes the site of my childhood.

I grew up alongside Onondaga Lake and experienced it as a Superfund site. And did not understand that it’s also a sacred site until I had left the area and came into the moment where I needed to start teaching about the native people of New York State, and started learning about the Haudenosaunee Confederacy and that that sacred lake was the site in which the Confederacy was formed, and indeed the seed of democracy in this country.

So it’s particularly interesting to me to explore this concept of relationship to land and place-based education through that lens of *my* relationship to that particular site, and how it is, in some ways, quite symbolic of all of our relationships to specific sites and to land in this contemporary era.

Jeanie: It just makes me think that there’s this part of me that sort of interprets, if we’re going to do place-based learning, the place has to be perfect, or the place has to be beautiful. Right? But recently, there was a story about a landfill on Staten Island that they just let go for 20 years. And the Earth has taken it back.  Right? And so, that’s a place we can learn a lot from. Landfills are a place we can investigate, right? And so just because they’re not pretty, or we’re not proud of those places, doesn’t mean they’re not places that help us learn about our relationship to the Earth and to each other. And that we can’t learn from the Earth and its place and what’s happening there.

Aimee: I think you’re absolutely right, Jeanie, and that with anything that we endeavor to be in relationship with, we can only begin when the conditions are perfect.

We just have to begin now, in whatever situation we’re in, in whatever conditions around us because that’s the only way that we can begin creating a future that’s more sustainable and more equitable and creates thriving conditions for all. And that brings me full circle back to why place-based education is so important.

If we begin to build relationship with the places that we inhabit, from the earliest ages, and as a kind of centering action and education, and that’s how we can start developing the future that we need as a global community and in our local communities, because without being in relationship to the places we inhabit, then we’re creating a parallel, uprooted, disconnected future and pathway for ourselves, which is not a pathway that will be successful in the long-term for all of us.

Jeanie: I think what I’m hearing you say, Aimee, and correct me if I’m not hearing you accurately is that just like, in schools, we work with kids to build community and relationship with each other, and with us as educators because that’s a life skill they’re going to need. That, building a relationship with place is something that’s transferable no matter where they go.

But learning those skills of how you develop a relationship with place is an essential skill for good living.

Aimee:  Yes, absolutely. And I think that is one of the outcomes of place-based education. That the ways that we build relationship and the places that we’re in and with the people whom we share spaces with? And our understandings of the systems that play within that smaller scope? Should be and can be transferable, wherever we find ourselves in the world, as we move through our lives.

Jeanie: I think what really relates to the first essay in this collection. This is a collection of essays and I suspect that you and I can spend days talking about each one. But I want us to highlight a few of those essays. And the first essay in the book right after the introduction is called, “Skywoman Falling” and it’s an origin story from Robin Wall Kimmerer’s people. She’s Potawatomi, is that right?

Aimee:  Yes, I believe that’s correct.

Jeanie: And so in this story, Skywoman falls. And all of the animals are sort of helping create a place for her because she needs the land. It’s really how the land is formed itself, speaking of land, which we were just talking about.

I’m not going to tell the whole story, but when Kimmerer shares it, she says, “Children hearing the Skywoman story from birth know in their bones the responsibility that flows between humans and the Earth.”

And she continues by saying that the story provides a compass. And that the work of living is creating a map for yourself. This seems to me like the rationale we were just discussing about why place-based learning.  And I’m wondering what you think about that Skywoman story and about this idea that we need, stories about place and relationships with Earth in order to create a map of living for ourselves.

Aimee:  I find the tool of map-making and map-reading to be so essential in bridging the gap between self and place.

*Fuzzball crows in the background*

Aimee: I believe my rooster agrees with me.

It’s a tool that can be used from the earliest ages in school all the way through post-graduate level. With the youngest students that I’ve worked with, we often use map-making as a way of just exploring our immediate space. It might be 3D map-building with blocks and different items and arranging them and understanding that we, as individuals move through a space and are in relationship to other things. It’s not just me in this world.

Then as students get older, they start to see the relationships between things that are beyond themselves, and how they’re interconnected.

And then older students begin looking at the multiple layers of systems that are happening within a certain place and understanding how those systems operate independently, but also in connection with one another. With other systems.

If we can orient ourselves and who we are and how we are within all of those systems and the relationships that exist? Then I think that would be an amazing outcome of our education system. Because that would then give us a compass for decision-making in the future, in thinking about what the vision is a collective vision of the places that we want to create.

Jeanie:  That was really beautiful.  And it makes me think that in this case, she’s talking about a story from her people? But that there are all kinds of stories we can tell about place, right?

I’m thinking of our mutual friend, Walter Poleman, and the story he tells about the geology of Burlington, or the thrust fault on Lake Champlain. Right? And that helps us better understand the relationships between — in that case I’m thinking about the rock, the soil and the cedar trees, that grow there along Rock Point in Burlington.

Similarly, we have all these stories, the stories of the people in the place, the story of the animals in the place, all these origin stories that come from different cultures, geological sources. There’s like, so many layers of story that can help us find this compass for how to live in a place.

Aimee:  There are! And I think one of the things that Robin Wall Kimmerer keeps coming back to is the multiple roles that land takes on.

She’s talking about land as teacher.

Land as mother.

Land as healer, land as gift-giver — there’s so many different ways in which the land behaves in relationship to us.

She also talks about this reciprocity piece in that relationship. I would extend the understanding of land in this context, to go beyond what we’re typically used to talking about as land as an it? But welcome the thinking to expand to land being a she; what if land was a family member? I think that’s something that Robin Wall Kimmerer has put out to us to consider.  If we think of being in relationship to the land as if it were a family member, how would that change how we behave in that relationship?

Jeanie:  That takes me right to another essay, which is “The Gift of Strawberries.” Because of your reference to reciprocity and gifts and that deeper change that happens.

Robin Wall Kimmerer grew up near wild strawberries and harvested wild strawberries every year for her father’s birthday to make strawberry shortcake. This essay is one of my very favorites.

She talks about how a gift economy is different than our traditional economy, than a money economy. Than a capitalist economy. I love this from page 25:

“Gifts from the earth or from each other establish a particular relationship, an obligation of sorts to give, to receive, and to reciprocate. The field gave to us, we gave to my dad, and we tried to get back to the strawberries. When the berry season was done, the plants would send out slender red runners to make new plants. Because I was fascinated by the way they would travel over the ground looking for good places to take root, I would weed out little patches of bare ground where the runners touched down. Sure enough, tiny little roots would emerge from the runner and by the end of the season, there were even more plants, ready to bloom under the next Strawberry Moon.”

She talks to you about how much more we value something that is a gift than if we just purchased it.

Aimee:  Absolutely.  And this notion of the land as a gift, or the gifts of the land, as opposed to… “ecosystem services,” I think is the term? It shifts the way in which we receive.

So, strawberries being the example. If we receive strawberries as a gift, we value it in a certain way. We consume it with a certain reverence.

If we think of it as something that we buy in the store — and she goes into this in her essay — then it’s an exchange of goods. It’s an economic exchange, where we assume that the relationship is concluded. Once we’ve exchanged strawberries for cash. And that is an incredibly narrow understanding of the reciprocity that is potentially there if we bring this sense of gratitude and gift-giving to what the world has to offer.

Jeanie:  It’s so important right now when we’re thinking a lot about sustainability and the sustainability of the planet. I think one of the things she says is that if it’s strawberries I’m purchasing, I want more for my dollar. Right? Like, I want as much as I can get.  But if something is a gift, I might be able to say, “Oh, this is just enough.”  Right? “Look, I don’t want to be greedy. I don’t want to take it all.” You know? “I want to be able to share.”

As opposed to that exchange economy that she’s talking about. Like, I want as much as I can get for my, you know, my money.

I think that this idea of reciprocity and enough? Are important lessons from this book.

Aimee: They are absolutely important lessons and also have applications to all of us in this extremely capitalist culture that we live in. That is centered on consumerism. “The more you have the better!” Which is extremely problematic.

The fact is that the nation that we live in, the United States, has an abundance. And it’s incredibly upsetting that there are so many that live within this country that don’t have enough when we’re living in a time of such great abundance.

It really puts into question the value system that needs to be paired with our capitalist system in order to recalibrate and rebalance how we live in terms of our economy so that more people can thrive and not just people, but also our more-than-human community members.

Jeanie:  That brings to me this other quote again from the Sky Woman story:

“Our relationship with land cannot heal until we hear it’s stories.”

And it makes me think our relationship with each other and with the more than human can’t heal until we know each other’s story.

Aimee:  This notion of storytelling is so engaging in that it’s a gift. That we each bring to each relationship that we enter into. We may come empty-handed, depending on the privileges that we enjoy, or do not enjoy.  But we all come with a body full of stories that we’ve gathered from our own experience as we walk through life? But also through our ancestor’s stories and the people that came before us whether they’re in direct lineage in our family or from the places that we have lived and the people we’ve met along the way.

Jeanie:  That feels like to me – and Kimmerer’s book really sings to me in this way of, what would it be like for us to ask students and students families about their stories on their lands, in this place. And thinking about rural Vermont, but also Winooski, and Burlington, right? Bennington. What is it for those families who sugar each year? Or what is it for families who hunt, or fish, or forage? What is it for families who have a little plot in the community garden because they live in urban places? What are their stories of places? Even concrete spaces, which are places?  And what would it be like to center those in our curriculum?

Aimee: I think that’s a lovely way of inviting in that element of youth voice into what we do in the classroom.  Because even if a child is five years old, they have their own stories and their own ways of seeing a place.

And let’s say that that’s the same place that I as the teacher experience? That child’s view, and their whole collection of stories are going to be entirely different than my collection of stories. And I think that’s endlessly fascinating, to make that personal connection to what we’re learning and sharing in the classroom.

Jeanie:  So I wonder if, given all of that, if you might define for us, for the listeners, what education for sustainability is? And specifically, if you might — I don’t know, I’m going to ask a lot of you, Aimee, but — I wonder if you might imagine out loud for us. An EFS unit, an Education for Sustainability, lesson or period of time in the classroom, that centers students’ stories.

Aimee:  So, Education for Sustainability is an approach to teaching and learning, which holds the improvement of our community and our relationships central, right?  The goal of education for sustainability is creating a more just and sustainable future for all.

*Fuzzball crows loudly in the background*

Aimee: *laughs* If we think of sustainability as being a goal that we’re continually moving towards, that we’re never fully sustainable, but we’re moving towards this idea of being in balance, such that the way that we live today enables many generations into the future to have a sustainable lifestyle as well. To live in a way that’s just. And allows people to continue their cultures in the future so that all beings human and more-than-human can thrive? Then education for sustainability is teaching in such a way that enables kids to have the knowledge and the skills to understand the multiple systems that they live in to make decisions so that we can have that just and sustainable future as well as a more just and sustainable now.

So, your second question!

Thinking about a time that centered student stories in my teaching.

As a second grade teacher, we conducted a family study every year. And there are many elements of that.  But one of my favorite things, was asking students to bring in an artifact from their family, and then share the story of that artifact.

Often the artifact would be something from a person’s father or mother.  Or maybe it would be a kind of an object that the family used in ritual, or in their weekly or monthly or annual celebrations.

One of my favorite artifacts that a student brought in was a wooden spoon. And he shared the story that cooking is a very important tradition in their family, and that cooking certain foods was a passed down tradition.

This wooden spoon was passed down from his grandmother to his mother and now down to him.

And with the use of this wooden spoon, they would cook traditional foods together and share them. And so, this child brought this specific artifact to the class, told the stories that he had learned from his mother and grandmother as a way of weaving the past into the future, but also amplifying his own voice at the same time.

In reciprocity, the other students would then share back, after hearing his story. They’d talk about the connections that their family and they experience in relationship to his story and his sharing of this artifact.

Other stories and artifacts that children shared might have been a story in which a father battled a snake and was threatened, but then managed to overcome that situation. Then the artifact that the child shared was a snakeskin.

Another were letters from people that were important to his grandmother. And then he had the time to sit and read the letters with us and talk about his relationship with his grandmother.

This is a way that was intentionally designed to bring those stories in from individual students about their families so that we could collectively build a broader, deeper understanding of what family meant. What we then could do to encourage others other ways within our small class community that people experience their life.

This is absolutely something that I could not design on my own. I could not create a collection of stories to share with students that I would presume would reflect their experience of what it’s like to be in family.

And in addition to building our understanding of concept of family, we’re also building on literacy skills.  They’re engaging with their family and other relatives in interesting conversations that go well beyond the classroom and indeed take them to places well beyond the address of the school.

Jeanie: That leads me to that chapter on, “In the Footsteps of Nanabozho.” Seems like you know that well, it’s the story of plantain, a plant we could find just about anywhere in Vermont. Any grassy space in Vermont.  And the reason I’ve been thinking about this story is because I just bought a house in Burlington on Abenaki land.

I’ve been doing a lot of reading and thinking about colonization and grappling with my own identity as a settler colonist, right, in this land. So buying this home was fraught for me, right? And so, this chapter, I think, “In the Footsteps of Nanabozho: Becoming Indigenous to Place,” I think offers some gentle advice for me and I wondered if you would talk a little bit about that.

Aimee:  I also love this chapter and the title of “Becoming Indigenous to Place.”

As a person that is a first-generation American, I am someone who feels uprooted from her place and throughout my childhood did not feel as though I belonged in the places that I was living. I’ve now come to understand that: we are all indigenous to someplace. It may just not be the place that we’re living in currently. And that this idea of indigeneity is not just an idea for brown-skinned people. It’s for everyone.

And I love that Robin Wall Kimmerer offers up this model of the plantain and a story of how we can each become indigenous to the places in which we live or the places that we choose. I think that limitation on our understanding of becoming indigenous is often a reflection of our limitation on time, and how we can see the time.

So she talks about the plantain as becoming indigenous over a 500-year timespan. And that’s just something that’s beyond our comprehension as people who might live 75 years. But that’s the timeline that we’re talking about in terms of “becoming indigenous”.

No, it does not mean that I won’t be able to become a Vermonter. It doesn’t mean that I have to wait the seven generations that I’ve been told that I need to wait.

I think the lesson of the plantain is that through conscientious awareness-building, I can learn how to become into meaningful relationship with the community in which I live, the natural and the human community. That there are ways of becoming indigenous within my lifetime. And it’s not an issue of nationality, or necessarily the culture that I embody. But it’s about how I’m being in relationship with the place and the people that I’m living with.

Jeanie: Oh, I love that. I hear so much of that and I’m reading about maintaining this idea of being of service. Plantain can be food, it can be medicine, it’s good for insect bites and cuts and burns.

And Robin Wall Kimmerer says, every part of the plant is useful even the seeds are good for digestion. And I’m just going to read a little bit. Because for me, this is really good advice. This is from page 214.

Writing about plaintain Robin Wall Kimmerer says,

“Our immigrant plant teachers offer a lot of different models for how not to make themselves welcome on a new continent. Garlic mustard poisons the soil so the native species will die. Tamarisk uses up all the water. Foreign invaders like loosestrife, kudzu, and cheat grass have the colonizing habit of taking over others’ homes and growing without regards to limits. But Plantain is not like that. Its strategy was to be useful, to fit into small places, to coexist with others around the dooryard, to heal wounds. Plantain is so prevalent, so well integrated, that we think of it as native. It has earned the name bestowed by botanists for plants that have become our own. Plantain is not indigenous but “naturalized.” This is the same term we use for the foreign-born when they become citizens in our country.”

Who knew that I was going to seek to be like a plant that I’ve known since my earliest memories like plantain, I grew up with plantain everywhere in Pennsylvania. It’s a plant I’ve known forever, and that it could be such a humble teacher.

Aimee:  I love that passage as well Jeanie, it’s one of the ones that I highlighted because I think it offers insight to all of us whether we are descendants of the European settlers, or we’re new to this country, or if we are Indigenous roots here in this country. There’s so much to be learned from this single plant.

Jeanie: It makes me think too in my conversation that you referenced earlier with Judy Dow.

I’ve been thinking a lot since I’ve become friends with Judy, about stories and place.

And thinking about, if we’re going to be educating students in Vermont’s Abenaki land.  How might we learn by centering their stories of this place? And I know Judy has a beautiful collection of stories that she has on CD.

I know she uses them in classrooms to tell the geologic story of place, right? They reference specific places in Vermont? But also how to be in relationship with this place.  Since we can learn a lot from the Abenaki, how to be in good, in right relationship with this Vermont place, these Vermont places. This land here.  And so, I’m curious about that and how that might play a role in place-based learning here. Do you have any models that you might share or how to do that one?

Aimee:  Well, I think the main lesson in all of that is to question:

  • What stories are we hearing?
  • Whose voices are they amplifying?
  • And whose voices are missing?

So much of my education as a child — and what I see still happening in many places in schools — is that the stories of the European settlers are the ones that were told and that are repeated. And that are passed down.

And that is a valid story. It is a valid perspective. And it’s important.

But it’s not the full story.

And it’s not inclusive enough to really build a deep understanding of our places.

There are so many voices that we’ve abandoned and dropped and extinguished and ignored for so long.  And it’s an incredible time right now that there’s so much interest and energy around amplifying other voices that we haven’t heard from in a long time, or perhaps not ever.

So I think the Abenaki voices in Vermont are something that should definitely be leaned on as we develop more of a place-based learning focus. As well as amplifying all the other voices in Vermont that we don’t always hear about.

Jeanie: Yes. Thank you for that.  It makes me think of a class I just took on other ways of knowing, where we looked at indigenous science.  And I’ll put a link, and I’m not even going to remember the name of the person who delivered this talk.

But this beautiful talk about the way in which science was conducted in Indigenous communities in this country and what is now the Americas, right? And the way their understanding of the world and around them showed up in architecture, and in story, and in tapestry …and in art.

It makes me think about, you’ve been using the R word of “reciprocity” and I know our friend Judy Dow uses the R’s in her article on the Narrows, right, she talks about responsibility and the relationship and reciprocity and a couple other R’s in there.

But the one that really emerged in this look at native science was resonance.

How does, what’s happening in place, in land resonate for us?

And so, we see that sometimes in the way, I think, in stories about Indigenous medicines, right? In the resonance. I think we see a lot about resonance in this book where Robin Wall Kimmerer is talking about how the land resonates for her and her family.

Aimee:  I love the R of resonance being brought up in this conversation because I think it really speaks to a sense of being present in the moment that is so often rushed away. Because we have these time pressures. If we have these 45-minute classes that we have to move through content. In that there’s just so much for us to do on our to do list and shopping and laundry and whatever it is that we have to do, that we don’t take the time? To tune in to the resonance that may exist for us in any given situation.

And the resonance I’m thinking of is in terms of our relationship to the natural spaces we’re in, but also in the social fields that we inhabit. The resonance that we feel between the people that we’re sharing spaces with. And if we just took that moment to take a deep breath, and notice and be present, it might help us to understand all those dynamics better?

But also to see the situation we’re in a little more clearly.

Jeanie:  The way my heart is hearing it is relationship takes time, relationships between people, but also between humans and more than humans in the land, right, if that takes time, too.  And we often don’t give it the time it takes.

Aimee:  Yes time, and time is such an interesting notion. That it can be just a moment; just a breath. Or it could be about the long-term view and going back and looking at how my relationship for example, in this place that I’m in right now has changed over the past seven years. How I’ve impacted the land and how the land has changed me, and how I perceive of myself, and how I experienced the world.

And then there’s this idea of time in relationships. Time in the development of a community, and the movement of a community, and the changing and understanding of a culture.

Jeanie:  I just said goodbye to a home of 20 years, and there was a lot of… I had to find ways to express gratitude to that place to specific places, especially that changed and shaped me. I was a new mom when I moved to there and raised my son, who’s now twenty. And the mountain that I lived sort of in the shadow of, this lake that I spent so much time running around it, swimming in it, boating on it.

And I had to take offerings to these places. Around the West River Trail that I spent so much time on. These places are still so significant to me even though it’s been several weeks since I’ve been in them.

And now forging new relationships, I can really feel that sense of changing character of how we are in relation with place. This book, really re-reading this book, in preparation for this conversation brought up a lot of those feelings I’ve been having as I let go of my habitual, my day to day these places that nurtured me so regularly.

The time piece also brings up for me my very favorite chapter, the chapter that when I listened to the audiobook I just sobbed through, and that reading now just still brings tears to my eyes. Not in the sob way but just like… It was like a complicated mix of joy and sorrow,  grief and joy and love and admiration. All of the things. And that’s “Allegiance to Gratitude.”

So this chapter is where Robin Wall Kimmerer shares the entire, I think the entire Haudenosaunee Thanksgiving address, but she commentates on it as well.

She explains that she digs into what’s the meaning of this story that’s told through the Thanksgiving address. And the way that this timely — long, it takes time — address that they use in this community school, the way it helps to forge that deeper relationship with the land and all of the inhabitants of land. How does that chapter strike you in?

Aimee:  I also am incredibly moved by this chapter and the beautiful way in which she weaves the original text or the original address with this view of how kids today are experienced.

And it’s not all beautiful.

It’s kids fidgeting and kids being impatient, but at the same time, learning how to listen. And especially she says, in the time when we’re accustomed to sound bites and immediate gratification.

So there’s this relevance of the now, and the past, all sharing the same space.

And there’s also this other component of it, in which she compares it to the Pledge of Allegiance, which is what I grew up saying.  Which I could repeat right now, because I did it so many times, but is actually quite meaningless to me. Like that I never attributed any meaning to it. It was never a process for me and with me in terms of how it might relate to my daily existence.

So, I deeply appreciate this chapter as she goes through the Thanksgiving address.  And it describes how young people are creating meaning, through this process of experiencing the Thanksgiving address.

This is part of the relationship of myself to the world because Onondaga Lake was such a big piece of my childhood and my upbringing. And at the time, as a Superfund site, I was given the messaging about how the water from this lake could kill me.  It’s laden with mercury, don’t eat the fish.  Don’t swim in it, don’t go boating on it, you can collect stones and shells off the shore, but don’t touch the water.

So it became this kind of antithesis to relationship, to environmental features to water, which can be so purifying.

And now that I have a more full understanding of the significance of that sacred lake, beyond it being a Superfund site, I am understanding that that is part of my story of who I am and how I’ve come to do what I do today.  But also about my relationship with that lake is not finished. And that I have a responsibility to engage with the healing of that lake and the restoration of it as a part of my pathway as well.

Because it is in me, it’s under my nails and it’s in my cells and I need to accept that and honor my relationship with that lake.

Jeanie:  That’s really beautiful.  I’ve been putting forth all my favorite essays, there are more that I adore. Is there one you want to pull forward?

Aimee:  I’ll give you my short list of the ones that I have been rereading.  So clearly, “The Sacred and the Superfund” is definitely one that I’ve been rereading. The idea of, “In the Footsteps of Nanabozho: Becoming Indigenous to Place” has been important to me lately.  And also the idea of “Putting Down Roots,” which is another essay in that section.  And lastly, this section on a “Maple Nation: A Citizenship Guide” has been kind of pulling at me, especially as we head into the November elections this fall.

Jeanie:  I need to reread that one. I did reread the maple moon one, “Maple Sugar Moon”, which really touched me deeply. This whole process of sap-making with her daughters, and their way of going about it in the wild.

And it’s one of the chapters like “The Three Sisters” chapter that I feel will have direct relevance already to what teachers are doing in the classroom and how they might approach it from a place-based lens.  Or an EFS standpoint.

This whole book is delicious.

Thank you for sharing your highlights because the ones I haven’t read recently, I’m going to go back and reread.

I’m going to go back to that first guiding question we had. That overarching question about how might a teacher-educator use this book to expand their understanding of place in order to inform their teaching practice or inform place-based learning with their students.

I think for me, one of the answers that has emerged from this conversation with you is about learning with, learning alongside. And that doing our own short of workaround place and how our relationship with place with students is really powerful instead of knowing the answer? About going out and exploring together.

Aimee: Yes, I do think that this book amplifies the idea that there’s so much to learn from and with outside the school walls. And that place, land, community: they are all teachers. We as teachers sometimes feel so isolated and feel like we have too much on our shoulders, too much to carry forward.

The times when I felt most supported as a teacher are the times when I thought, well, I’m not in this by myself, I don’t need to have all the answers. Robin Wall Kimmerer offers that this answer in terms of place-based learning that the answers are out there in the world, but we need to learn how to listen. And we need to learn how to see.

So, if those are the skills that we teach students through place-based learning, all we need to do is give them the opportunities to build that relationship.

Jeanie:  That was not your rooster, what was that?

Aimee: That was my hen! Her name is Brownie, she’s one of our third generations.  And she is announcing that she just laid an egg. She’s very happy about it.  And now, she’s trying to find where the rest of the flock is so she can reunite with them.

Jeanie:  Okay.  So, I think what you just said about, I was really inspired by what you said before Brownie led me astray, which is that the teachers are out there.

And I think for me right now, in this moment, the chapter that’s like, I feel the need — I’ve read a couple times — that feels really informative to me as an educator.  And what I do is “Asters and Goldenrod,” where Robin Wall Kimmerer talks about what she wants to do, how she has this really beautiful question.

That question is: why do asters and goldenrod look so beautiful together?

And she’s told that’s a question for artists and not for scientists.

And then she goes and becomes the botanist that she most wants to be.

This book really warns me about how do I keep my heart and my mind open to the potentials in our students, and the questions that give them life and that call them to be their true selves to their purpose in the world?

Aimee:  I think the answer to that beautiful question is partly gratitude, right?  Keeping our hearts and minds open to the gifts that are right in front of us, the gifts that we’ve already received and the gifts that those future students, or the students of today can offer us as learners and humans sharing this space. One of our friends from Hawaii Kamu, I recently had an opportunity to co-facilitate with him.  And he offered up this phrase from one of his teachers, which is: “to hold one another capable.”

And that has been sitting with me these past couple of weeks of thinking about when I engage with students or colleagues, how can I hold them capable?

Part of that is thinking about what the gifts that they bring.  And part of that is about, okay, what space am I creating so that they can develop their gifts and use them in ways that can generate positivity and growth and restoration and space for the emergent. The wonderful emergent that we don’t know can happen.

Jeanie:  That’s beautiful. To hold one another capable. I’m going to sit with that a long time.

 

#vted Reads with Kate Messner

I’m Jeanie Phillips and we’re back for a third season of vted Reads! Books by, for and with Vermont educators. Kicking off this season we’re joined on the show by author and former teacher Kate Messner. Kate’s here to talk about how we can use books about some dark topics as conduits to reach students who may not even know they can or should talk about those topics.

I did just make it sound a lot bleaker of an episode than it is.

Trust me, it’s a good one. And Kate’s a delightful guest! We’ll talk about her books Chirp, Breakout, and The Seventh Wish, along with sending you away with a whole mess of new titles for your To Read pile.

Plus, Kate will reveal what her favorite flavor of cricket is.

Yes, you will be amazed to learn how many different ways there are to snack on crickets.

Now, one content note for today’s show: Kate’s book, Chirp, deals with issues of grooming, which is when adults behave in inappropriate ways with children, usually as a prelude to much worse behavior. We’ll talk today a little bit about that, but if you’re not in a space to join us right now, that’s okay. Be kind, safe, and gentle with yourselves.

Welcome back to vted Reads, season three! Let’s chat.

Jeanie: Today, I’m with Kate Messner and we’ll be talking about her book, Chirp. Thanks so much for joining me, Kate.Tell us a little bit about who you are and what you do.

Kate Messner: Thank you so much! Well, I am a children’s author. I’ve written  — as of 2020 — it will be 50 books for kids. They range from picture books like Over and Under the Snow and How to Read a Story, How to Write a Story, The Next President, to Easy Readers like the Fergus and Zeke series with Candlewick Press, to chapter books like The Ranger in Time Series with Scholastic. And novels, and nonfiction. Books like Breakout and The Seventh Wish and Chirp. And then some nonfiction as well! Like Tracking Pythons, which is about invasive Burmese pythons in Florida, and a new series called History Smashers, which is aimed at undoing the lies and myths we teach young kids about history. Starting with: the first Thanksgiving. The first book is History Smashers: The Mayflower.

Jeanie: And that book just came out, is that correct?

Kate: Yeah! New this summer History Smashers: The Mayflower and History Smashers: Women’s Right to Vote. Then in the fall, book three comes out: Pearl Harbor. And we’ll have book four in the spring of 2021, that is History Smashers: Titanic.

Jeanie: Those sound so relevant to our current moment in time. Perfect timing.

Kate: I really hope so. I know so many teachers right now are looking at the work that that we can all do to dismantle white supremacy and to promote equality. And part of that work is taking a hard look at the way we’ve taught history. Our textbooks have long looked at things from a very white, very colonialist perspective. And these books aim to to start a broader conversation about that. The biggest thing is I think kids are gonna read them and have an amazing time at the dinner table saying, “Mom! Dad! Did you know this about Elizabeth Cady Stanton?” So I think it’s gonna prompt some really great conversations. Not just in the classroom but at home around the dinner table, too. That’s my hope anyway.

Jeanie: This is super exciting! Before we get started on Chirp though, I always like to ask my guests what’s on their bedside table what they’re reading right now. Do you have any summer reading going on, Kate?

Kate: I do, I actually just finished an amazing young adult novel called A Song Below Water by Bethany Morrow. It’s about mermaids and Black voices, and it’s just a spectacular story. I think sometimes fantasy and speculative fiction is the very best way to get at the issues that we’re facing in our modern world. And this is a book that just does that brilliantly.

Jeanie: Excellent! I have that on my Libro FM right now, actually. So I’m gonna have to listen to it on my next long drive. Thanks for that recommendation!

So one of my bits of summer reading was: Chirp.

I picked it up right as the school year was ending and got sucked immediately into this book. And I wondered if you could introduce us to Mia, who is moving back to someplace many of our listeners will know, which is Burlington, Vermont. Could you tell us a little bit about Mia?

Kate: Sure! Mia has just finished seventh grade. And she is moving from Boston, where her family had moved from Vermont a couple years earlier, back to Vermont. It’s a good move for her, for a few reasons. First of all her grandmother lives in Vermont, and she loves Gram. So that’s a great thing.

Then second, Mia’s time in Boston wasn’t the greatest. She’s a gymnast and she had an experience at her gym with an assistant coach that she’s hoping to leave behind. Hoping to forget about. Something that she didn’t even talk about. So she’s moving back to Vermont with a secret, and also healing from a broken arm she got when she was doing something on the balance team.

Jeanie: When we meet Mia, she’s actually in the car in the beginning of the book. And her very concerned mother is trying to get her to pick some summer activities. And Mia just wants to watch TV. So she sort of reluctantly picks some summer activities. And you get the impression early on that that has less to do with the broken arm than with some failure of confidence, really related to what’s been happening in her life recently.

Kate: Yeah. I mean to be honest, she’s moving at a time when she’s not sure who she is anymore. And we’ll do a minor spoiler here: the assistant gymnastics coach at her old gym was showing her some really inappropriate attention. There were unwanted back rubs and hugs that lasted too long, and texts that were just strange and uncomfortable for her. It’s behavior that most adults would look at and say that looks like grooming a child for sexual abuse. And in fact the things that happened with that coach that make Mia so uncomfortable are based on the very same things that Larry Nassar did when he was trying to gain the trust of the gymnasts that he abused.

So many of us have read those just horrifying headlines of the team doctor who sexually assaulted so many gymnasts. This character, the assistant coach in this book, is sort of like Larry Nassar before it got so far. So it’s behavior that an adult would recognize as grooming. A kid doesn’t know that; a kid just recognizes that she feels icky and weird and doesn’t understand what’s going on and maybe wonders if she’s done something wrong.

So Mia doesn’t talk to anybody about what happened with this assistant coach.

She’s happy to be moving. It’s not an issue for her anymore, but of course she’s carrying scars from what happened. Not just from this accident she had on the balance team that required multiple surgeries on her arm, but scars inside too. The kind of scars so many women carry around and don’t always talk about until there’s that opportunity.

So Chirp is very much a story about finding yourself again. And especially finding your voice. That’s something that Mia goes through in this summer.

The book takes place over the course of a summer. It begins right after school ends as the family is moving back to Vermont. And as you mentioned Mia’s mom is hounding her to sign up for some day camps. The rule in our house was you got to do two activities: something for your body, and something for your brain.

Mia’s mom has that same rule. She’s giving Mia gymnastics flyers and Mia is adamant that she’s not going back to gymnastics. Eventually she settles on this thing called Warrior Camp, which is a camp where kids learn to do all those obstacles that you see on the TV show American Ninja Warrior. Mia likes that show. She figures how bad could the camp be?

And then she also signs up for something called Launch Camp, for young entrepreneurs. Which is a camp where kids go to design their own businesses and write business plans and create products. Sort of like you see on Shark Tank (and Mia loves that show too).

So! Thus she’s chosen her two summer camps. And thankfully she makes some friends that summer. And through the physical healing she goes through at Warrior Camp — you know she’s conditioning, she’s getting quite literally stronger going through this Warrior Camp — at the same time she’s gaining confidence at Launch Camp. Meeting some new female friends who really boost her up. So that’s like a huge theme too: the power of women to hold one another up.

Jeanie: So many great themes in this book! It’s hard to figure out which question, which thread I want to pull on, so I’m going to try to get up to all of them. You mentioned Launch Camp. I love Launch Camp! As an educator who’s trying to work with educators to make school more meaningful and relevant to young people. It’s this entrepreneurial camp where they’re making and they’re designing business plans and there they have an audience. And they go on a field trip up to UVM to see a woman entrepreneur and hear about her trajectory, her professional trajectory. I wondered, you know, is Launch Camp just in your imagination? Is there somewhere we could find Launch Camp?

Kate: Well the exact version in the book is from my imagination but I can tell you that it was inspired by so many makerspaces that I have seen in schools and in libraries. Where kids are doing this exact kind of work. They’re being encouraged to come up with their own ideas, and build things. Whether that’s with Legos or writing apps, or anything like that. I’ve just seen, you know, in my visits to different schools? I’ve seen so many amazing projects that kids are working on with support from their teachers and librarians, and in various makerspaces. So that was really the inspiration for Launch Camp. I did have a great time making up all the projects that the different teams were working on. Now that was really, really fun.

Jeanie: Well there’s the dim sum, the bao buns (is that what they’re called?) And an app to find soccer games?

Kate: Yeah. Kicks Finder! It’s some kids who wrote an app to find pickup soccer games in town.

Jeanie: And there some cookies–

Kate: Yeah! Cookies for a Cause. Aiden, one of the boys is a really great baker, and so he’s launching this business to sell cookies that people can use for fundraisers. There are some kids who are building jewelry, creating jewelry out of recycled materials.

And then there’s Mia, who has decided she’s going to use her time at Launch Camp to write a new business plan for her grandmother’s cricket farm. And yes, you heard that right: cricket farm. It’s a real thing.

Mia decides that she’s gonna use her time at Launch Camp, and what she learns about starting businesses and marketing and supporting them.

Jeanie: Let’s just talk about those crickets. Because those crickets are for eating. For humans to eat.

Kate: They are! They are. Let me tell you where this element of the story came from.

Several years ago, actually in 2013, the United Nations Food and Agriculture Organization came out with a report called Edible Insects that basically said, “Hey everybody in the Western World, you ought to consider eating insects as a form of protein. Because a) insects are good for you, and b) they are way more sustainable to raise than other creatures we like to eat for protein. Like cows and pigs and chickens. They use way less water and feed and they produce many, many, many times fewer greenhouse gases.”

I found this report fascinating.

For a while, I was talking about it all around the house with anybody who would listen. I had done some research on entomophagy. I had a dinner party where we had grasshopper tacos one night. And so time passes, a few years after that report, my husband comes home one day and he is part of an organization that helps startup businesses launch in Vermont. He came home from one of his meetings and dropped a folder on my desk and said, “I’ve got one for you!”

The folder was about a cricket farm that was launching in Vermont. A startup cricket farm.

So, we were invited to it. To visit this fledgling cricket farm in Williston. It was in a big old warehouse. So if you’re picturing a cricket farm with like meadows and barns? They’re not that kind of farm. Most of them — and there are several cricket farms around the country — most of them are in industrial parks. And they’re in big warehouses.

The crickets are raised in big bins with these cardboard “cricket condos” they call them, inside. They eat ground-up chicken feed, things like that, and they are indeed being raised for human consumption.

When I was researching this book I sampled crickets in every iteration you can imagine.

I had sea salt and garlic crickets. Barbecue crickets. Maple crickets (it was a Vermont cricket farm after all). We had chocolate-covered cricket ice cream, and cricket pizza. And of course the big thing with crickets is protein powder! Cricket powder is protein powder just like the vegetable-based protein powders that athletes use. That’s a real product too. We had bread and cookies made with cricket flour — it was fascinating to actually see this farm in action. I got to spend a lot of time with the cricket farmers learning how to take care of crickets, and you know, how to how to try to convince people that crickets are food. (Which is as you might imagine a bit of an uphill battle.)

And I started thinking: what if somebody were trying to sabotage a cricket farm? (For whatever reason). So that became one of the premises for Chirp. Mia’s grandmother owns the cricket farm in the story and as soon as Mia and her family arrive, they learned that Gram is convinced somebody is trying to sabotage her cricket farm. So Mia and her new friends that she makes do a whole lot of sleuthing that summer. A little bit of breaking and entering, and trying to figure out who’s behind this alleged sabotage on the cricket farm.

Jeanie: That pulls us back to this thing you said earlier — I love the cricket farm is a setting by the way. I was really intrigued and ready to try crickets. But before I even get to that question: what was your favorite cricket product?

Kate: I think that the flour is very, very good. You can replace about a fifth of the flour in any baking recipe — your chocolate chip cookies or oatmeal cookies — and you really don’t notice very much. It gives it a nice little protein boost! So the chocolate chirp cookies were pretty great, and I thought that the roasted barbecue crickets were pretty terrific, too.

When I was on a book tour in February for this book — I was actually out for two weeks all around the country right before the pandemic hit, traveling and talking with kids in schools around the country about this book. At the end of every assembly I asked them: “Do you think one of your teachers should try roasted cricket right now?” And of course they went wild. So I had teachers sampling sriracha crickets and maple crickets, and all kinds of crickets imaginable. That was a lot of fun.

Jeanie: Excellent! So, you sort of mentioned this other thread I want to pull or untangle, is this thread about Mia, and how she sort of knows that this way her coach is behaving towards her — whether it’s gifts he’s giving, the way he’s talking to her, the way he touches her  — is not quite right, but she can’t put a name on it.

And this book feels really important to me for that reason.

Like, it’s a story that girls and boys need to read so they can recognize that that feeling isn’t made up. It’s not about them. It feels like being able to see that in a book, especially a book that’s really geared towards fourth, fifth, sixth, seventh graders, is a really important thing for kids. To maybe see an experience that we hope they’re not having (but that they could be having). So I’m just so grateful for that.

Kate: Yeah, thank you. I mean that feeling of looking back and saying, “That felt icky and I can’t quite explain it” that is what many kids experience, you know, when they’re being groomed for abuse or when abuse is first starting. It’s like “this feels wrong, this feels icky” but they don’t have a name for it, you know? And part of that is that we haven’t necessarily taught them how predators groom children. But that’s really important.

So this book really does kind of lay that out. It’s talked about. And my hope is that, you know, first of all: we would love to think this isn’t happening to the kids that we teach and the kids who come to our libraries. But it is. Statistics tell us that it is. My hope is that kids who read this and recognize that feeling are going to recognize,

“This is something I get to speak up about. I can make this stop. I have the power to tell somebody about this. I can talk to a trusted adult and end this. Because my voice matters.”

That’s really my hope for the book. And also my hope for adults who share this book with kids. That it’s going to start those conversations.

Sometimes as adults, we do minimize kids’ feelings. And you know, I was right up there when my kids were little. They would fall down and skin their knees, and I’d be all, “You’re fine! You’re fine, you’re fine, you’re fine!”

We want our kids to be fine and so sometimes we tell them they’re fine and sometimes they’re not fine.

And that’s when we need to do better listening.

So I hope this this book is one that really starts those conversations. And also will help kids have empathy for one another when friends are going through this. And you know, encourage them that they can talk to one another about this and especially talk to a trusted adult when something just doesn’t feel right, you know? Kids have pretty darn good intuition and they don’t always know how to articulate when an adult is being inappropriate. But we can teach them that. And that’s huge.

Jeanie: That just brings me to a quote from your blog’s that just it’s from a different time but I think it’s really relevant to this and I’m just going to read it. It says:

I understand that school administrators are afraid to talk about tough issues sometimes. Authors are, too. But we’re not protecting kids when we keep them from stories that shine a light in the darker corners of their lives. We’re just leaving them alone in the dark.

Kate: You know, Chirp is about a kid who was being uncomfortably groomed for abuse, by all appearances. But I think it goes beyond that, you know? I have another book called The Seventh Wish which deals with the main character whose older sister is struggling with heroin addiction. And that book has faced some challenges. I’ve had librarians email me and say,” I’m not putting this in my library, because kids here don’t have those issues!”

Well, guess what? You wouldn’t know. You wouldn’t necessarily know. We know that they do all over the country, all over the world in fact. We have this epidemic of opioid addiction.

I think there’s a certain amount of resistance, sometimes, to books that are more honest about the real issues that kids face. As an adult — I mean as a parent and as a former teacher — I understand that impulse of wanting to protect kids. But this notion that if we don’t talk about it that means it’s not happening and it can never happen? It’s just not realistic. It’s not the way it works, it’s not the real world. So I think the very best thing we can do in our service to children is be honest with them about things that happen in the world. And when we do that those kids know that they can trust us to speak up when they need our help.

Jeanie: Your other quote — and these words still resonate with me as they did when The Seventh Wish first came out, and I remember that you were disinvited to a school at that time and so many librarians were appalled by that — these words you wrote at that time, I think are still true today. Whatever so-called controversial issue we’re talking about that is really  a part of the fabric of young people’s lives. You said:

We don’t serve only our own children. We don’t serve the children of some imaginary land where they are protected from the headlines. We serve real children in the real world. A world where nine-year-olds are learning how to administer Naloxone in the hopes that they’ll be able to save a family member from dying of an overdose. And whether you teach in a poor inner city school or a wealthy suburb, that world includes families that are shattered by opioid addiction right now. Not talking about it doesn’t make it go away. It just makes those kids feel more alone.

I think that you really get at, for me, the power of literature to help kids feel seen. To help kids feel less alone. And to help kids feel like their lives matter. Like their experiences aren’t unique, necessarily. *They’re* unique but their experiences, especially those rough patches? Other folks have gone there. Have gone through that. And they need that aired out so it’s not a source of shame.

Kate: It’s interesting what you just read. I was writing at the time about The Seventh Wish and the issue of opiate addiction, but you could just as easily put sexual assault in there. This is something that doesn’t recognize city boundaries or towns or villages or socioeconomic boundaries. It’s something that affects everybody. Kids of from all different backgrounds have to deal with this. And when a child is sexually assaulted, there’s not some magical line that it doesn’t happen until they turn 14. You know?

I was talking with a friend of mine because I had a similar cancellation before I went on tour for Chirp, which was just mind-blowing to me. This is a book that is specifically designed to say

  • your voice matters
  • and if something happens to you, you get to speak up

And we’re not going to share that with kids? What on earth could be the motive for that? What on earth could be behind that?

I was telling a friend about this and how this library said “Oh it’s too young to talk about this” …and my friend said, “I was five, when that happened to me.”

And my other friend who was there said, “Yeah, I was eight.” Another one said, “I was 11.”

So we need to be having those conversations before the kids are teenagers. It’s just it’s too late if we wait that long. We want our kids to know early on they can always talk to us.

Jeanie: Yeah. I couldn’t agree more. Another thing I love about this book is it ties together layers all of these ways that gender discrimination shows up for girls and women. One of the threads I wanted to follow is Gram’s business. And she’s facing discrimination as a woman business owner. There’s a young woman from UVM who sort of faced some discrimination as a female business owner that sort of plays into the story. And then I think that Mia’s mom actually share some experiences. Then one of Mia’s friends is harassed by some man on the beach? So it’s all these layers of gender discrimination that sort of show up that start to make a pattern for these girls that helps empower them.

One storyline that that is really small in the book but I found really impactful? Was about the relationship between Anna and Eli. So, Anna and Eli were on a team at Launch Camp, but Anna left the team because Eli was giving her some inappropriate attention.

Kate: And Eli, in the story, is a boy who’s super cute, and super used to everybody falling all over him. He’d asked Anna hey do you want to go out for ice cream and she said no thank you. And you know that would have been fine, and they I’m sure could have continued working together at that point, but he kept asking and asking and asking. To the point where she was super uncomfortable and chose to leave the team. Chose to just step back rather than put up with it.

This was the team that was building the app, by the way. It was very much a technology-based team. And when we look at the number of women in technology, and the number of women in Silicon Valley versus the number of men? You have to wonder how many women have that interest and decided yeah this isn’t worth it because of that culture that was allowed to continue.

Even if it’s something as simple as just not recognizing that “no thank you” means “no and don’t ask again and again and again” because that creates discomfort. So yeah, that is a thread in the story. And it has a silver lining in Chirp, because Anna ends up working with Mia and Clover and the girls become just such close trusted friends that summer. There’s a silver lining. But you know the other thing that happens is that the team that was building the app lost a really brilliant worker. That’s part of the story too. It’s part of the cost of having a culture that doesn’t talk about consent issues and boundaries.

Jeanie: I believe the girls also talked to Eli about his behavior. And he sort of has this moment of realization that if he wants to be friends with Anna he needs to stop glaring at her, asking her out, giving her that kind of attention. Is that true? Or did I just want that to happen?

Kate: Yeah. They talked back to him — and his mom has a chat with him too — and he recognizes that. And that’s possible. Especially with kids, it’s possible to learn and say “Oh gosh I see why that’s a problem, I see the way that would make you uncomfortable.”

That’s one reason I think this book is really important. I have a lot of people who say oh this is a great book I’m gonna share it with all my girls. This isn’t just a book for girls. It’s a book for kids of all genders. Because that’s an important message: consent and people’s right to be in a space and do what they choose to do without being harassed. It’s really important for everybody.

Jeanie: It’s universal. We all have a right to consent regarding our own bodies. I think that’s so important. Both that boys can be groomed as well and need to learn to have agency over their own bodies, and also that boys could behave like Eli. And there’s something to learn from them for this book.

I don’t know if you’ve read Chanel Miller’s Know My Name. It’s an adult memoir written by Chanel Miller, the young woman who was raped at Stanford by Brock Turner. It’s really powerful. And I kept thinking of that book. It’s written for a much older audience; I would say older teenagers and high school kids and adults. but thinking about the agency that Chanel has in being able to say, “I’m not gonna be defined as a rape victim I want Brock Turner to be defined for who he is as a rapist”.

And turning the tables on that conversation in really powerful ways which I feel like you do with the young women in this book a little. The young women and the older women — the mother and the grandmother as well — they are empowered to redefine themselves and their relationship with discrimination and unwanted touch, unwanted comments and beachgoers, etcetera.

Kate: There’s a lot going on in Chirp, as there is in most of the books that I write. Because when I write middle grade novels, I think about the middle grade kids that I know. And they don’t have one issue happening in their life at a time. They don’t have one thing that they’re focused on. They have a million things going on, right?

And maybe they have a crisis at any given time — whether that’s a dog that has to be euthanized or a sick grandparent or a parent’s divorce or somebody struggling with addiction or some crisis in their family — at the same time they’re managing that crisis they still have to do all the other things they were doing.

They have to go to soccer practice and continue having relationships with their friends. They have to have sleepovers and do their homework and there’s this science project.  So the kids that I write in my novels tend to have all that same involvement. With the actual life made up of many different elements in many different relationships. It’s interesting: I’ve had a conversation with a few people who said there’s so much going on in this book and I thought it might be too much, but it wasn’t.

And when I was working on the book it was really important to me that Mia be more than the girl that this thing happened to.

Her experiences with this coach were based very much on an experience that I had with a friend of our family when I was a child. And I had all those same feelings of being confused and felt icky and didn’t know what to say and what I would even say if I did say something, and figured people would just tell me “Oh, just be respectful and don’t worry about it”.

But at the same time, you know: it mattered and it was harmful.

I had a life going on around that. Women are carrying this stuff around, girls are carrying this stuff around. And when you look at them they seem fine. They seem fine. They’re living lives, they’re laughing with their friends.

One of the really important messages from me of Chirp, one of the really important things when I was dealing with Mia’s character was that she not just be defined by this thing.

Because when real women, real girls are grieving something that happened to them and processing that and trying to work through it?

They’re also baking cookies. And they’re laughing, and they’re jumping off rocks and swimming and playing sports and all these other things. We’re complex humans and there’s room for struggles and joy on the same page. That was really important to me.

I get a lot of mail about this book. It’s interesting that when I wrote it I knew that kids would talk to me sometimes at school visits.

It’s the kid who comes up quietly after everybody else is gone and they say that happened to me too. I tell them I’m so glad you’re here and you’re talking about it. I make sure they’re safe first of all: is this a person that you still see? And usually no it’s some somebody who’s gone or isn’t around anymore. But I say, “Yeah, me too.”

I had anticipated that happening when I wrote the book. What I didn’t anticipate was the number of emails and notes I would get from adult women who had stories that they had never shared. And you know it’s crazy to think that this middle grade novel is the thing that’s going to make somebody say you know I get to talk about that thing that happened to me. Yet those are the notes I get. It’s pretty humbling to think about.

Jeanie: What a gift you’ve given us.

Kate: But it’s a gift for me to have the opportunity to share stories with so many people through Mia. She’s a made up character and yet she’s all of us.

Jeanie: How would you like to see teachers using this book in schools?

Kate: I know a number of teachers and librarians who have shared it as a classroom read or even like a grade-level read. And in intermediate school, it would be a great whole-school read. I always encourage when you’re doing sort of a community read, to get extra copies for family members. Because this is one of those books that is so powerful when talked about at home.

You’re reading the story and you know children’s parents have stories that they’ve never heard. That they’re hearing for the first time, when they talk about this book together. Hearing those stories just opens up the door for any future conversation that might need to happen, that could save a kid.

There is no sexual assault on the page in Chirp.

It is strictly a story about inappropriate attention you know a back rub that’s uncomfortable. And a hug that that is too tight and too long. Texts that come at 10 o’clock at night and maybe have a picture of him in swim trunks, something like that. There’s no sexual assault on the page and yet I’m getting pushback because just the thought of it makes us so uncomfortable.

And I get that. I really do. We hate to think of anything like this happening to our children. But refusing to talk about it doesn’t prevent it from happening. In fact just the opposite. It makes it more likely that a kid might be targeted when they don’t have the opportunity to have those conversations.

Because the subject matter is sensitive I think when you offer families a copy, that invites caregivers into the process. It makes them collaborators! We’re going to talk about this together! And isn’t this great that we’re all gonna have these conversations about consent and speaking up together! That can be really, really empowering.

Not to mention the fact that there could be some great great conversations at home too.

Jeanie: Yeah if we’re gonna end rape culture it has to be in conversations about consent. And I think this is a really powerful tool in our toolbox. I also wondered about collaborating with school counselors. As folks that could come in and help lead conversations about ways kids can be proactive, or how they confined trusted adults. How they might identify trusted with those things like that.

Kate: When I toured for this book I visited something like 20 schools in a week and a half. Many of the schools had my author visit in coordination with presentations from guidance counselors. Some of them had whole programs in place already that deal with sexual assault and consent and they timed it so they could coordinate those conversations. Which is just super, super powerful. It makes the book even more powerful, I think.

Jeanie: I feel like you’ve addressed this a little bit but I guess I wondered: this is not your first time writing about what you called sensitive topics or difficult topics. Topics that challenge adults to think beyond their conceptions of what kids were capable of. And I guess I wonder: it feels like those books emerge out of current events. It feels like you’re really tacked into what’s going on, and those books emerge in your imagination as a way to deal with issues that are happening in our nation.

Kate: I think that’s fair to say. My kids are grown now but when they were growing up we always made it a point to be very honest with them and to discuss things with them. So if they were hearing for example something happening on the news ,whether that was drug addiction or a war or race issues we would have a conversation about it. We’d say: “How did you understand that?” We used books a lot for that but we always had very honest conversations with our kids from the time they were very little.

And that was also very much my experience as a teacher.

I taught middle school English for 15 years. I taught in an 84-minute block with a lot of literature discussion and a lot of discussions about kids writing. Which: kids spill their souls when they write. So we talked a lot.

I would have kids come in at lunch and after school and we would workshop writing pieces and get into these long conversations about… everything. Things that were happening in their lives but also current events.

When you have those kinds of relationships with young people you develop so much respect for them. And for their intellect. And for their capacity to understand things, and care too. Kids have such a strong sense of justice and such a commitment to the world they live in and making it better, in a wholehearted belief that it’s their job to do that. When we recognize that and really respect our kids, how can we do anything else besides be honest with them in the stories that we tell?

I was a news reporter before I was a teacher and very tuned into that. But mostly out of respect for children.

Jeanie: I love that. And I really felt that in this book Breakout, which I just finished and I adored.

I don’t know what took me so long, why I hadn’t read it sooner. It’s brilliant.

And I really felt your respect for kids and your respect for how they share themselves through writing in this book because it’s told from the perspective of different young people and through their written pieces: poems and parody and letters and bits of journalism and comics. It feels really relevant to this current moment because it takes on whiteness and race.

Kate: It’s very much a look at privilege and perspective.

I didn’t know it at the time but I started working on this book the day that two inmates broke out of Clinton Correctional Facility in northern New York in June of 2015. Because that that prison break, which lasted for 23 days, just *consumed* the community where I live in northern New York.

The prison where this happened is 14 miles from my house. So for the better part of a month at the beginning of the summer, we had helicopters flying over the house and we were being stopped at roadblocks and it was fascinating to see how this crisis and this scary event brought out the absolute best in some people and really the absolute worst in other people.

I started thinking right away: how were kids viewing this? What was this like to be a kid in this community? And in a community that is largely a white community. There are few minorities in Clinton County, New York, compared to larger urban areas. What would it feel like to be one of those Black kids at this school, with all this happening around them?

Breakout started as a very traditional narrative. My first draft was a very traditional first-person narrative, from the point of view of Nora Tucker, the prison superintendent’s daughter. I showed it to a couple of writer friends and one of them, Linda Urban, who’s an amazing Vermont writer said to me: “Kate, I love this. I love Nora’s voice, but I’m finding myself wondering what these other characters are thinking. And I wonder: did you ever consider telling this story from more than one point of view?”

And I was thinking, “Well, *no*, and it’s 400 pages of *done* so…”

But that really nagged at me. I got similar feedback from an editor, and so it wasn’t long before I took my whole 400-page book and I set it aside. I started over.

Now, when I tell that story to kids at school visits they’re like: “Whaaaaaaaat?” Because they don’t even want to write the six-paragraph essay over.

But I started over. I decided that a more appropriate or engaging way to tell this story — and a more honest way to tell the story — would be to include this collection of documents from this summer where this wild thing happened, so that you could see all these different points of view and how different they were and how diverse they were. How two people could view the exact same thing completely different. So it’s very much a book about perspective, and also about privilege. What it means to be white in a place like northern New York or a place like Vermont.

Jeanie: There are so many places where I dog-eared this book because I felt like the kinds of conversations I was having with teachers if the end of June at our Middle Grades Institute was all about: how do we talk about race and whiteness with our students? How do we talk to them about privilege and bias? And this book has countless examples of just what that looks like.

I also felt like it’s a very gentle way of complicating maybe the different relationships people might have with police, right?

For example one moment that happens in this book that Nora our white character really has to deal with is when she goes into a market with Elidee, her friend who is Black. They’re asked to put their backpacks behind the counter. And I just love the way Nora has to churn through that and come up with her own response to that over time. It’s not immediate. She doesn’t get it right the first time, but it starts to make her think differently. So I think this book just does a really great job of modeling what happens when we start to notice privilege and bias.

Kate: Nora is dealing with this for a few reasons.

First of all, there’s this prison break happening in town. And one of the men who has broken out of prison is a person of color.

Secondly, she has this this new friend who’s moved to town from the Bronx: she’s African American in a town where there are very few Black people.

And third, her older brother has a girlfriend who’s gone away to college. She’s been coming home with ideas about social justice. So Nora’s older brother Sean is starting to have some of those conversations around the dinner table which are not always welcome, because her father is the prison superintendent. It’s the sort of tension that we see when we try to talk about race with our parents and our older family members.

It’s all right there on the page. All of these tense conversations that are happening, and how to navigate those.

I’ve heard from teachers and librarians and families who are reading Breakout together, and I think that’s amazing. Because it really is important to look at whiteness and what that means to be a white person. We don’t think about race as white people but we should. Because it affects how we walk through the world and how different that is from the way a person of color walks through the world.

But it’s also not a book to read *instead of* books by Black authors. Black authors are the experts on racism.

I see that you have Stamped by Jason Reynolds and Ibram X Kendi on the shelf behind you. That is a great title to pair with Breakout. Another one would be Ghost Boys by Jewell Parker Rhodes, because it addresses so many of the same issues in a totally different way.

I don’t ever want Breakout to be a book that teachers and librarians and white communities share instead of books by Black authors. That’s not how it should work. But it can be a compliment to them.

That’s a really helpful way of looking at it because it does look at the issue of whiteness and what does it mean and what is your job when you are a white person — especially in a place like many of us live where there are very few people of color. What is our rule? What is our job? And what is our responsibility?

Jeanie: I love that. Own voices stories are super important to me as a librarian and as a reader. I like commit to reading at least half my books by people of color written by people of color.  I wondered as I was reading Breakout was if it was complicated for you to find Elidee’s voice? And what it felt like to write in Elidee’s voice. This is a mentor text, too, because Elidee’s writing poems inspired by Jacqueline Woodson — one of my favorite writers. So I’m curious about what that was like for you to find Elidee’s voice as a white woman.

Kate: So, I would not write a book in the voice of character from a marginalized group. But in that perspective because Breakout is a collection of documents it includes all of the voices in town. It’s probably not surprising to you that this book was easier for me to write the first time.

When I did my first draft I was writing in first person point of view from the point of view of Nora Tucker, the prison superintendent’s daughter. Nora Tucker is a white girl growing up in a small town. And guess what? Kate Messner is a white girl who grew up in a small town. And my dad happened to be the school superintendent, but still our backgrounds are pretty close. Nora’s voice came very naturally and very easily to me.

When I went back to redo the story as this whole collection of documents, some of which were letters from Elidee and poetry that she writes, I had to start over.

I had to do so much more work and so much more research. I think half a dozen expert readers read the whole book but with a particular focus on Elidee. People who’ve grown up in similar situations, who were people of color and spent time in places where that were mostly white. And I was still feeling like I was missing something and I realized, thanks to one of those expert readers, that there wasn’t enough in the story about who Elidee was before she moved to this small town that was almost all white.

And so I needed to go back and do more work on her background. What was her old community like? Who did she see every day?

I went to New York and spent a day there and I walked around and noticed things. That’s something that I always tell kids I try to do as a writer: I bring my notebook and I try to take in place and pay attention. What would Elidee and her brother have seen on their walk to school? I went to the neighborhood park and I paid attention to the way the four train rumbles over the skate park. Things like that. I went to the bodega and looked at what they were serving and had a chopped cheese sandwich.

I could never write a character like Elidee the way somebody who has that background could. But with Breakout we were talking about smaller chunks of the story. Letters from that character. Poetry. And that was the research that I did to try and do a better job with that.

Jeanie: Thank you for that. That really helps me. I had a lot of curiosity about that when I was reading the book. Now, you recommended Ghost Boys and Stamped. Are there any other books you would recommend for this moment in time?

Kate: So in addition to those books and The Hate U Give for older readers that deal head on with these issues of racism and police brutality,  I think it’s really important to also share books that portray the whole Black experience, including Black joy.

One of the gifts of being an author is I get to visit a lot of schools and see a lot of school libraries. And sometimes when I visit a library in a community that is mostly white and I look at what’s face-out on the shelves it’s books about mostly white kids. Sometimes the few books that are displayed that have people of color on the cover are books about the underground railroad and the civil rights movement. Or books like The Hate U Give or Ghost Boys, which are amazing stories, but there’s something missing there.

There are so many amazing stories that aren’t crisis stories. That aren’t about racism.

We have mysteries and heist stories like Varian Johnson’s The Great Greene Heist and To Catch a Cheat. Or The Parker Inheritance which is a great mystery of Varian’s.

We have amazing fantasy books like Tracey Baptiste’s The Jumbies series. And in those books yes there are mermaids and yes there are Jumbes, these Caribbean monsters of the forest, but there are also allegories. The second book in the Jumbe series has these mermaids that are connected to the transatlantic slave trade. There is some amazing deep stuff to talk about in fantasy and in speculative fiction.

We have books that are really just about joy and real families. Renée Watson has a new series out called the Ryan Hart series. The first book is Ways to Make Sunshine and it is just a gem of a middle grade novel. It very much reminds me of Ramona, who was my favorite when I was growing up. Ryan Hart is a Black girl growing up in Portland Oregon, just like Ramona was. A gem of a story. It’s sweet and funny and fun and we really need to be sharing the whole range of stories with our kids. Not just those books that feel like they are of this moment.

Jeanie: Yeah that makes so much sense to me and I love Renee Watson’s Piecing Me Together so I’m totally gonna check that one out.

 

Kate: Have you read Some Places More Than Others?

Jeanie: No! But I just saw that one somewhere on a list. It’s a little bit newer, right? I haven’t read that one yet.

Kate: It came out last year. So good! It made me cry and cry though.

Jeanie: She is a beautiful writer, one of my favorites. I also really liked Brandy Colbert’s The Only Black Girls in Town.

Kate: I have not read that yet. I’m dying to.

Jeanie: It’s really sweet! There’s mystery in there too, but it’s a great middle grades one. So yeah…

So the last thing I’m gonna ask you is about March of this year, when schools went remote, you really stepped up in this big way. Now, I know you’re a former teacher I understand why. I used the resource you created, “read, wonder, and learn” to support so many educators that I work with. I pointed so many teachers to that resource, because you shared so many amazing learning resources from authors all over. It was incredible. And I guess I just want to say thank you for curating these amazing resources, for stepping up in such an important way during a challenging time.  I wondered if you had any reflections from that.

Kate: Thank you. You know, as far as the way this whole pandemic began, it kind of seemed like one day we were going about our lives thinking, “Wow this seems like it’s getting weird” and then the very next day, Teachers who were in school with their kids on Friday were told on Sunday: you’re not going back on Monday.

They didn’t even get to say goodbye and their kids didn’t even get to bring materials home. The librarians didn’t get to give kids books. We’re lucky enough in our house to have many, many books all the time. So many houses aren’t like that. So that felt like an immediate crisis to me. In addition to this global crisis with the pandemic we now have this secondary crisis, which is to say we have kids at home without the things they need to learn. They don’t have books.

I was talking with my daughter who I just grabbed from college and we did a couple things.

First of all, we cleaned out all of my author copies. I had several hundred author copies of my novels and picture books hanging around. We just boxed them all up anddelivered them to local schools that were able to get them into kids’ hands right at the beginning of things.

Then I was trying to figure out what can we do to support these families at home? Because when this first happened it wasn’t like anybody had time to plan. It wasn’t like teachers had time to record the stories they wanted to use or anything.

It was pretty easy using social media. Social media drives me nuts sometimes but sometimes it’s a pretty great tool for bringing people together to help. It was pretty easy to say hey who can read a story? So while teachers are getting things together, while librarians are figuring this out, families will have some resources that they can use at home to kind of bridge that gap. That was the real purpose of it. And we saw in the early days these video readalouds were getting you know thousands of hits a day. And then of course you know teachers figured out: okay, this is what we’re gonna do. This is our schools program. But hopefully we were able to bridge that gap.

Jeanie: I loved it. It was really super helpful. I know so many teachers and librarians were grateful, and families too. Thank you so much.

Kate: I’m glad to hear that.

Jeanie: And I thank you so much for taking all this time to talk about not just one book, not just Chirp, but also Breakout, and The Seventh Wish — all your mysteries, all these what they call history busters, history smashers. Thank you so much for taking the time to share the wealth that is you with us. I’m so grateful.

Kate: Well, thank you for the invitation. It was a joy to talk books with you. I’ll do that any day.

Jeanie: Great! A couple of books from now we’ll have to do it again I hope. Thank you so much Kate.

#vted Reads: Hemingway, with Elijah Hawkes

Listeners: our hearts are breaking. Our hearts are breaking for all of Vermont’s Black students, Black educators, and Black families.

But frankly, our broken hearts are not nearly enough.

Right now, we need to talk about what this all means for Vermont. What it means to interrogate in schools, and in classrooms, and in ourselves.

On this episode of the podcast, we grapple with a challenging short story by Hemingway (yes, that Hemingway), called “Indian Camp”. Now, a content note: this story contains language and attitudes that we as a society no longer find acceptable, and in fact, one of the terms that Hemingway’s characters bandy about, a derogatory term for Native and Indigenous women, we just won’t be saying on this show.

But.

Given that this is a story that’s primarily about the experiences of a young white boy, and how the death and injury of Native people reaffirms his view of himself as entitled, why does Vermont principal Elijah Hawkes use it every year in welcoming new educators to his school?

Because that young white boy, and the people he injures with his entitlement? They’re in your classrooms, your communities, and your homes.

This remains #vted Reads. Black Lives Matter. Now let’s chat.

Jeanie:  Thanks for joining me, Elijah.  Tell us a little bit about who you are and what you do?

Elijah:  Hi Jeanie! Thanks for having me, for this conversation. I’m currently principal at Randolph Union, a 7-12 school in Central Vermont. It serves three towns and a bunch of others in the surrounding county: Randolph, Brookfield and Braintree. About 400 students at the school. We’re adjacent to the Randolph Technical Career Center and all the benefits that come with that neighborhood.

I live in Middlesex Vermont; I grew in Moretown Vermont, about 20 minutes away. Began my career as an educator though in New York City and was an English teacher and then founding principal of The James Baldwin School, a small alternative public school.

And then moved to Vermont about 9 or 10 years ago and I’ve been here and in this role in this place ever since.

Jeanie:  Thank you for that. You are also a writer.

Elijah: Yes, I’m also a writer. Like conversations like these, writing is a conversation with myself and with other people and with ideas. And it’s one of the ways that I digest the work of being an educator. The work of being an educator in public schools, the work of being a public school educator in a democracy, the work of being an educator with adolescents. The work of being an educator as a father who has children. I pour that into my writing and try to make sense of the world that I’m in. And then when I can try to share that with others and have further dialogue about it.

I just got a book out actually this past month. The book launch parties have been few since social distancing, but I’m excited to share that with people as well. It’s called Schools for The Age of Upheaval and the subtitle is Classrooms That Get Personal, Get Political, and Get to Work. And perhaps there’ll be some intersections with those ideas in our conversation today.

Jeanie:  I’m ready to get to work! Let’s see, well, one of the things I always like to ask books because I’m a librarian and an avid reader and I’m always interested in what other people are reading, do you have something on your nightstand right now, that you’re working on?

Elijah:  I do yes. I’m just 20 or 30 pages away from the end of The Water Dancer by Ta-Nehisi Coates. My brother’s reading it at the same time; we’ve been having some correspondence about it. So we’ve been enjoying that novel by Coates, whose essays, of course, I’ve read in other publications. But this is his first long work of fiction.

Jeanie:  I loved that book, so much. Yeah. It’d be interesting to pair that with —  I don’t know if you saw the announcement yesterday but Coates Whitehead won the Pulitzer for fiction for The Nickel Boys which is another just phenomenal sort of historical fiction take.

But I really love The Water Dancer.

Actually it’s come up a lot with people who’ve I’ve had on the podcast! They’re either reading it hoping to read it, suggesting it to me, suggesting it to others. Great. So, I want to start with: why did you choose this text? Why choose “Indian Camp”? (.pdf)

Elijah:  It’s actually a text that I’ve used as a jumping off point for professional development discussions about our purpose of our work, and how we do our work. And it’s a short story. I thought: why don’t we talk about that and see where it takes us in terms of conversations about our work as educators.

It’s not about school but it’s about a child. It’s about children and the families that they live in. And they live in a divided society. They live in the United States at the turn of the last century somewhere in upper northern Michigan. And it’s a Native American family and it’s aAnglo-American family and they cross paths in a fairly traumatic way. And the question that I ask my colleagues and I ask myself is:

Consider the protagonist of the story, the boy Nick, who’s the son of a doctor, and ask yourself: if he was in your classroom, what would he need from you as an educator? What he would need from your school? And then ask yourself the same question of the Native American child that we meet in the story. What if he was in your classroom?  And how’s that similar or different to what the son of the doctor needs?

Then the other question is more about the purpose of schools in our society and the question is:

What does the society need the children to get from their schooling?

Jeanie: Let’s set the stage for our listeners. Nick is on vacation; he’s fishing with his uncle and his father. His father is a doctor. And they’re called in the middle of the night, I think, or the wee hours of the morning to this Indian camp. They have to get there by canoe. And when they arrive; as they’re arriving, as they’re traveling there, Nick’s father is telling him that this woman has been in labor for a couple of hours and…

Elijah:  Or longer.

Jeanie: Sorry a couple of days, you’re right. Not a couple of hours. As they arrive…

It’s Hemingway, so it’s sparse, but there’s a bit of commentary on this on the homestead, if you will that really jumped out at me about the descriptions of place, and of people.

Uncle George is not very kind. He uses a racial slur against the young Indian woman and so it sort of sets this stage of these two separate worlds. Is there anything you would add to that? Or what you took from it?

Elijah:  Well you’re right. It’s Hemingway. So you know: short, staccato sentences — very observational. You have to do some work as a reader to try to intuit what people might be feeling or thinking beyond their surface phrases.

You might even say the first page or two of the story are boring. And part of the why I choose this story is for that reason actually.

And I’ve been using this story mostly in the last 5 or 10 years in my work with predominantly white educators. like myself. So one, choosing Hemingway, and two, choosing a story that starts off the way that it does, you know, kind of from the perspective of a child: very slowly moving across the lake, in a deliberate and sort of banal fashion. No one is going to really have their defenses up.

So we’re about to have a conversation about race and class and violence in the country we live in and I don’t want people to be defensive, as we enter into that conversation. And Hemingway actually allows them to do that, with a diverse audience or with an audience that includes mostly white educators. Mostly white people.

Part of the reason why I like this story is that slow entry into content that is very important and troubling.

Jeanie: You know, that makes me think of the slow way in which we are acculturated around race too. Like that Nick is this five or six-year-old kid, maybe seven, and he’s picking up all these quiet messages about difference, right? Who matters. And what’s important.

Elijah: Absolutely.

Jeanie: And I think about that’s how experience in the United States, living in this highly racialized society that doesn’t really talk about race, right? We slowly accumulate as children all these ideas.

And for me, I’ve been doing a lot of reading around decolonizing methodologies.

It’s not just about the people, and the places, and who matters, and who’s important, but like which ways of being and knowing we value.

And in this case it’s Nick’s father’s very Western medicine way of knowing that’s valued. Right, like he gets to be the savior, he gets to come in and rescue! And his scientific knowledge is what’s important. While all the other quiet ways of knowing that belong to the Indigenous folks in the story, are completely unvalued.

Elijah: Yes, you’re absolutely right. You know: again, it’s not told in the first person, but you more or less are seeing things through the eyes of the child. Nick who I think is probably 5, 6, 7 years-old just based on how he talks and thinks (and I also have two boys, and so I remember them at that age and it does remind me of 5, 6, 7 year-old boys), and he sees his father conduct a Caesarian section in the most impoverished of conditions.

These are bark peelers; this is a bark-peeling camp, is how I understand it. So the logs are drying out of the forest. There’s dense and very rough and dangerous work of peeling the bark off of the log, before I assume there then sent by some floatation across the bay or down a river.

It’s the hardest work of logging that’s done by the Native people here.

Nick and his father enter this what’s called a shanty, and most of the men of the village have moved away because the woman’s distress is so troubling. It’s a breech birth so she’s not able to have the child. And my assumption is that she is going to die unless some kind of intervention happens. Which probably is why somebody went for help from this doctor.

Because you’re right there’s a woman who’s there attending to the young woman who’s pregnant.  She’s exhausted; her head is on its side. She’s been in labor for days. Her husband is also in a state of destitution because he’s wounded himself through his work. His foot is cut, and he’s now disabled lying in the bunk above her, and so he can’t escape her pain. He’s trapped in his world of violence in so many different ways so he’s there and the doctor doesn’t bring any anesthetic…

We’re not really sure if he had any anesthetic and could have brought it, but he doesn’t bring it. And he conducts a Caesarean section with a jack-knife and some rough thread…

There’s more that happens, but Nick witnesses this all.

And on the other side of it, he’s heard his uncle use a racial slur towards the young woman who bites him — which is a very interesting moment in the story, a moment of resistance you might say.  It’s one of the few times that a woman in the story speaks or does something. And she bites this man who’s holding her down.

But Nick hears the uncle use a racial slur. He hears his father say that the woman’s screams are not important — “I just need to focus on my task” — and so the father’s bias and racism and insensitivity to the pains of the people he’s working with, are clear.

And on the other side of this Nick is going back across the lake with his father. At the end of the story they’re going back across the lake.

The man in the bunk above — the father of this child, the husband of this woman — takes his own life over the course of this story.

And Nick’s father by then is completely deflated. When he sees the trauma — to a degree through the eyes of his child — he’s deflated. And he wishes that he hadn’t brought his son.  But the last thought that child has as he’s crossing the lake is, or it’s a thought that he doesn’t have… He has a sense that he would never die.  There’s a sense of you are in power.  You are in a place of power from people with power, of strength and invisibility and you’ve just…

Nick has just experienced extraordinary violence and he’s experienced death, and he’s experienced pain… and on the other side of it he understands death as something that happens to other people.

There’s all of that that comes with this story about a young white boy and his rite of passage into what? Into power. It’s a rite of passage into power and privilege. It’s a solidification of that. Again, I think the question that to ask of ourselves as educators is: what does that kid need? He’s in our school right now he’s in your classrooms.

That person with that power and that privilege is in our classrooms — or is in your own home.  What is it, that person needs from our school?

And then also what does the other child need?

Because the other child lives.

And if it’s a public school in Vermont we also have that child in our school, too. The child is living in a camper.  The child who’s homeless, the child who’s coming from great systemic poverty and the violence that comes with it. Both of those children are in our schools. What do they both need?  Unless the doctor son is actually left to school because that happens. That’s happened several times since I joined Randolph Union, actually.

Jeanie:  Already left your school for private school, is sort of what you’re saying?

Elijah:  That’s what I’m saying is that the doctor’s son and the doctor’s family may have the choice, of not being in your classroom.

Jeanie: So, you’re reminding me: I teach collaborative practices and facilitative leadership and we just focused on equity using protocols and structures to have hard conversations. Because these are hard conversations. About equity, about bias, about the way assumptions color our teaching practice, and how we see kids.

And many times in Vermont I will encounter teachers, educators, principals, administrators who will say,

“Well our school is all white so we don’t need to deal with race.”

And then I encourage them to read What White Children Need To Know About Race (.pdf). Because I think the question you’re asking is related to that. Which is:

  • What kind of white children do we want our kids to be?
  • What kind of white folks do we want our graduates to be in the world?

If we never talk about race, if we don’t equip students with conversations about race they can’t develop a positive white social identity.

Elijah:  Totally agree with you there. And I’ve tried to train myself to not ever say anymore, that we’re not a diverse school community. To say, “We’re not diverse,” erases… five, 10, 15, 20 individual students. Even though Randolph Union is 95% students who identity as white. I can say that we’re mostly a white school, but I can’t say we’re not a diverse school.

Jeanie: Yes. I think we fall into a trap when we minimize or erase those students who may be biracial, or presenting as white or may have more complicated ethnic backgrounds.

But we also fall into a trap by thinking that white kids don’t have a race.

So:

  • What do we need to focus on?
  • What are some of the things that come up?
  • And what does schooling need to provide for this sort of entitled young man who thinks he’s never going to die?

Elijah:  Well I think Nick need to have a personal and historical understanding of himself. And he needs to have a personal and historical understanding of others.

I’m fond of saying, as we approach complex topics in the school community, that we need personal stories and historical facts. Personal stories and historical facts, personal stories and historical facts. And if we have both of those in our classroom, at our assemblies, in our professional development work, we have what it needs to have truthful conversations.

Now I know we can certainly debate what counts as historical fact, but look: we’re educators and so we’re academics to degree, so we’re going to default to what academia legitimizes as historical facts. And we should.

But Nick needs to be in a classroom where he’s enabled to reflect on his own personal story.

  • Where he’s been invited reflected on this trip that he had as a five-year-old.
  • Where’s he’s asked questions.
  • And where he has to reflect on the society that he lives in.
  • And where he’s asked questions where he has to consider the perspective of other people.

Hopefully it’s a classroom that’s diverse by class ,and it may also be diverse by race to a degree. The teacher needs to carefully create a trusting and bonded classroom community — and the teacher may need help to do that. But a bonded classroom community where personal stories can be shared.

So that’s the classroom that gets personal.

Nick needs to be able to hear other people tell their stories. And he needs to also be able to reflect on his own, and to share it.  That’s one thing that he needs.

And then he also needs a politicaland  historical understanding of where he comes from, and the society that he lives in.

Jeanie:  Can I poke at this notion of historical fact a little bit?

Elijah:  Yeah.

Jeanie:  I think you’re right. I think history — or inaccurate history — is a huge part of our problem in this country.  That we tell the stories that we wish were true about what our American society. And not just the like, “chopping down of cherry trees, never tell a lie” kind of stories.

So yesterday, Nicole Hannah Jones won a Pulitzer for work on The 1619 Project. Which is wonderful. Because The 1619 Project really disrupted all of the history I learned as a student, right? By centering the experiences — and not just the experiences but the work — of Black people, and the way that Black and brown people have really built this country. Not just buildings, not through slavery but like: *built* our democracy. And moved it forward.

And so I think this idea of historical facts means we need to trample the historical fictions we’ve been telling ourselves as if there are facts.

Elijah:  I totally agree. And we’re fortunate to have, you know, unending resources at our disposal to access those stories that are going to trouble our fictions.

You know:

These are organizations that offer educators off-the-shelf resources and daily reminders, about this day in history, 200 years ago: What was the experience of working class people, and people of color, and immigrants? They do center those stories and so the resources are there, there’s no excuse for not considering them as we plan our lessons, and using them as we teach.

Jeanie:  What I hear from you is that we to do the work as educators. And that we have to disrupt or challenge our own indoctrination into a certain kind of history. And ask ourselves:

  • Whose story is being told?
  • Whose story isn’t?
  • What does power have to do with that?
  • And where do I go find those that haven’t been told?

The work is for all of us at all levels, right? Like it’s just not for young people. In many ways, we’re Nick, too.

Elijah:  We are Nick, too. Absolutely.

Jeanie: And so there’s a quote. It’s before the Caesarian section, when Nick’s father the doctor is getting ready to perform surgery. He’s just explained that the birth is breech, and he says to his son, “But her screams are not important.  I don’t hear them because they are not important.”

And thinking about the context of this conversation with you, the question I wanted to sort of interrogate my own practice with, is:

What are the things that I as an educator sometimes was not able to hear because I consider them unimportant?

Elijah:  That’s a great question, Jeanie.  I’m wishing I would ask that kind of question when reading the story.  You have here a doctor who feels like his primary task is to get the child out of the belly of this woman. And to do his best to save both of those lives in the process. So if he’s preoccupied by her emotional distress, then he’s not going to get his task done. That’s one interpretation, right.

In the broader context of this story there’s huge insensitivities, and there’s huge settler colonial racism that’s playing out here? But the narrow view is you have a professional who’s trying to get his job done.

What are the corrollaries there to our work as educators?

I’ve got to get these grades done! So I think it’s important for us to ask: what are we not listening to?  What pains and cries of distress do we not listen to, or do we shut out, in our efforts in the institution that is school, in our efforts to stick to the routine to get the task done, to tend to what we feel is urgent?

I think that’s a really important question.

Jeanie:  Well and in this current moment here we are in the middle of COVID-19. And we know that this illness, which some people are falsely calling ‘The Great Equalizer’ in it impacts everyone — is really impacting people of color way more than it is white folks.

And I’ve been you know not trying to read too many of those stories because then I end up not able to function for the day. But. This is also true of childbirth, this true of all medical problems actually, for people of color.  How often doctors are not able to count their pain as real, right. And I don’t think doctors are evil people, just like I don’t think teachers get into the business of teaching to hurt kids.

I think what happens in these moments like with Nick’s dad, is that we have work to be done, and we fall back on implicit bias in way that actually has huge impacts on our students, on patients of color who are dying.

A hugely disproportionate rate of COVID-19 or not being admitted to hospitals because their symptoms aren’t being take seriously. And I can’t help but see these as intertwined.

Elijah: Yes, absolutely. I think we need professionals in every institution who look like, represent and are from the same places that the people that are “being served”. We need a kind of diversity in our positions of power so that we can better listen and better understand the work that we’re doing through different lenses.

Jeanie:  I think it’s not just diversity, because I don’t think we can just rely on people of color to do the work here. But when we hold power and privilege? We need to personally do the work of disrupting our own biases and drawing attention to them and noticing them.

Because I think that our biases do show up in what we think is important and what we think is not important. I can think of countless actually white students, but white students who’d experienced some sort of trauma in their lives, or who were coming from a family of abuse or poverty, who we couldn’t see, we couldn’t hear them, because we didn’t consider what they were going through important.

And by that we I meant me and the teachers I was working with in my last school.

Elijah:  I agree with you there.  But what I mean to say is for instance, right now if it was only white men in leadership positions at my school I would not be doing — *we* would not be doing as good a job as leaders right now, meeting the needs of our teachers who are young mothers or who are about to go and give childbirth.

Because I have an associate principal who’s a woman — so a woman in position of power at my school — the school is doing a better job of working with women who have had children, or are going to have children. And that is part of my learning; as in listening to my colleague.

And because we have a person in power at my school who is born and raised in the towns where we work, and whose family is been there for six, seven, eight, nine, ten generations? She’s at the table when we’re deciding how to allocate resources. Her voice matters because she understands the needs of the community in a different way than I do for all of my good intentions about putting myself in someone else’s shoes.

I agree with you that there is work to be done by me as an individual.  And I think part of the work to be done is in listening to my colleagues who have different perspectives as well and ensuring that my colleagues do represent different perspectives.

I don’t think it’s an either or I think both of those things are important.

Jeanie:  I agree: it’s a “both and” for sure!

Elijah:  So the children born into the most desperate of circumstances seem to be more and more in number. How can I support my colleague?  How can I support myself?  Hence all of the conversations we’re having across the state about trauma informed practice and secondary trauma, vicarious trauma.

How do we ensure that the teacher core is strong in this work, working with a Nick and working with many other children from different and more challenging circumstances?

And I guess what I’ve come to think, Jeanie, is that it’s less about victories and thinking about each child as potential victory. You know each child has a chance. Like: help that kid beat the odds. We need to continue with that kind of energy and activist educator effort, to get every child to have the most fulfilling experience they can have in our school.

But at the same time? The goal may not be the individual victories; the goal is solidarity in the struggle.

Jeanie: That reminds me I love everything you just said and it reminds me of a story. There are these folks on the side on the bank of a river and these babies start coming down the river.

And so they do what you do: they start grabbing babies out of the river, right?

They’re pulling one baby after another out of the river.

And then one of them, like, takes off!

And they’re like, “Wait where are you going? There are all these babies! Come back! Help us? Why are you like giving up on these babies?”

And they’re like: “I’m going up river to see where all these babies are coming from!”

Right? So it’s moving from triage to systems-level change.

And I think in schools I think it could be really easy.  I know it was really easy for me to think of myself as somebody who could help save kids right one at a time, relationship by relationship and I think relationships are so crucial and important.  And work with kid s is really important but I think I had some blinders on.  I’m thinking that I could save anybody that my work was somehow will somehow to save these kids.

My boss, John Downes, often asks me to think with the systems-level lens, and it does not come naturally to me.  I have to work really hard to think about the systems change in that. I’ve been thinking about I went and saw Ibram X Kendi when he came to UVM this past winter, and it was so profound. He’s really asking us to think about racism at the systems level .

A racist idea leads to racist outcomes. And that’s really thinking about policies and procedures. That’s really helped me think about this, too. But like, if we’re dealing with one baby at a time, we’re not upending the system at all that creates that puts all these babies in the river.

Elijah:  It’s very easy to focus year after year on the small number of kids who beat the odds and think that that’s actually what schools can do. Whereas, really we’re best at recreating inequities of the wider society.

Jeanie:  I just feel really the need to say: I so admire the work schools do and that educators play.  Like I think educators are working their tails off and that the society has given them way too much to do and I sometimes wonder if that’s a huge part of the problem. If you’re just trying to keep up, you’re not going to look around and say,

“Hey what’s going on in the greater world that our student are showing up like this?”

Like, it makes it really hard to like sort of see the big picture if you’re just wallowing in the work we have to do day-to-day and we’re expecting schools to feed kids and provide medical attention for, and to like. There are so many things that schools are doing and so I don’t want to lose sight of the fact but I think educators not only are their intentions good but they’re working so hard and they’re hearts are in this work.

Elijah:  Yes. (I’m nodding; I agree.)

Jeanie:  Yeah, you can’t hear a nod on a podcast! *laughs*.  I really appreciate this.

Elijah:  No that’s fine.  I also want to say just in terms of giving credit where credit is due that that when I hear myself say that that solidarity in the struggle and maintaining the struggle is the essence of the work? That I’m hearing James Baldwin, and I’m hearing Ta-Nehisi Coats in Between Me and The World.

You know I’m hearing a man who’s named his child after the word for the struggle and give that message to his child.  And so I want to credit those authors for educating me and helping me see the world in so many different ways and giving me some of the language to describe my world.

Jeanie: Thank you for that. I really appreciate that.

Elijah: In terms of the work at Randolph my mantra when we try to think about how to write curriculum that has relevance and is engaging to students and the wider community is: don’t start with the notion of interest.

A lot of us as educators will think, “I want to engage the kids in what they’re interested in?  Joey what are you interested in, what do you like?”

I think that’s a reasonable question. It’s an important question. We need to engage and know our children in terms of their interests but I think the more important question is:

  • What do you need?
  • What does your family need?
  • And what does our community need?

And if we can ask ourselves that question then and design our curriculum around those questions personal needs and societal needs, community needs we will be doing the work. We will be much more likely to do work that engages people in personal reflection and knowing yourself. A

nd also we’ll be positioned to do the systems change work and enabling kids to take action in their communities in those ways.

The past couple of years we’ve had what we call The Project-Based Learning Lab at Randolph Union which we staff with an administrator who supports teachers in designing courses that are project based in that they’re oriented towards addressing some need in the community.

We’ve had courses that are focused on racial justice and restorative justice, climate change and economic injustice, food insecurity and food systems.

This is something schools can do: like, plan for it for next year. Do this next year: take something that’s in the extracurricular realm, and it gets maybe an hour every couple of weeks, and make it a class.

If you have a service club at your school — we’ve had an Interact Club at Randolph Union for years. And so when the Project-Based Learning Lab opened up, we talked to Scott the teacher who’s helped do that work — whether it’s blood drives, or whether its supporting the education of girls in Asia, whether it’s work with veterans who are homeless, lots of different local and international initiatives connected with the Rotary Club in town —  we’ll make that a class. So instead of an hour every couple of weeks with the kids who can make it after school, give it 220 minutes a week. And see how deep we can go in terms of understanding the work that we’re asking kids to do.

Jeanie:  Yes.

Elijah: We partner with an organization in Montpelier that works with kids and educators in schools in Nicaragua. And just your understanding of the world we live in can go so much deeper.  So instead of just being a tourist you’re actually doing home-stays and you’re learning in much different ways about the culture that you’re visiting.

So. Those are some things that we can do. Take initiatives that people are passionate about in terms of working with their local and international community, make it a course and provide some resources to help teachers to pull that off.

Jeanie:  It sounds to me like what that also does is make space for both the needs of Nick and for the baby in our story. Right, like that it’s making space for Nick to question… the truths, the learning that he’s had, that’s lead to some entitlement in the sense that what he’s bringing. And also for this child who maybe couldn’t afford an international trip. Or maybe couldn’t stay after school because they have to help out at home. They both can engage together in the dialogue and the learning but also in the travel, or the experience of service.

Like oftentimes we limit who gets to be a volunteer and serve? To kids with privilege. And yet everybody feels the need to serve and have an impact.  And so I’m just thinking about that.

It seems like it’s coming back to our original question of how do you create curriculum that meets the need of kids whose experience spans a broad continuum.

Elijah:  It’s key also that Nick is in a classroom with people who have different life experiences.

And again the classroom community is developed intentionally enough so that Nick feels vulnerable enough to say something and then be questioned. And that the people who can question him feel like they have the support to question him, or the teacher can. We need those classroom community with the norms for personal discussion and political discussion and debate to be established.  And that’s hard to do, you know? If you’re talking about personal things in the right way you’re going to be having political discussions.

Once a story that’s personal and maybe shame0laden comes out of the closet and is shared you start to see that you’re not alone in your struggle, right?

James Baldwin writes that literature can also do that. You can start to see that you’re not alone with your pain. In fact the pain you’re struggling with is the only thing that really makes you human in the first place — that we share that experience with other people.

And so what that means is that we have common stories and our common stories are shaped by common circumstance and our common circumstances social, economic, political, historical are shaped by public policy.

So all of a sudden your personal story about your mom, who’s struggling with several generations of poverty, who’s not making a living wage, who can’t pay the rent and who maybe is tending towards struggles with addiction — all of that has a public policy context.

There are regulations about opioids that influence how many opioids are in our community. You know like on and on and on. You all of a sudden can see a personal struggle in a political context.

That’s something that often and I think our teacher core is not supported enough to do, and is not supported in their training to do? And that there is a lot of work to be done by educators and by the educators of educators? To help us be able to approach this work carefully and intentionally.

Jeanie: I was going to ask you and then you sort of went there is like how do we prepare teachers?  How do we prepare ourselves as educators to hold space for brave and hard conversations? That feels really important and I don’t think that we should expect teachers do that without focusing on that in our professional development and giving them space to learn. Even to be in spaces like that in the first place.

And I think that’s a lot of the work I do with collaborate practices. Creating and  building relationships in communities that can allow us to poke at in a very public way our own biases and assumptions that we’re bringing so that we can better serve all our students.

The other thing I’m hearing from you — and I thought a lot about this as I was reading the story is that this story describes the “shanty” I think is the language it uses, and the lives of native people completely out of context of colonization and genocide.

I think that as teacher in my past I have also seen students without the context of the way policy has shaped their lived experience, right? And I see this in the news and I see this in our political setting. And I see this in the way policies are shaped all the time? In the way in which we want to think that slavery is over and doesn’t matter anymore. Or that a people — any people — have done this to themselves, right?

And so whether it’s when we want to donate to Africa for poverty and we’re not able to see how colonization has led to the very poverty we think we can fix with a concert and some dollars.

Or whether it’s in our own communities in the way, that some folks are judged for choices they make. I think about that a lot. I think a lot about and it comes back to what you talked about earlier about historical facts. Ruha Benjamin talks a lot about this and about the importance of getting past history and talking about things like red-lining.

Elijah Hawkes and Ruha Benjamin

Jeanie: So, what professional development, what PD should I be designing or should I be engaging in myself, to begin to hold, to help teachers do these two things that I’ve heard you say. One is to be able to have these brave conversations. And not just to hold them but to facilitate them in their classrooms. And two, to sort of learn about and then teach about, the historical context, and the political context that shape our experience of the world.

Elijah:  We need to understand that if we want people to understand how to create spaces for courageous conversations in their classrooms they’re going to need modeling and experience of that. Because they may not have gotten it.

They probably didn’t get that in some of their own high school experience or in their own teacher training experience, so they going to need to get it in your faculty meeting experience.

So part of it is about allocating resources so that we have time and space in our school year, in our months of school year to have those conversations, to have them modeled and so that people can become strong facilitators themselves.

We learn by modeling.

So it’s important that there be a strong core of facilitators in the school. Not just administrators — especially not just administrators — but teacher leaders and others who can “hold the space”.

And then there need to be conversations about that are personal and political at the level of faculty. And then we’ll learn how to do those in the classroom.  I don’t know.  That’s important!

And I think we could share the models that work.  Every school has teachers who are doing this work already.

You know a pretty firm believer that most communities have the resources they need to solve their own problems. And those resources are usually human resources. And so if we can help you know there’s that classroom over here where there’s a fabulous Socratic seminar that’s happening and the kids are speaking from the heart about complex topics that are both personal and have public policy implications — let’s figure out how to get that teacher’s works read across the school.

Elijah Hawkes Socratic Seminar

 

Looking internally for the resources that are there is also a really important strategy.

And then modeling it, of course.

We never have *this* much time, you know, that you and I have here today to talk about this story and the implications for our work in the way that we are. But one of the reasons why I choose to read this with administrators, or teachers in training, or teachers who are new to my school no matter where they are in their professional career?  Is I just want to model that we can have conversations about these topics and I want to model my own vulnerabilities and my own mistakes.

And the risks that’s I’m taking. And how I think you know in some ways it’s a bad idea for me to read this story with you, because I don’t know you very well.

Yet here I am, a white man reading this story by another white man about people who are very different from me and I want to be able to talk about that with my colleagues to make a first impression. We do this with our new teachers every year. So there’s modeling as well as creating the space for people to have the conversations.

Jeanie:  Well I appreciate that you read this story or had me read this story and have a conversation about it because I would not have chosen this story! *chuckles*  I would not. And even the name when you sent it I was like, “Huh. Do I want to read this?”

And then reading it and I’m currently rereading one of my very favorite books in the whole wide world.  I’m rereading it because I just turned in all my work for the semester and I have this opportunity to like sink into a book I love and it’s called The Marrow Thieves. Have you heard of it?

Elijah: No I haven’t heard of it, Jeanie.

Jeanie: It’s by Cherie Dimaline. And she’s a First Nations woman; Canadian. Oh gosh. I wish I could just send you a copy right now.

It just like, speaks to my heart. And I’m rereading it with this new eyes from a semester focussing on reading decoloniozing methodologies.

It’s dystopic –which does not sound like a fun thing to read right now but actually is very relevant in this current moment.

It’s post-climate change. California has fallen into the ocean and white people have stopped being able to dream. But what they’ve found is that that Indigenous folks don’t stop dreaming. So [the white people] look back at history. And they start using the modes of residential schooling as a way to round up Native people and extract their bone marrow. So that [the white people] can dream.

That all sounds wretched — and it truly is — but what happens in the story is our main character, Frenchie, gets separated from his family and is on his own. He runs into this rag-tag group of other Native folks — all generations, different backgrounds, different tribes, I guess, if you will.

And they sort of exist on foot: traveling, hunting. Just surviving. But the book is really about community and healing and other ways of knowing, and ancestral wisdom.

And it’s so beautiful, I just can’t say enough about it.  But I thought about it a lot in relation to this.

I think they would have an interesting conversation.

Anyway, one of the conversations we didn’t get into that I’m really interested in, is the ways in which we can find, ways of knowing and being brilliant and smart and extraordinary into such narrow categories.

What would it look like if schools really allowed a diversity of ways of knowing and being and flourishing and being brilliant?  Because every kid I’ve known has been brilliant in some way. It’s just that we only count a few kinds…

Elijah:  Right. Yes.

Jeanie: I know you have to go take care of your puppy, but if there’s anything you want to add.

Elijah:  No, I just think that’s someplace where I think this story can and should take is: if Nick is only knowing the world in the way his father is knowing the world, what is he missing?

He’s missing the universes. And so the story needs to take us in that direction. It needs to take us to The Marrow Thieves and to An Indigenous People’s History of the United States.  It needs to take us in other directions.

We can’t just think, “Oh yes Nick is going to be okay because… yes he’ll be fine.”  Let’s focus on like, how we can save someone else in the story.

Like, if Nick leaves your school only knowing what he knows now and only understanding his father’s perspective on the world? We haven’t done our job as a public school in this country.

Jeanie:  Well because Nick’s likely to become or congress person right or our president, or the CEO of our company and reproduce the same systems that lead to very narrow ways of knowing.

Elijah:  Yes. Or your school principal.

Jeanie:  *chuckles* Or your professional development coordinator.

Elijah:  Yes.

Jeanie:  Or your school librarian. Thank you so much for this conversation.

Elijah: I feel like [this story is] not a *back door* into discussions about whiteness and race and privilege. But it’s a *convenient* door into those discussions. Especially I think with white educators. But we’re really lucky to have had this long conversation with you it’s not like…

Jeanie:  Yes.

Elijah:  It’s not like we’re standing in line for food at a conference, it’s like a real conversation! So I thank you.

#vted Reads with Mike McRaith

I’m Jeanie Phillips, and welcome to Vermont Ed Reads: books by, for and with Vermont educators. Today on the show, we welcome Mike McRaith, who’s here to talk about Nora Samaran’s Turn This World Inside Out: The Emergence of Nurturance Culture.

How *do* you hold harm, and harmony together in the same space in a way that protects and honors the needs of all students to feel safe, and loved?

How do you talk about the needs of those students who feel marginalized, even if we’d identify them as coming from wide intersections of privilege?

And how do you talk about the needs of straight, white, male, cis-gendered students without centering their needs, in a culture that marginalizes the needs of, well, absolutely everybody else?

Nora Samaran has some answers. As does Mike McRaith! We here on the show love talking with smart, compassionate people, and if you do too (and we hope you do), this is the episode for you.

Now, let’s chat.

Jeanie: Thank you for joining me, Mike. Tell us a little bit about who you are and what you do.

Mike: It’s my pleasure to be here. My name is Mike McRaith. I’m the assistant executive director at the Vermont Principals Association. And my job includes all different kinds of things, mostly supporting principals in many different ways: the professional learning side of things, the mentorship and a host of other things at the VPA. And I’m a former high school principal at Montpelier High School. I did the previous four years there. And then I spent six years in Franklin Northeast, in that supervisory union, as a school counselor and a middle school principal.

Jeanie: You bring a ton of expertise and really relevant expertise to this book, Turn This World Inside Out. Which you suggested to me and I was really excited to read. But before we jump into that, I wonder if you might share what you’re reading right now. What’s on your bedside table? I suspect there might be some books for little ones, on that stack.

Mike:  Yeah, thanks. This book was recommended to me by my dear friend, confidant and soul leader, Sylvia Fagin, who is a teacher in the Montpelier School District, among many other things. And when she recommends something to me, I pay close attention. So, I want to thank Sylvia for this recommendation and her continued support through some really hard things, working together and just being a great person for me to turn to and to bounce things off of. And to learn with. So, thank you, Sylvia.

The books that I’ve been reading aside from this are connected to four-year-olds and six-year-olds. I have a four-year-old and a six-year-old, and being at home so much we started reading chapter books.

And so the books that I’ve read most recently are Gary Paulsen books.

My boys were super, super interested in reading Hatchet and then Brian’s Winter. And we also read Dogsong which is a very interesting and sort of, poetic book. And they hung in there. Gary Paulsen does a great job of engaging kids — even four-year-olds (soon to be five) — and they have tons of questions, and it comes up all the time in their language. Just last night they were talking about the size of a moose and whether or not the moose would charge them and all different kinds of things. Those books have been great for shaping their connection to nature.

Jeanie:  This brings me so much joy! You have no idea what I would give to have a four-year-old sit on my lap and let me read to them, like I’d give a lot. Yeah.

Mike:  It’s real good. And we try not to take it for granted. We do a lot of it: every single day and every single night. We read and we soak that up. And you know, my wife has been great about bringing books, and our South Burlington Public Library does a fantastic job.

Jeanie:  Okay, you know, I’m not going to be able to resist and I’m going to send you some titles to be read to four- and six-year-olds later.

Mike:  Please do. *laughs*

Jeanie:  So, let’s get to this book.

This book opens in a really interesting way with a description of a school. A Canadian school. And I wonder if we could set the stage for our listeners by reading pages one, two, and into the top of three just to give them a sense of the idea this book is shooting towards.

Mike:  Sure, glad to. (And I’ll try not to make any extra noise turning the pages.)

So, the title of this first chapter is “Introduction: Nurturance Culture Means Holding the Circle”.

“At Windsor House, a free school in Coastal Salish territories (also known as Vancouver, British Columbia, Canada), every child has an internal map of how harm is handled in their school community. In this school, the only public democratic school in North America and one of the longest running brick-and-mortar free schools in the world, any student who experiences harm can “write up” the other person who they feel harmed them. When someone is written up, they’re required to go to what the school calls justice council, which is a circle of their peers who then help repair the harm.

Going to that circle is not an option. It is a requirement for anyone who wants to be a member of the school community. This is especially notable because it is one of the only concrete requirements at a public, accessible, democratic school that has almost no coercion or compelling of anything other kind. In the free school system, deeply invested in beliefs about autonomy and keeping kids whole, if a student wants to skateboard or paint all day that is what they do.

In a community so steeped in an ethic of consent and self-determination, with so few kids of ordinary, everyday compelling in place compared to regular schools, I was curious about how this requirement worked. What is the relationship, I wondered, between the commitment to the individual autonomy that is such a dearly held value of the school, and this justice council that can compel students to repair harm?

At the beach one day, while watching kids pull up seaweed and pile it into stacks, I asked my close friend’s twelve-year-old son, who goes to this school, “What happens if a kid who gets written up doesn’t come to council?” He barely skipped a beat before he answered, as though it was the most natural thing in the world, “If someone doesn’t go to council, council goes to them.”

A day later, I asked my friend’s nine-year-old daughter, who had not heard my earlier conversation the same question. She too is a student in the school.

I got the same answer. She barely paused in her playing, glanced up, and said, “council goes to them,” as though this was the obvious answer to a silly adult question, and then immediately resumed her game.

What their answers say to me is that these kids experience justice council as self-evident and ordinary: when you hurt someone, you get called to counsel and you have to go. You are expected to make it right. This concrete, practical structure, and the kids’ regular use of it for handling harms large and small has, it seems to me, hard-wired an ethical framing for a functioning, everyday model of interdependence into their assumptions about how the world “just is,” how reality works, and how human beings “obviously” get along.”

Jeanie:  Thanks for that. That was beautiful. Something that struck me in your reading was this notion, this quote, “a map of how harm is handled.” And I wonder: do you think the schools that you’ve worked in have had a clear map of how harm is handled?

Mike:  Yeah, it’s really deep question. It’s hard to know where to begin.

I think the short answer is no.

It fell to me as a school counselor more than you might expect. And certainly as middle school principal — and definitely as high school principal as well — to sort of be the judge and jury of harm.

And anyone who’s ever worked with middle schoolers or high schoolers or people knows that harm happens all the time. It’s part of growth. It’s part of relational challenges. And it’s part of friendship. It’s part of everything that we do.

And I think that there is a real legal framework around it for schools. Which is well-intentioned, and certainly better than when I was in high school or middle school. Where, you know, the only kind of solution to harm that happened was

  • “Suck it up!” or
  • “Deal with it yourself” or
  • “Ignore that kid,” or

duck and cover, right? Kind of like: school of hard knocks.

I mean, nobody would have ever even dreamed of saying to anyone, “Hey, that kid slammed me up against the locker!” We had a kid that kept throwing kids down the stairs. And no one would have ever dreamed of bringing that up to an adult.

So I think it’s better than that? And we have the HHB, as the school folks know it: Hazing and Harassment and Bullying Law, which is really dense. It’s really cumbersome for administrators to navigate. And quite restrictive in its nature. It comes with very specific procedures, which can be helpful to:

  • not rush to judgment;
  • get a full picture as best you can;
  • interview everybody involved.

Then it goes along with very kind of stodgy form letters that end up going out to parents of the potential victims and the potential perpetrators.

And the whole thing, you know, oftentimes takes like a whole week for somebody who called somebody a name at lunch.

So, that feels pretty unnatural a lot of times.

And it can be very high stakes. Because depending on the students and families involved, they could really sort of want justice: the hammer to fall.

Or they might really think that this is a total waste of time and like kids need to just get over it, schools treat kids with kid gloves now…

Or most often my experience was: “You know, my sweet angel didn’t do it. The school is wrong. You’ve got this wrong. You don’t understand.”

Jeanie:  Yeah. What I’m hearing from you and what I’m wondering about, is that not only is the map maybe unclear, but in this account of this school in Canada, the author sort of infers that it’s a part of a larger community that also has these beliefs. And so I’m thinking about how, since Trump has become president (and maybe even slightly before) the numbers of racial harassments happening in schools have increased, right? Southern Poverty Law Center has done some studies on that, and found that racial slurs are up, and racial bullying is up at schools.

And so it makes me think about how even if you have a really clear map of how harm is handled in your school, if the broader culture has a very different map or a conflicting map, that’s problematic, right? Like, that undermines the goals of the school.

Mike: Yeah, for sure. I’ve been part of systems that worked really hard to be very explicit about what was acceptable and what was unacceptable. And then not only do kids know where those boundaries were, they knew what we were going to do when those boundaries were crossed. So I think that that clarity *can* be established in a school and I think that most of our schools work really hard to establish those things.

The question is whether or not the school’s boundaries and way of handling it, matches on the victim’s side and on the perpetrator side of the harms, family ethic and the broader culture.

And if it doesn’t, which oftentimes I think it doesn’t, then that internal map that the author is talking about here in this book is different for people or really unexplored. Sometimes it feels like polar opposites. And so I think, your question is, you know, do we have that internal map of how harm is handled? People might have them, but they don’t have the same one.

Most often I think that we really don’t even have an articulated one in most of our home systems or schools that are inclusive.

Jeanie: Yeah. This text seems to be driving us toward an idea of what a map of how harm is handled, how to — in your language  — face the challenge of holding victim and perpetrator in the same community. This is what this whole book is about.

The other piece that I really noticed in listening to you read the opening, was this idea of interconnectedness.

And I’m going to read from page seven, because this really struck me.

“The reason that this structure works is because it recognizes that each person is already inherently part of a larger unbreakable web of connectedness, and gives every member of the community the knowledge of how to mend that web on which human independence so fundamentally depends, and the obligation to engage in that mending when call to do so.”

Mike: Right. And you know, for me, hearing that, it’s like a worldview, right?

It’s a worldview that *your* health and wellbeing is connected to *mine*, and vice versa. That is a physiological reality as well as a lens in which to see the world and make decisions. It runs against what I think much of what our dominant culture — the patriarchy, white supremacy culture — says to us, in so, so many ways, right?

This is a worldview that is sending a message that we don’t often get in all those subtle ways as we move through what it would be a typical experience for a young American.

Jeanie:  I think we’re right now at this moment where we’re really facing this with COVID-19. We have been anyway, when I think about some work I’m doing with schools around the sustainable development goals and climate change and there are so many ways in which we’re facing this moment of realizing like, being out for number one? Isn’t going to make the world better for any of us, let alone number one. The way we need to face big issues is as a collective.

And so this really spoke to me. I wondered, I don’t know. I guess one of the things I think about all the time is how do we, is either about transitioning towards a culture that’s more about interconnectedness and interdependence or: how do we hold the tension of connection and community *and* focus on personalization and the individual?

Mike: Yeah, I think you can see that in those first couple of pages. Their example is somebody that skateboards or paints all day. So, there’s a celebration of the individual’s passions, contributions, uniqueness — while also knowing that that is part of a bigger system. Not just human, I would propose, but Earth. That all of those things need to be in a symbiotic relationship.

To me, and this is just my opinion, America might be sort of like the apex of like some people win, some people lose. Like everybody’s just out for themselves and that’s how it is.

I think our culture sends that, I don’t have to show that our people always act that way. I think that America also sort of has a reputation of having really generous people and really caring communities.

So, there’s some interesting complexity there.

But my question would be, and I think we’re sort of at this moment in history where it’s like: where does the collective stop?

  • Does it stop in your town?
  • Does it stop in your school?
  • Or does it stop at your state?
  • Does it stop in your country?

And then like ultimately maybe we can sort of zoom all the way out and be like, “Oh, it’s one thing. We’re just all one thing.”

Jeanie:  It’s the mycelium. We’re all like linked by fungus [chuckling]. Sorry.

Mike:  Yeah, that’s right.

Jeanie:  Yeah.

Mike:  Yeah, exactly! I think you can really do a lot with the collective. We’ve seen a lot like with nationalism: you can really sort of get people together and united. It feels good to have an identity, and this is who we are — we’re the tigers! we’re the lions! Or whatever. And that’s great for community, but a shortcut way of doing that is by having a common enemy. How healthy is that?

Jeanie:  Yeah. Creating belonging at the expense of somebody else’s belonging.

Mike: Exactly.

Jeanie: So, one of the things I really want to dive into with you, is this idea of relationships. And relationality. And how do we work in schools to help kids build better relationships? To learn the skills they need to build better relationships?

And I think that a lot of folks would call this “soft skills” and doesn’t belong in schools. And yet I think this book and many things in our world right now are telling us that more than ever, kids need to know how to build strong relationships. So that they are more resilient, so that they can collaborate with each other, so that they can have better self-esteem which leads to better academic scores.

And so I’m wondering about this tension between academics and soft skills or social emotional learning.

Mike: Yeah, I mean folks that have been around me in the last decade, I guess, know that one of the things that I feel like is true about education right now, in this time and space in the world, is that we’re not — meaning schools — are not the holders of information. We’re just not.

The internet has given everyone as much information as possible. We never even could have dreamed at how much information would be at our fingertips, literally.

And so if we’re not the holders of content, then what are we?

And I would say that we need to help people make meaning of content.

We need to help them be critical consumers of content.

We need to help them be producers, right? Not just consumers. And we need to help them develop interpersonal skills and soft skills. Because if we don’t they won’t develop otherwise.

And it’s more important than ever because you’re able to get so much content in so many other ways, and because we are more isolated than ever.

The echo chamber of the internet, and the school refusal rates going way, way up. Anxiety rates, way, way up for our youth. And I think part of that is because they don’t have as much practice navigating social dynamics, and it is easier than ever to just ignore them when something doesn’t go well. It’s like,

“Oh well, I’m just going to go into my phone and listen to people who agree with me or I’m going to just stay in my room and live a pretty isolated life.”

And we know tha,t while that might ping all kinds of dopamine in the brain, it actually leads to depression and anxiety and unhappiness. It isn’t fair to let young people grow up that way, and not experience serotonin, a much healthier release of endorphins into the brain, with:

  • long-term relationships;
  • the satisfaction of a job well done;
  • with pushing through hard things and hard moments and difficult conversations to come out the other side stronger and healthier.

Jeanie:  That was really powerful. I really appreciate that.

I’m thinking many people who know your name will know you worked at Montpelier High School to push through hard things. That seems really related to a lot of the content on this book, which is that you were the first high school in the country, I believe, to fly the Black Lives Matter flag.

I wonder if you could talk about that and in relation to: what did your kids push through? And how did you and your faculty help support them? Maybe how did the kids help support the faculty, I’m not sure, and the community in order to push through, do really hard things in that way.

Mike:  I mean, first and foremost, like that was students. It continues to be students.

Their strength and bravery is something that has changed my life forever, and is one of the most important things that I have ever gone through and likely ever will.

I am so grateful to those young people — as individuals and collectively– for being a teachers to me, and to having a real connection that I think will probably last a lifetime. And for the adults in that community, being willing to take that risk — and I mean an emotional risk, a vulnerability risk. They did so, almost without hesitation.

And 100% of the faculty — I’m sure some people had some misgivings, we all probably did — but in faculty meetings, nobody stood up and said, “Don’t do this. We’re not doing this.”

Every single person, which to me is just incredible.

It felt like maybe a moment in time, you know? Like, sometimes you can sort of feel like [you’re] living through a moment in history.

The whole time I was thinking like,

“Don’t mess this up. Don’t mess it up.”

You know, like for whatever reason, I was part of that. And had voice in that moment. And it felt like it just needed to happen for this country, and for our local community.

The students were absolutely just thinking about our high school and our town. I had the sense that, “Okay, this might be a big deal.”

It turned into a pretty big deal.

So for me, it brings up all kinds of layers and complexity and feelings.

…I’ve already lost the thread on your question. *laughs* Can you give it to me again? I’d love to try again.

Jeanie:  No, it’s great. I love your answer. But I was thinking about how that work that students did, resulted in serotonin, not a dopamine rush.

But that’s the authentic work that leads you to feel good and efficacious in the long run. As opposed to sort of… I’m not even going to do this well: winning a round of Fortnite, right?

So that big rush of serotonin that your whole *community* got to feel, and that sense of collective efficacy feels really powerful, and feels like what you were saying about the importance of the social emotional learning and the soft skills. The relational piece that you were highlighting — that kids need in addition to being able to navigate content.

Mike: Right. Yeah, thank you for the redirect. Yeah, it was super difficult. And messy. And uncomfortable.

A lot of times when those feelings come up, people feel like,

“This must be the wrong way because I don’t feel good, I don’t feel happy, I don’t feel safe even.”

And when those feelings come up, a lot of times it can be like: wrong, wrong, wrong, wrong! Just like:

“Maintain the status quo, because this feels this is yucky or disruptive!

I think that there were moments where, particularly for those students that had taken such a massive risk, and had worked so hard, and gone so deep into their psyches and their cultures to help guide us, they were walking on air in some moments, right?

That day when the flag was up and the state police were there supporting us, and our city police were there, and the legislators were there, and the news was there, and our community was there and every, almost every single kid came out around that flagpole that February morning?

The kids who had made that happen were absolutely experiencing the serotonin that comes with doing something that is meaningful.

That is connected to their values and their ethics. That they worked really hard for. That they pushed through difficult moments and frustrations and fear for, and sort of came out the other side.

It’s not to say it was like: flag up, no problems!

It was really just the beginning.

And we said that as it was happening. It wasn’t as if that was our first step. It also certainly was not our last step.

I would say like if you had to say there were 10 steps somehow to building an equitable school system that’s anti-racist? That was probably like step three.

And it was a symbol of a commitment to continue to work on that.

Jeanie:  I love everything you just said about that. I think about both the ongoing nature of anti-racist work of community-building work. of equity work. Right?

Like we’re not going to see the end of it. It’s an ongoing journey. I love that you said that.

And then you also just made me think about like, some of my most joyful experiences were not necessarily joyful in the moment, right?

Like camping trips where the tent gets soaking wet, and the story is great later.

Really long backpacking trips where you’re having to ford a river because the bridge washed out.

Or I think about people who run marathons, right?

Around this house we use the phrase, “We can do hard things”.

But sometimes what I forget is not only can we do hard things? But like, hard things are the things that end up being our joys. Our biggest joys, and our biggest, most satisfying life moments.

So, this is a really good reminder because this book is asking us to do really hard things by confronting our own bias and privilege, and sort of owning when we’ve caused harm, right?

And so… thanks for that.

Another part of this book that I think is really relevant to schools — although it doesn’t talk about schools at all — is this whole section on attachment theory. It’s pages 22- 27.

And really, our author Nora Samaran is talking about attachment theory to talk a little bit about sexual violence.

But I found myself really reading and re-reading this section on attachment, because she said it’s basically that only 50% of the population has a secure attachment style. Then she goes into some other attachment styles.

And she talks about the brain science of it. How did those years, birth to three create our limbic system, that that’s where our limbic system is developed and she talks on and on about this. I just really want to look more into attachment theory.

You probably know a lot more than I do about attachment theory, but she says whatever your attachment style, she says, limbic responses happen very, very fast. Below the conscious level and often outside of language.

So, these instantaneous responses we have when we feel threatened or when we feel like closeness is offered or going to be withheld that we can’t even put words to.

And I’m thinking about how often those limbic responses happen in schools. And how we as adults respond to them.

I don’t know, it really struck me that: some of my worst moments as an educator were misinterpreting limbic responses from students.

Mike:  Yeah, absolutely. I mean, the experience that maybe all educators have on a regular basis is a student that’s displaying a lot of anger. Calling Mr. McRaith the f-word — definitely at least something that I’ve experienced.

And how that can be seen as disrespectful. It can be seen as somebody that doesn’t belong in the community and needs to go away. Somebody who is the problem.

Or, you can see that as someone that is really scared.

Somebody that is just doing what they know to do to protect themselves. Or to find agency. Or to find some semblance of power, in an experience that might be stripping them of all power.

So yeah, I mean: I think that we are learning that as systems?

And it’s a lot of work.

It’s sort of faster and cheaper probably, to just be like, “Yeah, you don’t have executive functioning built” or “You’re not sort of fitting in with the cultural norms here, so goodbye.”

And to just push them out of the community in whatever way, shape or form that that happens.That happens in lots of different ways depending on what developmental level you’re at. And where you are.

It’s more work to earn a student’s respect. To build a relationship. To push through years of poor attachment.

I always think about it as like a scale, right? Like an old-timey scale. You’ve got weights on one side and weights on the other. And somebody that has a really poor attachment? Their scale of negative attachment is so far down on one side. It’s so much weight on that side, that how many instances of positive attachment, positive relationships is it going to take before that scale comes to even, or tips the other way?

And so it can feel hopeless or like a waste of time for educators sometimes to be dropping things on the positive side of that relationship because they don’t see a change. Or they don’t see the difference sort of happen instantly. I had to use that a lot for myself, and encouraged my colleagues to think about it that way too: you just don’t know when that scale is going to tip. And we want to put as much on that side of the positive attachment and positive relationship as possible, in really difficult situations.

Jeanie:  I love that scale analogy.

Often, when I teach collaborative practices, we spend a lot of time thinking about belonging. And how we need to build belonging. Build a culture of belonging amongst teachers as a community of learners, in order to create the kind of spaces we need in order to be brave. Right? And in order to confront our own biases, our own assumptions about learners, about each other, about who can learn and who can’t.

And I think about how the same is true in classrooms, right?

We have to build strong cultures of belonging.

And the kids who least feel like they belong? Need belonging the most. And they’re often the hardest ones to reach. We as adults,  we want shortcuts; we want it to be easy.

I’ve been thinking a lot about the classrooms I know that are working really well remotely. It’s hard, right? But the classrooms where I see teachers and students holding on, and doing pretty well, are classes that have really strong relationships. Have really well developed sense of classroom belonging, and community.

And so I’ve been thinking a lot about how this book is really about belonging. And how do we create belonging, so we can do those hard things. So we can have those hard conversations. And so we can disrupt systems of power and prejudice and privilege.

Mike: Yeah. And I think there is a tension there that is named towards the end of the book: how difficult it is to hold harm and harmony in tension with one another in community.

One of the things I think is different with public school than would be in cases of private school or a community where you get to pick and choose who stays and who goes, is that the public school is for everyone, not just students that are easy to get along with, or might agree with your worldview.

I experienced several times as an administrator and as a school counselor, where deep harm had been done. And maybe the person who had done the harm was a repeat offender. And was not all that remorseful.

The victim or the person who had experienced the harm, wants to be protected and they have the right to be protected. They have the right to come to school and not feel scared or not feel like they’re going to be attacked, verbally or otherwise.

So what do you do with that perpetrator, with the person who’s carrying around toxic energy and it splashes up on all kinds of people?

Do you ostracize them?

Do you come down really hard on them?Scare them into following the rules?

Or do you try to work with that person to help them understand the damage that they’re doing to their community, to their peers, and ultimately to themselves, right?

I mean that’s what the book’s title is about it. It’s Turn This World Inside Out. And I think what the author, Nora Samaran, is saying is it’s turning yourself inside out, right?

We swim around in a culture of toxic masculinity that expects people to be individualistic, to not have a full range of emotions. To have young men be unemotional. To be loud, to be tough, to take what’s theirs, to compete.

And when we ask them not to, it makes them feel like either the school is out of touch with reality like, “That’s not my reality. I am going to have to fight. I am going to have to compete.”

Or causes this sort of deep questioning about everything they know.

And brings up all of that those feelings of shame and embarrassment — which are such big feelings that there’s no surprise that they would move away from them.

So, to try to put a point on it is: I am not interested in centering sort of cis-gendered, white, male narratives at school. I mean that’s one of our biggest challenges and problems, right? We have done that forever and we need to have more voices centered.

At the same time, those students need some of the most attention.

They have the most unpacking to do.

They have the most layers to work through.

And they need the most connections, they need the most relationships.

I had many students who come from marginalized communities say to me, “How can you be friends with them?” Like, “Why are you friendly to them in the hallway?”

And I felt like I had to be, I spent twice as much as time with them.

But also, there’s this tension of like, “Okay, then am I centering their story?”

So, that’s something that came up for a lot, a lot for me in this book.

Jeanie:  I saw that paradox everywhere in this book. And I think you’re right.

For me, it really showed up in the masculinity chapter, about how this woman, Nora Samaran, is like, “I can’t do this work with men because of the power and the relationships I’ve had with them in the past.”

It reminded me that often in the past few years — and it’s starting to shift — when we would in collaborative practices classes, when we would talk about race, people would say, “Oh, but our school is mostly white so we don’t really need to deal with race.” And then I would have them read Ali Michael’s What White Children Need to Know About Race.

But this book really gives me new language of it’s actually white people; a) being white is a race, and b) like, it’s actually white people that need to do the work with white people to better understand our role as oppressors, and to be able to digest that.

I think that’s a hard sense for people. They’re like, “I’m not an oppressor.” But we are. I am, as a white person.

So to be able to digest that and see what that means?

And the same for around toxic masculinity and rape culture in this book is that it’s men that need to work with each other to talk about a new, or a re-birthed notion, of masculinity that can sort of be tender and that can be attuned to the needs of others, so that they’re not doing harm.

And I feel like we could say the same thing with cis-gendered folks, right? Like that *we* need to be doing the work.

There is this tension about is that then centering those who already have power?

So I think that’s definitely something I found myself noodling a lot in this book. How do you do that… and not center privilege? Dominance?

The question I’m going to follow up with is: so often what I’ll hear from folks is, but what about class? Class is the real determinant.

I can see this playing out in my own background, in my own childhood and also in schools, that class that there is this intersection of power being white or male and class that is nuanced. So, I’m wondering about your thoughts on that.

Mike:  You know, one of the things that I have seen since the pandemic in Vermont, is I’ve seen people that champion equity, continue to champion it and point to it. But I’ve also seen the concern about our students of lower economic status of limited means championed at the center of people with the most power.

It’s interesting to me because I think it’s more accessible for our dominant culture in Vermont — which is predominantly white, and if you look at our governors history predominantly cis-gendered white males.

So, if you just look at it from that lens, why are we able to talk about financial inequities, so comfortably right now? It’s on everyone’s mind and everybody is taking action on it as best they can. And certainly raising it as something that has been in focus and sharpened. That focus has sharpened through this pandemic experience.

Why? Why can we do that?

And I think it’s because it’s accessible.

I think that it’s closer to people’s life. Either they have themselves experienced poverty at some point in their lives, or know a lot of people around that.

And I think that it asks people to do less internal work when you start to realize how racist our society is, you *really* start to see it. The rose-colored glasses come off and you realize everything, everything we’re doing is filled with bias and oppression. That’s really overwhelming. And then you start to realize like, “I’m a part of that, right?” Like, “I’m part of that oppression. I am that oppression.” That’s asking people to do some really challenging work.

I think the same thing happens when we talk about misogyny. And when we talk about sexuality, right? There’s a lot of internal work.

And there’s something that it seems to me is more accessible about classism. I’m sure that I’m oversimplifying it and I apologize if I am, but I see that.

So how does that play out? I think it can’t be overlooked. Take a cis-gendered white male who’s grown up in poverty and tell them,

“Look, you don’t realize the privilege you’re living with.”

There’s a natural reaction that they’re going to say,

“Are you kidding, privilege? You know how hard my life is? I don’t have any privilege here. You know, the people around me will cut me down instantly. I’m fighting out, I’m scrapping and nobody’s given me a thing. How can you say that I have privilege?”

And that is true.

I mean their lived experience is true and they are oppressed financially. They don’t have the healthcare that should be a human right. All kinds of other things.

Those things don’t have to be opposed to one another. They both can be true.

And I think there’s something about our climate and culture that wants things to be one way or another and we’re not able to hold polarities in tension with one another, without some practice and with some intentionality of like, oh, maybe it’s “both and”.

Jeanie:  Thank you for that. You’re making me think about Rebecca Holcombe a few years back, at a Rowland Conference was talking about curb cuts. Do you remember that? And she’s talking about how before there were curb cuts that allowed wheelchairs to have access to sidewalks, and make it easy for folks to get around, that a group of disabled activists went out and poured the first curb cut. And what they found over time is that curb cuts aren’t just good for disabled people, but they’re also good for people with strollers and people who maybe have vision problems and can’t see where it goes. For all of us. All of us benefit from curb cuts.

There’s a section on page 53 that really made sense to me and make sense for that young man you were just talking about.

It says, at the top of page 53 says, “Cis people perform their gender as much as trans folks do. Putting transness at the center of our understanding of gender makes apparent that cisness has also always been complicated.”

And I’ve known for a long time and thought a lot for a long time about how fighting homophobia and transphobia actually makes all of us safer. Because we can all more safely be ourselves in our bodies and in our skin, right? Like we don’t feel the need to conform to gender binaries as much. We can be more of who we essentially are.

And yet why do we find that so threatening? And that’s sort of one of the paradoxes: something that would be good for all of us sometimes we can’t act on, because of fear of the other.

Mike:  Yeah, I had that same line underlined. And just to circle back to my personal experience with sort of extreme hate with the raising of the Black Lives Matter flag where the white nationalists had my name circled there for a minute. I was getting a lot of very serious hate email and mail. And phone calls and trolls online, that kind of thing.

It’s so naive of me because people without as much privilege as me, people who are putting themselves out there in their daily lives just in their natural existence and folks that are fighting for justice, experience this every single day. Their whole lives.

But for me, I was struck by how often the hate overlapped really quickly? That I wasn’t just somebody that was supporting my young students of color and was anti-racist (hopefully).

But immediately I was weak, right? I was lots of other slurs that implied that I was gay, right? And then there’s even like leaps to like, “Oh, he’s Jewish, right?” It just started to sort of morph into all of these things that were not cis-gendered white male. That were used as a way to scare me, I guess? Or to insult me.

And the gender piece of it and the sexuality piece of it was very strong. Very strong.

In almost all of the comments, they were explicitly sexual in nature and would be sort of expressing that that was weakness.

And you’re right:  as a cis-gender white male experiencing the apex of privilege in America, with citizenship and everything, it’s also true that performing my expressed gender is *absolutely* part of the deal.

And I couldn’t tell you how many times as a somewhat more emotional young man than some of my peers, that I would have to  like, pull back from that because it seemed too soft. Did my voice just break a little bit or did that sound gay?

Immediately, immediately being policed by my peers in a very toxic way.

And I think most young white men that I know have grown up that way. Why is it that that is just so unacceptable?

I think that there’s been some evolution in that amongst our young people? I think it’s better than when I was a kid? And I’m sure it depends on the community and I’m sure we still have a long, long ways to go. But if we could center, as she writes on page 52, center transness, that’s going to be a freeing for everybody.

Jeanie:  It was really a paradigm shift for me is to put that at the center and not just to sort of give it a nod. Right?

And so there’s so much more to talk about in this book, Mike! But I sort of want to go to this hopeful place, if that’s okay.

There are a couple of things in our time left that I really want to get to. So many things.

On page 76, our author, Nora, is in conversation with Ruby Smith Díaz who was born to Chilean and Jamaican parents in Edmonton, and she’s an art-based anti-oppression facilitator, etc.

And Díaz talks about this project she does with kids that just rang my bell. It’s called the Afrofuturism Trading Cards. She has kids create them, and they’re based in joy.

She says, “We do character sketches, and the youth imagine that they are living in a time that is free of racism, homophobia, classism, and all of the other oppressions that exist today. We ask what it would look like if we were truly free, and unafraid to be who we are.”

She goes on a little bit more about that. Like, how wonderful to do that? And I want to connect it. I want to talk about that.

But I also want to talk about what I think is sort of a futurism, idealistic card for schools.

At the top of page 37, I circled this paragraph, exclamation point, exclamation point, exclamation point. And it says,

A picture of page 37 highlighting this quote:“The reward of creating safe bonds is that in these places of trust, a warm glow of meaning and purpose emerges. An inner circle of trust and vulnerability allows movement and rest. It lets the bees come and go from the hive. It creates shelters of chosen family and beloved community from action challenges to racism, sexism, institutional violence can arise, a safety net to catch each other's bodies and souls, a foundation that allows risks.”
Page 37

That to me is this: what could schools look like if we were all free?

That to me is like the future card *I* would create for what I want schooling to look like in this country.

Mike:  Yeah, I agree. And I would underscore that that is not where we are.

And so my optimism is paired with concern. That some of the most toxic stuff, is what we need to go towards.

This book does a great job of exploring how that’s possible. To hold the victims, and the people who are experiencing harm, safe. And to center their experience and their story. And to not turn our back on those who are doing the harm. That is difficult. I think it is quite difficult.

I learned from a student this phrase, and I’m not sure where she got it, but she said, “I’m not just interested in calling out, I’m interested in calling in.”

And in public schools, I think that that is an obligation, legally, but also in community.

We don’t get to just say, “You know what? That person is so different than me that I’m just going to go over here. I don’t like the things that they like, so I don’t get them and I’m just going to ignore them. And if they break the rules of our community, then they need to be ostracized, they need to be publicly humiliated and they need to be gone.”

That doesn’t work for me. That would be easier. I sort of I think maybe sometimes we wish that was the case? But to me it’s the opposite.

And the hope for me lies there. That we run towards that pain. We run towards that complexity,, and those feelings of shame and embarrassment and disregard and the tossing away of the attempts of the community to bring to circle. To bring together.

And that is not something it’s easy to get people excited about.

But I think that that’s the truth for me. That that is the work that’s to be done. To do that hard thing. And to know that it’s not always going to go well.

I think that this book sort of concludes that way, right? That we, you sort of put, you put that energy on that side of the scale as she wrote.

“Maybe we laid the foundation for bigger work later on. I started thinking about these as messy successes -in a context where so many of us are still learning to build and be in community, this stuff can be transformative too.”

Meaning things that don’t go well are part of the transformation. Things that are not without harm, that don’t come to resolution are all part of the work. And that is not going to be sort of tied up neatly. We will sort of somehow arrive in a school in beautiful British Columbia where the kids all know that that might be really far off, but it’s still worth striving for.

Jeanie: I just want to go to that school. *laughs*

Mike:  It’d be nice.

Jeanie:  I’m thinking about two things as you said that.

One of my favorite quotes from this book that I think is kind of a call to action is on page 94.

She says, “To reach a life-sustaining culture and world, we need to live it into being.”

To me that’s really empowering because I can live that into being.

She also uses, on page 88, this phrase that I first heard from Alex Shevrin Venet, which is unconditional positive regard. It seems to me like the least we can do for our students, all of our students, every single student, is to hold them with unconditional positive regard.

And that that could go a long way towards the creating of belonging and relationships that students need and deserve. Regardless of what they’re bringing with them.

Mike:  Exactly. And I think that takes conscious community-building because when you do that, and there are students that will feel like those other students don’t deserve that, if you don’t build that in, to the whole climate and culture, that this is how we do this and we’re not going to push anyone out, then you have to do it that way and you have to make sure everyone understands why. And I think that that takes a lot of work.

To sort of peel back these onions and help your teachers, your staff, your students, understand why you would not push that person out of the community.

That we are interdependent and we are, and there is the opportunity to celebrate one another. And support one another. So, yeah. Thanks for letting me talk about this.

Jeanie:  Oh, it was such a pleasure. Thank you so much for coming on and digging deep and sharing examples from your life and from your school and for introducing me to this book. I have loved it. I’m going to have to re-read it actually.

Mike, thank you for being an example of somebody who’s living this into being. I really appreciate that.

Mike:  Well, not all the time. But I’m doing my best with a lot of help from really great friends and students,  and folks like you. So, thank you.

#vted Reads: Stamped, by Jason Reynolds

I’m Jeanie Phillips, and this is Vermont Ed Reads: books by, for and with Vermont educators. Today we’re joined by Philadelphia-based educator and “Learning Maximizer” Erika Saunders, to talk about the book Stamped: Racism, Anti-Racism, and You, by Jason Reynolds and Ibram X. Kendi.

Jeanie: Thank you so much for joining me, Erika. Tell us a little bit about who you are and what you do?

Erika: Hi! Well, first of all thank you so much for asking me to join you. My name’s Erika Sanders. I’m an educator here in Philadelphia. I’ve been working in urban environment, educating for about 17 years. I’m a special education teacher and I call myself The Learning Maximizer. Because what I do is teach children how to maximize their learning. So, I’m thrilled to talk education. And clearly, this book hold very dear place in my heart. *laughs* So, I’m excited to chat with you about it.

Jeanie: I am so excited that you’re joining me. And I also just want to say you are also on the Middle Grades Institute faculty. And we’re delighted to have you as a faculty member.

Erika: Thank you. Yes, I am. That’s a new one for me. Thank you for reminding me.

Jeanie: So, I always ask this question at the beginning because I’m a librarian at heart and I’m curious about it. But: what else are you reading? Or what other books might you recommend?

Erika: Wow, that’s an excellent question. So, sort of in general? I started We Got This: Equity, Access, and The Quest to Be Who Our Students Need Us To Be, by Cornelius Minor. Which I’m looking at sitting right over there. I highly recommend that book. It’s accessible. And digestible. And yet has some pretty powerful pieces to it. For leisure, I am a huge young adult fiction fan — not to mention I worked with middle school students often — so a lot of what I read is sort of the middle school literature. So, if you want to relax and enjoy and just sit back, I highly recommend grabbing some of that really good juicy middle years literature that’s out there. Because it’s really gotten pretty exciting over the years.

Jeanie: I couldn’t agree more. Some of my favorite books are middle grades and young adult books, absolutely.

Erika: Absolutely.

Jeanie: And I love Cornelius Minor’s We Got This. I think it’s so practical. 

Erika: Yeah. When I picked it up I found that it was something that was also accessible. With my focus being Special Ed, sometimes when I’m looking at a book, I look at it through that lens. And whether or not even the formatting of it and how it’s presented is something that feels accessible to a lot of people? And there was something about this that had that feel. Where, especially around race where it can be very emotional and dense and sometimes academic in a way that’s unaccessible? When I looked at this I thought, wow, this is something that has lots of access points. Visually, how it’s laid out, how you can sort of digest pieces of it, and not feel overwhelmed. So, I’m very, very excited about that one too.

Jeanie: That’s a great lead in to this book: Stamped: Racism, Anti-Racism and You. Because Ibram X. Kendi, the co-author of this book, wrote a really dense — really, really, really dense — book called Stamped From the Beginning: The Definitive History of Racist Ideas in America. And I read about, I would say a third of it before finally I was like I can’t do this and be in a doctoral program too. That book’s been rewritten, or remixed as Jason Reynolds says, for young people in such a way that it’s really accessible, is what I found. Did you also find this to be very accessible?

Erika: I did. And accessible to young people too. And I love the way you mentioned it remixed. You know you’re really tapping into that young adult audience, and inviting them in, in a way that feels connected a bit to them. And I loved that about this book. Because these are important topics. And these are topics that often hit very deeply, in ways that we might not even realize? And can have the ability to divide people, especially sometimes, when you’re presenting truth that is hard to take if you are, sort of the person who’s *not* oppressed. You’re in sort of more the oppressor role in terms of your race or, how you identify. Not that you *are* that person, but that can be a hard thing.

And so, having that be accessible that way? And then also, on the flip side, because as an African American woman here, in the United States, there’s enough trauma, you know?  Intergenerational and ancestral trauma that, seeing it again can tap into a lot of things. From sadness and defeat… to anger. And you separate yourself.

I read some things where honestly I needed to not — quite frankly — be around white people for a little bit. Because it’s hard not to feel that. And I felt that this particular book kind of walked that tone very nicely. Where there’s almost some humorous points to diffuse some of that. And presented in sort of these small chunks that you can kind of get to and then step back from for a minute. So, I really love the way he crafted, what I considered a work of art.

Jeanie: That’s beautifully said and I think of Ibram X. Kendi I’ve read and, I’ve also read his How to Be An Anti-Racist. And he’s a scholar, right? He’s a professor and he writes with a real scholarly tone. And Jason Reynolds changes that tone quite a bit. He adds a little bit of play and a little bit of reading space.

So, let’s start with their voices.

 

Jeanie:  I should note that you and I both listened to the audiobook reading by Jason Reynolds which is amazingly read.

Erika: Absolutely.

Jeanie: I also loved that Jason Reynolds starts this book, about a conversation that we, especially white folks, we feel very uncomfortable talking about: he starts it off with some deep breaths. And some: “You got this.” 

Erika: Yeah, I was actually shocked in the most pleasant way when I heard him say, one: put it out there. You know: race, the R word. We know we want to run from that! And then he just says like,

“Okay, let’s take a deep breath. Let’s inhale and exhale. Race.”

And then right after that, it was like: “See? Not so bad.”

Again: giving the permission that these terms, this subject that’s so taboo, and so argumentative and so separating — especially in today’s world — doesn’t have to be. It’s not easy; there’s some difficult parts. And yet we’ve done that before in so many other areas. Yet we get to race, the issues about this country and how it’s, kind of gotten to where it is, and it becomes this, no, no, let’s not. So, again, making it the sort of accessible thing. And even saying, okay, you know what? We’re going to take a deep breath, we’re going to be okay.

Jeanie: Yeah. Yeah. It’s almost like this book is a way of inviting us in to say this is uncomfortable to talk about and yet so necessary. I really appreciate the framing, how Kendi defines racism and anti-racism. And then I also really appreciate this other framing, right on page three, it starts right away, that the authors want us to keep in mind these three words as we read, and they are:

  • segregationists
  • assimilationists, and
  • anti-racists.

I also love that Kendi and Reynolds start us off with some really great definitions to frame this text. And there are three of them, so I’m going to share them. They are from pages three and four.

I love how Jason Reynolds put them in this, like you said, accessible language for kids.

Segregationists are haters. Like real haters. People who hate you for not being like them. Assimilationists are people who like you but only with quotation marks. Like… “like” you. Meaning they “like” you because you’re like them. And then there are anti-racists. They love you because you’re like you.

But it’s important to note, life can rarely be wrapped into single-word descriptions. It isn’t neat and perfectly shaped. So sometimes over the course of a lifetime (and even over the course of a day), people can take on and act out ideas represented by more than one of these three identities. Can be both,and. Just keep that in mind as we explore these folks.

And by folks, I think Jason Reynolds is really talking about, all the historical figures that we’re going to follow through this long chapters of American history.

Erika: Yeah, just again: so brilliantly put, in a simplistic way. Because these are complicated concepts that adults struggle with. And have and continue, etc. So, to kind of boil it down to its essence? And put it again in these sort of everyday terms? And again I’m feeling the unapologetically sort of, Black access points. Because that’s who he is and why not make it that way, you know? “Segregationists”, “haters”. Not that other people can understand that, but I access this book as a Black woman and I’m like: yes.

I was listening to the audiobook one day in my kitchen and honest to goodness, I felt almost like the traditional church group, you know? I put my hands up while he was speaking. And I was like: “Yes! Preach!”

Because it just felt so real and living, as opposed to sterile.

Then also feeling that connection with my life because I remember when assimilation was my goal. I might not have understood it, sort of separate from myself, but it was clear that my job was to make exactly what he says: to make you all like me. Not for who I am, but for how well I present myself. And making sure, that I was doing everything *I* needed to do to assimilate and have you all like me.

And it wasn’t until I got older — and I mean *older* — easily into my thirties, forties, before that concept of anti-racists hit me as well. *I* had to come to a point as well where *I* took an anti-racist approach with my own race. Like: no, no this is me and I want people to like me for me. Not because I’ve fit into your box. Or that I’m not, making you uncomfortable. So, I connected with that where some people might not have thought the Black community could kind of see themselves through these definitions.

Jeanie: Well, I just have so many thoughts right now. One is that I really appreciate how this moves us beyond our racist / non-racist binary. It moves us into like: we can find ourselves sliding around on this continuum a little bit. And one person that Kendi and Reynolds really talk about sliding around on this continuum is W.E.B. Du Bois, right? Who, for much of his life, spends a lot of his time as an assimilationist. Wanting Black folks to sort of… emulate white folks in order to be accepted, right? And so they really explore W.E.B. Du Bois own experience as an activist through that lens, too. Like you said: these terms can apply to all of us, right? We can, regardless of our background, find ourselves somewhere at different points on this continuum, at different times in our lives.

Erika: Absolutely. There are times every day where I *need* to slide between assimilation and anti-racist just to make it. I often try to avoid sliding all the way back to the segregation because, to me that kind of does mean the hate of myself and the natural qualities that come with me. But there are moments where if I’m going to be successful in *this* moment at *this* time, so I can make it to the next step? I have to do a little assimilation. You know? And, then, step into something else. *laughs*

Jeanie: Right, right. And I see that. I see that as a pragmatic thing. My understanding, from people of color I’ve talked to, is that you can feel the need to assimilate, in order to meet professional goals, right? To like, get ahead in the workplace. That it can feel really like, necessary maybe, to get that title behind your name or to dress in a certain way in academia, or to present in a certain way. To code-switch, if you will, in order to get your professional needs met. Because we live in a racist society. And this can often be completely invisible to white folks who don’t even see it because they swim in whiteness. 

Erika: Oh, absolutely! Absolutely. I would have assumed that no white folk even understood this is what’s going on. So, absolutely good point about code-switching. Somehow, I never liked the term. I don’t know what it is about it that sort of rubs me the wrong way and it could just be my experience. I understand it, and I understand the need for it. But I mean, sometimes it’s about your job, in order to get to that anti-racist point, you’ve got to do some assimilation, and then kind of gently move yourself around. Sometimes, you’re sick of it. And you just put it out there. 

And sometimes, as we all know — and forgive me if I choke up here — you have to do it to live. It’s not even about making that job… it’s about making it home.

I have a son, and he’s an adult now, how we have those conversations about: absolutely assimilate. Don’t be threatening, because you are; you are already a threat. And, we’re back in that segregationist moment, you know? You’re already a threat, so you better assimilate, so that you can present yourself as less. So, excellent point of what you were saying. It’s situational, its moment to moment. It’s live, get home, move through your job. And for many of us, it’s something we learned so young that we navigate that world. What it does to us, on a deeper level can be — it’s trauma.

Jeanie: I just keep thinking about that survival strategy, and the survival strategy for children of The Talk, right? The real privilege as a white mother is that I don’t have to have that talk. That’s a huge privilege. That I don’t have those same worries because my son is a white kid in a white supremacist society.

One of my favorite sections of the book I think, is actually about this. And it has new language that I was unfamiliar with, and I don’t know if it was new for you. It’s Chapter Nine, page 65. I’m going to read it because I think it’s speaking to just what we’re talking about right here. It’s called Uplift Suasion. Were you familiar with that term, ‘Uplift Suasion’?

Erika: No, I was not.

Jeanie: Me neither. So, it says:

Stamped Jason Reynolds

I think what’s so powerful to me about this passage is that it’s said at the beginning of the book, in the person of history. It says that around the 1790s is really where the authors start to see this emerge. And yet I would say this is still very much a reality of how we live today.

Erika: Oh, absolutely. As you’re reading it, and I’m nodding my head, and whatnot, again, it’s just, it’s my life. It’s my life of how I was brought up. It’s how I’m trying to bring up my son, you know who’s, again, a *Black* male. So, by definition, a life-threatening presence that is worthy of being put down, the way one might…

I remember talking with my nephew as well about this, like, where else, what other circumstances, would you shoot to kill?

That this threat is so significant that it’s completely understandable that you shoot to kill first… then ask questions later.

And I literally went like: grizzly bear. Like that’s all I could think of, you’re in the woods up, upright right there is such a threat that you don’t wait to see, oh, is it friendly, is it going away from me? Is it?  And then as sad as it would be, everyone would understand why you felt such a threat. And this is my *child*.

*deep breath*

An interesting thing is that I’d never heard the term “uplift suasion” — am I saying that correctly?

Jeanie: Yeah. 

Erika: But the idea of “uppity”, which I believe this is. That’s the term. Oh, absolutely! Because growing up we were the uppity Negroes in my community; we were the uppity ones. We were everything you described.

So we dressed properly. And we went to church. No matter what our position was, we held it with grace. We defused. We would not do anything that was a perceived threat. And these things weren’t said out loud, explicitly, but that’s what you understood. I grew up distinctly remembering that I needed to be better than all of my white counterparts growing up in Ocean City, New Jersey.

If you know anything about that town, it’s very, very white, very upper-middle class, very privileged. Very Christian.  I knew right from very early on, the need to be better than. And that was how I presented myself. That was my grades, that was my activities, that was the people I associated with. And again, as we talked about a little bit getting into that segregationists where I was clearly:

“Oh, no, no, I’m not them. No, no, no, no, I’m not *those* Black people, no, no, I’m with you on that. That’s awful. No, no, I’m here. It’s okay.”

So, again as I’m listening to it, it’s one of the first times I’ve heard this kind of depiction where I’m going: yes. That is exactly it.

Jeanie: It echoed your lived experience. Do you think that students, the students you work with, students of color, still feel that need to assimilate and fit in?

Erika: I think they definitely feel the pressure to. Because I sort of hear it in different ways. And it’s interesting because, being an educator of predominantly children of color, and seeing their experiences, and knowing in a way what they’re going to need to do to succeed, and yet realizing: these children don’t know a world where the *possibility* of a Black president isn’t there. They don’t know that world.

Yet on the flip side, they know that simply being “whatever while Black” — being at Starbucks here in Philadelphia while Black, barbecuing while Black — could end your life.

And that becomes a very difficult thing for them. As I watch them trying navigate doing what we just talked about — what you might need to do in this moment to get where you need to get — so that you can do and powerfully do all these things you’re doing. 

Jeanie: Well, I’m just so aware of all of the times that the double standard continues to exist. In this current moment, I’ve been thinking about two things. One is wearing a mask in public, and the acceptability of that being very dependent on race and racist attitudes, right? And how you’re perceived if you’re wearing a face covering.

The other is that I’ve been really wondering, and I’m sure I’m not the only one, what would be happening right now if the people protesting at Statehouses about opening up the economy, were Black instead of white? And thinking about what those protests look like as opposed to what the Black Lives Matter protests looked like, right? Those were like just two really present current-day examples of sort of the way racism plays out in action.

Erika: And what I was going to say is that these are discussions that definitely happen in Black homes, in Black communities, among Black folk. Again, that word, I know in the African American community, especially here in America, you know that “folk” means something. It means lots of things. It oftentimes means your people, but it can be used in both ways, right? Like: “Folk meeting us”, and “Stay away from those folks, over there”. And I think about different terms in different communities and how it can take on multiple meanings.

But I mean absolutely. We have those conversations literally all the time. Here in Philadelphia when there was the celebration of the Eagles, finally, winning a Super Bowl which we all celebrated, although it was still during Colin Kaepernick protesting. Everything is such a dichotomy sometimes, right? But me sitting there watching people on TV climb up lampposts, destroying cars, etcetera, etcetera. And you know, my son and I looking at each other like, they would have shot us by now. As almost an offhand — and yet knowing we mean that wholeheartedly.

Jeanie: That’s a hard truth to carry.

Erika: Exactly and carried every day. I think that’s the other thing.

Jeanie: So, what that makes me think about is that this book really chronicles this idea that racist ideas were used to justify slavery and genocide *as* we colonized the nation that we now call America, right? Like, as we colonized other peoples land, racism came with us. And helped us be able to do these like, morally dodgy things: enslave people, commit mass murder. And that’s not usually how we teach the founding of this country. At all. And it’s not really what I learned in the social studies classroom, right?

So, this book kind of turns it on its head. I’m trying to think about my own experience, my own lived experience, and I would say that I think the way we often framed racism is to say, “Oh, racism comes because of slavery.”

Instead of thinking that slavery that racism came here and justified slavery. And was encoded into laws in order to do that.

Erika: I would even go a step further to say it didn’t just do it to justify. This country couldn’t work — not then, not now — without it. 

I was in college before I saw a diagram of a slave ship. And how they transported slaves. As horrific as I understood it to be — Roots was just mind-blowing in my life, when I was younger — I assumed they sat up. In chairs, or not really in chairs, but with planks. Chained to each other, which was a horrendous thing in the first place, but sitting up, next to one another, and that’s how they were transported. Isn’t that horrible? They were in the bowels of the ship and all of that. But of course they were sitting up. 

And to see a diagram where the idea of that packing? Literally on top of those, crushing those underneath. It’s the way you would do with any other… commodity.

Jeanie: So, that really interests me in several ways.

One is: I’m really wondering about how we need to prepare teachers, or what teachers need to do to prepare themselves, to teach hard history.

And Teaching Tolerance is a great source for that, right? Like they have resources on teaching, literally called Teaching Hard History

stamped jason reynolds

 

And then this concern that if we only teach slavery, like if we only teach Black History where it’s only about the trauma and the pain, and where there isn’t a real sense of agency for Black and brown folks, that’s also problematic. So I guess, I think that Teaching Tolerance talks a lot about that as curriculum violence. What do you think teachers need to be aware of if they’re going to have frank conversations about race in history and racism in history in their classrooms? 

Erika: The harsh reality is, until you understand, until you really *understand* how your very life benefits, from this thing called race and oppression, how do you have that conversation? 

One of the things that scares me the most, in terms of the damage that could be done to our young people of color is a “woke” liberal white female teacher. That to me is this.

Jeanie: Are you looking at me, Erika? It’s okay.

*both laugh*

Erika: As a group! As a whole group! You know, you’re asking the right questions. And yet, we’re all going to make mistakes. We’re all going to trip in our way here. Sometimes — again, I come very harsh from the old school — sometimes I see how that can emasculate our young men. And yet, here I am, you know, preaching that for their survival. So it becomes a very difficult, tricky thing think that I sometimes wonder what is the answer. And it’s hard because, again: starting at slavery, means we start from a point of we were always oppressed. Imagine. Imagine if we taught in this country, that we started history coming from the origin of humanity. Kings. Queens. Richest person in the world, technology, agriculture, architecture, all of the things that we admire in this world, originated, came from, was stolen from, people of color.

Jeanie: It’s like our colonialist lens run so deep that we can’t even see — gosh, I hate using the “we”. The American colonialist perspective runs so deep that it’s hard for us to see or acknowledge all of the other ways of knowing and being in the world that are of value. So, you see through this really narrow lens. And that narrow lens which came across the Atlantic with us, prescribes history in this really narrow way. And then, I think that Ibram X. Kendi and Jason Reynolds point out that our first educational institution, Harvard University, is steeped in that. Is steeped in that perspective.

So, it makes me think of all the work.

And I think what you’re calling out, and I agree, about woke white women educators is that there’s a lot of work that has to be done personally to understand our own privilege in order to be even able to have these kinds of conversations. It makes me think when I was a school librarian at a middle and high school, often, this issue would come up with students where they would be talking about race and racism, and students would often say,

“Well, my family didn’t own slaves. This has nothing to do with me.”

And I wish I had had this book at that time to help me better have language. Or help me help them understand the way it’s all connected. The way that their history, their family genealogy is connected.

Erika: And I think that’s a good point about this book and the accessibility of it. Because again, it does sort of give language that’s… more easily understood. More easily consumed, more easily brought in these smaller pieces. Because even as I’m talking to you, it just keeps getting bigger and bigger and, you’re sort of back to: “What do you do?”

And I never want to get to that point, because obviously there are things we can do. How brilliant of these two gentlemen to come up with, you know a book like this. That’s not my forte. And yet, both you and I can use this in different ways.

It’s funny you said, “understanding privilege”.  I was talking to someone about even that term and again we needed something to understand how, just sort of whiteness allows things to happen. And I was sitting there going, well, we use this term “privilege”; even that puts that perspective in a superior position. Even the word “privileged”, we tried to evolve to sort of White Frailty to kind of understand that. Actually, this is a disadvantage because the privilege that we’re talking about is a disadvantage. 

Jeanie: Yeah. That’s such a good point. I wonder what it would look like if we talked about how our systems privileged people instead of calling people privileged, right? Because that’s the point.

One of the things that I think is brought up in this book is redlining, right?

And so, after World War II, veterans were given money. My grandfather, for example, was given enough money to build a house, even though he had like a middle school education. He wasn’t an educated man; I come from a really working class people. But he bought 10 acres in Pennsylvania and built a house and was allowed to sort of settle in a certain part of town. And this is in Washington, Pennsylvania where I grew up.

That wasn’t allowed for everybody, right? Like people of color were pushed into apartments in cities and towns. And like redlining was a part of that. And it’s still something that’s ongoing. in terms We don’t call it redlining anymore, right? But there’s still systems in place that make it easier that privilege white folks for buying houses, especially in specific areas.

And so, instead of thinking of my grandfather as a privileged human, I think about the systems and how the systems disproportionately privilege some folks over others. some racial groups over other racial groups. And I think Ibram Kendi really asks us to look beyond intent to impact and to say: something is racist if it has racist implications on the population, right? 

Like if the outcomes are racist. If you can look at that and see this proportionality than that policy, regardless of its intent, is racist. I’m just playing with that idea because we use that word, “privilege”. We’ve been using that word a lot. I use that word a lot; I think about that word a lot. But I really hear what you’re saying and it’s not that white folks are privileged folks, but that the systems privileges them.

Erika: Yeah. I mean, I think we get to the term sometimes where language matters. A lot of things I see in social media groups I’m a part of as a Black person, is where we say things like “Representation matters. Being able to see yourself matters. ” Words matter too. Imagine, just imagine if we flipped it, again, the way they did in this book to say: “No, no, that’s oppression. That’s what that is. It’s oppression. Oppressive systems, put in place to keep people oppressed.

And the privilege that you have is simply you’re part of the oppressors.

Jeanie: Yes. I benefit from an oppressive system. 

Erika: Exactly. You benefit from the oppression of others, the system that oppresses. Imagine that. Imagine that’s the language that’s used almost the way. Again, they sort of flip the script in terms of how things are done. And not intentionally to make everyone feel bad badly. But this is kind of what’s going on.

So, I think one of the things that I’m thinking about now when you asked me what would it take? I do get very encouraged by the young people. By young people as they come up, being exposed to this book. Because I think it will take sort of this generational push coming from the ground up, of young group understanding more and more. Seeing it in a different way. Being educated about it in a different way. Approaching it a different way, hopefully kind of would move to a point where more people understand that this can’t work this way. 

Jeanie: I appreciate you pushing me on that language because it’s really making me think. I think our country pushes this narrative of the meritocracy. That people who are rich deserve to be rich. This whole idea of bootstraps and pulling yourself up by your boot-straps is a part of the fabric of our nation. And I think that it’s one of the narratives that makes it hard for white folks to see when they’ve benefited from the oppression of others. Because we like to think of ourselves as — and I’m going to use the language, even though it’s sexist — as self-made men, right? We want to think of ourselves as self-made men.

And I think what that does, I think it does two things.

I think it erases a lot of stories, right? Like, the stories of people work really hard and the system doesn’t benefit them, and so they still have less.

And then I think it also whitewashes folks, and I notice this in the narrative. These sort of American heroes that history whitewashes in that way. So I’m thinking not just of Thomas Jefferson; we know Jefferson was problematic, that he owned slaves, that he had children with one of his slaves, right? But also Abraham Lincoln, who we think of as American Hero, who held a lot of really racist ideas. And in many ways was still not even an assimilationist but a segregationist in his policies, even as he ended slavery.

Erika: Absolutely. Again, I grew up the same way in terms of understanding these heroes, including Abraham Lincoln among Black folk. I mean, come on, he freed the slaves, right? Like, that’s the narrative. And it wasn’t until, again, I’m certain I was out of grade school, that I understood what the Emancipation Proclamation did. Who it freed, the political strategy of why that happened. And actually, a surprising person helped me understand this: my sister’s then-husband, from Texas.

And Texas very much celebrates Juneteenth, and had in history. He’s the one who sort of helped me understand that there was something else. I was like, what are you talking about? Again: uppity, educated. And he’s like, “Wow, y’all are so ignorant up here.” I’m thinking, I’m ignorant, really? But again, because as educated folk, you start to understand these things.

I went to Monticello and I got that tour, not so long ago. And I was heartbroken in the way slaves were presented. But I was told this was a big deal. Not by the tour guides but by my cousin who lived there, because before they didn’t even mention slaves.

It wasn’t even mentioned.

And the fact now that it was mentioned was such a big deal, with this smiling glee… And they took you down to the slave quarters and they pumped in the music, and I’m just sitting there —   of course the only Black person there. I was just like looking around like I might be in The Twilight zone and they had just uncovered what they felt was a slave graveyard. But again, sort of starting to understand this and even, and bringing it forward and, telling it from a different standpoint.

Jeanie: I think this book reminded me to a year or two ago, I read The Warmth of Other Suns by Isabel Wilkerson, which is a history of the Great Migration. And so I think that there’s this common narrative, at least in school social studies, which is like: we had slaves and then the Civil War came and then we ended slavery and all is good, right? And then Rosa Parks and Martin Luther King in the Civil Rights begin, right? 

Jim Crow happened too, but I think The Warmth of Other Suns really illuminated for me, again, not a history person, the ways in which we ended slavery only for slavery to continue in other forms. In the form of sharecropping, in the form of imprisoning people for no reason and forcing them into labor camps. Right? That Black folks, right after the Civil War, in the years following the Civil War, couldn’t change jobs. Like, in order to migrate to Chicago, they had to leave at dark, and sneak away from their jobs. That’s not freedom. That’s still slavery.

And then thinking about Jason Reynolds and Ibram X. Kendi do such a good job of bringing up, bringing Angela Davis into their story, which brings really this modern version of slavery, which is mass incarceration. We’ve still got so much work to do.

Erika: So much!

Jeanie: So much. 

Erika: So much.

Jeanie: So, I wondered how you might use this book with students. 

Erika: It’s one of those books that I feel would be most, almost most effective cross-curricular.

Jeanie: Oh, I completely agree.

Erika: Right? Because everything about race is cross-curricular, you know. As you were just saying: the economics of it, the math, the mathematics of it, the socialization of it, the science, right? Come on, we were 3/5th of a person, you know. And then, even the modern science of it. How effective and how powerful would this be if teens really did understand that this almost became a *theme* book that sort of helps be the essential questions if you will, of other things that you’re teaching, for a time. That this is a unit where this becomes the fabric through which we channel everything.

You know what I mean? And really connect that. So that it can be seen because I think there is a danger I certainly experienced it, right? The danger of the sort of isolated social studies lesson of exactly what you said, right? There was slavery… and then Lincoln, yay! Slavery was over!  Then we had some Civil Rights, good, way to go Rosa and Martin — never mentioning Malcolm X, of course. And then woo-woo, if you are lucky enough to be young and then Obama. It all works. See how it all worked! A direct line!

Jeanie: Right. And so there’s no racism anymore because we had Obama! 

Erika: Yeah. And yet, we know how dangerous that is, you know. So imagine this being a cross-curricular embedded in everything that’s done.

Jeanie: I love that idea, Erika. And then one of the things I’ve been thinking about, having read this, is that reading it in a big chunk, like reading the whole thing, listening to the whole thing: it’s a lot, right? You cover a lot of history. And one of the things I wondered about is using chunks of this text along with other texts and ideas. And so, thinking about incorporating John Lewis’s March series, with section four, right? Which is through 1963, and home is where the hatred is. And then into Section 5 where Martin Luther King is assassinated, right? So really thinking about those pieces together.

And then also, I was thinking about science and what you said, and there’s a lot about the human genome that comes in in this book towards the end. So thinking about what it would look like to do a little study of this along with Henrietta Lacks. And by that, I mean, let’s look about the way her cells were used without her permission or family’s permission. And are still used in most of our cancer research!

So, thinking about how that could be cross-curricular around race and justice in science, and in social studies, and combining with language arts and reading part of that great Henrietta Lacks book. Or even thinking about their sections of this book that reminded me of Katherine Johnson and that fabulous book and movie Hidden Figures, right?  And I thought a lot about that book and movie in certain sections of this text as well, and how those things could sort of give kids a better understanding of the way that race plays out across our disciplines in society. I really love that.

Erika: Yeah, absolutely. And I know this is sort of a, I don’t know, I want to say pipe dream. But: I’ve seen it where I teach, where we serve by far the large percentage of African-American students, particularly students of color, where the proportion is clear that we are the majority at our school — and yet, we still do not present texts, literatures, ideas, even haven’t forbid 50/50, in terms of an African-American perspective or person of color perspective.

And imagine if what we’re doing in schools is flipping that narrative, so that that perspective is the forefront and that other texts are supporting that in either different views or things like that. The way we’ve taught up until this point, right?  A very white perspective that we kind of filter, and attached and maybe sprinkle a little seasoning on top of which has been our understanding.

And imagine again just to try to get things sort of in the equilibrium is flipping that. Swinging that pendulum over to the side. Even trying to spend a year where the main texts, and things that we understand things, *come* from that perspective, as being the perspective, we look through. And then, okay, now understanding that, yes, of course there are others. How do they play in, and what does that do?

Imagine the powerful generations that would come through with that. 

Everyone is a better person when you can have more vast experiences. When you can step into the shoes of someone else, when you can begin to understand someone else’s perspective. And the way this country is designed, it has been that something that we as Black people have always had to do. We *have to* understand your world. We have to understand the nuances and whatnot if we are going to succeed.

Jeanie: It just makes me think as a librarian, and I think especially as a school librarian, I think over the years there’s this narrative. In Vermont there’s a narrative that’s like, well, most of our students are white, so we don’t have to deal with this. And it makes, it makes you ask the question like

“What kind of white people do you want to raise? Like, what kind of white people do you want in the world?”

And then also thinking about the many years that teachers, maybe not just teachers but that folks assume that boys won’t read books that have a girl main character, right? Yet we assume girls won’t read books that feature boys all the time.

Then thinking about like the same thing with race, right?

Like with any kind of difference really. We are so used to seeing ourselves centered as white folks that it can be jarring at first when we start reading books that center folks that are different than us. And that’s exactly what we need, right?

Erika: When I think about what would be ideal, especially from a woman of color’s perspective — which is the only perspective I’ve had — it’s my lived experience. I oftentimes think about what an amazing educational system, from a librarian standpoint, it wasn’t: fiction… and African-American fiction.

Jeanie: Yes! Yes.

Erika: If it wasn’t history… and African-American history. If it was simply history. 

And I mean, that’s the world I hope for, which is a hard one to imagine. But I hope that we make these type of realizations, like these conversations between us. Books like Stamped. You know things that start to help us. And I mean, that’s the Royal we, right? To help us to understand how upside-down things are, because that’s what I feel like it is. We are upside down. It’s sprinkling and isn’t going to work. We have to go through the work and the hard, agonizing, exhausting almost never-ending work of even starting to turn this, right side up.

Jeanie: You’re making me think a lot about Rudine Sims Bishop. And she’s the person who coined this idea of books as Windows, Mirrors and Sliding Doors? This idea about representation. That all kids deserve to see themselves in literature, and that books can also be this window where we can see the lives of others. And then sliding doors where we can find the commonality, right?

Diversity in Children's Books 2018 infographic from School Library Journal.

And I’m thinking about we use that a lot in literature. We think about that a lot in literature. And I love the idea of using that in history as well. We all deserve to see ourselves *with agency* in history. Not just as victims of history. Some of us get to see ourselves in history that way regularly, right? But like, where do we get to portray folks in their brilliance and their agency and their power as empowered in history as changemakers, right?

You’ve got me really thinking about that. And in science and in all disciplines like, what does that look like? It feels like an important part of that conversation.

Erika: Absolutely. I think it, again, as we’ve said before that it makes it accessible and it gives a sort of entry point to have those difficult conversations, you know. And talk about representation where, I had this discussion even at my own school, where, as a person of color, as a Black woman, I see your array of books that’s very diverse on your end and I’m looking and I’m like:

“Yeah. Why is the only book that has a Black male leader about a gang member who ends up killing two people and dies himself and he’s ten. Where is that equivalent in white literature?”

Jeanie: Yes, yes, yes. 

Erika: Where’s your YA book for Jeffrey Dahmer? And it’s a true story by the way up. That book is a true story of a young man. And again: not that it’s not a powerful, wonderful piece of literature to include. But how is that the only representation? What messages are we sending? If I manage to find, a YA whatever. Jeffrey Dahmer, whoever, pick a person, but where the center person was white, troubled, killed people, and then killed himself, and then presenting that? What would that pushback look like? And yet that’s acceptable.

Jeanie: Yes, I completely agree. Not every book about Black folks need to be issue- or social justice-oriented, right? Like sometimes we just want fantasy where the main character is Black, for crying out loud.

Erika: Just a story!

Jeanie: I just want a story, yeah.

Erika: I just want a story.

Jeanie: Totally hear that. So, I feel like we should wrap this up and I wanted to end with just a little bit of the Afterward because I think it’s a nice way to close and put a, sort of the book ends on our conversation because we started with the beginning. I’m going to read a little bit of it, and then maybe we can hear some final thoughts.

I love that it ends this way with this sentence.

How do you feel?  I mean, I hope after reading this not history, history book, you’re left with some answers. I hope it’s clear how the construct of race has always been used to gain and keep power, whether financially or politically, how it is always been used to create dynamics that separate us to keep us quiet, to keep the ball of white and rich privilege rolling. And that it’s not woven into people as much as it’s woven into policy that people adhere to. And believe is truth.

Laws that have kept Black people from freedom, from voting, from education, from insurance, from housing, from government assistance, from healthcare, from shopping, from walking, from driving, from breathing. Laws that treat Black human beings like nothing.

I think that was really important for me as a learner to realize that legislation is racist, and creates racist conditions.

And I wondered if you had any last thoughts on that or on the book in general. 

Erika: I mean, do I have thoughts? Of course. It’s sort of like there’s so much, right to swirl in. I think, and kind of closing and wrapping up our discussion around this book: I want to extend gratitude. Because it takes, the saying is, it takes a village to raise a child. It takes more than a village to push against this enormous beast, if you will, of racism. It takes varied voices, and approaches. And it takes those who have been doing it for a while to be able to step back and take a breath. Because this is hard, exhausting work and have someone else, step in. 

It takes people from all views, approaches, races — to have a turn in this work. And my gratitude for someone like the authors… Jason Reynolds, particularly for his young people approach. To take up that mantle and say: hey, you know what? Here’s something we can look at.

And knowing that myself, for instance — not putting myself on their level — but, who does the work in a different way has that resource.

The gratitude of these type of different perspectives that are coming in, that are taking up the mantle that are bringing a fresh approach or, bringing a different group in? That gives me hope. Because there was a time not that long ago, that I was tired. And I was seeing the enormity of this. I had seen the changes that had happened and yet everything still being the same. And got to a point where I’m like: forget it. We’re never going to do this. How are we going to do this? We’re never going to do this.

And thankfully there are those who not only come before us, but also come after us, to say: It’s okay. It’s all right. You rest. You rest for a bit. I got this. I’m going to bring this book in. And that’s going to allow you to have a second wind.

That’s what it’s going to take. So, I have hope and meeting people like yourself who are asking the questions, at least.

I went through generations of, you wouldn’t even ask the question. People who understand this more that they don’t know then what they know. I think that’s, so important. So, the gratitude for you to be willing to have a conversation with a Black woman on a topic like this. This wouldn’t have happened — it’s never happened to me if I’m being honest.

I live in a very urban, environment and yet, so, seeing people like you where you’re saying:

“No, no,  please help me understand. I know my perspective is limited. I know that I’m going to say this maybe, not in quite the way I mean it, because I have this perspective, please come.”

That gives me gratitude. Such gratitude. 

Jeanie: Well, I’m so grateful for you for sharing your perspective. Your lived experience, your experience as an educator. Because I think this book is important, because once we know all of the ways in which race is used to uphold power and privilege and economic and political gain for some, and not for others? Then we can do something about it. Until we know, we can’t really do anything about it. So, I’m really grateful to you for taking the time to talk to me about this fabulous book. I can’t wait to hear how teachers start using it and young people to start experiencing it.

Erika: Absolutely. 

Jeanie: Thank you so much. Thank you so much for your time, Erika. I’m so grateful. 

Erika: Thank you. It’s been a pleasure. It really has. And I appreciate it all.

#vted Reads: Speak, by Laurie Halse Anderson

I’m Jeanie Phillips and welcome to #vted Reads, we are here to talk books for educators, by educators and with educators. Today I’m with Meg Falby and we’ll be talking about two books by Laurie Halse Anderson: Speak, and Speak: The Graphic Novel. We’ll also be mentioning Shout, Laurie Halse Anderson’s memoir in verse.

Lovely listeners of #vted Reads, welcome to another episode.

It is currently the first half of April, 2020, a challenging and re-defining moment for all of us. One that’s unsettling us in ways good and bad — okay mostly bad — but. But.

As we all wrestle with the pandemic and how it’s moving around and through our lives, I’m struck by how much we are all turning to art. We are turning to books and painting and crafting and making and books and music and cooking (did I mention books?),and it’s really reaffirming for a lot of us the vital role art plays in our lives. The ways in which it carries us through dark times and helps pull us toward the light.

Which brings me to this episode.

On today’s episode, I’m joined by Vermont health educator Meg Falby, and we talk about Laurie Halse Anderson’s incomparable books, Speak and Shout. For those of you who are wondering, we talk in the episode about sexual assault and its aftermath. We’re not graphic, but we will talk about emotional impact as it’s portrayed in the books.

While we’re using these books as a platform to examine how educators can talk about consent — living breathing free and thriving consent — this topic might be challenging for some folks, especially the survivors.

We want you, as always, to put your own health first and make an informed decision about listening to the episode. Whatever you decide, we’re proud of you for making it this far, and we hold a space for you to listen, or read, or paint or craft, or sing or …speak.

I’m Jeanie Phillips. I’m awfully glad you’re back for another episode of Vermont Ed Reads, the podcast by with and for Vermont educators.

Let’s chat.

Jeanie: Thank you so much for joining me Meg, tell me a little bit about who you are and what you do.

Meg: Thank you for having me, this is really exciting! I have been a teacher, this is my 18th year of teaching, a bit of a combination of what we call “family and consumer sciences”. It’s kind of a new age home ec, and my real focus has been on health education.

I started right out of UVM. I got my undergrad in family and consumer sciences education — believe it or not it exists — and I taught in both Barre Town School and Barre City School. Twelve years in and then a  job at U-32 High School opened up, which was really exciting for me because I hold this school in really high regard. And I’ve been here now for six years.

I teach 7th and 8th grade health. I also teach high school health, and that typically is grades 10 to 12. And I teach 8th grade living arts class: sewing, cooking, all that good stuff.

Jeanie: Oh that sounds like so much fun.

Meg: It’s such a fun class! Such a fun class.

Jeanie: I’m really excited to have you on the podcast! I follow you on twitter and I am a fan, but also I just think you’re going to bring a lot to this conversation about these books, so welcome. One of the things I like to ask us right away is: what are you reading? What’s on your bedside table? Because I’m always looking for the next best book to read?

Meg: Well, the number that I came up with was 17? But I think I’m now over 17. I’m one of those people —  at least in the last year — I’ve become “The Collector”. You know how there’s different types of readers? I’m The Collector and I am also a reader that has multiple books going on at one time.

Right now I’m reading this wonderful book called Beyond Birds and Bees: Bringing Home a New Message to Our Kids About Sex, Love, and Equality. It’s by Bonnie Rough and she is an incredible writer. You know, to me it’s an adventure story. She and her husband head over to the Netherlands and they bring their children with them. And she talks about just the *vast* difference between the American health/sex ed class and layout versus the Dutch. And it’s riveting.

She’s an incredible writer and there’s so much to it that I go back. I keep going back and back, so the book has literally been on my bedside table for probably six months now. And she just has dropped this little seed of inspiration to do that someday: to take my family and just go to live in Amsterdam and go teach. Or do this amazing research of what it’s like. What we are doing in America, how I am doing as a health educator and what she did.

The other one that I’m reading was actually gifted to me; it was dropped in my mail box here by one of my colleagues at U-32. It’s called How to Break Up With Your Phone. And it hits home so hard that my own self-shame around my screen time usage? Makes me put it down. And then I have to process it and think about it, and come back to it like two weeks later.

Jeanie: These both sound like books I need to add to my to be read pile so thanks for that.

Meg: Of course!

Jeanie: They both sound fascinating and useful.

Meg: Absolutely.

Jeanie: Let’s dive in! We have books to talk about.

Meg: We sure do.

Jeanie: Books, plural. I just want our listeners to know that Speak, the original novel — which was published I think 20 years ago in 1999, so 21 years ago (I remember I read it when it came out) and then Speak: The Graphic Novel — which came out just a couple years ago — follow the same storyline. And really the same story told in different formats. They are both beautiful. They’re both really incredible reads.

The original Speak was groundbreaking in that it was one of the early books to talk about sexual assault by an acquaintance for young adults. So many kids have read it. Probably so many of our listeners or adult listeners have also read it. And I just wondered if you might introduce us to the main character in both: Melinda Sordino.

Meg: Sure, so Melinda is 14 and she is on the precipice of high school and a kind of classic 8th grade girl, the excitement of what high school is going to be like… And then she experiences the most traumatic event of her life thus far, in August. And I found myself just rooting so hard for her as a young woman navigating the world of high school.

It’s funny the word, I think, how I would describe her, right? I just thought she’s a *powerhouse* of a human, at age 14. And the journey that Laurie brings us on with her, I find myself rooting for her. But you felt it. You felt the rawness of everything that she was going through, through this insanely traumatizing event that so many people, so many of my students, so many of my friends, and family members have experienced themselves.

…I think of her too, as the classic high school kid: she’s got parents that are fighting, she’s got the annoying teachers that she’s like, “What are you doing with my time, folks? This is my sacred life, I don’t want to be here, you don’t want to be here,” etc etc.

One of her relationships that really hits home is her art teacher, and this relationship that she creates with Mr. Freeman. Where it’s a struggle because art can be a struggle — and should be a struggle —  but she finds that frustration, she kind of meets that frustration, with inspiration from him, and he grounds her in a really deep way. I see Melinda in so many of my students. It’s incredible and that is in one way such a sad, sad thing but it’s also so simultaneously invigorating to know that we as humans, we can get through trauma together. We can do this.

Jeanie: At the beginning of both of the books we know something has happened to Melinda.

 

Meg: Right.

Jeanie: Slowly the story emerges, through the course of each of the books. And I’ve been thinking about it in a new light, thinking about Melinda; at the very beginning of the book, she has no friends.

She has sort of one friend who’s new, and an ex-friend, right? But she’s really isolated because of the series of events, and sort of the negative publicity she’s gotten because of her actions and — we’re trying not to give spoilers, folks. But she’s feeling really alienated and recently there was an article in The Atlantic that really hit home for me about the importance of friendships in early adolescence.

Meg: Platonic love.

Jeanie: And just *why* they’re so critical to the well-being of young people, and I think as adults we can look and say, “Oh you’re going to be fine! Who needs friends? You’re fine!” but actually kids really need friends. So she’s had this traumatic experience, this traumatic physical experience, traumatic emotional experience and then its compounded by the trauma of feeling completely alienated and unseen in her school.

And so her reaction? Melinda says:

“It’s getting harder to talk. My throat is always sore, my lips raw like I have some kind of spastic laryngitis. I know I’m messed up. I want to confess everything, hand over the guilt and mistake and anger to SOMEONE ELSE. There is a beast in my gut, scraping away at the inside of my ribs.”

And then on page 141 in the graphic novel it says:

 

That connects us very much to the title, Speak, because one thing that Melinda is not doing is talking, talking about it or talking much at all.

Meg: Right.

Jeanie: You said you see Melinda in some of your students, and I just wondered if you have any thoughts about her silence.

Meg: It’s so powerful. I think the silence itself represents fear and shame and self-doubt and judgment. I think as a survivor, she maybe uses in her mind “victimization” — she’s been victimized. But really what we see is, she survived this and I think she uses her silence as power. Because without speaking, people don’t know her story; therefore people can’t turn and blame her. There’s so much shame and internal dialogue when one is physically, emotionally, mentally taken advantage of; especially by someone who she “thought” she certainly looked up to and just *adored* as an older person.

I find it so interesting throughout the book who she elected to speak to? And what she elected to say. And how she was very selective in those words. Yeah.

Jeanie: There is a lot going on.

Meg: There is.

Jeanie: She’s reliving her trauma daily in school: because of the way she reacted during the sexual assault, kids got in trouble.

Meg: Exactly.

Jeanie: People are heaping blame and shame and guilt on her. They ridicule her in school — and then she also has to encounter her rapist at school, on the regular. So in the graphic novel on pages 148 through 151, is one of the times she encounters him and none of the adults even recognize it! Do you want to share anything from those pages?

Meg: I’m going to read.

Heather has another modeling job so I told her I’d hang the posters I made for her. Heather said that people need to see me doing ‘normal’ things around the school so I don’t make them nervous.

And in the graphic novel the artist just shows Andy’s face and his breath on her neck and he says the words, fresh meat.

Speak Laurie Halse

On page 149, in large white lettering it just says, IT FOUND ME.

Like: he’s back. How did he find me? I thought this was just a figment of my imagination. It was a one-time event that I am burying so deep inside my soul, and now he’s here? He’s in the hallways of my school, a place where I’m supposed to be safe and supported and taken care of?

So powerful. Knowing too, that in a building of over 1,000 students — in any high school it could be Vermont, it could be in California — that there are students who have been victimized. There are students who are in fact, survivors. that this very thing happens every day: they’re sitting next to them in math class, they’re in their art class, they’re in their PE class, their locker is four doors down.

Jeanie: I think one of the reasons this book, the original, was so earth-shattering in the young adult literature world was because we still have this notion that a rapist is a dirty old man hiding in a dark alley.

And here in this book, the person who has committed this sexual assault, Andy, is a really popular senior in high school. Girls want to date him. He’s like the life of the party; teachers admire him. So Melinda feels really invisible in her experience, in her lived experience. And also in her whole self. Because she’s not popular; as her friend says, you’ve got to look normal. Nobody knows her story and she’s not popular, she’s an outcast, she dresses in baggy clothes, she’s trying to hide herself.

Meg: Bites her lips, her poor lips. Those raw lips. Grabbing on to anything so that she doesn’t have to speak.

Jeanie: Yes, and so I wondered about, in the work that you do, do you have any thoughts for educators about how they might spot trauma in their students? How do they even recognize, especially, a Melinda who’s trying so hard to fade into the background?

Meg: I’m going to back up a little bit.

Jeanie: Please do.

Meg: Just to say: I’ve been in this gig for 18 years, education. The rise and the fall of what’s trendy, what’s hot, has come and gone, and I think that I want to give a major shoutout to Vermont as a whole state.

But certainly my experience at U-32 — I’ve only been here for six years — but in the last five, I would say we’ve really honored the fact that a child is a whole child, that a student is whole and that doesn’t just mean math scores, and SPARS 360 scores, but that when these humans enter this building they’re coming from a home, they’re coming from a family, they’re coming from an online life, right? An online facade… and I really honor the work that we’ve been doing around social and emotional learning. For me it’s so validating and it’s so solidifying in the work that I do in the health education class because that’s what health education is.

Health education *is* social emotional learning, with some content thrown in, certainly. The fact that I live in a community and teach in a community where we’re honoring that and saying, “Algebra II scores are not going to increase until we talk to these kids about their mental health.” We are not going to have kids reaching for AP classes or we’re not going to have kids passing college prep classes if 17 hours a day out of 24 —  heck 21 hours out of 24 they are wrapped around a fully engaged in how many likes they just got on their Instagram post. Why that person left them on Read on snap chat.

They come into my space; and they come in and maybe I’m playing music and we’ll have like an RP circle prompt that’s kind of funny or I’ll rip a joke or something. That learning objective at the bottom of my board? Where it’s the “I Can” statement? They’re not buying into that. Even in my class. I’m not trying to make myself sound special but when that student is fully engulfed in relieving trauma or processing trauma or dealing with trauma from parents, whether its trauma that their parents have gone through… learning doesn’t happen.

So you have to say, listen learning objectives: I see you, I respect you, I know that this is my occupation and that’s why I’m getting paid, but until you say, we’re going to focus on who we are as humans first.

To get back to the question of how you connect with these students that are our Melindas and our Michaels and our everyone in between? You get to know your kids and that is for some of us easier just based on our personalities, but I think that even watching and working in a high school with physics teachers and art teachers. We’re really supported in the work we do at U-32 to create restorative circles where we start every class, I start every teacher advisory, I start every class. It doesn’t need to be formal.

Like yesterday, with my middle schoolers it was: what’s your favorite flavor ice-cream?

And then I try to write them down. To keep track of *them*, not their answers.

I did ice-cream on Wednesday, so on Thursday I’m going to ask them one of their insecurities — and they *always* have the right to pass. But it’s amazing.

You start off with ice-cream ones, right. You start off with the nice and easy, mild-flavored salsa and then you can get yourself up to questions that really can uncover some of the things that these kids are going through.

Jeanie: So what I’m hearing from you, Meg, and I really want to check, is that: it’s not about spotting individual trauma, it’s about creating spaces that are trauma-informed. That take into account the lived experiences, the emotions, the whole child and all of our students. And that welcomes their whole selves in. It creates levels of support, sort of safety nets, structures through relationships.

Meg: That’s it, it’s all about relationships.

Jeanie: What’s interesting to me is that you sort of mentioned, without all of those relationships and emotional support kids aren’t going to learn. And throughout the graphic novel, Melinda’s report card shows up in various iterations. I’m on page 251,  and it says, “My report card. Student name: Melinda Sordino, Grade 9.

  • Social life: F
  • Lunch: D
  • Clothes: F
  • Spanish: D
  • Algebra: F
  • Social Studies: F
  • Biology: D+
  • English: D+
  • Gym: D+
  • Art: A.”

And there’s so much of what you’ve just said there; like, at the top of her list is really social life, lunch and clothes.

Meg: Right.

Jeanie: I suspect that’s a lot for our adolescents. And then at the bottom, the one course she has an A in, the one thing is Art. And she has this relationship with her art teacher. She feels seen by him. She doesn’t tell him her story, he has no idea that she’s been sexually assaulted, but he engages her on who she is on the inside a little bit.

Meg: I think one of the connections with Mr. Freeman, her art teacher, is the fact that she sees him as a human. I think that they have created this safe relationship because she sees him as not just a teacher who comes in at eight in the morning and checks out at three. He’s creating his own art in front of the kids. He’s also ruining his own art in front of the kids, going through the whole process. And I think that’s huge.

I think when we as educators  — with boundaries, clear lines and boundaries, that we are still the teachers —  but when we as teachers can talk about being human, and what that looks like and feels like, before we get to our learning objectives? You’ve got them. You’ve got your audience. Because when they respect you and they know that you’re human, they see it in themselves and then the learning happens.

Its authentic learning. Because when you are authentic with your kids? They are like dogs. They know when we BS, they know when we’re trying to crank through a lesson really quick because we want to check off the box because we need to get the proficiency.

When you step back you say, “I want to do another circle, let’s do another circle, I want to actually get to that.” Or: “We’re not going to get to this today. We’re going to hold off until next class.”

Jeanie: Inviting the full humanity of ourselves and our students.

Meg: That’s it.

Jeanie: It occurs to me, too, that there are two things happening for Melinda in both the graphics novel and the original novel, two barriers that are getting in the way for her to talk about her assault with a friend, with her parents, or with a trusted adult. And I’m curious about you and your expertise around this. One, I’m wondering if a lack of quality sexual education, sex ed, is getting in the way of her even being able to have the language to talk about what happened to her.

And then I’m also really interested in when, if and how we talk about consent.

Meg: *Yes*.

Jeanie: In schools, with our own personal children or with the children we are entrusted with in our settings as educators. So I wondered if you want to speak to either or both of those.

Meg: Sure, I’ll speak to both of them. I’ll start with the first one: did you notice what class was missing on her report card?

Jeanie: Yes. There’s no health.

Meg: And I won’t get on my soapbox and I won’t be the squeaky wheel that I have been for 17+ years, but I think that having a space and a trained, certified professional — just like our English and our math teachers — is very important. To have health educators, from pre-K through graduation.

I am biased and I understand this. But I believe there’s no other space in a student’s day, where you’re just talking about life the whole time. You’re talking about real life scenarios. You’re using case studies, you’re talking about experiences that they’ve maybe previously already had or they will have. Because life in a body encompasses all of health education — it just does.

I say the word “pre-K”, but I’ll tell you as a parent, as a mom to a three-and-a-half-year-old and a six-year-old, the conversation around consent can never happen too early. Ever.

And I think and I try to reframe it as, I call it “everyday consent”: if I want a swig off of your water bottle, I’m not just gonna grab your water bottle. I’m going to say hey Jeanie, can I have a sip of your water? And Jeanie is going to say, Meg no, it’s cold season!

And I’m gonna respect your answer.

Just as if I wanted to copy your math homework and you say: no This concept — and I know someone before me has said these words but the term that I try to live by that I have taught my children and that I teach my students is:

Ask first, and respect the answer.

And you take that into everyday life, around this idea of consent that there’s two people or more people figuring out what works for you, and what doesn’t work for you. I think most of us — and I don’t want to bring gender that much into it — but I think a lot of young women (and women as a whole) are “yessing”. They’re saying yes when they truly don’t mean it. I don’t want to take on writing the front page of the newspaper. I have too much going on with my other classes but you know what, I’m going to say yes, because I don’t want to make too much work for other people. I’m going to say yes so that I don’t let anyone down.

Jeanie: Regular listeners of this podcast and people who know me will not be surprised that I’m going to bring up compliance culture. I’ve been thinking a lot about — and I am not guilt-free in this — I’ve been reflecting a lot on my years as an educator and as a parent, and thinking about the times where for convenience or efficiency, I just needed my son or my students or my to comply. I’ve been thinking about how the persuasion, the pushing for “please just do this it will be easier for all us” is actually teaching the opposite of consent.

And I’m wondering how often in schools we are un-teaching consent in the way that we force for lack of a better word, certain behaviors or decisions on our students. Because usually it’s about time.

Meg: Exactly.

Jeanie:We feel rushed. Like we have to do a bunch of things and we just don’t have time to get there on your own time. Or it’s about convenience and this notion that — I think I thought this as a new educator — that my classroom should look compliant.

Meg: Right.

Jeanie: And so I’ve really just been thinking about the way compliance gets in the way of things. It gets in the way of self-direction but it also gets in the way of understanding that my body is my body and I get to consent or not.

Meg: Absolutely.

Jeanie: And that other peoples bodies are their bodies and they get toconsent or not.

Meg: Even as early as two days on the planet.

Jeanie: Yes.

Meg: Talking to our students and modeling us as well, it’s really important that body sovereignty is taught as soon as they are out of the womb. There’s been a lot of press on this, this idea of respecting the fact that little Mera doesn’t need to go give grandma, grandpa, uncle, aunty a hug, if she doesn’t want to. And as the parent of this toddler, preschooler, I need to ensure that they know that she has body sovereignty.

I’ll tell you: just last night, my six-and-a-half-year-old son when I asked him?  I snuggled, and we read. I sang some songs, I tucked him in, and then I asked him, can I give you a kiss? And he said no thanks

And then my heart broke and I cried on the inside, and I gave him a hug, instead. He said, “Hugs and handholds, that’s it. That’s all I want now.” And I’ve gotta talk the talk and walk the walk. It’s got to happen.

Jeanie: I wondered, Meg, if you would share with us any resources or ideas you have about teaching consent? Especially to middle schoolers. And I’m really thinking grade say 4 to 12.

Meg: Absolutely. I was lucky enough, I can’t tell you how many years ago, I was asked to be part of what they’re calling the Vermont Consent campaign.

I wasn’t one of the creators but I was an educator and I was asked to look over this curriculum that could be used. It’s literally called the Vermont Consent Campaign. And one of the pieces that I’ve used, I think, with my 5th and 6th graders,  but piggy-backing on a puberty lesson, once you’ve gone through the basics of hygiene and body growth development, and  kind of checked that box — I would always move into just healthy relationships. Friendships, parent relationships, ‘‘dating relationships’’. One of the definitions on the handout that I’ve given to my students for years now, is that their definition of consent means, quote:

“At the time of the act there are words and physical actions indicating that everyone freely agrees and really wants to do the same thing.”

Checking for consent is a process, that each person needs to keep doing. I’ll bring it back to the water bottle example. If you say no on Monday, I might on Tuesday say, Jeanie how about that water now, I’m still really thirsty! In which I’m going to assume Jeanie is going to say, Meg, it’s time for you to get a water bottle, do you want me to show you where I got mine?

And teaching the fact that, yes people can change their minds at any time. Let’s say you did say yes on Wednesday; it doesn’t mean on Thursday I get to take a swig of your water bottle without asking.

Jeanie: If I handed you my water bottle right now, Meg, (I don’t know where it is but) if I handed it to you and then as you were putting it to your lips I say, “Wait a minute! Didn’t you tell me you have a cold?” and I took it back…

Meg: Yes! Is that consensual? Of course it’s not. Because, as humans, whether you’re a one-year-old or a 112-year-old, you have the human right to change your mind at any time. And one of the things that the Vermont Consent Campaign does so beautifully is they basically lay out these five components, and they say that before you engage in any type of sexual activity, you have to have your partner’s consent.

The five pieces are:

Number one: Sexual consent can only be freely given — keyword *freely* given if there’s a sufficient balance of power in the relationship.

And that brings in the age of consent. We talk about that, we dissect the age of consent is 16, however, in the state of Vermont there is, I call it the high school clause (I could be making that up) but if both partners are between the ages of 15 and 18, they can legally consent any type of sexual activity.

The second piece is that both people–

and wherever I teach this I ask my students to envision a middle school relationship or even like a freshman relationship, okay?

Sexual consent can only be freely given if both people are aware of the consequences of sexual activity, both positive and negative, and they know what will happen next.

Meaning there’s been decisions around protection, there’s been decisions around birth control if someone has a uterus. There’s been a conversation about what type of touch is okay. Both people understand what it means for them to be in a relationship together. And gosh isn’t that really hard to think about a 14-year-old having these conversations!

And what is the difference between a 14-year-old and a 16-year-old mentally, emotionally–

Jeanie: Developmentally.

Meg: Developmentally, yes.

The third piece is: it’s safe to say no.

Consent can only be freely given if it’s safe to say no. If, in the back of anyone’s head there’s that little voice that creeps in and says: gah, but they’re going to post this, they’re going to post something on a group chat about my body or they’re going to tease me or they are going to put pressure on me, everyone is doing it, I told you I loved you — with ANY of those, it still has to be safe to say no.

Number 4: If you say yes, you can change your mind at any time.

You could be intimate. You could sexually be very, very intimate with a person and if your internal working, your gut feeling is that, this isn’t right it has to stop. And your partner has to honor that. Nobody wants to be with another human that doesn’t want them to be there! I’d like to think that. I want to have great faith in humanity.

Jeanie: I’m the mother of a son. And I’m a feminist. And I have spent a lot of time in my now 20 years of motherhood, thinking about the kind of son I want to raise and my values. We’ve talked also in the past, (he’s all grown now, he probably would be modified to hear me talk about this) but enthusiastic consent.

Meg: Absolutely.

Jeanie: The importance of enthusiastic consent. And one of the things that I’ve been thinking about — a friend drew this to my attention — is the Ted Talk about the gendered way in which we talk about sex with our children.

Meg: Sure.

 

Jeanie: There’s a tendency to talk to boys about sex in a way that it’s “Pf course, you’re going to want to do this, it’s going to be fun”. But then we talk to girls about it as if it’s not going to be fun.

And so I think that ignores both various kinds of masculinity and femininity, and also so the fact that girls already are given a message that its probably not going to be fun, or that you shouldn’t have fun. Or that you’re a slut if you have fun.

Meg: It’s going to hurt, you’re going to get pregnant, and you’re going to get chlamydia.

Jeanie: Right. That its dangerous for you and that it might not be fun — I think also muddies is the water for experiences of like, “Was I raped? I had never expected it to be fun…” That internal gut feeling that you’re talking about of like, this doesn’t feel right — I think we often give the girls a message that it’s not supposed to feel right.

Meg: Yes.

Jeanie: I think it’s a really important concept to think about, the nuanced ways in which we gender sexual experiences and talk about it differently. Not even “we”, but the media. The stories that are told, widespread about who gets to have fun, who doesn’t, I think muddy the waters for consent just like our lack of understanding, the bits and parts.

Meg: That’s it.

Jeanie: And the whole picture of sex ed.

Meg: To come to full circle of this role of alcohol.

Jeanie:Yes please.

Meg: Talk about muddying the water! And in fact that fifth piece? The 5th component that the Vermont Consent Campaign identifies is:

The only way sexual consent can be freely given is if both parties — all parties — are not under the influence of anything.

If someone is drunk, if someone is high, if someone has popped some pills? That prefrontal cortext of decision-making, it’s not kicked in, right? In particular with alcohol. And so with Melinda chugging down those three beers of which she admitted to hating the taste, but she knew I’m sure, right after that first one went down, she felt the effect of “Wow, this is a little freeing, I feel kind of good!”

Jeanie: Less awkward.

Meg: “I’m not awkward in my skin!” There’s a question for the high school component of the Youth Risk Behavior survey that asks students what percentage of them had been under the influence of alcohol or drugs during their last sexual experience and I’m going to have to go on and get the exact number, but it’s there.

Jeanie: It’s staggering!

Meg: I wouldn’t say staggering,  but it’s a really good place to jumpstart a conversation with students. One of my students said to me years ago, the words “liquid courage”.

And I said tell me more about that without using personal stories.

And he said, “Well, I think we are all just really awkward, Meg, and I think that anything that we can do to just kind of loosen up, and also” —  this is pretty poignant — “anything that we can do to help support the bad decisions that we make later in the night, we’ll take it.”

So this crazy concept of hookup culture and of this one night thing of: “I’m going to get wasted and I’m going to hook up with that rando who is in my Chem Lab, but I’m going to go to that crutch of alcohol and say I was so wasted, when the gossip mill starts. ‘Did you hook up with…?’ I don’t even remember, I was so wasted!”

It’s what some of these students are turning to as an excuse. For Melinda, I think she was using that liquid as a way to just feel “normal” or like, okay for a minute.

Jeanie: Like she fit in.

Meg: Like she fit in. I think the bigger conversation we have to have with our youths is alcohol! And the American culture and what is has done and how it’s just like bread and butter. You go to a party, you eat food and you drink, any adult party, take the ad lessons out of the picture, look at our adult culture and think about how hard it is. I don’t know if you have ever experienced this but how incredibly challenging it is, even as a level-headed adult to say the words “no thank you” even after someone has offered you a glass of wine at a dinner party.

“Oh you’re not drinking? Oh what’s wrong, are you pregnant?”

Like, I’m well adjusted, I’m a health teacher. No thanks, I’m not interested and I’m practicing inter-personal communication, I’m practicing setting boundaries. But what if I was 14-year-old Melinda? Would it be as easy? Of course it wouldn’t! But we don’t accept no; as a culture we hate being turned down.

Jeanie: I think this leads to our next question related to the book. There’s expectations of who we are — I was a nerdy high school kid who didn’t drink in high school and so I had to live with labels like “prude” (and I imagine that probablyisn’tthe word kids use nowadays.)

Meg: Oh they use that word.

Jeanie: You get labeled when you say no thank you.

Meg: Exactly.

Jeanie: And probably as an adult too: “killjoy”.

Meg: Killjoy, buzz kill.

Jeanie: Now, we talked about Andy Evans, our rapist in the book, he projects one kind of masculinity sort of a dominant kind, the kind we think a lot about.

Meg: Certainly.

Jeanie: But David Patracas offers this much different version of masculinity, and it’s quite this contrast. I know that you run a group for boys to talk about masculinity, and I just wanted to invite you to talk more about that. Because I want us to really think about both masculinity and femininity as a continuum and not even as mutually exclusive but as many ways you can be in the world. So I want to invite your expertise.

Meg: Yes! It’s in its first year, this group is called Nuts and Bolts ( I’m going to give a shoutout to my loving partner and husband for coming up with that creative name!) It originally came from Teen Health Week. And on Sexual Health Day — Teen Health Week is five days long, each day dedicated to different realm of health — one of my colleagues said Hi Meg,  why don’t we offer spaces like just-for-gals, just-for-guys and I think we had “non-binary-pals”. Just to ensure that we are  honor space with an adult where you can just talk about freely what’s going on in the world of being a girl, or in the case of Nuts and Bolts, being a boy and what masculinity means.

It was an incredible response. We had about 25 or 30 boys sign up for the offering.

So, total Peggy Orenstein fangirl. And through reading a lot of Peggy’s work through this Health Week I started to think: we are losing the boys. I’m losing the boys, we need to get the boys. And we need to make a space that we can talk about it all. This group meets twice a month, it’s the first and third Friday of the month, it’s a 45 minutes band of time, I went into it with great detail and I reached out to some of my amazing twitter folks that are out in Chicago and California that are doing the same very work just to not to reinvent the wheel her, but when the rubber actually met the road and I started advertising it to say, hey it’s a callback with Meg. Meg, our female-identified health teacher is going to run a masculinity group!

I reached out to my male teaching partner and reached out to some of my male colleagues. I and said, hi! Wouldn’t it be wonderful if I can facilitate a group — and I will ultimately be the fly on the wall — but  a group of young men can create a Q&A session with males in the building to talk about what it’s like to be a man. And to talk about women and what masculinity means to them.

Jeanie: I love this so much. How is it going?

Meg: It’s fluid, like one week I could have eight kids and the next week I could have 20. It’s always this open invitation to say, it works in your schedule, with your call back schedule come in, if you’re not feeling the vibe within the first five minutes then you’re always free to leave.I t’s just that kind of: you’re in control of whether or not you want to be here or not.

And one of the first times we got two really amazing colleagues here at U-32: JB Hilferty and Nick Holquist  JB teaches middle school and social studies and Nick is an English teacher at the high school level, and they created these questions.

I’ll give you a couple of examples.

I prepped them to say:

“If you had free reign and were able to ask a group of U-32 teachers, coaches, and staff members anything about masculinity and about being a man, what would you ask them?”

I created this Google Doc, and I sent it to the boys. I wouldn’t say that they *all* wrote back, (they certainly didn’t) but it was really interesting to see what types of boys took the lead. And we had questions like:

  • What were some of the stereotypes that you grew up with about being a man?
  • How has life changed, from being an elementary school boy to a high school young man?

And in this case both of our first interviewees, JB and Nick, talked about being a dad. They talked about getting married and how things changed and shifted for them as they started to put on different hats.

It was so powerful to just watch the boys. They were so engaged, you could hear a pin drop. But the fact thatit’s such a wide range of boys, you’ve got boys that are acting, you have boys that are doing hip-hop classes, you have boys that are playing football, you have boys that identify as gay.

Jeanie: This is bringing me such joy.

Meg: It’s really awesome! It’s really awesome. Let’s take a space to talk about what healthy masculinity can look like.

Jeanie: Yes, you are a wealth of expertise and resources and I know you’ve got a ton of listeners that Meg has provide this huge list of things were going to put in the transcript, so you can follow up and think about how this impacts your work with students, whether you are a health educator or not or whether it’s about your relationship with your own children.

Meg: Absolutely.

Jeanie: One last questionI want to ask you before we touch on Shout, which we haven’t discussed at all yet.

Meg: Sure.

Jeanie: How would you use Speak, either the graphic novel or the regular novel, in the classroom?  How might you use it?

Meg: The beauty of it is that it is used in our 9th grade English classes. Students have a choice. And the way that I was involved in this is that the English teachers invited me in. It was one of the first times I had worked collaboratively, kind outside of my health silo, if you will. We didn’t really dig into the book a lot. They asked me to come in and really unpack consent. Because at least in this school, most high school students are in their sophomore year when they take health, sophomore or junior year, and so having the opportunity to go in and talk to a group of freshman about Melinda’s story and Melinda’s rape and the lack there, of consent. And like I had said the life components that we must have and the age of consent — it was just really powerful.

Jeanie: Yes.

Meg: And I think it’s really great for our students to see that there’s so much overlap with so many of our subjects, like I’m in my English class and I’m reading this book , that’s Meg, she’s the health teacher. And I brought it up separately in myown high school class, when we go through the basics of healthy relationships and covering consent: how many of you in 9th grade in your humanity class read Speak? It’s the majority of our students, even if they’ve taken their own time to read it now with the graphic novel, which is so incredible.

Jeanie: I love the graphic novel and I was reluctant because I love the original. Back when I read it it was new. And when I read the graphic novel I was shocked at how it hit me with the same force and power, even though I knew the story.

I think one of the reasons I want to pull in Shout, which we haven’t talked about yet, which is Laurie Halse Anderson’s memoir, written in verse (a book I just adored with all my heart) is that it just came out. What’s important is that Laurie Halse Anderson wrote Speak without ever talking about herself. It took her 20 years to come out and say, actually that book was about my personal lived experience.

It’s a testament to the shame we carry when we are survivors of sexual assault. The way that it’s not always but for many people hard to talk about. We grapple with it for years and years and years.

When the time was right, Laurie was ready to share this and to share her own personal experience through verse. And I think that’s really powerful for kids to see somebody come out the other side and be willing to talk about it, to speak up, to shout about it from this platform.

But also there’s a lot in here about healing. What it looks like to heal from sexual assault. Because Speak is really about the pain of sexual assault.

And in Shout, we really get to see Laurie Halse Anderson share how she got through it in the long run. And I thought I just share one poem from this just gorgeous book, this one is on page 24 and its called “chum”.  I think it’s related to many of the conversations we’ve had.

Speak Laurie Halse Anderson

This really resonated for me.

I think Laurie Halse Anderson and I are not the same age, but I am closer to her age than probably you are. And sort of the culture that I grew up with was: boys will be boys. When I was in middle school I lived really rurally, and I felt very afraid of the young men in my community, in my rural community.

And I went from a free, whirlwind girl who went out on her bike or hiking in the woods with such great freedom in my body to being a little bit afraid and avoiding things that I used to do, because I might run into the neighborhood boys who might ridicule me, who might make me feel threatened. I don’t know if there are pockets of that culture that still exist, but that poem brought back all of those feelings, all of those emotions — those remembrances of staying in the shallow end — back for me and in such a real way. And if I were to use this in the classroom I would be tempted if not to read all of Shout with students, then to at least isolate some poems to compliment speak.

Meg: You’re inspiring me and I will.

Jeanie: You’re inspiring me! We’re having a little mutual appreciation party going on here, and we’re running out of time. I could talk to you for days.

Meg: I agree.

Jeanie: I wish I could! You all should see Meg’s classroom, with the most tremendous ,wonderful picture of Lizzo.

Speak

Is there anything else you’d like to share with us, Meg, before we wrap up?

Meg: I just want to thank you. This has been one experience! Thanks for doing this work, thank for finding me on twitter, thanks for the twitterverse.

Jeanie: You’re hard to miss on twitter! Thank you for all you’re doing with students, for all the ways you’re making me think, and for all the resources you’ve shared. It’s been such a delight, I’m so excited about this episode! Thank you Meg!

Meg: It’s been my pleasure, thank you.

#vted Reads: Guts, with Lindsey Halman

I’m Jeanie Phillips, and welcome back to #vted Reads, the podcast for, by and with Vermont educators.

And I? Am still here.  As are you.

Now, we recorded this episode with our lovely friend Lindsey Halman back in February 2020, a time that at this point feels almost like a long-ago Camelot, or perhaps as the late great Hunter S. Thompson put it, “that place where the wave finally broke, and rolled back.” It’s the end of March — same year! — and so much about what we do, and how, and where, has changed.

But not the why.

In this episode, we talk about a book called Guts by Raina Telgemeier, and a lot of what we discuss centers around what the main character learns about herself and her body’s reactions to anxiety.

So first and foremost: if you’re not in a space for that right now, I *completely* understand. Put it down. Go meditate. Bake cookies. Take a walk with a child in nature. Listen to 99% Invisible instead.

But for everyone who’s sticking around (and those of you who eventually make it back from the nature walk), thank you. Thank you for being around, and thank you for staying around. It’s okay to feel whatever you’re feeling right now.  It’s okay to be overwhelmed, it’s okay to be anxious. But if nothing else, this period in our history has shown us that when the going gets tough, #vted gets tougher. (Y’all commandeered *the buses* for delivering food! The buses!)

Anyway, the work has always been hard, and now it’s just hard in new ways. Ways we’ll find our way around together.

Now: let’s chat.

Jeanie Phillips:  I’m Jeanie Phillips and welcome to #vted Reads. We’re here to talk books for educators, by educators, and with educators.  Today, I’m with Lindsey Halman and we’ll be talking about Guts by Raina Telgemeier.  Thanks for joining me, Lindsey. Tell us a little bit about who you are and what you do.

Lindsey Halman:  Sure. Thanks, Jeanie, for having me.  I was a middle level educator for 15 years and my heart is always with young adolescents  Those were my people. And I currently am the executive director of Unleashing the Power of Partnership for Learning –also known as Up for Learning.  So I have the privilege of working with schools across Vermont.

Jeanie:  Excellent.  Well, I’m so excited to have you on the podcast.  And you brought this book to my attention: Guts. Although, as school librarian who’s worked K-6 and 7-12, I have to say Raina Telgemeier has been a big hit with my previous students for many years.  And her books were always hard to keep on the shelves. Always books I had to have multiple copies of.  But I’m really excited to talk about this one. Like Smile and some of her other books it’s a memoir, told in comic or graphic form.  And I wondered if you introduce us to the Raina in this specific book.

Lindsey:  Sure.  So, I should also I mention that I’m a parent. That’s probably the most important piece! Parent of a nine year old.  o, this book really resonated with me and my daughter as we read it together. So, I just wanted put that piece in there. And so Raina, the author and Raina, the character, we see her between 4th and 5th grade in the story. So, she is nine. And she describes herself as nervous, self-conscious, shy and quiet. Except when she’s with her close friends, Jane and Nicole. And I would say that that’s maybe what people when she’s in school are those qualities of just maybe being shy and quiet. But she has so much more to her.  She’s a Girl Scout.  She’s an artist.  She loves to draw, create comics.

She’s an older sibling; she has two younger siblings. She lives in an apartment with a family of five. And her family feels very well connected and supportive of one another, both in the sense of they live in a tight space and so they’re sharing and in close quarters. But also they are sharing and in close quarters as in their relationships. So, they have very supportive relationships with one another.

Jeanie:  Yeah. I love that you bring out that she may appear one way in school. But then in her family and in her friendships outside of school she shows up in a different way.

Lindsey:  Yeah. She even says like, in the book on page 11, she says like: “I was a nervous kid, self-conscious, shy, quiet. Most of the time.”  And I think a lot of young adolescents, including myself when I was that age, could really connect with that, because you have your people. And her people are Jane and Nicole. And at lunch time, at recess, when they’re laughing and sharing food and reading comics together, that’s where she kind of can take off that armor and be her true self. That’s when knows that her people love her for who she is.

Jeanie: Yeah. Yesterday morning I read this piece from The Atlantic about the importance of middle school friendships. Why they matter. And that really makes me think of that article and the way middle school friendships impact our resilience and our capacity to learn. And the way our brain functions, especially for young adolescents.

Lindsey: Absolutely. I mean, I think it’s, both you get the feedback from your friends: you can try out who you are and who you want to be, and get that feedback. Just both forming your identity and getting the feedback. But also then, you know, having those close connections where you feel like there is an outlet for those thoughts and feelings. Thoughts and feelings you can’t share with any other outlet. And I remember that as a young adolescent, and I now can see it as a parent. Just the different ways that we show up both in our different parts of our lives and where our true authentic self comes out.

Jeanie: Well, speaking of authenticity, this is just such a middle school book. It’s set in middle school — early middle school really, but there’s all these changes and transitions and gross-out jokes and friend drama. And I wondered if to you, as a middle school teacher, somebody who’s been a long time in middle school, if it feels authentic to you?

Lindsey:  Yeah.  It definitely did.  So, number one it felt super authentic to me. In the book on page eight, she says: “Fourth grade was pretty much one long gross-out contest.” And I just remember that experience. And I can reflect on what my daughter is experiencing now.  But I also can reflect on what they’re looking at.  Like, there’s a group of kids  in the cafeteria looking at, it looks like Garbage Pail Kids. And so I feel like maybe Raina and I might be around the same age! And so I can kind of relate to some of the things that she incorporated here too.

So absolutely. Like, I’ve fourth through eight grade in my career as an educator and I think she really captured it in many ways. They’re on the cusp of puberty and they’re just kind of figuring out, like, “Is it still cool to do this?”

And there’s also that sense of like wanting to be friends with somebody but not knowing how to do that.

I think we see that sometimes with Michelle, who sometimes says things that can rub Raina the wrong way and make her feel like maybe Michelle doesn’t care for her.  But in all reality it seems like at the end it’s really trying to figure out who are your people and how do you connect with each other and how do get people’s attention and–

Jeanie:  Michelle is a classmate.

Lindsey:  Michelle is a classmate. Yes We find out at the end that Michelle is also dealing with her own physical ailment as well. And that’s been hard for her and no one knows that. We learn that we all have our stories. We find out that Michelle’s in the hospital because she had surgery on her intestines.

You learn that everyone has their thing. Their story.  People are all dealing with stuff. And we don’t always see it on the outside.

So, for Raina, this idea that she’s dealing with anxiety. It’s a real issue. And right at the time where she’s at, that’s where we start to see anxiety in our youth as well, coming to the surface.  It’s right on the, you know, cusp of puberty where anxiety often really starts to show itself.

It starts to feel like: “What’s happening me? Because I was fine before when did all these things.  And now, I have a hard time going to school because I’m worried I’m going to get sick” Or because I’m worried about standing in front of my peers and sharing information or a number of things. So the worries can start to consume young people. Just like for Michelle, it was physical ailment.  And it was consuming her in a different way.

Jeanie: So, one of the things that came up really for me in reading this book is not only is anxiety emerging for some young people, right?  And they’re dealing with that? They’re also just trying to identify it in the first place. It shows up in all of these different ways. And I think it’s so much harder to struggle with something that you don’t know what it is or you think it’s just figment of your imagination. Part of the process of maybe becoming less anxious is just naming it in the first place.

And so I wondered… I guess what that makes me think about is: how do we show up for young people when we are not sure what they are dealing with, they’re not sure what they are dealing with, anxiety looks like all these different things, it’s not really our job to diagnose them–  And so, I guess I am just asking what’s the best way for us as adults to show up in classrooms with the potential of having anxious students?

Lindsey:  Yes, I think that’s a great question. Statistically I think it’s one out of five young people have an anxiety disorder. We *all* have anxiety, it’s part of the primitive part of our brain. Worries are important to have because it helps us remove ourselves from dangerous situations, in our primitive brain. But it’s when the worries start to take over and impact our daily life, that it becomes a greater concern.

And just like you said Jeanie, it can manifest in so many different ways. I think what ends up happening is that, as adults, sometimes we are quick to jump to labels like, oh that’s a tension issues or that’s you know, resistance to work or that’s this or that’s that …and that’s not really okay.

Because as we see with Raina, it can look like so many things. It can look like avoidance. It can look like feeling sick.  But it sure can manifest in a physical way.

It can also get in the way of relationships which I think we see that with Raina in her friendships, because it’s starting to consume her. So I think we need to be really careful as adults in recognizing that:

  1. there is a lot of young people in our classroom that are experiencing this and,
  2. that it’s going to look different for every individual.

Someone in my life once told me when someone has for instance diabetes, we know that they need to take care of themselves in a certain way.

The same thing for anxiety. If you have anxiety, a major part of your life is impacted by this particular, I don’t know if we call it illness or…

Jeanie:  Condition.

Lindsey:  Condition, right. And just like diabetes, you treat yourself in a certain way. You take care of yourself. We need to recognize there are ways we can get a handle on our anxiety, and support all of our students in that.

There is one thing when she begins therapy with her therapist Lauren and I really loved that relationship, because Lauren teaches her just basically her key mantra to her is: try.  Because Raina says, there are all these thoughts in my heads and that manifest in all these feelings in my body. But sometimes articulating what it is that’s causing those thoughts and feelings is really hard. And Lauren coaches her in just this idea of try.

The other thing that I loved and this really connected me to a colleague and friend Anya Schaunessy, who does a lot of work with schools throughout Vermont. And thinking about a whole-school restorative approach. And mindfulness.  She has her own poster, her own mantra — two feet one breath. If we can just, when we start to feel those feelings or think those thoughts, put our two feet on the ground and take a deep breath. You can feel a complete change in your body.

And that’s reflected in what Lauren shares with Raina as well. She just says put your two feet on the ground and take a deep breath. And Raina ends up sharing that with her classmate as a strategy at the end of the book as well.

Jeanie: This makes me think so much about how trauma-informed practice is good practice for every student…

Lindsey:  Absolutely.

Jeanie: It feels like a mindfulness practice in the classroom. It’s good for every student even if we are doing it in a way to help our anxious students, our anxious learners.

I also was really interested in the relationship Raina has with her therapist, which is one of the ways that she is taking care of herself.

#vted Reads Guts

Jeanie: I am going to turn to pages 112 and 113 because there is a lot going on here. Jane says to Raina, how come you are late for school so much?  And Raina to her close friends says, she thinks in her head because I go to therapist. And then she also imagines that Jane might say, why?  Is something wrong with you?  Are you crazy?

So, instead of having that because of that fear she says, I can’t tell you. Which puts a barrier in their friendship. But also that word, “crazy” gets thrown around a lot usually in ways that are insensitive or offensive to people with mental illnesses.

And so there is a lot going in here, her fear of telling somebody that she is seeing a therapist.  This word that sort of is unkind and it’s used maybe and then also just like the stigma attached to being in therapy.  And I wondered if we could just talk about that?

Lindsey:  Yeah, I would love to. Well the first piece that comes to mind is that, here is her closest friend, her BFF, you know. The person that knows her better than anyone you know, of all of her peers and she can’t tell her this thing. It makes me think of like, okay if you broke your leg and you had to go to physical therapy? Or if you had, I don’t know physical illness, you needed to go to your pediatrician or your doctor, and someone asked you where you were? You would not hesitate to tell them.

So, it’s frustrating to me as both just a human and as an educator that there is such a stigma with therapy. And that this is most important organ in our body — our brains, right? And then there is so much going on and it impacts everything we do, and that we can’t just be opened about the idea that therapy is really important. Just like if I broke my leg and needed to learn how to use my leg in the proper way again so I could be as mobile as possible?

Therapy is essential for those that experience anxiety disorder.

And so, the idea of this word crazy also really doesn’t settle with me either Jeanie.  Because what does that even mean? You know? And when we say people are crazy we have these pictures that come to mind that aren’t even accurate.

Jeanie:  Okay.  One of the things that I wonder about as a lover of books, as an avid reader is Raina is telling her memoir? And kind of imagine that that was the thought that she had, in that time, in that place, at that age. I’m not really criticizing her use of the word on the page necessarily; that might be her authentic experience.

But I’m also wondering about how we might talk to kids about why we might not want to use that word or how we might even talk towards those about why we may not want to use that word.  And I think about, oh, the fabulous Rebecca Haslin talking about how a friend called her out — called her in — for using that word.  She said, do you realize how often you use that word?  And I have been noticing my own vocabulary.

Lindsey:  Me too.

Jeanie:  I use “guys” a lot and I am trying to stop that.   And I have just tried to be more aware of the language I use and the impacted it might have regardless of my intent.

Lindsey:  Yeah, absolutely. I agree with everything you just said. And I agree that also Raina probably, that’s the way she felt at the time. Like, I don’t think there is anything wrong with her putting this in her story at all.  I don’t think it’s really important, to like have that there because that is the stigma that’s attached. And then you worry that that’s how people are labeled. Like, why are we giving folks labels that are not even accurate?  And so, I think that it helps at the end: the girls at the sleepover party are sharing some really personal information.  And it’s time for Raina to share and she puts it out there.

That feeling of like, okay, I can let, take off the mask and truly be authentic and real and show up. And she tells them that she goes to a therapist. And they are like, oh my parents go to a therapist. Oh, my brother goes to a therapist. And what happens in that scenario is it normalizes therapy, you know, the idea of going to a therapist. Which for those that experience anxiety really supports them in understanding that that is a normal feeling, that it’s okay.

And then, that’s one last thing that you have to worry about is being, once you start talking about it and being real with people, you start to realize that it allows other folks to be real, too. Like you. And I think with students we need to be having these conversations. We talk about all different other, you know, impacts on us as far as our health and well-being, but we keep for some reason, anxiety and depression as very taboo topics still in our society.  And I just wonder how we can make them more accessible and just part of our natural vocabulary. Because if one in five student in our classrooms are showing up with an anxiety disorder? That’s a lot of folks in our classroom that might be having similar experiences to Raina did.

Jeanie:  It makes me think about how shame thrives in the dark.  Right?  And talking about it brings it out to the light. And so, Raina has been carrying this shame that really – it’s a burden she need not have carried.

Lindsey:  Right, there’s other burdens that she’s carrying.  We all carry burden but shame is definitely not one of them. And once, I think that it feels like from the pages what I can feel for Raina is that once she was able to really share her story with her peers?  It probably offers some light to her.  You know, that lightness both in her body and in her way that she can walk through the world.

Jeanie:  I think it’s really obvious to me now that it’s important for this book to exist in the world.  And so, I think it was important for Raina Telgemeier to share her experience.  But I also think it’s just important for those kids – those one in five that you keep mentioning to see themselves in this book. And I wondered if you wanted to talk about that?

Lindsey:  Yeah, I really think we need more stories like this. And that is the beauty I think in many ways of Raina Telgemeier’s work is that, I just remember like you said, the books in the library because they were always on the table in my classrooms.  I just remember all the copies of Smile and Sisters and now Guts.  They’re always being carried around like these are essential text for young people because (a), they are accessible and (b), they really resonate in the sense that, hey I have had those feelings too.

And there’s like some takeaways as well! Like, okay so Raina worked through it in this way. Here’s some strategies, maybe these will work for me. And that, seeing yourself reflected on the pages, which I think is just the beauty of all books is like, it just gives you that connection that there’s other’s that are experiencing similar things. That you are not alone. That there is others that have these thoughts, feelings, experiences and it’s a way to share that.

So I feel really grateful to Raina Telgemeier for sharing her story.  It’s not an easy story to share, as we know, when you are sharing your personal experiences. I think that this book could potentially become a really important one for young adolescents in the sense that it allows them to have open conversations about anxiety.  And other mental disorders or illnesses that impact themselves and their peers.

Jeanie:  Yeah.  I think we both are unanimous in our agreement about that. Now, there is another book that Raina Telgemeier has written more recently that maybe *isn’t* the story she should have told.  And that’s this book, Ghost. It has encountered some really critical feedback.  And it concerns me because I suspect it’s on the shelves in our Vermont schools because once you have an author like Raina Telgemeier, you buy every book.

So, I want to talk a little bit about Ghost. And why we might want to think about its place in our collections, and how we might to students about it. You’ve read Ghost recently?

Lindsey:  I have, yes.  And when we had talked about this conversation around Guts, we had both agreed that there is, you know, that that was something that would be really important to center in this conversation as well.  When I went back to do some further research preparing for today, I stumbled upon a PSA that group of students, I think they were fifth and sixth grader, created at their school on Ghost and the idea of cultural appropriation.

Jeanie:  Before we talk about their PSA, could we just give a little over view of Ghost.  I think it’s about two sisters who move to the coast of California. And their neighbor. Do you want to pick this up?

Lindsey:  Yeah.  One of the sisters has cystic fibrosis.  And so, the climate where they move is much more – is a much healthier climate for her to be in as far as her ability to move throughout her life.

Jeanie: So, the two sisters’ move to the coast of California and their neighbor Carlos become a friend and they start exploring with him. Then he takes them to a nearby Spanish mission. And that’s where the story really starts to go array *despite* Telgemeier’s best intentions.

Lindsey: Yes. So, I think what ends up happening young people like to explore kind of the spooky side of things and the mysterious part of life. But what ends up happening is that there’s a lot of exploration around Dia de los Muertos and the interpretation of what that is becomes very much like the American Halloween — which it really is *not*. And there was a lot of feedback to Raina and her book around the fact that it was really not representing both the holiday itself and how it’s celebrated and/or experience.

Jeanie:  One of the things that interested me — and Debbie Reese, in particular, has a really wonderful post about it — is that mission are colonial institutions that were designed to do a very specific things. They were designed to “convert” Native people, right? And there’s a lot of pain and there was a lot of violence done in missions.

But Telgemeier presents the mission as this happy place and this Ghost as happy place. And Debbie Reese really asks the question: “…Really?” To sort of… sanitize, the mission on the page? Is also problematic.

Lindsey:  Yes. The idea of forcing assimilation to the dominant culture is really problematic too. So, we lose an entire narrative of an entire group of people —  many different groups of people — who are impacted. And I think from what I did afterward was go to Raina Telgemeier’s site just to see like what did she have as an author’s a response? Because when you’re an author, you’re putting your thoughts and feeling out in to the world. And there’s going to be critique in many different ways.

Telgemeier recognized that this was all huge learning opportunity for her. That she had her story: she grew up in San Francisco and experienced things in her dominant culture that lens.  Yet she recognized that this was a big mistake. And that she learn a lot a from the experience. So, I appreciated reading Raina’s letter.

Jeanie:  So, I think that’s really interesting! Right now as we’re talking, there’s all this saga about the novel American Dirt, which is a Mexican immigration story, migrant story written by a white woman.  And I’ve been following that because I’m really interested in #ownvoices stories, story written by the people who share identities with the people they’re writing about, right?

And so, one of the things that’s made me really think about is well — several things. One is that how easy it is as a white person, as a person that’s a part of the dominant culture to not notice that dominance of your own culture. It’s like the water we swim in: fish don’t recognize the water they are in, right?

Lindsey:  Right.

Jeanie: And so it’s hard for us to name it.  And I think that’s a trap that is really easy to fall in to when you’re part of the dominant culture.

Lindsey:  Yes.

Jeanie: So thinking about American Dirt has made me think about being an educator. Myself as an educator. And it has made me a little bit uncomfortable because I think about how often I was in front of group of students and I was interpreting their behavior and their words through *my* lens without ever actually questioning my own accuracy. I do tell stories in my brain about what’s going on for my learners.

And it has made me really like think about: how do I challenge myself on those stories? Who do I need to talk to see those students more clearly?  So… I don’t know. Those are very much thoughts in progress that I’m still grabbling with and wrestling with.  But these books where authors tell stories that maybe aren’t their own or include elements of stories that maybe aren’t their own or that they can’t fully understand as white people have me thinking about my own whiteness and how it shows up in spaces.

Lindsey:  Yeah. Absolutely.  And so, a number of things like just the going back to Guts, how you know, the story that we might tell ourselves as educators about how the student showing up when they’re experiencing anxiety and we’re calling it that they don’t care about learning or — we put this labels on them.

Jeanie:  They are hypochondriac or…

Lindsey:  ADHD or ADD.  We throw around a lot of labels a lot and we don’t know.  So, how do we get to know? That’s, I think, a really important piece to also being a white woman: what are the ways in which I can truly understand the learners in front of me? The folks which I spend my day with, if I’m in classroom. That’s the thing: we need to be taking time to share stories. To truly understand, to sit down and have time to connect. It comes back to that relationship.

If you’re not – if you don’t really have those deep conversations with your learners and the youth that you’re working with, to truly get to know who they are and you know what is their experience, what does that mean for them and really having opportunities for everyone to hear from each other? Then we end up creating these stories in our head and interpreting them in our own way. And so, whereas Raina had this experience growing up in San Francisco, and maybe you know, this was her experience. Well, she just erased an entire experience for many, many people. And I think we need to be cautious as educators, as white educators to not erase those experiences in our classroom every day.

Jeanie:  And I need people to help me do that.  Like, I need folks to challenge my assumptions. And in many ways I think, probably the author of American Dirt and maybe even Raina Telgemeier had editors, had people, to look at their work and help them think about it but maybe they weren’t the right people.

Lindsey:  Yeah, I agree. I feel like when I first started teaching this idea of cultural appropriation? I didn’t know what that really meant. I feel so lucky that we now have folks like Debbie Reese and many other scholars and thinkers that in a movement this idea of the movement of our own voices? I just wish when I was growing up that that was present.

You know, so, I think about that when I read books with my daughter.  And we can talk about that.  So, in many ways, even reading Ghost, like do i think Ghost should be removed from my library?  I don’t think so.

That PSA that I saw from these fifth and six graders? They made a whole PSA on cultural preparation and how it shows up in Ghost.

In their library, they put up signage around the books so that people understand that this book: you might really enjoy it, it might resonate with you in some ways, *and* it’s really important that you now investigate it through this angle, too.  I think that is a deeper learning opportunity. That when we can say I read this book *and* I know that it shows sign of cultural preparation.  I want to learn now more about *this* story too.

So what’s the story that’s being told? What’s the story that’s not being told? I really think that’s reading in a really different way, a really critical way of reading books. It elevates just the deeper levels of thinking that we can do with our youth when we’re reading texts. And I don’t think it is necessarily to say we need to remove all these books.  But we need to now look at these books critically.  Who’s showing up, who’s not?  And then what is this idea of cultural appropriation?

Jeanie:  So, I think that’s a tremendous opportunity to really think deeply about literature and about storytelling.  And I know that there are some folks doing some really interesting work around that.  Christy Nold is doing great work in her classroom and around whose stories are we telling, and whose are we not. Marley Evans is doing amazing work around that.  I’m sure there’s so many of you out there in Vermont schools doing that work and we appreciate that.

Lindsey:  Absolutely.

Jeanie:  I’m going to tell a story from my own experience. About another Raina Telgemeier book: Drama. Drama has been around…  Let me just look at the publication date on this book. Copyright 2012. About the time that I move from a K-6 school l to a 7-12 school this book was out.  And it came out after Smile. Smile was a big hit, actually.  And in the district where I work this book was on the shelf at the local K-6, as it should be.

Drama is a delightful story.

And in it, listeners, two boys smooch.

Kids love this book and I think it’s an important part. An important growing part of collections that represent gay and queer folks across age ranges. From picture books up through young adult novels.  But what happened, and I was no longer at the school, but what happened was a parent complained about Drama.  And the book got removed from the shelf, from the library.

Lindsey: Oh.

Jeanie: And the librarian there and I went wrote a letter saying waaaaaait a minute, this book belongs on the shelf. It belongs on the shelf because we have gay students or students with gay family members, gay friends. They deserve to see their realities on the shelf just like every kid does.  Every kid needs this book in the library.  And the decision was to pull the book.

This is the part I really want to share.

One of my gratitudes of Raina Telgemeier is that, the superintendent made that call without following our library policy.  Librarians, you know you have these policies about the selection of books, right? And those policies should — and I hope do — include what happens when a book is challenged. Because one family complained? Is not enough to pull a book off the shelf.

And so we took that policy to the superintendent in a meeting and said look the policy says this. The policy says that a parent or member of the community has to make a written complaint about the book and explain why.

Then you have to form a committee. The committee has to read the book, right.  Like you don’t get to make to not read the book and decide it doesn’t belong on the library shelf. The committee has to read the book and they have to decide.

And so the superintendent did agree, thank you very much.

The book went back on the shelf and the family got to agree make a written complaint. Well they didn’t.  And so I think they didn’t make a written complaint and so the book just stayed on the shelf.

And I think it’s up to us, librarians, educators to stand up when something gets pulled because two boys smooch.

Lindsey:   Oh my goodness. The idea of censorship you know in a library and just the fact that one person had a complain. I’m sure if we all went into a library there be one book that maybe it doesn’t resonate with us or doesn’t align with our values? Or more!  And at the same time it’s a really important book.

There’s so many important books. How can we censor what’s in a library? And we know that Raina Telgemeier resonate with so many young adolescents and young people.  For me as an educator, I had young people that struggled with reading, yet they found themselves in Raina Telgemeier’s books Smile, Drama, Sisters.  And those were their books, their go-to books.  And just to see the fact that a book would be removed because one it doesn’t align maybe to one person’s values?

I’m really happy to hear there is good policy.

And I wonder also if when that group of people come together to read the book to decide whether yes it should be indeed in our library or not?  If that group involves youth.  And whose making those decisions about what shows up in libraries and what doesn’t show up in libraries?  And I think that’s where we then find educator having classroom libraries that are reflective of their students and beyond, in offering diverse stories.

Jeanie:  So that rings true to me.  I agree that young people belong on those committees.  I don’t think they need very often because I think once people feel like they have to put something in writing, they reconsider.

Lindsey:  Totally.

Jeanie:  But it does also make me think about gatekeepers, right. Like, the gatekeepers is the people that keep books off the shelf and the people who condone books to be put on the shelf. Most school librarians, most librarians, read reviews to determine which books to add to their collection. And I wonder what reviewer said about Ghost and the importance of Debbie Reese’s voice in providing a counter review, right? And then I also think about there have been some studies done that some reviewers will label certain books as controversial.

In a way that keeps those books of the shelf of keeps librarians who may be don’t want to put themselves out there in that way from purchasing those books or keeps teachers from reading them as class reads. A lot of times those are books that are about the experiences of LGBTQ characters. And I just I guess again asking us to bring that critical lens to what we think is controversial and how our own assumptions and biases are embedded in that.

Lindsey:  Absolutely.  Yes I think I am so, I feel really grateful when I was in the classroom to have had a [school] library that really offered so many different stories and perspectives for young people. And when it didn’t, I made sure that those books were in my classroom library.  And I feel really grateful to have a town library — I live in Jericho [VT].  And Jericho Town Library? Just a shout out to Lisa at Jericho Town Library.

Jeanie:  Lisa Buckton, you rock.

Lindsey:  Amazing and she has just, she gets it.  Like she is one that you know we can go in there at any point.  And my daughter can just find a book that just and so many new books that resonate. And also shares so many stories that might not actually represent the culture of Jericho. Big surprise! And offer a lot of those windows into the stories of others as well as those mirrors, you know. Where we can find ourselves in the pages as well.

Jeanie:  Shout out to Rudine Sims Bishop for giving us the language of Windows, Mirrors and Sliding Doors. We appreciate the way you help us think about literature in that way. And a shout out to librarians, for all that you do to provide diverse books and stories and experiences for our young people.  And to help them become critical readers of those stories and develop that capacity to really look at stories both fiction and non-fiction with a lens towards whose story is being told and whose story is missing.  And what does that tell us about power.

Lindsey:  Yes and I would just also added for educators just to when exploring literature in our classroom.  Just to always ask that question whose story is being told and whose story is *not* being told.  And I think there in itself offers so many different opportunities for folks to show up and be authentic and share their own experiences. And be critical thinkers  I mean, I think we really are pushing our learners to think differently about literature.  And I felt just really grateful for that.

Jeanie:  And ourselves.

Lindsey:  Yes.

Jeanie:  Lindsey, that’s an excellent way to end, thank you so much for being my guest and waiting into this very messy conversation about Raina Telgemeier’s books.

Lindsey:  Yes, thank you Jeanie.

Guts Lindsey Halman

#vted Reads: The Standards-Based Classroom

I’m Jeanie Phillips and welcome back to #vted Reads: books by, for and with Vermont educators. Today is a little of all three, as we welcome instructional coaches Emily Rinkema and Stan Williams to the show. They’re the authors of The Standards-Based Classroom: Make Learning the Goal, and have been working on implementing and assessing proficiencies at Champlain Valley Union High School, in Hinesburg Vermont.

Proficiency-based education is something of a hot topic in Vermont.

In 2013, the Vermont legislature passed Act 77, which required schools around Vermont to implement personal learning plans, flexible pathways and proficiency-based learning for students in grades 7 through 12 by 2020. That. Is. Now. (Or at least it was at the time of recording.)

Anyway, Stan and Emily are old hats at the proficiency game, and their book is a valuable resource for working with educators who are new to proficiencies, especially as they relate to assessment.

This is #vted Reads: let’s chat.

 

Jeanie: Thanks for joining me, Emily and Stan. Tell us a little bit about who you are and what you do.

Emily Rinkema: We are proficiency-based learning coordinators. That’s our current title, in the Champlain Valley School District. We have been in this role but with many different names for approximately 10 years, I think, now. We also teach.

So, we’ve been teaming together as humanities teachers for 22 years, a long time and we still teach a course together now at the high school. We each spend half of our jobs at the high school supporting the continued implementation of standards-based learning, and the other half of our jobs are now at the middle school, supporting the implementation there.

Stan Williams: Yeah, we’ve taught from the ninth grade core program to this job and are now teaching a course called Think Tank. So, that’s been our fun new challenge.

Emily: We also about two years ago, wrote the book for Corwin, and since then we’ve had the opportunity to work with a lot of schools and districts not only in our state but around the country. And then most recently even internationally working with a few schools. So, that’s been really amazing to see how different school districts interpret the same principles of learning.

Jeanie: Yeah, I went to a workshop with some of the teachers I work with that you two had, on proficiency-based learning or standards-based learning. And one of the questions I know you must hear and that I hear all the time is:

How long will it take before we get there?

And what I’m hearing from you in your role as coaches in this work is that it’s not a one and done but it’s an ongoing process to getting there.

Stan: Yeah, I think that any time if you actually ever think you’re there, there’s probably a misunderstanding, because I’m not sure there’s ever going to be a “there”. But yeah, that’s one of the big things that we’ve had to grapple with and that especially adults, as educators, have to grapple with. The fact that it is *not* “here’s the box, open it up, take it out, and now you are a standards-based teacher!” And I think that’s often what the thought is” give me the program, give me the answer, and I’ll do it. Or: give me the sheets and I’ll do it. Which is not the case.

I think that also is one of the things that leads to some difficulties. People will look to change the grading and the reporting, but then not get to the fact that it’s the instruction, it’s the assessment — it’s all the work in the classroom that needs to change as well.

So yeah, I think that’s the biggest part of our job, probably, dealing with that other part.

Emily: Yeah, it’s really changing the fundamental beliefs about teaching and learning. I think we often hear teachers will say, “Oh, it’s another initiative coming along,” and thinking that we can have some professional development around it and we’ll just add it to our bucket of other initiatives.

But it’s really changing the foundation of learning.

It’s not adding strategies or practices on to what we currently do. It’s actually *shifting* what we currently do, which takes a long time and a lot of mistakes, a lot of iterations — before we start to feel like it’s effective.

Jeanie: It feels to me like it’s a mindset shift. And that if you shift your mindset in this way, then what you realize is that there’s always room for growth.

Emily: You know, it was funny we were just talking about mindset versus skill set yesterday. And there’s a lot of research that says that in any large second order change, you need to shift mindsets first — before you can actually start to see any positives or start to change your skills?

When we change mindsets… prior to actually being able to support the new mindset? Then we can run into some real problems. So, we’ll see teachers who will shift their mindsets about teaching, so that the idea is: learning becomes more important than teaching, right? So, what students learn becomes much more important than what we’re actually teaching, because it’s irrelevant if they don’t learn what we’re teaching. But if we don’t change the systems and structures of our classrooms and schools to support that new mindset, then very quickly that mindset runs up against a wall.

Jeanie: So, what I’m hearing from you is a chicken-and-egg kind of scenario where we need a mindset shift, but we need the skills that support that, but we need the skills in order to have the mindset shift.

Emily: *laughs* Yes.

Jeanie: It seems like they go hand in hand.

Emily: Easy.

Jeanie: I can tell that you’re both systems thinkers by the way the book is organized and particularly the thing I admire about the book is that you are proponents of backwards design and you organized the book that way, that as you begin with articulating desired results and developing KUDs (“Know, Understand and Do”) and learning scales and learning targets, you also create learning scales and KUDs and targets for your readers.

And I found that to be so powerful. You’re not just talking about what you can do in the classroom, but you’re modeling what it looks like as you developed your book. And I wondered how that emerged. What inspired you to organize the book in that way?

Stan: Yeah, as far as I can remember, it started as the planning structure and an organizational structure we had developed kind of categories and learning targets and skills for our work with the faculty and for the faculty at CVU.

Again in thinking if we were going to try to help lead adults to use learning targets and skills, then it made the most sense not only to have them experience that, but for us to work on that and refine what we’re really looking for. And so I think at first we really used it to [ask]:

  • What would we say about these things?
  • What would we say about this?
  • What do we have to talk about this?

And then again, it quickly became apparent that, wait a minute, this makes the most sense as far as the organization. So, I’m not sure it stayed in organizational strategy for long. I think it pretty quickly became the book itself? But I think that is how it began.

Jeanie: I just have such deep appreciation for that. I detest professional development that doesn’t walk the talk. Like, I really dislike sitting in professional development sessions that are disingenuous, I guess. It feels like to me like: do as I say, not as I do. And the one that sticks out for me the sort of counterexample that always is in my brain is many years ago, sitting in a very large school cafeteria with 150 other teachers learning about differentiated instruction… in a way that was completely undifferentiated. Pot meet kettle, right?

Like that was the height of hypocrisy for me. And so I just had this deep appreciation as I started engaging with the book in how you treat the reader as learner, right? And how you respect the reader as learner and use the structures that you know work for good learning, with the reader. So, kudos for that.

Stan: Thank you.

Jeanie: One of the questions that I have as a reader and I really have been using this work with districts I’m working with, and with a district in particular that I’m working with — they’re reading it and it’s been a great tool for us in helping them to develop the skills they need to make the shifts — but one of the things that I still question, or I still have questions about, is the congruence of this with personalization. Like how do we leverage KUDs and learning scales to… sort of, meet the other pillars of Act 77, flexible pathways and personalized learning?

Emily: I’ll start with I think there’s a big misunderstanding, misconception, that standard-based learning is standardization. And that couldn’t be further from the truth.

Unfortunately I think in some places, those are a little closer together than others, so it can sometimes get that bad name. We’ve taken an approach in our district of using skill-based learning targets. And our content is communicated through KUDs (as we have in the book), but what that allows is a lot more freedom and flexibility. So, we know what our end goal is, but how we choose to get to that end goal is where we can have a lot more flexibility.

I think it provides us a lot more autonomy, but also for students so we have a lot more flexibility about what content we use, what content we go into depth with different students?

There’s a greater opportunity for students to design their own learning, because we can head towards the same outcome, but they can propose how they want to get there.

Stan: Yeah, I think in reality when we look at a couple of the seeing that in the classroom, a couple of examples again. For instance, I think in our Think Tank class.

Students have common learning targets — four to five — that we really use throughout from the iterative process to summary of multiple resources to use of media and some others. But the idea is though, in our class we have a common theme about improving education and learning and engagement within our school district? But they allow us to let students personalize based on their, based on kind of their wants, their desires, where they get kind of drawn into the class and into the reasoning.

And so what’s great is you can have students working on something around standardized testing or something around the architecture of school or the arrangement of classrooms or around mental health or around wellness or around starting a student congress. And all are focusing on the same learning targets and scales? But with really ideas and issues that they care about and that they’re able to go with.

I think the other thing we found is that with, as Emily spoke to, with the transferable ones, that great help for differentiation.

When we first started this years ago, when we did 10 years ago or so we took a sabbatical that was focused on differentiation. And one of the first things we came to was what people were trying to differentiate tended to be content and second to be: are you getting the answer right or wrong? And that was pretty difficult because that’s where you get a lot of people. Yes, people were slowing down because we were waiting for other people to get it right. And so that’s when we realized we needed these transferable targets and scales.

And then, you know, again, now we’re coming back to I think the need for more and more training with differentiation. But yeah, I think they go hand in hand with the personalization.

Emily: I think there’s also a misunderstanding about personalization a lot of times? That personalization is just allowing students to do what they want, when they want, where they want, how they want. And I think that standards bring integrity to personalization. So educators can ground the personalized work in particular skills or skills that a student chooses, but I think it reduces the risk of the sort of fluffy personalization that gives personalization such a bad name?

So, just as I think the standards-based practices can get a bad name when they become too rigid. I think they offer a really nice balance to each other. Without personalization, standards-based learning could be pretty… regimented. Could be pretty… well, standardized. Which is not what it should be. So I think they need each other.

Jeanie: You’re making me think a lot about how we talk about personalization, flexible pathways and proficiency here at the Tarrant Institute.

Which is we think of them as not separate but as like DNA strands wound together.

And so I think in order to provide flexible pathways, you have to know your students well. In order for those flexible pathways to be meaningful, you have to know what the targets are.

And the proficiency-based system helps you develop flexible pathways that matter, and that’s what I’m hearing from you as well.

Emily: Yeah, absolutely. I like the visual of the DNA strands.

Jeanie: Yeah. And that leads me to your section on summative assessments. And so I really one of the things that I’ve noticed as I — both when I was in a school library and I was designing proficiency-based units of study, and collaborating with teachers in the design of proficiency-based units of study, but then also as I coach teachers now — is using this kind of a framework, the backwards design framework with the learning targets first, allows you to find where misalignment happens, right? Like where your instruction is actually not instructing on the things you’re assessing on and is not related necessarily to your targets.

And I think there’s this big a-ha moment that happens for teachers the first time they do this where they realize, “Oh! I’m not… Wait a minute, this doesn’t always hang together well.” And so I really love that about your framework and I wanted to know, specifically as we work with middle school students about: how do we do what we were just talking about, which is use these learning targets and these learning scales, to open possibilities to young people for how they show what they know what they can now do. It’s a convoluted question.

Stan: Yes. Funny, the word that comes to mind obviously when you talk about that is “intentionality”, right? And I still remember years ago I think when we first started this, we were at a Carol Tomlinson workshop. And at the time I believe she was introducing or focusing on the KUD.

And I still remember, like you said, the a-ha moment as she was talking about and kind of had a calendar under it and was showing how this was the time they were going to address this and then they were going to have time to get into this understanding, this understanding is where they were going to use this content to drive this understanding and that oh my gosh, like, this is so much more intentional than, “this is going to be a unit on X” or “this is going to be a unit on Y”.

And so I do think that that intentionality is such a huge part of this. And I think that’s the thing that’s probably hit us the most, is that intentionality that does get driven from that summative and from that endpoint.

I also think that there are times where that summative is something that’s predetermined? But then there’s also that time where that summative is around a concept. It’s around an idea, it’s around a theme. We know the targets that we’re going to be getting at to get to that, or how they’re going to be demonstrating some of the skills at the end, but that there can still be plenty of choice around what that summative looks like.

So, I think that is one of the keys is: do we know what are the skills we’re going to try to get better at within this unit? But then, how do we have flexibility at the end and along the way, but if we’re talking summatives, how do we have flexibility at the end to allow students to demonstrate those in different ways?

And again, I think going back to what Emily was saying earlier, that standardization is where I think sometimes that it’s a misunderstanding.

Again, it gets back to what we said in the very beginning; it is not just a grading mechanism.

It is not that now I’m going to take the old test that I have always had and I’m just going to change how I grade it and I’m putting a one through four on top of it rather than an 87 on top of it.

We still see that happen and I think that’s where programs, schools get in trouble is they try to is just a conversion. And so but that’s where a lot of our work is, how do we make sure that our summatives are driving our work forward and that the summatives are opening up the learning rather than kind of narrowing the learning?

Emily: That was very well said.

[laughter]

Jeanie: It made me think about my own growth as an educator and when I shifted over time from, — I’m getting vulnerable here — when I shifted over time from sort of a checklist approach of “your slideshow will have this many slides and it will have this” right? Like this checklist approach or rubric approach to scoring work to thinking about what the learning is, right?

And what I love about learning targets, whether you use them in a learning skill or a single point rubric, is that there are so many different ways to express that you’ve learned that? And that’s that opening I think I heard from you, Stan? Instead of that confining — you must have three sources, you must list five descriptive words about your topic or whatever it is, right? The date of birth and the date of it, like silliness. As opposed to like, what’s the real skill we want kids to be able, what’s the real thing we want them to be able to do?

Emily: One interesting change with summative assessments and our own teaching is I think in the first 10 years of our teaching, our summatives looked almost exactly the same. And that was the intent, right? So, we had a clear idea of what this would look like whether it was a kind of conventional test where we actually literally wanted them to be the same because we wanted the same answers, which were the correct answers. Whether they were essays that would come in and we would, you know, have a stack of 100 essays and those looked almost identical to each other and they might have selected different evidence, but our requirements were so strict that they pretty much looked the same.

Now, since we shifted to a standards-based classroom, I can’t think of a time when we’ve had any summative assessments that did look the same or that we wanted them to look the same.

Stan: No, and what’s funny about that is, I can think back to when you’re teaching in the ninth grade and you’d have 110 students and you were getting 100 and then — going back to the vulnerable pieces you’re talking about — you’re getting 110 of the same thing. Try grading 110 of the same thing as we all know, right, what that does!

And I remember a few years back Emily saying to a group of people how she looked forward to getting summatives in now because it was exciting to see. And I remember a laughter from some of the people.

But that’s absolutely true there is now there’s something so exciting because you’re getting all these different, you know, whatever it happens to be products that you’ve been working with and helping along the way, but there’s personality to them, there’s a voice to them, there’s an individuality to them and a uniqueness to them, which makes them exciting to see and to learn from rather than kind of feeling obligated to go through. So, that has been a really fun shift from our end.

Jeanie: It’s interesting to me because I’m a doc student now here at UVM. I’m in the education policy leadership studies program and I have this professor, Kelly Clark Keith, who’s really interested in other ways of knowing and other ways of being, right? And so she’s really pushing us to think about that you don’t have to just choose the standard research model, or the standard way. We could do our dissertation in the form of a poem if we wanted to, right, like she’s really encouraged. (I’m not going to do that. Nobody wants to read my poems.)

But and so I’m taking a class with her this coming semester called Modes of Inquiry. It’s really about thinking outside of that box and honoring other ways of knowing. And being and it seems to me when we open up summatives and give kids possibility and choice, we’re honoring the many ways of knowing and being there are. As opposed to forcing everybody to conform to one way of knowing and being. And I there’s just something really… caring about that. Sorry to take you down my mental path.

[laughter]

Emily: We’ll, read your poem.

[laughter]

Jeanie: An “Ode To Formative Assessment” is next. I really love the chapter on formative assessment and it’s all underlined and highlighted. It was my favorite section. You really helped me —

Emily: That’s the chapter with the murder, right?

[laughter]

Stan: Like the car crash.

[laughter]

Jeanie: I just found that to be a really rich chapter both in thinking about ways of orchestrating timely feedback for students and also just some of the strategies you share about how to do that. And I specifically carry around in my head as a tool this idea of short, specific and sortable data that you can get from students, to determine what needs to be taught or where students are.

So, I wondered if you could talk a little bit about how you go about that in your class. Maybe give us an example.

Stan: Yeah, I’ll start with a little bit and maybe I’ll throw it to you for an example. But I do I think formative is probably — I probably shouldn’t say the most important because I would probably end up questioning myself. But the formative assessment is in many ways the most important, but also then the most misunderstood, or underutilized. I think one of the things, you know, we see is old the assignments are used and then they say, well, it’s formative. Well, actually formative towards what? One of the biggest things going back to that intentionality that you were speaking of earlier is that ability to shrink the field to a point where I can get that quick, usable information about where you are on that scale, on that kind of learning journey.

And so for us, you know, unfortunately, we haven’t been able to create more time in the universe? But where I think we have shifted our time; the time we used to spend grading and going through and writing and all these things, on endless amounts of homework — and some of the homework which may have been sitting in a pile for two weeks before I could get to it to kind of maybe not even get it back to you, but get it recorded in some books so I could write that you did nine out of 10 on this — that time has gone away. And instead, we’ve really worked hard to craft, like you said, small, really intentional formative assessments that are done in class. All the time done in class. We never let those go out. And with an intent to give us some quick, actionable feedback.

I think one of the biggest changes for us was that idea of it’s not about if I’ve taught it, it’s about if you’ve learned it. And that also that assessment is really for the teacher.

I think we used to think that assessment was for the student; here’s how you’re doing for maybe for the parents back home, here’s how they’re doing, when in reality assessment is for the teacher. And if the teachers aren’t using assessment to then drive their instruction and their practice, then they’re, I would say, misusing or underutilizing the assessment.

So, for us formative assessments are really made to be one specific — in our class and in our terminology — one specific learning target scale.

Again, we can get something that’s quick and by sortable meaning we can sit together and we can very quickly look and place them kind of in the same piles that would match up with the scale ensure a time there might be outliers on either side, and that’s something we could talk about later, but that we can now spend the time really focusing on how are we going to address the people that are at these levels of this. Because what this group needs is different than what this group needs and maybe different with this group needs. And then what this person needs is different, which obviously gets us back into the differentiation. But it allows us the time to focus on our planning and the structure of our class, versus the recording of information that wasn’t really driving us anyway. So, I think that’s kind of been the impact on us. I’m going to hope that gave you time to think of a good example.

Jeanie: Before you give an example, I just want to say: what I’m hearing from you, because as you’re sorting through that data, those quick exit tickets you’ve gotten and saying, “Oh, these people are at this place in the learning scale, or these folks don’t get it at all, these folks get it a little bit, these folks really have got it and they’re ready to move on”, right? A lot of times when I’m working with teachers, they’re like, “What, do I have to have like 22 lesson plans?”

And what I’m hearing from you is that these, that formative assessment allows you to group kids, so that everybody is getting what they need based on where they are, but that it’s still not one size fits all. It’s also not 22 different sizes.

Stan: That’s a great distinction and thank you for making that. Yeah, and again, not that it always works out perfectly like this, but that idea that again, where we’ve all in the past written more or less the same comments on 12 different papers or on 12 different assignments and then gone and record that. Whereas as we had that pile, we know that some direct instruction perhaps the next day maybe five minutes that gets that group on whatever that next task is or that work with it. And so yeah, there is often that thought that it has to be 22 different ones.

There’s also often that thought that I have to make it all up the night before. And what we’ve tried to get at is, you know that there will be kids in these groups. Now you may not know ahead of time what kids are going to fall in these groups, but you can still have plans about:

  • How will I differentiate for the evidence target?
  • How will I differentiate for my claim target
  • And how am I going to differentiate for my relationships target?

Again, I might not know the numbers and who’s there, but it doesn’t mean that it has to be I can’t plan some of it prior to having those piles and I think that’s an important distinction as well.

Emily: Yeah, and the scales are really essential to that. So, having really well written, kind of tested scales that have, you know, fully articulated levels? That really helps us with the sorting because it’s not about comparing work to other work.

So, when we go to when we get that pile of 50 formative assessments in, it’s not saying, well, this student’s work is better than this student’s work and then putting them in a line of 50 of them compared to each other. We have four very distinct articulated skills or levels of a skill. We’re sorting the work into those four levels.

And again, as Stan said, there may be outliers as well that don’t fall on the scale for some reason? But the better our scales, the faster that process is. We often use that process to revise our scales as well. Because we’ll make our piles and then look at what does all the work in this pile have in common? So, what can these students do? Which then helps us write the language of the scale at that level?

But I think with without the clearly articulated scales at those levels, not only is the sorting harder, but the planning for the differentiation is harder. Because then we think well now what do we do? I know these students aren’t at the target, but I’m not quite sure what to do for them. Whereas when we have the language of the increasing levels of complexity of the scale, then we know that we need to design practice or instruction in order to get students to be able to do what’s in each of those boxes.

Jeanie: So, I’m hearing a couple of themes emerged in my brain and one is iteration again, that you create scales, and then you look at student work and you revise your scales.

Emily: Absolutely.

Jeanie: As well as re-teaching the students if they need it, right? And so this is an ongoing process of always fine tuning your scales.

Emily: Our courses have a limited number of learning targets which allows us to be able to dive in and revise and spend time with each target and each scale. Some schools are working with hundreds of learning targets and immediately think, “You mean, I have to have a scale for every one of these learning targets, and then I have to revise it and then I’m sorting work based on it and then differentiating based on it?” So, it becomes quickly overwhelming.

Stan: Yeah, I think if I had to give people advice who are at a school if you’re getting into this and starting some work with the faculty around this, again, it’s this it can’t be seen that these scales are for assessment and assessment only and for putting something at the end and getting teachers to actually live and feel the scales and getting them to try to do the work at these levels/ We just shared an article we’d seen on Twitter about, was it called dogfooding? A tech term right, about what do you actually do:

  • Do you do what you’re saying?
  • Are you doing your assignments?
  • Are you doing your homework?
  • And are you actually so you can figure out what are some of the stuck points?
  • Well, how can my directions be better?
  • What parts are going to be confusing for people?

And so I think that for us, yeah, that was where it takes a lot. I can think of a graphic representation learning target and scale that we had and we struggled and struggled with the class. We would get things back and like this isn’t what we’re looking for and we ended up taking it off of an assessment because we just we realized we hadn’t gotten kids even close to where they needed to be. And that was on us. That certainly wasn’t on them. And so we took it off that assessment.

And we worked with them and by the start as the next year, we had really figured it out and with because we knew the scale, because we understood kind of what it meant and what we meant by it and how to instruct it? Within two days, they had gotten far beyond what our group had gotten over the course of about two months, the year before.

And that had nothing to do with the students. That was purely that we didn’t really understand what we were asking for.

Which again, sounds silly or strange, but going back to it, I think when, again to that vulnerable piece, when you look back and try to talk to people, we don’t really always know what we’re asking for or what we’re looking for. We may have an idea or a topic or an assignment, but what are you really, what are you trying to get better at? What’s this skill I’m trying to get? What do you want people to understand from this?

I think that’s often a little bit either misunderstood or people haven’t thought about it as much as they could. Or should.

Jeanie: So, I’m hearing from you — what’s ringing for me is clarity and intentionality again, right? And I love that idea of dogfooding.

I’m a School Reform Initiative facilitator, and there’s a great protocol where you ask a group of people to complete at least part of an assessment before then having a conversation about what are students actually working on here? What is it that we’re…?

It’s I think it’s a great tool for standards-based or proficiency-based or competency-based education systems to really get at that.

Because I can’t tell you the number of times my kid who’s really good at thinking about current events or social studies, would work really hard on a paper, an essay, always an essay. And come back with a B or a C because of his grammar usage and mechanics, right? Like he’s being scored on one thing when he’s supposed to be thinking about themes or causative factor or some other thing, right?

And then his grade is always about whether or not he used commas appropriately.

Stan: Yeah, I think that goes back to that shrinking the field. That idea with a lot of those formatives. And so, you know, cause and effect is important. Being able to see relationships is important. There’s grammatical stuff that’s certainly important, but how do you parse those out so that you’re sure you’re focusing. Not only you’re focusing on the right one, but the student knows what we’re focusing on and what we’re trying to work with?

Emily: Yeah, I was working with a teacher yesterday, a middle school teacher and science teacher and she was working on evidence and reasoning. So a learning target. And she was showing me examples of student work and was getting frustrated the students were getting stuck before the reasoning. So, they were nailing the evidence, but were really getting stuck on sophisticated reasoning. And so she was explaining what she was doing and she said, “Well, I asked them to come up with a claim. So, we watch it, we view a phenomenon, they come up with a claim, and then they do their evidence and reasoning around that claim.”

We started looking at some of the claims and some of the claims they were coming up with were not sophisticated enough to allow for or require reasoning to require a sophisticated level of reasoning, right? So, they were these simple claims that really led to a student being able to prove it with one or two pieces of evidence. And they were so obvious these claims that there was no reason for the student to have to reason. So, she quickly came to the like, wait a minute, what if I were to provide them with the claim that was more complex, then what would happen to their ability to reason? So, she was able to seems, as Stan said, shrink the field and think about what is it that’s getting in the way of their ability to do the skill I’m actually trying to instruct and assess? So, the coming up of the claim isn’t one of the skills that she was trying to instruct and assess and yet it was the thing that was getting in the way of their ability to think more critically.

Jeanie: So, I want to poke at this a little bit because I have some curiosity about something. So, what I’m hearing from you actually is that that the teacher’s job, the educator’s job is really to engage in: what’s the pattern of learning that happens? And to experiment with that a little bit, right?

Like what I heard you just say is about a teacher experimenting with “What would happen if…? And they’re not doing this, so what if I…?” And I love that. For me as an educator, that’s way more interesting being like, that level of engaged — than doing the same thing, teaching the same thing in the same way all the time.

But. I’m also thinking about this book you may have read, The End of Average: How We Succeed in a World That Values Sameness.

Emily: I’m familiar with it, but I haven’t read it.

Jeanie: So, we did an episode on it this fall. This book has stayed with me a lot, because one of the things he points out is that there isn’t one path  — and he’s talking a lot about how average has impacted our lives in this country and in the world and how that came to be. And that like we have this notion of having had an infant I remember this that that kids would gain a certain amount of weight, that they crawl before they walk, right?

But that when we look worldwide, actually there are tons of different ways to get to walking. That there’s not one universal path through development.

And so this is where I have a little bit of a struggle, there’s a push-pull for me with learning scales, because I see the benefit of really thinking through what are the steps somebody has to take — or not even steps, but like what do you have to be able to do before you can do the next thing?

But what if there are multiple paths? How do learning scales account for the multiple paths that there might be through the learning?

And so that’s like just a really genuine struggle that I have when I’m thinking about this in my work with teachers and students.

Emily: I think that’s a great question. One of the first things that comes to mind is… that… the way we define scales and again, they’re defined in many different ways and you’ll see examples all over the place that they’re written in many different ways, but that the scale is not a procedure, right? So, it’s not steps to learning that you have to follow in order to get there?

I think the way we look at it is it’s the most kind of, common experience of the increasing complexity of the skill we’re looking for.

We often have students who will kind of blow us away with the approach that they take to meeting or to reaching or often going beyond these skills. It’s another reason that we believe strongly in the transferable skill scales and the transferable scale skill learning targets. Because they allow students a lot more freedom about how to express, how to get there, where to go beyond the target. So, that’s the first thing that made me think of is the difference between procedural, and kind of increasing complexity?

Jeanie: That’s helpful. Thank you.

Stan: Yeah, and I can think of, for instance, our claim target and scale that we’ve used where it’s about the increasing complexity of a claim which the more complex claims show relationships and other factors involved.

But again, to your point, I can think of a class a few years ago when three distinct students right now and as you said, to get to know those students as part of that learning journey, I can think of the one student who needed a table full of just blank white paper so that she could write all over the place and that she could come up with ideas and mind-map and web in order to come up with that idea that claim.

I can think of the student who was two tables over, and who needed boxes and short pieces and maybe some guiding questions to get to that. If you gave that student open, big blank white paper, they would push it back at you or throw it at you or who knows what.

And then I can get the student who writing it was not, but if they would sit and you would say talk to them, but if you would just sit there as your period piece and let them talk to you? They would eventually talk their way to it. So, I do think you’re right. There’s I think for us there’s we have an idea and again, it’s probably still an imperfect one of what is that complexity look like? But then figuring out what is it that’s going to help each person get to that? Is, again, like you said, unique and different, and there is absolutely no average way, so to speak. Yeah.

Jeanie: Thank you so much for thinking about that language of complexity. You’ve shifted my thinking on that. I really appreciate that. I also really love in this section The Big Blue Head which I know is a graphic that comes from CVU, was that right?

The Big Blue Head, of The Standards-Based Classroom

I wondered if you could just give us an overview of The Big Blue Head.

Stan: There’s no grand story behind it other than the first time it got printed off, it was on blue paper and someone said, “It’s a big blue head!” And so it’s stuck. But that was years ago we brought in some people from our core program, I believe it was maybe two different teachers from each core from various subjects and really just trying to get at: what does learning look like?

At the end of my class, what are the things that I hope kids have gotten better at? What do I hope that they’ve learned?

And after some activities, with kind of, they almost created tiles, as they’re writing all down, we started some of those and started to look at it and eventually after some work, it really started to break out into three kind of broader areas.

There’s input: how do we get the information into somebody? Maybe it’s reading, maybe it’s listening, whatever happens to be, how are we getting information into somebody?

Then there’s obviously the output: how did they eventually get their information out to others, but then all that stuff that happens in between the thinking. And as Emily again said earlier, we don’t want it to be one size on this equals this size, and now that you’re just parroting back one to the other. How your output should be in some ways larger than your input or maybe smaller because you’ve synthesized and made meaning.

But it needs to be different, it needs to be yours. But how do we get at that thinking? How do you get at that middle part?

And so we would have The Big Blue Head on the wall and really tried to be aware of when we were planning a lesson:

  • Is this part right now about input?
  • Is this about output?
  • Or is this about the thinking?

And tried to be really intentional with the students and talking about that as well, just to get them to think kind of metacognitively like what am I doing now and which part of it is this? And also maybe going back to your reflection piece to help start to figure out like are there parts of this that I struggle with? Are there parts of this where we can really start to narrow down some of this?

And so that’s where it came from. Again, it’s kind of morphed over time and I mean eventually it was really used at CVU to create some of our graduation standards what are those things we’re looking to make everybody kind of be able to do and get better at.

But it really, I think, had a big impact on our instruction and again, on our differentiation. Because differentiating to help somebody get the input — am I differentiating the reading so that everybody can get access to this content information?

Am I differentiating something on the output side? And maybe that’s by choice or who knows what it’s by.

But then also, how am I helping scaffold any of that stuff in the thinking piece?

And so I think that’s been…  it’s funny as the as the episode goes on, I’m finding more and more of these terms keep coming back, right? That intentionality piece of what part of this is that and how do I best help a student with that?

Jeanie: I love this conversation. My husband is also an educator. He’s a curriculum director in Southern Vermont and he’s been working really hard on proficiency based learning with his teachers and he’s been thinking a lot about alignment and intentionality, and he talks a little bit about what he calls “black box teaching” or “black box learning” which is like,

“Oh, I put this in and then this comes out and there’s or it’s like what do you wave a magic wand like what is the step in between?”

And then thinking about a conversation we recently had in the two rivers supervisory union about self direction and that we have been having about what is self direction specifically?

And part of what self direction is, is being able as a student, as a learner to say, this is the learning strategy I need, right?

And it’s what happens in the Big Blue Head or the black box, right?

This language comes out of a document called the essential skills and dispositions which the Two Rivers Supervisory Union uses instead of transferable skills. And one of their definitions of self directed is tinkering with learning strategies. And so I’ve been thinking, when do we give kids opportunities to tinker with learning strategies? And for me, that’s what’s happening in the Big Blue Head and that’s what’s happening with tiles when you say it makes the thinking visible.

And I’m just thinking about the magic of that and how complicated it is to make all of that that’s happening in the head… apparent to us. Visible.

Stan: Yeah. And I think right back to again to a student. It’s fun doing this because all of a sudden, all these old stories and students come back popping up, but Emily will know where I’m going with this. But that so often thinking was purely judged by your output. And as she said, often it was an essay, right? Or maybe even going back to what you were saying earlier about your own child.

But this I can think of this one student where especially the writing output was a struggle. No question she had struggles with writing and is working to improve those, but that was a struggle. But so often I think her thinking, her level of thinking was undersold or not appreciated.

And it wasn’t until we were able to start to try to figure out: how do you see the thinking and how do you honor that and how do you get into that part? It was some work we were doing around morality and ethics and categorical thinking and consequential and utilitarian thought and all these different and she had some of the most complex ideas and understandings and connections.

There’s no way she could have written those, but I think at the time because we were trying to figure out how do we get in there, all of a sudden, this light bulb I think went on for us with oh my gosh, you know, this one student in particular has so many brilliant thoughts that are being, I guess not being honored because traditionally we haven’t had a vehicle for those to come out.

And so I think that one student has driven so much of our work around that and even our own current course is called Think Tank. And it’s really just trying to spend most of the time dealing with how do I think and what does it mean to think and how do I develop ideas and spend as much time as we can in that center part? But I think a lot of it came back to that one student and realizing this, oh, my gosh, what have we been missing? Again, going back to the vulnerable part, what have we been missing all these years with students because we’ve kind of been jumping over that middle section.

Emily: I think also that we’ve used The Big Blue Head with students a lot, and when they have the language to understand what’s happening in each of those three categories — so the input, the thinking and the output, I think that really opens up their thinking as well.

Thinking can be this sort of magical thing that students think they’re either good at or bad at, but when we were able to break it down with students and show when we’re talking about thinking, here’s a whole bunch of thinking skills, and students started to be able to identify what they were doing. I’m evaluating or I’m synthesizing right now. I’m recognizing relationships or showing the relationships between things. I think it opened up a lot more confidence for them with their thinking and allowed us to push things further because we had the language to push it further. So, it wasn’t just we need you to think more, but we were able to actually say, let’s take a look at your ability to synthesize right now or something more specific.

Jeanie: I think that’s really powerful. And so when I think about when I’m working on learning targets or learning scales, I use the thesaurus a lot, because I’m trying to really get it what do I mean? When I ask somebody to synthesize, what am I actually asking them to do? And the other thing I’m thinking about is an article I read for a class last semester about embodied learning.

I want to challenge you: I think your next graphic should be the big green body. I think we don’t just think with our brains, right? Like the we know now that there’s this brain-belly connection and brain-heart connection and so just spit-balling.

Emily: I think that’s a great idea. We have a colleague who said it’s missing its heart that it’s not just the head the heart needs to be there.

Jeanie: And I think about young children, and well, and I think as adults too that we maybe have lost the ability to do this, but we really do think with our whole bodies. I do my best writing when I’m walking. Unfortunately, I have not yet mastered the art of the voice memo, which is my next my new year’s resolution is to start like recording myself when I’m walking because I write amazing letters while I’m hiking in the woods, but I never get them down.

So, I usually ask this question in the very beginning, but I’m going to ask it right now since we jumped right in. We had so much to talk about. What are you reading for fun?

Emily: Oh! So many things. Right now ,I am reading my fiction book for fun right now is a young adult novel. And that is, let me see if I can get it, Erica Sanchez I think is the author, I Am Not Your Perfect Mexican Daughter. Which I’m loving. So, I think that I’m a huge Lee Child Jack Reacher fan as well. So, I just finished the new Jack Reacher novel, which I always like.

Jeanie: Have you read The Poet X?

Emily: No.

Jeanie: Ooh, you have to. You will love it.

Stan: I wish I could say I had a triple f read, was that fiction for fun? But I think the current book, it was just given to me over the holidays and so I’ve just kind of got into it. See if I can get this right I think it’s called The Rise: Creativity, The Gift of Failure, and the Search for Mastery, Sara Lewis, I believe.

Jeanie: Nonfiction can be fun too, Stan.

Stan: Right! Thank you. Thank you.

Jeanie: I just want to thank you both so much for this conversation. I feel like I could talk to you four days more about this book, about your work, about teaching and learning. Thank you both so much for coming to UVM and spending time talking about your work with me.

Stan: Yeah, thanks. It was great.

Emily: Thank you. It was a lot of fun.

#vted Reads at Teen Lit Mob 2019!

I’m Jeanie Phillips: welcome to #vted Reads, the podcast by for and with Vermont educators. And today, with Vermont students as well! We recorded this episode at last year’s Teen Lit Mob. What’s Teen Lit Mob, you ask?

Teen Lit Mob is Vermont’s only book-related conference specifically for young adult readers. Students from all around the state converge in a big joyful mass and squee about what they’re reading. They meet authors and get free books and did we mention the squeeing? So. Much. Squeeing.

And Teen Lit Mob is super important. Here’s why.

Close your eyes. Close them! (Unless you’re listening to this while driving; safety first.) Now think back: what was your favorite book when you were in, say, 8th grade?

Did you have folks you could tell about it? Folks who’d grasp your hands and just bounce wildly up and down sharing the absolute JOY of finding and loving, that one perfect book?

So that’s Teen Lit Mob: squee! bouncing! friendship! books! a bedazzled megaphone! books and squee.

 

This slideshow requires JavaScript.

*deep breath*

So *we* showed up at Teen Lit Mob last year, and asked some of the attendees one simple, VITAL question: What book do you wish was being taught in your school?

Warning: #vted Reads assumes no responsibility for how badly this episode messes up your To Be Read list.

*whisper* Let’s chat!

My name is Sloan and I go to CVU.

Book cover: American Street, by Ibi Zoboi

Jeanie: Sloan, thank you for talking to me. What book do you wish your teachers were teaching?

Sloan: Probably American Street by Ibi Zoboi.

Jeanie: Yeah.

Sloan: I think it’s such a beautiful like, story, about somebody who goes to, like America. Somebody who’s really open-minded and really kind and really sweet. Everything is set up for her not to succeed and it shows how many people in this country, like, even if you come in with the best intentions, how the system is kind of setup against you. Like there’s more than one perspective of how you experience.

I’m Celia and I go to CVU.

Black is the Body, by Emily Bernard

I wish that my teachers would teach the book Black is the Body by Emily Bernard. She’s a professor at UVM of English. And her book has a lot to do about Black identity, especially in Vermont. I can imagine those essays fitting in in a class that has anything to do with diversity and race — like a social studies class — but also, in English class. Because not only does Emily talk about her experiences in her books, she talks about teaching English classes and the relation to race. How her students learn about it and become uncomfortable intentionally. And I think that’s a really unique perspective we don’t hear a lot in Vermont. So, I think any student in Vermont would benefit from reading the book but I think especially in English or social studies class.

My name is Christine. I go to school at Peoples Academy.

Stalking Jack the Riper, by Kerri Mansicalco

I wish that my teachers would teach Stalking Jack the Ripper, which is a new book that came out. It’s kind of like a fantasy while also historical. So I think it’s really interesting. At our school, we have a sci-fi and dystopia class? So, it would probably fit in there. But also, my English teacher does a lot of creative things. So, it’s not just the classics, like Great Gatsby, which we’re starting right now but it’s also some of the more interesting things.

Hi. My name is Isabel and I go to school at Peoples Academy High School.

What If It's Us, by Becky Albertalli and Adam Silvera

I think it would be What If It’s Us. I just really like the book, and because it’s by two different authors who write two different like, styles? And then it goes back and forth and it’s really good.

My name is Steven and I go to Peoples Academy in Morristown, Vermont.

The Count of Mt Cristo, by Alexander Dumas

I really wish we were teaching The Count of Monte Cristo, one of my favorite books by Alexander Dumas.

I just love how the whole entire aspect of the book is created and like all the different characters, the main character gets to play as. It’s super exciting and I really think that a lot of people could learn from the book. It’s so good. It was one of the books I actually got into, like historical fiction. Which got me real excited about this Teen Lit Mob, which we’re actually doing today, so.

 I am Noel. I go to CVU High School.

Six of Crows, by Leigh Bardugo

Well, a friend of mine recently introduced me to a wonderful book called Six of Crows. It’s extremely representational. It has several queer characters but it doesn’t shove it in your face the way some books do, which is, in my opinion, a very poor method of representation. Whereas Six of Crows, it’s just there. Just how it is in real life. And it is extremely well told and from multiple different perspectives. It shows multi-faceted characters; so many different very complex characters. It really lets you understand all of their motivations. And it’s just a tremendously related example of how one person can understand what’s going on in so many people’s heads.

I’m Ashka and I go to Mount Abe.

Black Butler Vol 1, by Yana Toboso

I’ve always been interested in graphic novels and they’re easier for me to read. Black Butler is a manga set. It’s like you read it back to front and left to right. Ask people like what their favorite book is and see if we like that, graphic novel.

Jeanie: Great ideas. Thank you so much, Ashka. Did I say that right?

Ashka: Yeah. Yeah.

Jeanie: Okay. Great. Thank you.

My name is Katrina. Most people know me as Artie, though. And I go to Burr & Burton Academy.

City of Bones, by Cassandra Clare

I wish my teachers taught more fantasy because I don’t see a lot of fantasy. And, so, I think I’d have to say a good place to start would be City of Bones by Cassandra Clare. She’s the newer version of the fantasy queen (versus J.K. Rowling).

City of Bones takes place in this mystical world that takes place just underneath human’s noses. Kind of like the Harry Potter world but there’s more diversity. It’s not just wizards. There’s warlocks, fairies, werewolves, vampires and demons. And the four factions that I named are all part demon. They have to be controlled by shaman hunters  — which are demon hunters — in order to make sure they don’t hurt people. Generally, they can keep check on themselves because they’re half human ,so they do have some reason. But demons love hurting people because it’s what gives them life. And, so, the shaman hunters have to take care of these people.

Then there’s this girl Clary, who finds out she’s one of these people after thinking she’s been human for so long. And she’s just thrown into this chaotic world that her dad wants to screw up.

Jeanie: Ooh. You’ve convinced me! I want to read the book.

My name’s Maria. I go to Woodstock Union High School.

Children of Blood and Bone, by Tomi Adeyemi

So, I wish my teachers were teaching Children of Blood and Bone, by Tomi Adeyemi. (I can’t pronounce her name; I’m very sorry!) But there’s just so much diversity. And like diversity in a fictional fantasy world,? It’s like, really hard to find. I like them so well. The gods and religion is shown there and these are really magical. And the writing is fantastic.

My name is Jade and I go to Peoples Academy.

The Bad Beginning, by Lemony Snicket

I would have to go with probably The Bad Beginning from A Series of Unfortunate Events. Because when I was younger, I really liked reading the series. So, if like they were to teach it, I’d be really happy.

Throne of Glass by Sarah J. Maas. That’s a very good book. It’s about a girl who is taken captive in like, a castle, and is trained to be a champion but was already trained as an assassin when she was little.

Jeanie: Wow. It’s fantasy?

Jade: Yeah.

Jeanie: It sounds thrilling!

Jade: It is.

Jeanie: Excellent.

I’m Carly. I go to school at CVU.

And I’m Emily and I also go to school at CVU.

Jeanie: What books do you wish your teachers were teaching?

Carly: I just think a lot more inclusive books. Books with people of color, books with queer community. It’s starting to be integrated into the academic thing. But it’s just not as…

Emily: Yeah. I mean that’s really important and I definitely agree with that. And I also think that maybe — like I don’t want to say more interesting books, but less like — more relevant kind of. I don’t know how to explain it, but like we do a lot of Shakespeare and Lord of the Flies. I feel like there are other books that can get those same messages across that are like more modern day, I guess.

My name is Ruby and I go to Champlain Valley Union High School.

Pride and Prejudice, by Jane Austen

I really wish we did Jane Austen. Or just kind of any book… that doesn’t have… a really gross misogynistic male main character. Or if it does, that that’s a bad thing and not just a generally accepted character trait. Like, her work like doesn’t pass the reverse Bechdel Test. Like it’s just really fun to read. It’d be nice to have narratives in the classroom that are about women. I think it’s cool because Mr. Darcy is a flawed male character and kind of like… a bit toxically masculine. But he changes? And it’s just a thing that happens, and it’s good and it’s not a weakness or anything. It’s just him becoming a better person.

Jeanie: And, so, tell me — sorry, Ruby. I’m just so interested in this. Do you read many books written by or about women in class now?

Ruby: Well, I think part of it is just the curriculum and then what fits that. But you can find as many female authors for anything as you can male. But we read The Odyssey earlier this year. Which was interesting because I really like Greek mythology, but also, Odysseus is a pain. *laughs* Like, he is just really grossly misogynistic and stuff and it’s never addressed at all. Especially because we were reading the journey chapters. So, the whole thing is he’s telling it to this king, trying to impress him. So, it just shows how acceptable it was to be so grossly misogynistic and how it was even seen as a good thing. Because this is what he’s telling the king about on his journey to try and impress him.

Jeanie: And were you able to talk about that in class?

Ruby: Yeah, we were. I really like my humanities teachers. But it’s just the reading itself can be sometimes a bit much like we criticize it quite a bit for these reasons.

My name is Maeve and I go to U-32 High School.

To Kill A Mockingbird, by Harper Lee

So, the books we read in our class for ninth graders is comp and lit — or composition and literature. We read a few different books throughout the year. But none of them are really written currently in today’s culture, even if it’s not a current book. Just written by an author who’s part of today’s society, I think would be a really helpful and valuable. Something that could really help us benefit from the books more than reading. Something that’s still important and relevant but it’s not as necessarily as interesting.

For example, we read To Kill a Mockingbird. And it’s like it’s a very good book. It speaks to some very important issues. But it’s also just, in my opinion, not a super interesting book. And it doesn’t necessarily teach, I think, some of the things that a current author would be able to do, especially with like today’s — all of today’s technology information.

Jeanie: Hi. Tell me your names and where you go to school?

Teen Lit Mob: Scythe, by Neal Shusterman

Riley: My name is Riley.

Amelia: I’m Amelia.

Reuben: And I’m Reuben. And we all go to CVU.

Jeanie: Thanks for joining me. Tell me what books do you wish your teachers were teaching in the classroom?

Riley: We had a bit of a discussion about this book called Scythe, which was written by–

Jeanie: Neal Shusterman?

Riley: Neal Shusterman, yep. And actually the third one of the trilogy was just announced. We all agreed that, that was one of the books that should be really taught in schools. Because a lot of times we now analyze different books, and talk about the metaphors and different meanings. And Scythe is really just thoughtful with them. There’s all sorts of inner meanings that you can read into it and it’s really interesting to see, kind of as a philosophical thought experiment.

If death is no longer possible really, how would people act? It’s fascinating. Like, in the book there’s a profession: your job is just to go and die, like for the entertainment of another [specific] person. In that universe, people can’t die except through very specific means. So it’sa legal profession. It’s just, it’s a really interesting philosophy that book takes.

Jeanie: I love that book. And I think you’re right, there’s so many interesting questions. There’s so much going on. That “The Thunderhead” has been compared to the internet and how much power it has. That is a really intriguing book. I think you’re right it would help us have really rich conversations about current social issues.

Other texts you might suggest to your teachers? Other books?

Reuben: I would suggest the book Children of Blood and Bone

Jeanie: Oh yeah!

Reuben: The reason I found intriguing is because it gives us a lot of the topics you already have now, such as not segregation, but more discrimination towards specific groups? And the targeting of very specific attributes that make that group what they are? So with the Children of Blood and Bone series, it was mostly just targeting those who are able to form magic.

And what I find interesting about that is that although it is chemistry-based, it does tackle all the issues we have regarding the inner violence within some communities. How we don’t necessarily understand another community or ethnicity group, ethnicities, much more than that. And how we don’t understand other groups’ particular traditions, and what they value and so I feel like it be an excellent book to have students talk about. Mostly because it would encourage a lot of conversation regarding heavy topics such as that and it would give someone who’s going through some of these issues — maybe they might be able to relate — a way to be easier for them to talk about it.

Jeanie: Yeah, yeah. That is a really awesome book. I love the way it illuminates power: who has power, and who gets discriminated against just because they don’t have power, right? It’s a great book to talk about racism and Black Lives Matter and other powers, like (instead of going on for an hour today). It’s also really violent.

Riley: It’s so violent.

Jeanie: And gripping.

Amelia: Yeah.

Jeanie: Amelia, do you have a suggestion for us?

Amelia: I don’t really have a specific book suggestion, just more kind of a suggestion, for the kinds of themes that would be much appreciated, to kind of put a spot light on literacy. Particularly books having to do with relationships that are not male and female. Where you have people who are gay, lesbian or transgender. Just books that deal with that, and any kind of topic or situation, just because it will help normalize this idea that not everybody loves the opposite gender and that they can love freely. And that’ll really help encourage younger generations to kind of grow up with this idea that different is normal and not to be afraid.

Jeanie: Yes. Amelia, what you’re reminding me of is that many books in the canon, many other books that get taught? Don’t have diverse representation of any kind?

Amelia: Exactly.

Jeanie: It feels really important that we all be able to see ourselves in books.

Amelia: Right?

Jeanie: And then we all get to see people that are not like us in books, too. Some of us *only* get to see books about people that are not like us. And that kind of stinks. Yeah. Those are great answers! Any other suggestions for teachers, educators, out in the world around literature?

Riley: I just I think which is books that take that are written in modern times. Because a lot of, a lot of classes try to make parallels between like this book and modern issues, and I think a lot of our books do that very well. But, but I think that because it’s written in the past time, there’s a lot of just ideas that, that can be made parallel but don’t translate as easily? And I think it more important to talk about topics that are more relevant. Which is going to be founded books that are written more recently.

Jeanie: Yeah.

Teen Lit Mob: The Rook

Reuben: I would say books that revolve more on focusing on the political climate of some locations?

There was a book I read recently called The Rook which although it is, again, fantasy, and focuses on supernatural whereabouts in London. It touches heavily on how an action that we don’t necessarily think can have many multiple consequences. That each go in o a diplomatic scale, which can drastically effect how the climate of the work environment or healthy climate of the population is affected. I feel like there aren’t a lot of books that we do talk that are political and do relate to politics but most of the books and again as Riley mentioned, kind of aren’t set in the modern world. And so we don’t have any way of actually understanding how that politics relate to the ear it was written in.

Jeanie: That’s really thought provoking, thank you.

Last words, Amelia?

Amelia: I just really think that it’s important that teachers and school administrators really stress that importance in diversity but also how are all the same and we may look differently, we may act different but really we are all just human.

Jeanie: I think your librarian, Peter Langella, does a program about  reading for empathy. Right? It talks about empathy books. And I think that too: reading characters that are different than me, allowing us to step in somebody else’s shoes, that feels really important. Is that what you’re saying to Amelia?

Amelia: Yeah. Being able to empathize with people you normally would not on the surface see as yourself? Allows you to broaden your worldscape. And kind of make it easier to just step into other people’s shoes in the real world.

Jeanie: Yes, I love that phrase, broaden your world scape. That’s my new goal in life: to broaden my worldscape through literature. Thank you all three so much for talking to me about books. You guys are amazing.

Riley: No problem.

Amelia: Thank you.

Reuben: Thank you.

 


This year’s Teen Lit Mob is coming up March 27th 2020 at U-32 in Montpelier. If you’re a young adult in Vermont, Teen Lit Mob registration is free and currently open, and we hope to see you there. Go to libraries dot vermont dot gov for more details. We will be at Teen Lit Mob again this year, with our mobile podcasting kit, and we will absolutely grasp your hands and bounce up and down sharing the sheer, umitigated JOY of a good book.

Until then…

#vted Reads is a podcast of the Tarrant Institute for Innovative Education at the University of Vermont.

#vted Reads: Juliet Takes a Breath

Welcome back to #vted Reads! The podcast for, with and by Vermont educators. I’m Jeanie Phillips and in this episode, we’re joined by Dolan, in talking about Juliet Takes a Breath, by Gabby Rivera. Along the way, we talk white fragility, preferred pronouns (and how your students can let you know what’s safe and appropriate for them in different settings), we learn about Gloria E Anzaldúa’s Borderlands, and answer the question: ‘What can adults do to support students in their activisim?’

Plus, I confess my shortcomings as a meditator.

It’s #vted Reads. Let’s chat!

Jeanie: Thank you for joining me, Dolan. Tell us a little bit about who you are,  and what you do.

Dolan: My name is Dolan and I go by they/them pronouns. I currently live in Vermont, and I’m in a doctoral program with Jeanie, which is really lovely, in Educational Leadership and Policy Studies. Before that, I worked for six years coordinating and directing LGBTQ resources and services on college campuses. On different campuses across the country.

And most I recently moved here from California. Before that was Missouri, before that I was here in Vermont, doing my master’s program in the Higher Ed Student Affairs HESA program, just a really transformative experience for me.

I love reading, especially queer-trans, people of color or QTPOC Fiction. It’s really fun to get lost in a book, especially a book that pushes me, or resonates with me, or one maybe I feel seen in.

I am biracial. I’m white and Latinx. My mom was born in Cuba. And I definitely feel that I have a lot of white privilege and white-passing privilege. I am queer. I’m bisexual and I’m non-binary. Which is why I go by they/them pronouns, although some non-binary people go by different pronouns as well. And I’m excited to be on this podcast today.

Jeanie: Oh, I’m so excited to talk to you about this book. We talk about books all the time. One of the questions I asked my guest is what book are they reading now. And you are always reading a ton of books! As you walked in, you are like, I just now finished The Water Dancer — a book I adored. So, I wondered if you wanted to share any other highlights from your reading list?

Dolan: Yeah, I literally, as you said just finished The Water Dancer moments before this podcast recording. It was a beautiful read. Really beautiful POC fiction that I recommend to everyone. Also right now I’m finishing up Eloquent Rage: A Black Feminist Discovers Her Superpower. And also finishing Ibram X. Kendi’s, How to be an Antiracist?

And I have a few more that I’m about to read but I can’t remember the names of. I use the Libby app and love downloading audiobooks and listening that way. I’m supporting my local library.

This past winter break since I’m a student, I read a lot of really fun books and one that sticks out to me is Darius the Great Is Not Okay. I loved that young adult novel. So. Definitely recommend that one too.

Jeanie: That’s a great one. And yay, public libraries! Yay libraries. I also just want, for listeners who may not be familiar, could you talk to me a little bit about the shorthand you use? You just used “POC” and that stands for People of Color. Is there other shorthand you might use that we could spell out for listeners as they listen?

Dolan: Yeah! So like I said I sometimes say “QTPOC” for Queer and Trans People of Color. I found living on the East Coast people pronounce it “P.O.C.” for People of Color and living on the West Coast, I found people pronounce it “POC” [pawk] for People of Color. So…I don’t know. I’ve bounced back and forth because I’ve lived in both places. And I’m still readjusting to the East Coast lingo.

But when I say POC or P.O.C., I’m referring to People of Color. So, what I mean by that personally is non-white people. That can be people mixed with white like myself, or others who are not mixed with white, people who are mixed or not mixed in general.

So, usually that looks like Black Indigenous Latinx or Latino / Latina people. And Asian Pacific Islanders, Middle Eastern — other people who might identify. I also use the word “Latinx” instead of Latino or Latina, because while some people feel confused by Latinx because it’s less pronounceable in Spanish, it’s a word that was created by Latino / Latina / Latinx people to acknowledge the fact that our language, Spanish, is gendered. That all nouns and adjectives, almost all of them completely have gender. Which is very strange in my opinion. And a little bit constricting for people like myself and many, many others who identify outside of the gender binary, or just generally feel restricted by that binary.

So, a lot of times when words end in “o” and “a” in Spanish people put an “x” there, which again is a challenging pronunciation. But it’s more so to acknowledge that the binary isn’t really real. It’s a figment of our imagination. And that it can be really even violent towards folks. So, a lot of times I’ll say Latinx in this, especially talking about Juliet.

Jeanie: I so appreciate you breaking down those words for us. Words have so much power! And so, I’m trying in my life in general to be more intentional with the words that I use? And I just really appreciate you making that accessible to us.

So, let’s dig in to Juliet Takes a Breath by Gabby Rivera. I wondered if you could introduce us to the narrator of our story here, Juliet.

Dolan: Yeah. So, Juliet is growing up in the Bronx in the book, she identifies in some ways as gay, as queer or part of the LGBTQ community. She has a girlfriend. You find that out like, on page four. And she’s boricua. She’s Puerto Rican. That’s a word that a lot of Puerto Rican folks use to describe themselves.

She’s kind of coming into herself throughout the entire book. And learning to love all parts of herself, striving for authenticity in all areas of her life. She’s navigating sometimes the harsh terrain of Puerto Rican Catholicism, and Latinx familia. Figuring out what it looks like to be young, to be queer. To be closeted in the beginning of the book, and figuring out how to be authentic in that space. Where she’s really embraced in her culture.

And she’s kind of dodging those questions at home about a boyfriend or a husband in the future. She shines brightly with her girlfriend in the beginning of the book, too. And she’s still learning kind of the hard way that this white supremacist society teaches us that she lives at the intersections of a lot of marginalization. So, she’s still learning that being in her brown, Puerto Rican family, she’s hiding a part of herself for protection: her queerness. And she seems to be desperate for more queer-friendly spaces. To seek protection from homophobia and sexism and the harassment that she’s experiencing a lot. She talks in her first chapter about experiencing some street harassment.

At the same time, she’s expecting — and she has every right to expect — a non-racist queer space, which many of us know is hard to come by. She’s still reckoning with the fact that much of the violence she experiences isn’t just sexist, it’s racialized. And I think she’s learning that throughout the book: that men harass her because of her brown body, her curvy body. Her Latina body is very sexualized by society; not just her woman body.

And so, I think Juliet is still figuring herself out. She’s very open and honest and vulnerable about that, at least with the reader. Very humble in that way: grounded in that humility of “I want to learn about feminism, and queerness; I have this girlfriend, but I still have to pay homage to my, you know, my elders in the queer community.”

And I think she still is learning that she has a lot to give and a lot to teach.

Jeanie: Early on in that chapter, she is struggling with how to come out to her family. And I think especially her mother. And she’s already out to her little brother who is bloody adorable.

Dolan: Amazing.

Jeanie: And also, challenges notions of Latinx masculinity, right? He is a total sweetheart. But, she wants to come out to the rest of her family. And one of the things that I really loved about this book was the tenuous way Gabby Rivera sort of walks this fine line of like, “I need to be who I am and be honest about that” and “I really need to be connected to my family.” Juliet’s not willing just to reject them. And I wondered if that was also her experience as a person of color.

Dolan: I think so. A lot of times queer communities look very white. And part of that, then perpetuates this narrative that communities of color, and families of color are more homophobic or transphobic. Queerphobic. And it’s just not the case, a 100% just not the case.

I just think that it’s a much more complex narrative than reading this book and saying, “Oh yeah, Latinx people are homophobic.” Or, “Juliet’s mom is just, you know, really homophobic in the beginning.” It’s that Juliet’s mom is living in this world; she wants the best for her daughter. And while the best for her daughter is *not* for her to be as heterosexual as possible, that’s the way she’s thinking, right? So we have to hold space for that and hope some forgiveness for that and recognize that this was an act of protection and survival and not *because* brown people are more homophobic.

Jeanie: Yeah, I appreciate that because I think it also leads us along into the story, because Juliet, as a very young college student, is heading out for an internship. She has discovered this author that has been life changing for her: Harlow. Harlow’s written this sort of feminist treatise that really resonates for Juliet. And Juliet’s heading to Portland, Oregon which in the book it cracks me up that her family is always saying, “Right, you’re going to Iowa.” Portland feels so far away from them!

But she’s heading to Portland, Oregon, which is a really white space. So, you’ve set us up nicely to think about Juliet’s experience as a person of color heading to this very white space. She’s *really* excited because she’s also heading to this really queer space.

Dolan: And I think that Juliet doesn’t know to look for both of those things. She sees, “Oh wow, this is some queer haven where people are saying this. This writer is writing all these queer-friendly, queer-affirming things. That must be what I need, right? Because I’m held in my brownness at home, but I’m not necessarily being held in my queerness right now. So, I need to go be held in my queerness, right?”

And that’s where I think we need to be thinking intersectionally because I feel for Juliet, this is so real, so valid, that she would run towards that and not recognize that she, unfortunately won’t be held in her brownness in that space.

Jeanie: Right, and the intersection of the two. One of the people that lives in the house with Harlow, early on in the book, takes her out. I think it’s her second day in Portland, her first full day in Portland. And he takes her out to sort of get to know the town and he, you know, he’s having a rough time himself. He gets really adversarial with her. And he starts asking her about her preferred pronouns. She’s never heard this phrase before. So, for our listeners who maybe haven’t either, could you talk a little bit about what we mean when we say “preferred pronouns”?

Dolan: Yeah. So, pronouns are this very simple yet very complex thing. We use pronouns all the time in the English language to refer to people in the first, second and third person without using their names. And so, when we’re talking about pronouns, we’re talking about third person pronouns. Those look like “he” and “she”, right? In the singular, right? So, when we’re talking about people we’ll say, “Oh, I met up with him / I went to dinner with her / know her” whatever it might be, right? And we have to recognize the gendering that happens in those third person pronouns.

So queer folks, trans folks created this new way of talking about ourselves. Because a lot of folks have said, you know, we can’t be what we can’t see. We have to be able to create language to talk about ourselves because we’re creating new ways of being and living. And if we’re not able to talk about it, other folks won’t see us. We are paving paths for others to be able to see themselves in us.

And so, gender-inclusive pronouns are ways that we asked folks to refer to us that aren’t misgendering to us. Because not everyone identifies as a man with “he” pronouns or a woman with “she” pronouns. And so, gender-inclusive pronouns often look like using they/them pronouns, which, again is kind of a repurposed plural pronoun that we all know, if English is our language of use.

They’re ways of acknowledging people that we wouldn’t be able to acknowledge. And I have to say as a person who use they/them pronouns and is non-binary: when people misgender me, it hurts. Not just because, oh, they made a grammar mistake. It’s never about that, right? I fully recognize that it takes a lot of re-learning in order to use these newer words for folks or using old words like “they” in new ways.

When English is not our first language and we’re really having to think through each word, I’d recognize that’s really tricky, especially folks are translating in their heads as they’re speaking, it’s complicated.

So I think the most important thing and the most amazing thing that folks can do is recognize that we can’t know someone’s pronouns without asking? And to provide some space for folks to name their pronouns. So when you’re in a meeting or a class, in the beginning if people are introducing themselves asked folks to offer their pronouns as well, right? If you’re making name tags for a conference or for a one-day thing or for permanent name tags for people’s offices names and pronouns, right? If we couldn’t guess your name, we couldn’t guess your pronoun.

One more thing I’ll share is that they can change over time and in different contexts, right? Let’s say Juliet wanted to use they/them pronouns for themselves. But at home, maybe that wasn’t safe. So when we’re talking with Juliet’s mom, we’re using she/her, right? When we’re talking with Juliet in class, we’re using they/them. And so checking in with folks and saying, “Hey, I just want to be a support to you, let me know if it shifts for you or if there are ways that I can support you.”

And a lot of times if you have a young student, for example, I see this a lot in youth, where they’re [in the Gay-Straight Alliance] they’ll say,

“Oh, I want to use these pronouns. But when you’re meeting with my parent at the parent-teacher conference, use these [other] pronouns, right?”

And that’s a way of protecting someone and letting them play with their identity and their language a little to see what fits.

Jeanie: Yes, I’ve had that experience actually in schools of using one set of pronouns with the student and a different set of pronouns on the report card or with the family and it’s super important to keep LGBTQ folks safe.

Dolan: Absolutely.

Jeanie: I’m going to insert into the transcript to my yearly public service announcement, which is The LGBTQ Bill of Rights for Students (.pdf) which is an important document that I think should be at schools everywhere.

Now, is there a role for ally ship in this? If I’m with you and somebody misgenders you, what’s my role as your friend, as your ally?

Dolan: I think it’s tricky because you may be with a youth. Or you may be with someone in front of their family. Like I said, it can change based on the context. So a lot of times, I say one of the best first steps can be to check in with the person afterwards.

“Hey, I was in that room and I noticed that someone misgendered you. How can I support you?”

Right? And I think that’s huge because that non-binary person that trans person definitely noticed that they were misgendered. Very rarely I’m I like, “Oh, they did?”

I almost always know that: yes, you’re right. Thank you for noticing. I felt alone in that moment. I felt isolated and unseen and you saw me. And that is a big deal to feel seen even when others are kind of harassing you, right?

Jeanie: That is so helpful. I just so appreciate this conversation. And I think Juliet, in the book, could have really benefited from a friend like you to sort of help them navigate, like. because she sits there for a long time and struggles with like, what even is that?

Dolan: That’s a big undertone of that interaction that she has with this man! And there’s something to be said about her being consistently marginalized around even not being queer enough — which is a big narrative in our communities, unfortunately — for this space. And Juliet is not able to see herself reflected back in this community and feel like she can contribute and teach and be part of, you know, that spac. Because she doesn’t *know* enough. Which is not fair when we webinars our own work against each other, right?

Jeanie: This reminds me of a conversation I had last night with a friend of mine who works with a lot of ELL students, and this student who is Nepali, is taking a Spanish class. And the student said to my friend who’s working with her, “All of the white kids in the Spanish class are *so* good.”

And, my friend Jory says, “Well, do you think it’s because that this is your third language you’re learning? Do you think they would be as smart in Nepal?”

Dolan: Ooh.

Jeanie: I bring this back to Juliet because in a way what Juliet had seen is like, “Oh, is it because I’m brown that I don’t…?” Right? And she is really seeing this white perspective and feeling like she doesn’t know enough. Meanwhile, nobody in the whole place is acknowledging anything about her Puerto Rican background.

Dolan: Absolutely. Absolutely. And they don’t feel like they need to take responsibility for that learning. It’s a very complex pattern throughout the book.

Jeanie: It’s a double-standard, right?

Dolan: Absolutely.

Jeanie: You need to know all of these things to fit into the queer community, but we don’t need to know anything about your cultural background.

Dolan: Right, exactly. And we will punch your card when you’re ready, right? Your queer card. And that’s just nonsense, yes.

Jeanie: But not all the spaces Juliet experiences are like that. She gets taken to a Writer Warriors workshop. And I wonder maybe we could read a few pages of it. To introduce this space.

Dolan: So before I start reading, for those who you are following along at home, it’s on page 106. Juliet is in this space being hosted by Zaira. And Zaira is a Black queer woman.

Jeanie: Thank you for that. First before we go anywhere else, can we just express our mutual appreciation and love for Octavia Butler?

Dolan: Yes, she’s so amazing. I really want to just beg everyone to please read all of her books. Kindred is currently on my nightstand and I’ve only read her Earth series so far, Parable of the Sower and Parable of the Talents. But holy-moly, it’s just amazing dystopian fiction that will feel way realer than 1984.

Jeanie: So, we just needed to get that out of the way because we have talked about Octavia Butler a bunch. But let’s go back, because what ends up happening is and I’m going to read this part because it’s the white woman’s part. Okay.

So, on page 110, you know, they’re finishing up this workshop, where Juliet is like, she’s a writer, but she’s doubting that she’s a science fiction writer. And she’s rediscovering Octavia Butler’s brand of science fiction, which is a little bit different.

But as they’re leaving, Juliet overhears a conversation and here it is.

You’re cracking up over there!

Dolan: I am!

Jeanie: Tell me what you’re thinking.

Dolan: Just the, “I know reverse racism doesn’t exist, but…”

You know it’s never going to go in a good place after that. I just know that. And literally the line right after you stopped reading Juliet kind of says, as the narrator, “I didn’t really know what was wrong from what they said, but it felt weird.”

And I want to acknowledge that. It’s so valid. I love that she shares that with the reader.

And I think it also reminds me of the magic that we have, right? Our intuition, how Juliet maybe hasn’t read a book about privilege and whiteness and white supremacy, but she knew in her bones, in her gut, in her heart, her soul that what just happened wasn’t right, you know. She didn’t need that academic training on the topic to know it, right?

And just a few pages after that, Harlowe gets in the car, with Zaira and some others, and she had just talked to some white women who were fawning over her writing–

Jeanie: –and Harlowe is a white woman, a white writer.

Dolan: Exactly. And she sits in the car. I think she’s the only white woman in the car. Everyone else is a woman of color after this session and she’s just kind of like humphing. And Juliet talks about how she’s all pointy and all edges and very sharp, you know? She’s just making the stink, right? And how a lot of times white women, white feminists, white queer feminists can’t really acknowledge that racism still exists right now, still, in all of us day-to-day in our interactions we’re witnesses to it and we’re perpetrators of it, right?

Jeanie: Yes.

Dolan: And I say that as a person who’s half-white, half-Latinx, super white-passing, right?I’m totally part of the problem *and* experience it sometimes. And so, it’s a real thing. And I love the way that Gabby Rivera walks us through this because it’s so dally. *laughs* And the way that Juliet makes meaning of it? Because she doesn’t have all the words and all the jargon but she totally gets it in her gut. That what happened was wonky, right?

Jeanie: Right. And we’re so used to being centered in our histories, in the literature that we read in school and out of school, in the news, on television and movies. So suddenly when our experience isn’t centered or when we’re asked to, you know, stay a little quieter, make a little space — and I say that we as a white woman, me “we” — when we as white folks are asked to do that, it pinches. I think it takes a lot of self-awareness and practice to get used to being like, “Oh, other people experiences all the time and we don’t even ask it of them, it just happens.”

You’re making me think of something. I am a very novice meditator. I should meditate more, probably. But when, you know, when I’m learning meditation, when I’m focusing on meditation, one of the things is when your mind wanders –which it will — the work, the practice is really about coming back to the present moment, right? And so, what you’re making me think about is the practice here is about like, “Oh, there’s my fragility again.”

Dolan: Yes, it’s the noticing and naming, just like in meditation, right?

Jeanie: And that comes back to pronouns.

Dolan: Yes.

Jeanie: When we mess up, it’s the noticing and the naming. Oh, I so appreciate the way you’re reading this together for me.

So Juliet, besides going to Writers Workshops with cool people and other social events around. Portland also has a job to do and one of her tasks is to investigate this, like, weird collection of paper slips with the names of powerful women on them that Harlowe has collected. And one of the women she seeks out is Lolita Lebrón. She’s at the local library where there’s a bit of a love interest, that was really fun to read about! And she gets really angry because she didn’t know about Lolita Lebrón who is a Puerto Rican revolutionary. She gets like, ticked. She’s like, “How do my family never talk to me about this? My Puerto Rican family, where is this story? How did I never learn it?”

It reminded me, at the Middle Grades Conference, a teacher in the room asked some Edmunds Middle School students who were presenting on equity, “What could adults do to support them in their activism?”

And one of the students responded, “How come nobody ever teaches us about inequity? I wish adults would teach us about what is going on in the world.” And so, I’m just curious about how you reacted to the Lolita Lebrón’s section.

Dolan: Yes, it’s so real. We don’t realize how much we’re centering white people in our history and in our pedagogy until we read something else. And it’s like, “Oh, my God, how did I not know?”

For me, this makes me think immediately about learning about Gloria E. Anzaldúa for the first time, way too late in my life, when I was like 24 or 25 in grad school the first time. She talks about living in the Borderlands in her book Borderlands/La Frontera. And this book cracked me open and made me feel whole at the same time.

So, as a biracial, bisexual, non-binary person — also a Gemini — I feel Juliet’s words on a visceral level, this living between sometimes in different lands never truly belonging, perhaps only belonging in the liminal space of the border itself and not knowing who our people are.

It was powerful for me because… I had embodied so many experiences but didn’t know how to name it? And also felt so isolated. And so, it comes back to this: you can’t be what you can’t see, right? Or this way of when someone names and experience you feel seen and you feel less alone, right? Because I was like, “Wow, I’m not the only person who lives on some Borderlands, right? And so I read her book. I think I was assigned one chapter for something. But I read the whole thing. I just couldn’t put it down.

And it had so much Spanish and Spanglish in it that she just unapologetically wrote in both languages and a mixture of language and some words she made up and I just loved.

And I just cried.

I cried hearing the words of my people and reflecting on the colonization of language itself. This idea that Spanish had came from the conquistadores and is really not the indigenous language at all. And [Anzaldúa] identifies as Indigenous and queer–

It was *so much* for me, for her to analyze some and all of that in different passages and talk about queerness in those spaces. And even gender. It really helped me kind of split open and begin to heal?

And I realized how much I had been *thinking* I was self-protecting. By building this, you know, deep shell of protection: The Shield. But really, when I read someone else who had a similar experience? Again, I have a lot of privilege and I don’t want to pretend like my experience is the same as Gloria E. Anzaldúa’s, but she spoke to my soul.

Jeanie: What you’re making me think about is the importance of being seen? Being seen in literature, in history, in story. And what you talked about earlier about being seen for who you are and how your gendered. How your pronouns are used.

And as a librarian like for me, my mission was really to make sure that all of my students could be seen affirmatively, appreciatively, in my collection. So, that just like really touches me. And I think that Lolita Lebrón helps Juliet feel seen, in a way, for her heritage in this place where you’re talking about she wanted to be seen for her queerness. Now, she’s in this white queer space and now she gets to be seen for her Puerto Ricanness.

Dolan: And how even when Juliet probably learned about Puerto Rican people, it was probably on like a half-page in a multicultural section of our social studies book. And on top of that, it was probably this very whitewashed or normative narrative of someone assimilating to white culture and not Lebrón’s narrative, which is like attempting murder and, you know, assaulting the House of Representatives. And really, I mean, being incredible, right? In some ways. Like, fighting and not taking no for an answer for liberation, right? And how that is kind of taught to us as like not really worthy of true history. Or maybe it’s not as notable or, you know, as loving as a Rosa Parks story. Or the way that we sanitize people like Rosa Parks and Dr. Martin Luther King Jr., right?

There’s no real sanitization of Lolita Lebrón, right? And so, when she reads about this person, she’s just like,

“I’m allowed to be unapologetic?”

And there’s so much power and empowerment in that.

Jeanie: Yes. She stays in the library for, like, full days reading these books and she’s even distracted from the crush she has. She’s so interested in Lolita. So I’m going to move us along a little bit further. There’s a really interesting point in the book on page 182, that I want to ask you about because I need help thinking about it. And you sort of mentioned it before, about the ways we expect queer folks and people of color to sort of educate us all the time.

And so. At this point in the book, Harlowe is asking Juliet for her opinion about a racial issue. And here’s what Maxine, Harlowe’s partner says,

“Now, hold on just a minute,” Maxine said, ‘Are you going to write me and Juliet checks for an analysis on race? Because our labor isn’t free.'”

Dolan: *laughs* And it’s important to note that Maxine is also a woman of color, right?

Jeanie: Right.

Dolan: So, I think there’s this really interesting juxtaposition, for me, of Juliet learning about pronouns from this very, like, white normative lens of like, “How did you not read them the right books about pronouns? How are you not hip enough with this elitist academic knowledge?” And this white woman asking about a race issue, right? A racialized feminist issue. And expecting the folks of color, the women of color in her life to constantly just fill in those gaps.

Jeanie: To do all the work.

Dolan: And use it for myself. That’s the other piece. It’s a lot of times white folks learn things from folks of color. Not even from like taking the time to read a book and really situate themselves in some context, they’ll ask their friend a question, their friend will give an individual answer — as a person, right? As me — not as all brown people, right —  I will tell you the answer to this question. And then that white person will then use it in all the spaces and be like, “Well, this one brown person told me that it’s totally okay to say this.”

Jeanie: “I have black friends.”

Dolan: Exactly. And they said I could do this and that or say this and that or show up this way or that way or that whatever. Wait a second!

Jeanie: “My black friend says I can use the N-word.”

Dolan: No!

Jeanie: You saw my sarcasm there, I hope.

Dolan: Oh yeah! And so: no, no, no. First of all, that’s co-opting some space and some power. That’s just violent, right? But also, it creates this weird monolith asking this brown or Black person to speak for all brown or Black people and that’s just garbage, right?

But I think there’s this, yes, this interesting thing around the unpaid labor. It’s just like: people of color as marginalized people are expected to know the norms of white culture and society, right? But white people are not expected to know their norms, right? Of communities of color.

So, folks of color are living in their own brown norms, their own cultural norms at home, with their communities, whatever that looks like. And then they’re also having to code-switch into white norms and white society, right? And then white people are like, “Oh, how do I act around brown people? Hey, brown person explain this to me.” Or: “Is it okay to do this as a white person? Why not?” Right? Not recognizing sometimes it’s really harmful to hear that stuff come out of a white person’s mouth. To sit there and go,

“I still need to tell you that? I need you to go write that in your journal instead.”

That’s what I like to tell people sometimes because it can be really harmful to hear that and feel objectified and tokenized.

Jeanie: “Go Google it.”

Dolan: Exactly! Yes. So it’s this tricky piece.

Jeanie: You’re making me think about, you’re making me think about how the extra emotional labor people of color do as educators, right? Because not only are they code-switching with norms and community, not only are they making sure the needs of their students of color are being met, but they’re also dealing with racism all day every day.

Dolan: Absolutely. And making the white people around them comfortable about it, right?

Jeanie: Yes. Well, speaking of tokenization, this stuff really goes down in this book. In fact when I got to Page 206, when I got to the end of page 206, I remember texting you like: “Oh my god Harlowe just did whaaaaaat?”

Dolan: Yup, uh-huh.

Jeanie: Because here we are, Harlowe is giving this big book event for Raging Flower, her feminist tome, and Juliet has helped set up this book event. And I’m just going to read a portion of it. Harlowe gets challenged by a person of color about the color-blindness within her feminism, is what I’ll say.

So, part of her answer is:

“‘Do I think that queer and trans women of color will read my work and feel like they see themselves in my words? Not necessarily, but some will and do. I mean, I know someone right now sitting in this room who is a testament to this, someone who isn’t white who grew up in a ghetto, someone who is a lesbian and Latina and fought for her whole life to make it out of the Bronx alive to get an education. She grew up in poverty and without any privilege–‘”

And– It goes *on*.

But oh, my goodness.

I felt this on so many layers and I’m not going to begin to compare my experience to Juliet. But I will say: the first time I brought some college friends home to my house in Pennsylvania, one of my friends said, “I didn’t know you live near the projects.” And I had no idea.

So I felt this word, “ghetto”, to my very core. Because Juliet doesn’t think of her home as a ghetto. None of these things are how Juliet would describe herself.

Dolan: Absolutely. And so it’s so many layers. It throws Juliet into this: is that all you see me as? It shows the reader this pattern of behavior from Harlowe of not just her white fragility, but the ways that she uses brown and Black bodies as tokens of her “wokeness” and the ways in which she’s able to say, “See, I’m not just for white people because I surround myself with brown and Black people. And I use them as pawns.”

Gabby Rivera is pointing to a group of people who have been acting this way for a long period of time. White queer feminists in general. Right?

Jeanie: My take on this which is totally different than yours because we, our identities are different, right? And so our experience of reading this book is different? Is that I think that there was this moment when I realized that I hadn’t picked up on the pattern at all.

Dolan: Yeah.

Jeanie: That the things that the slides and the transactional nature of Harlowe’s friendship with Juliet?  …Wasn’t obvious to me until it was suddenly *so* obvious. And then I had to go back and really think about it. Like, you’ve really helped me think about all of the ways of the like, death by a thousand cuts. That all of these little itty bitty pieces throughout the book, lead to this. Because it wasn’t obvious to me. I’ll be honest.

Dolan: I don’t know if it was obvious to Juliet. Because Juliet is so gracious and humble, really came into this internship with: I have everything to learn from this hero / heroine (whatever) of mine. Like, “This feminist icon, she knows everything, I have everything to learn, nothing to teach.” And I think this moment helped her go:

“Holy moly, none of this is what I signed up for. I’m realizing now that not only do I hold others on a pedestal and not believe in myself enough because I have so much potential and capacity. But I gave this person too much benefit of the doubt. And every time that she disappointed me or rubbed me the wrong way and I couldn’t quite put my finger on it. I couldn’t quite figure out why my gut was telling me this was wonky.”

It’s connecting.

Jeanie: That helps me. I still think that I could fine tune my own capacity to see this.

Dolan: I hear you, but yeah, it’s a lot.

Jeanie: One of my favorite characters in this book is Juliet’s cousin, *sings* Avaaaaaaaa.

Dolan: Yes! She’s so rad.

Jeanie: My goodness. So, Juliet needs a break obviously, from Harlowe, after… *sighs* that epic fail at the bookstore. And so, she goes to visit her cousin, Ava, in Miami. And I got to say, when I was reading page 225, I wanted portions of it written in the sky in big, bold letters.

Dolan: Yes!

Jeanie: And so, Ava very graciously, is sort of educating Juliet about trans folks .And so here’s Juliet’s question. Could you read from page 225, there’s just this one part that I just want written in the sky in big bold letters?

Dolan: Cool. So,

I clasped my hands over my belly, mulling over what Ava had said. Before this summer, I’d never considered there was anything beyond he or she. Or that folks could experience a multitude of genders, within their person. Like: what? That sounded amazing. Beautiful. Wild, like the universe. ‘Why not just ask someone straight-up if they’re trans?’ I asked. “‘Girl, how rude do you plan to be in this life?’ She questioned, stretching out on her big-ass bed. ‘Your one job is to just accept what a person feels comfortable sharing about themselves. No one owes you info on their gender, body parts or sexuality.’ Mind blown.”

So, yeah, I love that part as well. I thought that was really beautiful.

Jeanie: I love, no one owes you. No one owes you.

Dolan: Yeah. I loved the way that Ava explained pronouns in such a real way, right? And juxtapose that with the way that Juliet was exposed to it in Oregon — which was very confusing and abrupt and condescending. The way Ava explains it in this like, come on, you know this already, kind of way. A very inviting way. But also a challenging way like, come on you got this, you’re better than this.

And then the way that she says like, what are you just going to ask somebody if they’re trans, are you rude? Come on, you know better than that, right? And doesn’t shame her. Just blows her mind. And I loved that.

But, we have to remember where we come from and I think that Ava teaches her this in such a beautiful way. It really helps Juliet see: you already know this in your bones. You just needed to be introduced to this. And not in a condescending, paternalistic, white supremacist way of “How did you not know what a pronoun is? How do you not know who Sylvia Rivera is?” But: “Hey, you don’t know your history because you don’t have access to this. I had to seek this out, let me teach you this.”

Jeanie: We are out of time. We have, listeners, Dolan and I have curated a ton of books because that’s who we are: readers and curators of books.

Dolan: Love books.

Jeanie: And we’re going to put a list up on the transcript of some queer and trans, people of color fiction, some non-fiction, some books that you might read on your own, some books that you might provide in your school or in your library, in your classroom. So many books, we’re going to put up some great lists for you on the transcript.But we’re out of time to talk about them even though we feel like we could talk for days about his book.

Dolan: We could.

Jeanie: It’s a great list. Dolan, I want to thank you so, so much for coming for talking about this book, for talking about your personal experience, your lived experience for sharing that with us and for answering all my questions.

Dolan: Thank you for having me. I adore this book and it’s not the most well-known book, which makes me sad because when it came out I remember feeling really excited. I was like, bought it immediately and thought that it would be a big book. And I’m surprised by how few libraries or other places have this book.

I really appreciate you going on your way to read it and loving it and talking about it with me because this book brings me a lot of joy and also peace.

Jeanie: I adore this book and I adore you. Thank you so much.

Dolan: I adore you. Thank you Jeanie.

 

 

 

#vted Reads: Dive Into Inquiry

Welcome to another episode of #vted Reads! We’re so glad you could make it. In this episode, we talk with librarian Margi Putney, from the Burr & Burton Academy, down in Manchester Vermont. She and I read Dive Into Inquiry: Amplify Learning & Empower Student Voice, by Trevor MacKenzie.

Don’t those two things sound amazing? Who *doesn’t* want to amplify learning and empower student voice, I ask you.

MacKenzie presents strategies for scaffolding inquiry with your students that you can put into practice tomorrow. Heck, why wait for tomorrow, why not put them into practice after you finish listening to this podcast?

For instance, when was the last time you polled your students, as to what they think makes a great teacher?

Aha, see? All kinds of nuggets of goodness in this one. Plus we talk moving the sage on the stage to a guide on the side and why most classrooms need — really need — some kind of librarian bat-signal. When in doubt…

I’m Jeanie Phillips, this is #vted Reads. Let’s chat!

Jeanie: Thanks for joining me, Margi. Tell us a little bit about who you are and what you do.

Margi: Thanks Jeanie. I’m Margi and I’m the librarian at Burr & Burton Academy in Manchester, Vermont. This is my fifth year at Burr & Burton! I grew up in Philadelphia. And I’ve been in Vermont for about 20 plus years.

Jeanie: Excellent. You and I are librarian compatriots. We’ve been to conferences together and we’ve done some work together and it’s just such a pleasure to have you on the podcast.And for once having a librarian and talking about a non-fiction book, a teacher book and not fiction book, so I’m excited about that!

One thing I like to ask my guest right away is what are you reading?

Margi: I’m reading a good book. It’s called Know My Name by Chanel Miller. Are you familiar with it?

Jeanie: Is she the student at Stanford?

Margi: She is. She is the student who was sexually assaulted at Stanford while she was unconscious behind a dumpster; there were two graduate students that found her, and stopped her attacker. The book is beautifully written. It’s so powerful to hear her voice and to know her name, because she was “Emily Doe”. She also was the one who had that viral victim statement.

Jeanie: I’ve read that viral statement and it was such a powerful piece. So I’m looking forward to adding this to my To Be Read pile.

Margi: I highly recommend it.

Jeanie: Thank you. Let’s diiiive into inquiry! (Pardon me, folks.) Let’s jump in. Let’s start with a definition of inquiry if we could. Trevor MacKenzie, the author of this book starts with a couple of definitions at the beginning and then defines it himself. Do you want to go ahead and share one of those definitions?

Margi: I do. I love the very first definition, it’s before the introduction. And it’s from the book, Focus on Inquiry. And it says,

“Inquiry is the dynamic process of being open to wonder and puzzlements, and coming to know and understand the world.”

So, I had a very specific memory, I think especially as I read that quote.

When I was in eighth grade, I went to a small school. We had a very cozy classroom with multiple bulletin boards that were always decorated. And at one point, I noticed one of the bulletin boards was completely blank. I think maybe it had wrapping paper on it and a tiny little box in the centre of it, which made me curious.

And I went and I opened the tiny little box and there was a quote in the middle of the box, and I don’t remember the exact words. But what I got from it was something like “curiosity is the beginning of knowledge”. And it was a little quest. You had to go to a different place in the school, and you got a special pin that you got to put on.

So, the teacher knew by seeing you wear that pin, that you had been curious and you had followed through. And so for me, inquiry is curiosity. And my hope is that we get students super excited and curious about things.

Jeanie: Yeah. That is a great story. For me, inquiry is about curiosity. But it’s also about having the tools necessary to follow through on curiosity, which is where great school librarians and teachers come into play.

Margi: Yay yay, a plug for librarians!

Jeanie: I think we’re going to do a lot of librarian cheerleading. And so, there’s also a definition on page nine. ‘m going to turn there and read that one.

Trevor MacKenzie says,

“For me, inquiry goes beyond these terms. I see inquiry as the strongest method to create personalized learning pathways for all learners, a method that brings the curriculum of life into the curriculum of school.”

I love that definition of inquiry. As inquiry as this powerful sort of hook to engage students and to personalize learning for them, but I feel like it’s missing a little bit of a specifics. And I wondered if you could give us some more details about the process of inquiry and what’s involved.

Margi: To me, inquiry is comprised of multiple steps. And you and I have talked about this a little bit in the past. I think that a lot of times there’s a tendency to think, okay, kids need to do a research project or an inquiry project. And we try and do too much at once.

Whereas, you know, we have the step of defining our question. And then searching for information. Evaluating our sources. So, there are all of these really distinct steps.

And I think we do a potential disservice to our students if we try and cram too much into the process. It’s better if we focus on one thing at a time.

Jeanie: I completely agree with you that it’s a complicated process for adults, let alone for our students, right? There’s a lot of instruction and scaffolding and practice they need to do in the individual steps. Whether it’s:

  • finding information;
  • figuring out which information helps them answer their question;
  • then synthesizing it;
  • putting it into some new form or new understanding or new knowledge schema;
  • and then maybe presenting it to the rest of the world.

All of those are distinct steps that require a lot of instruction, effort, practice…

Margi: Right. And I think that a lot of times as adults, some of this has become second nature to us. If you want to look for …tires for your car, you’re searching and you’re evaluating and you’re sort of doing it at the same time.

But maybe we should think of them as separate pieces. Or at least identify them for students until they evolve in their inquiry skills. And they sort of do it at once.

Jeanie: Daniel Kahneman, in the book Thinking, Fast and Slow, calls that a heuristic? That we develop these shortcut methods by which we make decisions, or by which we can do things really quickly. But students (and sometimes adults, too) have faulty heuristics.

And so, I’m thinking about my students searching. They’ll often only look at the first page of Google. Or they’ll type the whole question into a Google search engine and not understand why they didn’t get the kind of hits that they wanted, the kind of documents or the kind of sites that they were looking for.

So helping them create new heuristics for how to fine-tune their search strategy is one like, small piece of impactful inquiry.

Margi: Agreed.

Jeanie: So, let’s get back to MacKenzie’s book. Because I do love the way he is sort of harnessing inquiry as a way to really engage students fully in their learning. And one of the things I noticed on page 13 was his work in engaging students in co-designing their courses.

Margi: I love this idea. It makes me a little nervous. *laughs*

You know, it’s one of these opportunities that’s a little scary because we’re really relinquishing a little bit of control. And we’re asking the students to come together with us and decide what’s important to spend the semester on.

Jeanie: Yeah. We have a lot of teachers, educators in this state who are doing negotiated curriculum with students.

 

But I think what really was powerful for me about the section is the way MacKenzie scaffolds it. And walks through how he does that.

I found it really fascinating the way he scaffolds it over time, so that students have the skills they need to do it, as they’re doing it.

Margi: Right. And you know, we all — teachers and librarians — I think do that within a semester or within a year with students. And then librarians, I think, are also sort of one step removed. We’re trying to scaffold a lot of this over maybe the four years. Develop the skills and then go back and refine the skills or dig deeper with some of the skills.

Jeanie: It reminds me a lot of what I used to do. The way I used to think about planning when I co-planned with teachers as a librarian. Which is to think about the places where we could embed more choice? And MacKenzie hits on some of those. Like: what topics would you like to dig into?

So, it could be that the topic is the place of choice. It could be that the process is the place of choice — like the how you go about it has a lot of choice built into it, and then, the product. What you create as a result of this inquiry could have a lot of choice as well.

Margi: Mm-hm. Are you familiar with the mountain campus? They do a semester-long integrated curriculum and it culminates in a project I think they’re usually done in small groups, where they’re deciding a change that they can create in their local community. And the end results run the gamut, but also the ways they get there. The paths they take to get there are all different.

Jeanie: That’s excellent. I would love to see some of those. I love there’s almost a page and a half of questions that MacKenzie negotiates with the students.

  • What role do you see technology playing enhancing learning in the class?
  • Do you prefer class discussions or teacher lecture? Why or why not?
  • If you could demonstrate your understanding in any fashion, how would you choose to do it?

Margi: Is this where he also talks about what makes a really great teacher? Because I loved that. I love the idea that he solicited information from the students on what makes a really great teacher. He made a list I think, and then he holds himself accountable. He posts the list within the classroom. And I think he emails it to his colleagues and puts it on Twitter.

Jeanie: Yeah, that’s in chapter three. He shares that with his colleagues in Google Doc form. He shares it with his students. And he uses it to assess himself. To evaluate his own performance in the classroom and ask students to give him feedback too. “How am I doing on this?” And I think that’s a really fascinating approach.

He also acknowledges that when you are focused on inquiry and giving kids this kind of choice, your role is going to be different. He redefines that role, and he calls it “an educator’s coach, facilitator networker, shoulder to lean on”.

At the Tarrant Institute, we’ve been thinking a lot about the roles teachers play in a personalized learning environment.

We think of teacher as scout, right? And in an inquiry project, you might be scouting ahead to make sure your students are going to have the resources they need, or the people, and some of those resources might be unconventional resource. Experts in the field, right? It also made me think these are the roles librarians have been playing for a long time.

Margi: They definitely are. Coach, cheerleader, supporter, teammate… I mean whatever it takes. I keep thinking of it, it feels almost like a cliché now that we’re not “the sage on the stage”. What it is is that we’re the “guide on the side”. And that’s very much a librarian role.

It’s always helpful. Any kind of heads-up — and MacKenzie talks about that — any kind of co-planning or collaborating with the librarian? The sooner the librarian gets pulled in, the more scouting we can do to try and, you know, make it easier. Or also softly guide! We want the students to do the work but, you know, if we can anticipate any roadblocks they might face, then we can anticipate how we might help guide them around.

Jeanie: Yeah. He makes it really clear that the shift in roles doesn’t mean we’re not teaching. It’s just teaching in a different way. We’re still actively involved; it’s just a different role. And I always found when I was a school librarian that one of the phrases I use most often, that kids rarely heard elsewhere, was:

“I don’t know, but let’s find out together.”

And so, often kids come to me with questions that I don’t need to be an expert on… it could be anything, right? Like working with kids on how to fix a snowmobile. I don’t need to be an expert on that. What I can be an expert on is how to find the information you need to solve your problem.

Margi: Right. And that’s what we’re hoping to guide them towards! We want them to develop their skills so they’re doing that more and more on their own.

I was talking with some other teachers about citations the other day, MLA-style citations, and when exactly do we teach students? And the conclusion we came to is, it’s really important to make sure students understand why we use citations. The value of citations, what it demonstrates about the student.

Let’s say they’re doing a typical research paper and if they have that source, that cited page, the bibliography. That shows how much work they’ve done, how much knowledge that they’ve incorporated.

Of course, it also gives credit to the original people. But that style piece, the details with the hanging indent or the alphabetical order… Yes, that’s important. But they can find that out. And a lot of times, they’ll ask me a specific question and I’ll say I can’t remember. But I know where to look!

And who knows where they’re going to end up. They might be doing APA citations. But as long as they understand that framework, why we do it? The details they can pick up.

Jeanie: And I love that appreciative approach. You’ve utilized all these sources to impact your thinking! Why wouldn’t you want credit for that? Yes, we want to give credit to where you’re getting your ideas from. We don’t want to plagiarize, right? But also like, you did the work of reading all that stuff, own it. Take ownership of it.

Margi: Right. Now, *you’re* the authority, you know, for this piece of information. So, you should take credit for that by sharing your sources.

Jeanie: It’s a source of pride as opposed to a way to protect yourself from copyright infringement or plagiarism. It turns that on its head a little bit. I love that approach. Yeah, I also know that you’ve said in the past that methods like this allow the learner to do the work.

I think one of the other interesting things about teachers playing different roles when we’re focusing on inquiry, when we’re using inquiry to guide learning and personalized learning is that students play different roles too.

It’s different than answering questions for a teacher, say. Or doing a project as defined by the teacher where you focus on inquiry. Do you want to think a little bit with me about the different role students play as they go through the inquiry process?

Margi: You should’ve seen right before the break, I had a student come into the library *so* excited because I had been visiting his class when his teacher was out one day, and they were picking topics. They were able to choose their own topic to answer a broad question; he had a vague idea of something he wanted to do. And then since I saw him, he specifically decided it was Edward Snowden was what he wanted to focus on.

He had gone deep into it. He was so proud. And this was one of the few times I think *he* would say that he got really excited about a project. The fact that he came running back into the library to tell me about it. And he had to do a speech that he was nervous about. But as he was standing in front of me, he rattled off all sorts of facts about Edward Snowden, and I was able to point out, you know what? You have it all. Here’s an example, you’re now an authority on Edward Snowden. Like, you can do this.

Jeanie: I think I had the same experience with my son, when he was in high school where he got to do this really big research project on net neutrality. He was really fired up about it. And he knew a lot more about net neutrality than I did. He was more of an authority than I am, for sure.

Margi: But that’s what we want, you know? However, we can do it, that’s what we want. We want to put the spark in the students so that *they’re* doing it. My son, last night we talked about the personalized experience, and we see it sometimes at home. I think parents can talk more about what’s more exciting to their kids.

We started a new semester yesterday (or the day before) and he’s in cinema and working on that first cinema project. Writing a screenplay. And he had other homework to do, there was like AP History and other things. But he kept coming back, across the room, spit-balling ideas for a screenplay. Because he was that excited about it.

Jeanie: A little enthusiasm goes a long way.

Margi: Yes, it does.

Jeanie: So, we’ve already talked a little bit about this, but I love that in this book, there’s actually a heading: “Collaborate With Your Librarian!” And Trevor MacKenzie gives a lot of shoutouts to librarians — for which we’re grateful! We also want you, listener, to collaborate with your librarian. And I wondered if you wanted to talk about the things a librarian can offer as a collaborator on inquiry. What that might look like for educators who haven’t collaborated with their librarian?

Margi: Right? I mean, there’s *so* many things that we can help with. And obviously it depends on the grade.

Jeanie: Do you want to talk about a little bit about what it looks like or what a librarian can offer as a collaborator, inquiry projects?

Margi: Absolutely. Probably a more obvious opportunity is when there’s a specific topic that a teacher wants students to work on: curating a group of resources for the students.

We had a freshman class and they did a project about the spread of Buddhism, and they looked at it through the artwork. They had to research artwork. And as we talked about it, the conversations I got to have with the teachers were really helpful. We decided that it was *really difficult*, potentially, for a freshman to research Buddhist art. So we put together the articles for them to read. We found the websites for them to look at.

Jeanie: That to me is a curation role. And sometimes I think we think kids have to do soup-to-nuts. Like they have to find their own sources. But sometimes, finding resources for them makes for higher quality work. It also allows you to focus on, say, synthesis. Or finding the right information within the sources to help answer your question, then present your learning or create something new with it.

Margi: Right! And then taking another step! In a few weeks I’m going to be working with freshmen again. I seem to be recently doing a lot of work with freshmen in a wellness class on *macro-nutrients*, which I need to learn a little bit about myself. And the purpose is going to be note-taking and annotation and synthesis. So that’s another example. That’s just a little piece of inquiry. And that might be a visit to the library or librarian into the classroom just to focus on one part of a class or for an entire block.

You can tell ‘m really big on this idea of focus! Let’s focus on a concrete part of the inquiry process. Soup-to-nuts is hard. And I love, you know, MacKenzie scaffolds us towards this idea of “free inquiry” which is… so fabulous to imagine. Students deciding what they want to focus on and how they’re going to get there. But he also lets us off the hook and says you can do this in smaller steps. And it might take you a few years to develop a curriculum that’s full inquiry. Which I appreciate.

Jeanie: MacKenzie starts with structured inquiry, which is really scaffolded. He has a diagram which is a swimming pool, and they’re on the side of the pool, holding onto the edge. Then the swimmers move towards controlled inquiry, guided inquiry and then free inquiry. And those are progressively deeper areas of the pool.

Dive Into Inquiry
Copyright Trevor MacKenzie. Used with permission

So it’s a sort of gradual release, allowing students to gain the skills they need in order to be successful with free inquiry. If we just throw them into the deep end right away, they’re not going to be successful. We’re going to be frustrated, too. And we’re going to be like, kids can’t do this. It’s too hard.

Margi: Right. It’s overwhelming.

Jeanie: But we can’t expect them to do what we haven’t taught. So, what I hear you saying is that we can chunk this out and teach bits of it, so that by the time they’re doing free inquiry, they have the skills they need.

I love this idea that free inquiry doesn’t just mean we just open up our classroom and say, “Study whatever you want!” That:

  • there’s a lot of skills embedded in this that we teach;
  • we tie it to the standards or the proficiencies that we’re working on;
  • and we’re giving them the support and the resources they need to be successful at it.

Yeah.

MacKenzie’s also big on backwards design. He really outlines in a way that I found really quite streamlined and organized what good backwards design looks like in inquiry. And he gives a bunch of examples. And I wondered about your thoughts about his approach to UBD (Understanding by Design).

Margi: I love that he teaches the students about UBD! We talk a lot about the science of learning and how the brain works. MacKenzie sets up this idea that the students create their own unit of backwards design where they’re figuring out what their goal is for their free inquiry project. And then, how they are going to get there.

So, they’re really accomplishing two tasks at once. They’re doing whatever the specific inquiry project is. And then they’re also building this skill of: I have a goal, it’s happening in the future and how am I going to get there? They reflect along the way and they assess and they adjust and keep aiming towards that goal.

Jeanie: I feel like you just defined self-direction without actually saying the word self-direction, right? By teaching them, like: this is what I want to achieve and how I’m going to get there. That’s what the roadmap looks like? And I think he really does actually ask them to develop a plan to get there along the way and to adjust their plan over time. That is unpacking self-direction without using the sort of catchphrases we use all the time for self-direction.

Like, “persistence”, right? He’s not just saying persist. He’s teaching them how to plan, adjust, chunk out goals into steps, right?

He unpacks all of that in these chapters about how he asked kids to plan. And there’s a great graphic on page 42 that looks like a map.

Dive Into Inquiry
Copyright Trevor MacKenzie. Used with permission.

Essentially, he asked kids to do these seven steps. To figure out:

  1. What they’re interested in
  2. What they’re curious about
  3. And what they’re passionate about
  4. To ask an essential question
  5. To create a proposal for their inquiry unit
  6. And to start to explore and research and collect evidence of their learning

Then, 7) to create something authentic and display it to the world.

And I think those seven steps are really powerful.

What I want us to do is to take a little time with these pillars of inquiry because I think this is somewhere we sometimes have gaps.

Margi: I had a conversation with a colleague who introduced what was called a passion project last year. And she said the students didn’t take to it the way she thought. Some of the pushback she got was, “I don’t have a passion”. And that’s a tricky word for some of us.

How many of us really identified at a young age what our passions are? And so we have other opportunities.

MacKenzie’s saying we could instead aim for a goal. We could delve into something we’re curious about. We could take on a new challenge.

And within this chapter, he also has a list of great questions that I love.

So, he has interviews with the students as they set this up. There’s this list of questions. And my favorite is:

“Have you ever lost track of time doing something? What were you doing?”

Instead of saying what was your passion, try and remember the last time that you got so caught up in something that you lost track of the time.

Jeanie: You know, I got a Rowland Fellowship a few years back. And my whole proposal was about helping kids do this kind of inquiry, based on what they were interested in and are passionate about.  I developed a whole curriculum. This was an area I spent a lot of time researching, and I really struggled with finding resources on how to get kids to find the passion, find the thing. Because it’s not just shooting in the dark. It’s not just like, sort of blind luck.

One of my takeaways, one of my new understandings I hadn’t had before — I went through this whole inquiry process myself — was that being interested in things is a verb. Like, you don’t just have interests. People who are interested in things? Are interested in a lot of things. And I like that word, “interest”, better than “passion”. But this is a skill we need to develop: curiosity or passion or interest or engagement with the world.

But I think if you ask students, I don’t know they’re used to being asked. And then we assume when they can’t answer right away, that they don’t have those things. Instead we should think, “How do we help them develop the capacity to realize their interests are really important?”

So, I really love chapter seven! These pillars of inquiry as a way of getting into what might you want to study.

  • What might you want to dig deeper on?
  • What might wake you up or give you motivation to stay with this inquiry?

Margi: “Are there any topics you find yourself consistently arguing or defending to others?” That’s an example: a student that’s arguing all the time about something, maybe that’s what they should be doing inquiry on.

Jeanie: Then sometimes interest looks different for different kids. If one of your students wants to be a nurse, their inquiry could be about what does that look like? What could that be like for me?

Margi: I saw a student fidgeting with fidget toys. And that was a launching point. What what makes a fidget toy work? Do you think you could design a fidget toy? How would that work?

And then there was a Rubik’s Cube; one student could solve them really quickly. So: do you think you could make a program or a robot that would mix up the Rubik’s Cube?

Jeanie: So, you’re asking questions related to what they’re already interested in?

Margi: Right. But they’re not necessarily focused on being interested in. I don’t know if I have that skill to ask those questions yet. It’s tricky.

Jeanie: But you have a growth mindset, Margi. I trust you can develop it.

Margi: I do! And I’m going to work on it.

Jeanie: Don’t you think he brings up a lot, which really rings true with Act 77, is this idea of authenticity. And I love this quote on page 67.

He says,

“Students want to have a genuine impact on others. And if we can bridge the divide between school and life, amazing things will happen.”

And I think a lot about how frustrating it can be as an instructor when kids ask: when am I going to ever use this in real life?

On the other hand, that just demonstrates to us that kids really want something to be meaningful in the real world. In their real life. And this kind of inquiry can help bridge that gap. That idea of authenticity points to some other things that resonated with practices I’ve seen be really successful in some Vermont middle schools. And that’s calling on community partners — experts in the field — to come and be someone that students work with.

I’ve had students who were interested in photography work with photographers. I’ve had students who are interested in talking about racial and equity work with people out in the world who are doing racial equity work and interview them and connect with them.

Margi: That’s certainly a librarian can help with and do. We’re not just about the books, or where the database is. A lot of times it’s about connecting humans. Where is the authority going to come from? Who is the authority that we can pull in?

Jeanie: Yeah. At Manchester Elementary Middle School, we’ve had members of the select board come in and talk to kids. Olympians come in and talk to kids for different projects so that kids had access to the real world resources that are humans. And social media allows us really to network with scientists and all across the world, right? Skyping in experts, for example. So, we can think beyond our communities.

But our communities are also really rich places for those kind of authentic experts.

Margi: Definitely. The local community versus the broader community made me think of using Twitter for certain things to research. You might get a larger, more global response than just Googling something. When we were working on the United Nations Sustainable Development goals, if you put in the hashtags for the different goals, it’s amazing. You would look at things from Bangladesh and Thailand. And as opposed to, you know, a lot of times we get localized responses through our search engine.

Jeanie: That’s also a way for students to authentically join the conversation, right? So, they’re not just consumers of information, they’re also participants in this larger conversation.

Margi: MacKenzie talks a lot about that the presentation of learning, and he votes for having a digital representation of even whatever the work is.

I think one of the projects was revamping an amphibious vehicle. So clearly it might not be that practical to bring the vehicle into the classroom, but a student videotaped the progress on the work, then videotaped the vehicle actually moving. And that artifact, that digital artifact can be shared out on a blog, on a website through Twitter.

And that reaches a larger audience and becomes authentic.

Jeanie: Yeah. When he calls these public displays of understanding, and I am a big fan of giving student work and teacher work a public audience.

Especially in an era where test scores are how we define the quality of our public schools? Having a public exhibition of student work can provide a different sort of vantage point or lens on what’s happening at school. That’s more meaningful to community members, right?

That’s more meaningful to say, oh, *that’s* the kind of work they’re doing at the school. Whether it’s a film festival or an art display or presentations out in the world. When we took students up to present to the select board [link goes to video] it was really a powerful day because those select board members got to see students presenting their work.

Margi: We have an expo here and we’ve expanded. I think initially it was science and now they’re trying to get every department to find ways to share student work. We’re all eager to see it!

There’s also a section in the book where MacKenzie’s talking about establishing relationships with the students. It’s just made me think of this. We all know how important the relationships are. And MacKenzie interviews the students and learns things that we might not know. The passions or the interests or the jobs. The the sports player that you might not know sitting in your classroom, or the ballerina. That it’s important to have that extra connection.

Jeanie: Yeah. MacKenzie never uses these words. MacKenzie never says “cultural responsiveness” or “culturally responsive pedagogy”, but what it makes me think about is the way in which by inviting in students interests, by inviting in the things that they’re engaging with, we are being more culturally responsive and honoring who they are. Right? Like, we are saying: the things that are outside of school that you bring with you are important here. They have a place here and you can use them to leverage your motivation for learning.

Margi: Right.

Jeanie: I found that to be a really powerful quiet message in this book that wasn’t said outright. But that felt really meaningful to me. This book is only like 115, 120 pages of really powerful plans for how to engage young people in their own learning in a more meaningful way.

Margi: I thought you’re going to say dive into inquiry again.

Jeanie: Dive into inquiry! Any other thoughts on MacKenzie’s approach to bringing inquiry into the classroom or into the way that you teach inquiry?

Margi: I think I said it once before. But I guess I always appreciate the idea that we can work in smaller steps. He does outline this broad plan for a future curriculum, whatever the subject matter that it’s all inquiry based, the entire thing which sounds great. But I love also the idea that we could start small. You know, we could start by offering choice and topic. We could start by offering choice of display and let students really individually think about what the best means is are, and my grammar is not good anymore late in the afternoon. But depending on their topic, how are they going to share with us what they’ve learned about the topic?

Jeanie: Yeah. And they surprise us, right?

Margi: They do.

Jeanie: Like they exceed our expectations when we give them the opportunity to do so.

Margi: Mm-hmm.

Jeanie: I really appreciate you helping me to think about inquiry. And to sort of dig deep into Trevor MacKenzie’s approach to leveraging inquiry for student engagement. Thank you so much Margi, for your time and your expertise.

Margi: Thank you. Anytime, always happy to talk with you.

 

vted Reads: Dive Into Inquiry
Burr & Burton Academy librarian Margi Putney (l.) and #vted Reads host Jeanie Phillips.

 

To find out more about Vermont Ed Reads including past episodes, upcoming guests and reads, and a whole lot more you can visit vtedreads.TarrantInstitute.org. Follow us on Twitter and Instagram. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

#vted Reads: Hidden Roots with Judy Dow

On this episode of #vted Reads, we’re joined by noted Native scholar Judy Dow, to talk about Hidden Roots, by Joseph Bruchac.

This book and the issues it raises are incredibly important for us to address as both educators and Vermonters, given Vermont’s appalling history with eugenics. So as a quick content note: we’re going to be discussing family- and race-based trauma. Because we have to, so that you can talk about it with your students, and find new and better ways to incorporate the vibrant history of Indigenous and Native people — as well as including their voices and perspectives through the current day.

We got up early for this one, folks.

This is #vted Reads. Let’s chat.

Jeanie: I’m Jeanie Philips and welcome to #vted Reads. We are here to talk books for educators, by educators, and with educators. Today, I’m with Judy Dow and we’ll be talking about Hidden Roots by Joseph Bruchac.

Thank you for joining me Judy. Tell us a little bit about who you are and what you do.

Judy:  Thank you, it’s nice to be here. Well, I’m currently working for Gedakina, a native organization that is throughout New England. And we have an educational component where we want to educate our students about culturally appropriate and historically accurate books.  We want to educate other students that are not native about the same thing. Our hopes are this education will prevent bullying, or limit bullying, and a little bit more understanding between both cultural groups.

Through Gedakina, I’m working in the Windham Southeast Supervisory Union. It’s a district in the southeast corner of the state. We’re trying to develop a curriculum program that will match with H.3, the new bill that addresses ethnic studies being taught in core curriculum.

So the book I’m currently reading is one I read many, many times. It’s Hidden Roots by Joe Bruchac.

Jeanie: Excellent. I cannot tell you how excited I am to have you on the podcast. We’ve been friends since we took a trip together and you’re just a wealth of knowledge. I’m just so excited for this conversation. Thank you so much for joining me today. I always like to ask my guests, because I like to build my “to-be-read pile,” what they’re reading. Do you want to talk a little bit about, besides Hidden Roots, what you’ve been reading lately?

Judy: Sure. I’ve been trying to read a lot of old favorites so I could recommend them to teachers. And one of the children’s books that I’ve been reading (or re-reading) is March Toward the Thunder by Joe Bruchac. It is a civil war story about Abenaki boy who lies about his age and joins the Civil War to help his family find a place to live in Vermont.

Also Thanks to the Animals by Allen J. Sockabasin, which is a younger picture book about Zoo Sap, a little baby that falls off a sled and the animals care for him.

Muskrat Will Be Swimming by Cheryl Savageau is about bullying, name-calling, and it’s another very pertinent book for today.

And one of Joe’s new ones, Two Roads? Is about a young man who finds out he’s Choctaw from his father who is trying to hide it from him. They separate in life for Two Roads. The young boy has to go to a boarding school. The father goes to Washington to protest against the bonus checks from World War One. They want them earlier because it’s The Depression, and they’re losing their home.

I’m also reading Race Talk and the Conspiracy of Silence: Understanding and Facilitating Difficult Conversations on Race, by Derald Wing Sue. Very good, lots of vignettes that are based on classroom experiences. It’s very helpful.

The other one is White Fragility: Why It’s So Hard for White People to Talk About Racism by Robin DiAngelo. And that is also a very good book.

Jeanie: Those are excellent suggestions. I’m really excited to dig in.

I have some questions already, that aren’t even on our list of questions. The first one is I  I wondered if you would talk about your identity. You used the word “Abenaki” ([ə̝ bɛn ə̝ki’] / “uhbENuhkey”). When I came to Vermont, I heard a lot about the “Abenaki” ([æ b’næ ki’] / “AbunAHkey”). You pronounce that word differently and I wondered if you want to talk about that.

Judy: Sure. So, the word Wabanahki describes the people of the Northeast. “Waban” is white, “Ahki” is land. People from the white land, or the dawn land, where the sun first rises. And the English pronounce that word as [æ b’næ ki’].

Along the Hudson River valley into New York were large Dutch settlements. And they said [ʊ b’næ ki’]. The French, however, had no sound for “w”. They took the word Wabanahki and made it [ə̝ bɛn ə̝ki’].

So you can tell someone’s ancestral background by how they pronounce the word. My first language is French so it’s pretty difficult for me to change [ə̝ bɛn ə̝ki’] to [æ b’næ ki’] at this point in my life.

Jeanie: How do you recommend that I as a white Vermonter pronounce the word?

Judy: I guess you could probably pronounce it any way you’d like. But you might want to ask the people you’re talking to what they would prefer to be called, because they may have a preference. They may prefer [ə̝ bɛn ə̝ki’] or [æ b’næ ki’] or Wabanahki. I think just simply asking them what they prefer would be the best way to handle it.

Jeanie: Great. During this podcast then I’m going to pronounce the word the way you pronounce it, and say [ə̝ bɛn ə̝ki’].

Judy: Sounds good!

Jeanie: Before we launch into Hidden Roots — which is just such a beautiful book — I had read it years ago. Before we get into the discussion of Hidden Roots, could you give us a little history of Vermont and the Native peoples who lived here?

I guess this is another place where I want to ask you about a preferred term. I have known folks in the past who preferred to be called Native Americans. I’ve known folks who preferred to be called Indians. I’ve known folks who preferred to be called just Native. I wonder if you could offer us a preferred term.

Judy: Well again, I know what I prefer but the person you’re speaking to may have a different preference, so it would be best to ask what they would prefer. But just as you might visit another place like Canada, you would say American, you are American.

Abenaki people might prefer to be called Abenaki. Mohawk people, Mohawk. The linguistic group they belong to is Iroquoian or Algonquian. You might refer to them as an Algonquin-speaking person, or a First Nations person, or an Indigenous person.

So I think the best thing is to ask what people would prefer to be called. Everybody has their different thoughts.

The term “Indian” is interesting for me. I’ve spoken to a lot of elders and asked them why they use the term Indian. They have often told me things like, “Well, all the books are written so that the stories are about Indians. I want my grandchildren to know and my great-grandchildren to know that those stories about us? *We* are the Indians they’re talking about.”

They frequently use the word Indian to discuss who they are and to self-identify with who they are for the purposes of allowing their grandchildren and great-grandchildren to know who their ancestors were.

Jeanie: So you’re making me think a lot about– I think especially in schools, right? We teach Native American units, say. And people use that phrase and it makes me wonder about the generalization when we use something like Indians or Native Americans.

Sometimes I’ve been using Indigenous more and I like the Canadian term, First Nations. What I like about First Nations is that it’s plural as opposed to grouping everyone together.

Judy: Yes. Sometimes Native Americans or American Indians are so generic. It leads people to believe that they’re all the same and they’re really not. Every nation is distinct and different in their ethics, morals and values. And that needs to reflect in what you call them.

That’s why it’s so important to call them by what they want to be referred to as.

And I think that Native American can refer to anyone born here as well. So that adds to the confusion. I think you see a lot more “American Indian” east of the Mississippi and “Native American” west of the Mississippi. So there’s differences across the country as well.

Jeanie: This is so helpful to me as I think about the way we teach. Especially thinking about this preference to ask people what they prefer to be called? I think one of the problems is that we often teach First Nations people as if they’re only in the past.

Judy: Yes. Correct. Which is very problematic because they still exist today and it’s the goal of this country to make us invisible so we eventually disappear. And by only talking about us in the past that’s exactly what happens, we become invisible.

Jeanie: That’s part of the problem.

Judy: Yes.

Jeanie: Oh my goodness, I could talk to you for days. Let’s jump into this book. Am I right that Joseph Bruchac is a friend of yours?

Judy: Yes. I’m working right now on a project to get him to come to the Windham Southeast Supervisory Union to do presentations for the students down there. I think the students will enjoy him and his son Jesse, and how they tell their stories. I think they could probably answer some questions for students about their writing.

Interview: Excellent. I would love to know more about that! Maybe I’ll try to spell for an invitation.

So Hidden Roots is set in the 1950s and I wondered if you would introduce us to Howie, the main character in the book.

Judy: Sure, Howie is an 11-year old boy who lives in Sparta, New York with his parents. And in this story it’s along the Hudson River. He’s sometimes called Sonny; it’s his nickname that he’s gotten because he’s the son of his father, right? And they are very much the same.

He has a troubled life because of a family secret that he hasn’t quite figured out yet. And his father is angry most of the time, for lots of reasons. But primarily there’s historical trauma being passed from one generation to the next generation, that’s not being addressed or talked about. And so there’s lots of lessons within this book.

Jeanie: Yes. Oof. I’m going ahead and read from page 32 of the book because it sets a nice scene for us about Howie’s relationship with his uncle Louis.

This slideshow requires JavaScript.

 

So, it’s early in the morning and Howie is sort of thinking through what he know about real Indians as he and Uncle Louis are visiting Vermont. And I think this really illuminates something you said earlier about the way we teach Indians and about erasure. I’m using that term Indians, I’m going to actually use the term Abenaki. And I wondered if you wanted to a little bit about the history of the Abenaki people in Vermont.

Judy: Yes. I can do that. But I want to just address Howie’s words first, if I could. Howie has come away with just about every stereotype you can think of, right? They’re dangerous. They’re ignorant, they just ride around in jalopies and live in shacks, they’re lazy and poor. And those stereotypes is what contributes to invisibility and problems.

At this point in the book, he has those stereotypes because that’s what he’s learned from the people around him. His family has not addressed the fact — the historical fact — that he’s actually an Indian. Or Native American, or Abenaki. They’ve not addressed any of that with him, that’s part of his family’s secret that is causing the turmoil within the family.

Between 1925 and 1937, Vermont ran a program called the Vermont Eugenics Survey. And in that program they were looking to create a better person, a better human. They thought that through subjective research they could identify defects to who was dependent and who was delinquent; the three Ds.

So there were about 17 surveys within this greater survey. Each one directed a group of people to find out an answer, like an ethnic study or pedigree studies. Each survey directed them down a path to determine who was defective, delinquent, and dependent, in an effort to create a better Vermonter, as Nancy Gallagher says in her book.

Let’s see. It was a national program, it was an international program. Henry Perkins, the director of the Vermont Eugenics Survey at one time, was the president of the national program. And he truly believed that just as you could breed better cows to give more milk, and better horses to run faster, that you could breed better people.

He was specifically interested in French-Canadians, the poor, African-Americans, and French-Indian people living in Vermont. Those were pretty much the categories he targeted. And as I said, a lot of the reporting was subjective.

Jeanie: I think just that question of what it means to be a better Vermonter is very subjective. Who gets to decide what better is?

Judy: Exactly. I’m stumbling here because Hidden Roots talks about 1925 to 1937, but today Vermont is doing some of the same things.

So for instance: in the 1930s, Dorothy Canfield Fisher, a eugenicist, wrote publications for the state of Vermont, in which she was encouraging tourism and second homeownership to only those who are professionally trained to use their brain for a living. And she specifically names doctors, lawyers, professors and so on. Then, she specifically names in the brochures who should *not* be looking for a second home… and talks about those in manufacturing. Which of course where most of the poor and the French-Canadian, French-Indians worked, right? And bankers and the reason she did not want bankers is because they were primarily Jews.

So, in Vermont today… I know in Bellows Falls and in Wilmington, the state has offered $10,000 to people who would move here. They’ll have to really work here or be part of living here. They can work remotely, but they’ll be paid $10,000 to move here. Which is very similar to what was happening in the promotions of the 1930s, where they were encouraging a certain class of people to come.

And I think Hidden Roots creates a jumping-off place in which you can carry that conversation on for today.

They’re not providing opportunities for the poor to move. They’re not considering even the poor, they’re creating a dichotomy of those that have and those that don’t. By bringing people that “have” in? That dichotomy just gets bigger.

Jeanie: I totally hear that and I really appreciate you connecting current policy to past policy in this way. And connecting this book which is set in the 1950s and is really written about the 1920s and 1930s, the baggage of or the trauma of the 1920s and 1930s, to what’s currently happening. The critical lens you can put on contemporary policy.

Judy: It’s frightening for me. My father used to say to me, “I can’t believe people pay you to talk, I’d pay you to shut up.” And it’s not until this current administration that I began to realize he was protecting me. He was trying to get me to not talk about eugenics.

There are many people in the Burlington area who were first targeted, who will never put their name on a list to say who they are, because they’re afraid they’ll be targeted again. It’s a memory that’s very close.

Jeanie: Yeah. You’ve been really brave in bringing up this conversation. Judy, I know that you were an important part of getting the name of Dorothy Canfield Fisher Book Award changed. And you’ve stood up in other places too to have the names of prominent eugenicists removed from buildings and organizations.

Judy: Yeah. I’ve always been upset when I’ve seen Bailey Howe Library, and places like that. But it wasn’t until I had grandchildren that I began to realize it is important to set the record straight. They needed to see who these people really were. And especially Dorothy Canfield Fisher, a woman who served on several sub-committees and actually turned names in of children who needed to be institutionalized. I felt… to attach her name to a children’s book award was the most egregious thing I could think of.

Jeanie: I just want to thank you for your efforts and your courage in that work. It really means a lot.

Judy: Thank you.

Jeanie: Oh goodness. Let’s get back to Howie, shall we?

Judy: Sure. *laughs*

Jeanie: Uncle Louis is a really important person in Howie’s life. While Howie’s dad is really angry and bitter. He’s working really hard at the factory and he’s pretty emotionally unavailable to Howie. Uncle Louis is very available to Howie. He takes him out into the woods, and spends time with him. They’re quiet together, and they talk together and they go on these trips.

But there’s something that’s connected to the last passage I read on page 55 that I think is also connected to what we were talking about: erasure. Uncle Louis and Howie are out near a reservoir.

"'What was it like clearing trees for the reservoir?' 'Hard,' he said. 'But the wood work wasn't the hardest. The hardest was to clear away the houses and the shacks and the people who was in them.' The word 'shacks' made me think of the poor half-Indians on the other side of our mountains. 'Were they Indians?' I asked Uncle Louis. 'Some of them used to be,' he said, turning his face toward the peaks rising to the north of town. 'What do you mean?' I said. I didn't understand how Indians could stop being Indians. Uncle Louis reached out his left hand to take hold of my shoulder and gently pull me over to him so that we were both looking up at the range where a few maple trees had already turned crimson. 'Because they was Indians,' he said, raising his other hand as if he was greeting those mountains, 'they got treated worse than everyone else. Some places, Indians been treated like they aren't even human.'" --Joseph Bruchac, Hidden Roots, p 55

Judy: Yeah. That’s kind of a sad passage, right.

So during this period of time, it wasn’t safe to be known as an Indian or Native American. It wasn’t until roughly the 1970s that the word Abenaki was being used in the state. It wasn’t safe because of the Vermont Eugenics Survey, right? And so many people assimilated. They passed as white and their culture and their history and their language was slowly disappearing.

Others hid in plain sight. They just lived life day by day not doing anything that would stand out.

So for instance, we would have a kitchen junket every Sunday night in my family. Which is typical French and French-Indian, right? We’d get together, my father would play the concertina and we’d all play the spoons, and sing, and have fry bread. And that was done on a dirt dead-end road in South Hero where all my cousins, aunts, and grandparents lived. But if we have used some big, enormous drum to celebrate on Sundays with our fry bread, it would’ve drawn attention to people.

The most common thing was, “Oh the Indians are on the warpath again.” And the sheriff would come and talk to you if you made too much noise. So adapting to changing times was critical for survival. In order to hide in plain sight, you had to blend in.

This period of time, if you walked down Church Street in Burlington, 65% of the people there spoke French. That’s what you heard on the streets. And so even speaking French was kind of pushed within the community.

But there were ways in which people coded the stories to protect you. There was a character called Batiste Parvenu. Daniel Trombley wrote about this character in code. It came out in the newspaper every Wednesday, usually the top front page to address the French-Canadian, French-Indian population.

It was a collection of stories about a bumbling Frenchman who did one thing or another. In code it was really lessons to be learned for the French and the French-Indian people to survive. On Wednesday nights, people within the community would get together. They would read Batiste Parvenu, and discuss what the code was. They would decode it and figure out what lesson that week he had for them to protect themselves.

Jeanie: Wow. This sounds like an amazing primary source document.

Judy: It is. As a child, my father would sit us all on his lap and he would read the stories to us. And he’d say, “I tell you these things because you have to be careful.” Just like in the book with Howie, things talked about at home, stay at home.

So, when I got older, when I was in high school, they were published in a book some of the stories. Then my father would read them again. He got my sisters and I copies of the book. He kept saying, “It’s important. You have to know this stuff.”

And so he’d go through it. In recent years I’ve written the stories and decoded them in writing for my grandchildren. Because times have changed little and *they* have to know these things.

Jeanie: This is reminding me of The Talk. Which is what a lot people of color talk about the conversations they have to have with their children

about the police or about being Black in public, right?

And so it’s reminding a little bit of that, actually a lot of that.

I’m having this like waves of emotions as you’re talking about this Judy so I’m just doing a check here with you. I’m hearing this like cleverness, this like really amazingly brilliant approach to communicating in code with a whole community of people. Which is so clever and interesting. And I’m hearing about story, which also just delights me.

Then I’m hearing about… this push for willful assimilation to survive? And like the way in which people are teaching their children to hide culture for their survival. And that’s just filling me with grief.

Judy: It is sad. Those are things Batiste Parvenu addresses, in the scenarios that Daniel Trombley has written. Parvenu is not really a last name. It means “the one who puts on airs”. And he puts on airs to survive.

He applies for a job in Chicago, in one of the stories. And he goes in for the interview, and the lady asks him what is his name, he says, “Batiste Pavernu and don’t you forget.” And she goes, “What nationality are you?” And he says, “I’m Irish.” Well, because in Chicago at the time, being Irish would get you the job; not being French. French would not get you the job.

So he puts on these airs. The stories are bumbling. And back home here during that time, many Francos were anglicizing their names. Riviere became River, and so on and so forth. But you get the idea.

Jeanie: This leads me to the next quote. This title Hidden Roots and all of the ways that Indians are, that the Abenaki are hiding in plain sight. This need to hide and assimilate.

The next quote I had picked out was just about that same idea. Uncle Louis has taken Howie out into the woods and they’re praying together. He’s introducing Howie to this way of praying. And I believe they’re watching the sunrise as they pray. He says,

“Is it all right, us praying like Indians that way?” I asked Uncle Louis as we were climbing back down the mountain.

“Long as no one sees us,” he said.

That feels really relevant given your story of your kitchen junkets. And of the advice on how to assimilate, hiding in plain sight, and the newspaper. It made me wonder, knowing you and the scholar you are on the eugenics movement in Vermont. I guess you’ve already answered this to some degree, about the impact that eugenics had on the identity of Abenaki people in Vermont.

Judy: Well, a lot didn’t self-identify for safety reasons. So it’s left future generations floundering on the fact of who they are.

The previous generation tried to hide a lot of things to protect people. These generations find it difficult to find the documentation to prove who they are. To prove how they lived. And they also get confused with the eugenics record.

So there’s both positive and negative records in the eugenics records, and the Vermont Eugenics records. What a good family would look like and what a family that was defective, dependent and delinquent would look like.

So many times, when people see their name in the record they’re like, “Oh I have to be Indian, I was in the records.” But they were not in the records for the reasons the eugenicists were targeting people. They were in for other reasons. So their lack of knowledge totally impacts their direction in life in reclaiming who they are.

Jeanie: So what I hear you saying is that just because your name is written down in the records as one these three Ds doesn’t mean that your family was Abenaki. It could mean that they were just poor. That they lived in a way that was not condoned by the popular morays and norms of the time. Or that they were French-Canadian.

Judy: Correct. The three Ds were the negative eugenics, right. In searching for three Ds they were looking at immigrants or people they deemed to be immigrants. Like French-Canadians, French-Indians, African-Americans.

When you look at history, from Burlington north, that was part of New France. So they weren’t really immigrants. This was their traditional homelands, right. For the Abenaki and the French-Canadians.

I’ve heard anthropologists talk before that anyone north of Route 2 with a French surname is probably from French-Indian descent. So those were the people, after the Flood of 27, who were poor, and struggling and had lost their homes in some cases, because they lived near the rivers. Were struggling. Henry Perkins was constantly writing in the newspapers that they were ruining his views. And I’m like shocked because these people are struggling, and so he desperately wanted them removed.

Jeanie: This just reminds me too, of the power of words, right? I think a lot about that term intergenerational poverty. That that phrasing blames the victims. That blames the people who are impoverished. What if you instead turn this — and I’ll give credit to Paul Gorski for this — to intergenerational economic injustice. How that shifts where the locus of control, where the blame is put. I think I’m thinking about how we continue in this country to this day to criminalize poverty.

Judy: We do. And everyday there’s more and more laws that are passed that perpetuate this intergenerational poverty. They want it to continue. That’s the only way upper class will survive if there’s poverty because they become the workers.

This [recent] twist with the immigrants and slowing down the people coming over our southern border is not new. In 1924, Calvin Coolidge from Vermont passed laws to limit immigration. He passed laws to turn ships back filled with Jews seeking asylum.

So every time a new law is created, it limits what’s within the borders of this “experiment”, if that’s what you want to call it. This thought of a melting pot? Where all people come in from all different cultures into the pot and are mixed and boiled and come out together red, white and blue Americans, is interesting to me.

My father and my grandfather were plumbers. And as a child my job was to take the melting pot, and to take the metals that they used, and melt them in the pot. And the pure sunk to the bottom, and the impurities floated to the top. My job was to scrape out the impurities so only the pure were left in the pot.

So a true melting pot is doing exactly what they had thought, which is to mix all these people together. Create laws to control them, and the pure will be left in the pot.

Jeanie: I never thought of that image that way. Thank you… or not.

Judy: It’s frightening isn’t it?

Jeanie: Well, I think just what you said about criminalizing poverty as well, right? Like, our economic system creates poverty and then criminalizes it, right? We can’t have it both ways, we can’t both create it then tell those folks they’re wrong.

Judy: Well we *can* have it because it’s existing. We *shouldn’t* have it.

Jeanie: I agree. Thank you for that.

One of my favorite parts of this book is as Howie begins to sort of wake a little bit and question his beliefs. It’s on page 82 and I got to admit it’s because I’m a librarian. The librarian has given him The Last of the Mohicans and he says,

This slideshow requires JavaScript.

I am pleased to say we have many better choices these days, I think. Not as many as we would hope necessarily but there are a lot of better choices for young adult and middle grades and picture books. Do you have any that you would recommend besides the ones you’ve recommended earlier?

Judy: Sure. Actually I’m smiling because the soundtrack from the movie “Last of the Mohicans” was the song my son listened to before he went into wrestling matches in high school. It was something that motivated him to get in there, into the mats, and battle. So I’m chuckling to think that he read The Last of the Mohicans.

For books, there’s so many I can think of. It’s difficult for teachers sometimes to find just the right books. But there’s a website called Oyate. There they carry books written by Native people and reviewed by Native people for cultural appropriateness and historical accuracy.

There’s also several books. One called Through Indian Eyes and one called A Broken Flute, edited by Doris Seale and Beverly Slapin. Those two books are filled with reviews on what’s a good book, what isn’t a book. Doris was from Guilford, Vermont.

She was one of those people who spent their first three years of her life living in a tent on Broad Brook. Her mother died of polio, her father was institutionalized at Brattleboro Retreat because they believed he couldn’t take care of the three girls. The girls were sent to Kurn Hattin during this period of time.

Doris was raised in an institution. Those two books, A Broken Flute and Through Indian Eyes, have a lot of that perspective written into the reviews that Doris did. I think those would be great resources for anybody.

Also, there are two books by Lisa Brooks. One is called The Common Pot and the other one is called Our Beloved Kin. Those two are also good resources in understanding King Philip’s War. Understanding the land that we live on and the connection that Gedakina or this land played with the role that played with King Philip’s War.

Jeanie: Those are great suggestions. One of the things that I have learned from you, Judy, is just because a book features a main character who is Native or Native American, Indian, or Abenaki, doesn’t mean that it’s a book you want in your classroom. I wondered if you could talk through some of the things you’re looking for, if you’re thinking about whether it’s a good representational book, or a book you’d want kids exposed to.

Judy: Yes, I think it’s a matter of learning how to identify the difference between a book that’s appropriate and a book that’s not appropriate.

You want to look for books where Indigenous people are not objectified. You want to look for books where the text reflects language used by both Indigenous people and non-Indigenous people equally. So one is not a “warring savage” and one is just a “warrior”; they’re both warriors. Illustrations that depict not just the past, or people with bright red or bright orange faces. You want to reflect differences in color, size and whatever. Let’s see. The text, the illustrations, vocabulary — you want to look at all of that.

Jeanie: This is super helpful. It reminds me of good friends of mine back when I was in college. When Halloween would come, and people would dress up, this was in the 1990s although folks still do it, would dress up like an Indian. (I’ve got some air quotes around that.) My friend Joe Morales would say, “What are you wearing, blue jeans?” Like sort of this, the way we stick some people in the past is its own kind of erasure. And assume that they still dress a certain way that is primarily just propaganda in our textbooks.

Judy: Right. The other thing which you’re alluding to is stereotypes. I can’t tell you the books so filled with stereotypes that I just want to be ill over.

I’m thinking of — I can’t get it out of my mind right now — is Jodi Picoult’s book called Second Glance. I think I counted like 12 stereotypes that are carried throughout the book. She says she based that book on Nancy Gallagher’s book but I don’t see where she even read one word of it. There’s nothing historically accurate in what she portrays in the book but then again it’s fiction.

Jeanie: I think you get at something interesting. I’ve thought a lot about how stereotypes aren’t just sort of the on-the-warpath kind of Indian stereotype. Also the noble savage or the docile squaw, are stereotypes. Even if they seem like, “Oh, there’s nothing wrong with that.” It portrays this one way, or this dual way of being.

Judy: Or being relentlessly environmentally concerned. Or the drunken Indian, or the lazy Indian, or the ignorant Indian. Those are all stereotypes you often see in books that cause trauma in people.

It’s the same subjective language that was used during the eugenics period. It’s one thing to hear it, it’s another to see it permanently written, in black and white. So that’s why I started all this research and started documenting some of this stuff for my grandchildren. They need to know it’s subjective. That it’s people that hate. It’s people that don’t want to see that there’s a difference and don’t want to embrace those differences.

Jeanie: So that makes me also think about the importance then of #OwnVoices stories like Joseph Bruchac. This is an #OwnVoices story, isn’t it?

Judy: Own voice?

Jeanie: Meaning that the people, the characters are being written about by somebody who shares their ethnic identity with them.

Judy: Yes, you have to feel safe in order to share that. And that goes back to what I said about my father, he did not want me to share it. He was worried for me.

For a while so was I. But then when I reached to a point of being a grandmother, things changed. I felt I needed to be more of an activist. To help protect the lives that they’re going to lead. And keep the lifeways alive for their children, their grandchildren.

They say when you’re looking at seven generations, you should put yourself in the middle and your actions and your words should look backwards three generations and forward three generations. How your actions and your words might impact all of those generations.

Jeanie: You’re definitely looking forwards.

Judy: I am now, at this point in my life, yes.

I think when I was younger and my kids were little it was like, one day at a time. I just got to get through this day. *laughs* But now I’m looking more towards trying to correct the errors that were done in the past in Vermont. Trying to look forward to future generations and having to create an understanding.

Jeanie: I’m so glad you’re doing this work.

I’m going to pull us back to Howie a little bit in Hidden Roots. The first time I read this book was a really long time ago. I really liked it, it’s a quiet little book in a lot of ways. It’s quiet on the surface and then there’s a lot of noise deep down, right. In the family trauma, in the history.

Since that first time reading it and this time, I’ve actually learned a lot more about eugenics. Specifically, from you, in doing a eugenics bus tour around Burlington. And hearing you talk about your scholarship. So re-reading it, having learned from you and having done a little more reading about eugenics, made it a very different experience for me.

So my question for you is, how would you recommend that teachers teach this book in the classroom or use this book in the classroom?

Judy:  Well I think I’ll start with this: a lot of teachers don’t want to use this book because of the violence from the father, from Jake. They don’t want to be put in a place to address violence. I think that in this particular case, this is a lesson on historical trauma, generational violence. In order to address and understand it, the book really helps. That would be one thing I would do.

I’ve done several projects with several schools. For instance with Cory Sorenson in Guilford Elementary School. We researched who the eugenicists were from their surrounding area. Then we went to the library and we used primary sources to do research to find out where they lived, what their job was, and a few other details.

So the students learn that the eugenicists were like, the principal of the high school, or a judge, or a lawyer. They learned many different things. And then we took the addresses, got on a school bus, rode around town and found the addresses and marked them. Created waypoints with a GPS.

Then we went back to the classroom, created digital maps. And we created pneumonic devices to help them retell the story of the person they studied. They might weave into a basket or burn on a piece of leather or create some kind of map. Some kind of story that helps them to record and talk about the untold story that they uncovered.

And that was a very fruitful event. We did some amazing things in that class. The kids learned some amazing stories and they did original research, which was phenomenal. And they were only in fourth grade but they knew right from wrong. They knew very basics and I didn’t have to go into detail on some of the words like “sterilization”. I’m like, they just made it so they can’t have babies anymore.

I think these difficult topics are often put on the shelf and passed over because teachers are afraid to address them.

Another thing I recently did was with an eighth-grade class. I sat up four stations, divided the class up. The teacher and I worked together at this. I got all of these primary sources and placed them at each table with a list of questions that could be answered from their primary sources.

I gave them a 10-minute overview of eugenics with the PowerPoint. Then they had to research the questions and finish the story and report back to the class.

That was a simple 70-minute program. They were able to use the primary sources to answer the questions, retell the story to the rest of their classmates. And they had the complete story of the Vermont Eugenics Survey. They had used primary sources, they had done the research themselves. It was kind of an exploration and discovery event for them.

Jeanie: This feels so important to our real understanding of Vermont. And also teaching kids this darker history of Vermont, this history that we’re not as proud of, we’re definitely not proud of. It feels like preparation for understanding when we’re at danger of traveling these paths again.

One of the things I often struggle with or find problematic is that in just about elementary school across this country, there’s always the Native American unit. It’s often in fourth grade, right. Maybe it’s around Thanksgiving time.

There’s the like, “Well, we do the Native American Unit. One group studies the Hopi and another group studies the Cherokee.” I guess I’m asking you for advice about this and for your perspective on how we might do better.

Judy: I don’t see myself as a unit of study.

However, I’m very pleased with the passing of H.3, and the study of ethnic studies. I do see my ancestors as scientists, mathematicians, artists, and historians.

So this gives me an opportunity to show teachers how to do that. Going into the classroom and saying, look at these complex games that talk about probability and odds. Look at this issue of eugenics. The Native technology they created with the changes in flora, fauna, climate, and geology from the Paleo-Archaic and woodland. And the adaptation that occurred at the contact period.

These people were brilliant. If you don’t believe me look around the world today because a lot of their technology is still being used.

So that’s why I’m pleased with the passing of H.3. We’re hoping to have a conference in the spring at the Brattleboro High School to share some of these experiences. I’ve talked with several people at the Vermont Coalition and we’re hoping they can come and share standards with us at the same time.

Jeanie: If folks want to learn more, should they look at the Gedakina website?

Judy: Yes. We’ll post it there as will probably the Brattleboro School District.

Jeanie: Great. Do you have anything else that you could recommend to Vermont educators? Any other words of wisdom for us about this book in particular or just about how we could bring the Abenaki, the people whose lands we’re on, into our classrooms?

Judy: There’s a lot of important things but the first is to look at… to not look at them as generic. So the example you gave like the Southeast and the Southwest and the Northwestern?  Dividing your classes up into those groups can be problematic because teachers often say, “Oh, let’s study what their lodges looked like. What food did they eat? How did they dress?”

So they address differences, but they leave us dangling back 500 years ago.

Teachers usually do this with the age group that’s learning about timeline. So if you end us back at 500 years ago and don’t say we live in apartments, and condos, and trailers, and houses today? There’s a big gap in the story that you’re asking them to learn.

That would be the first thing I would say. I think there are other things. To understand that there’s not a generic Indian. And that each nation is different in many ways, with their ethics, morals, values, and beliefs. Those things are critical to who they are and how they live.

I think eugenics is often twisted and distorted. The primary sources are available at the state archives. So I think whenever possible it’s great to use primary sources to figure it out yourself.

If we want our children to form an opinion, as core curriculums states, we can’t just give them our opinion. We have to give them the opportunities to use resources that help them to form their opinions so they hear from all sides, all perspectives.

Jeanie: What I hear from you is not to teach them history but to teach them the tools of being a historian.

Judy: Yes.

Jeanie: You’ve taught me a lot about the eugenics movement and the way you used primary sources and used maps and other documents to really tell the story of eugenics in Burlington. And kids could do that in their communities.

Judy: They can. I sort of look at education as a form of exploration, experiences, and observations. If we asked them to do those things and give them the tools to do them, they’re going to be able to develop their own opinion in a more balanced way.

Jeanie: Yes, in an informed way. That’s wonderful. Oh, Judy, I could talk to you forever. Are there any other last words you want to leave us with?

Judy:  I just want to inform people that they too need to form an opinion and it could be life-changing.

Jeanie: We have to continue to pay attention.

Judy: We do, every day.

Jeanie: Vigilance.

Judy: Yup.

Jeanie: Thank you so much for taking the time, for inviting me into your wonderful home, with all of your art and your pottery and your… Judy is an incredible artist you guys.

With all of this beautiful… what’s the word I’m looking for? This beautiful evidence of who your and how you carry yourself in the world. I’m so grateful to be here. Thank you.

Judy: Thank you:

Jeanie: I’m Jeanie Philips and this is has been an episode of #vted Reads, talking about what Vermont’s educators and students are reading. Thank you so much to Judy Dow for appearing on this show and talking with about Hidden Roots. If you’re looking for a copy of Hidden Roots, check your local library. To find out more about #vted Reads including past episodes, upcoming guests and a whole lot more, you can visit vtedreads.tarrantinstitute.org. Follow us on Twitter and Instagram at @vtedreads. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

Judy:  You know what, would work nicely at the end is that poem.

This poem came to me in a dream. I have a presentation at a museum in Queens right now on eugenics. I’m going to present to the students and the docents who are 80 and 90-year old Jews that work at this museum.

So I had this brainstorm of creating this poem. I ran it by my dear friend Verandah Porche who is a poet. I said, “Here’s my outline, here’s my audience, here’s my story. Will you help me make this into a poem?”

So I’d like to read to you what we have now.

 

Jeanie: That was beautiful.

Judy: Thank you.

Jeanie: Thank you.

Judy: That fits, doesn’t it?

Jeanie: It really does.

#vted Reads: Look Both Ways

with Kendra LaRoche

Here at #vted Reads, we are big fans of finding yourself in a book.

Whether you’re a stinky, nervous wreck of a middle grades student or a winsome and confident Vermont educator who can still empathize with the… stinky, nervous wreck of a middle grades student, we love the kind of books where you can find someone to identify with, no matter what.

On the show today I’m joined by Kendra LaRoche, a humanities teacher at Burr and Burton Academy, down in Manchester Vermont. Both she and I found a ton of characters we loved in Look Both Ways, by Jason Reynolds. Whether you’re a Low Cut or a class cut-up, a checklister or a skater chick, we’re sure you’ll find some way of wanting to talk about this amazing book with your students.

So pull up a seat, open to the title page, and let’s—

Continue reading #vted Reads: Look Both Ways

#vted Reads: On The Come Up

Hoo boy, we have a CORKER of an episode for you today, with On The Come Up, by Angie Thomas. We’re going to be talking about some of the continual and heartbreaking trauma students of color face in our schools, as well as the incredible resilience of mothers.

I’m joined today by Marley Evans, a Vermont educator originally from the same Mississippi town as author Angie Thomas, and someone who originally appeared on our 21st Century Classroom podcast as a brand new educator. She’ll be talking a little about her experience of school in Mississippi and Vermont, and how some experiences are universal.

A quick content note: we’re going to be mentioning a couple of episodes of physical, emotional and familial trauma that occur in On The Come Up, so we want you to be forewarned if that would be helpful.

Now, pull up a seat. This is VTed Reads! Books for, with and by Vermont educators. Let’s chat.

Jeanie:  Thanks for joining me. Marley, tell us a little bit about who you are and what you do.

Marley:  I’m a seventh and eighth-grade humanities teacher at Charlotte Central School. But I am originally from Jackson, Mississippi, which is where Angie Thomas is from! I like to imagine in my head that we’re best friends, even though we have never met, and I only stalk her on Instagram. I love to read! And I’ve always been a reader. I used to get my books confiscated before I went to lunch, because I would just read the whole time. I would read under my desk at school. Plus I’m also a member of Green Mountain Book Award Committee. So I read a ton of YA every year. I usually read over 100 books. And I think this year is going to be about 120. I love to read.

Jeanie: What are you reading right now?

Marley:  I read the new Louise Penny, which was amazing. I always get her books. I’m reading Echo North. I finished Patron Saints of Nothing a couple of weeks ago, that was amazing. I’m rereading Emily Starr: Emily of New Moon, the Ellen Montgomery series.

Jeanie: Wow. You read a lot!

Marley: I read a lot.

Jeanie: You read more than me.

Marley:  I do read a lot.

Jeanie: What’s your favorite YA of the year so far?

Marley: That is such a tough question! I really loved On the Come Up. I really loved With the Fire on High.

Jeanie: Me too! Elizabeth Acevedo’s The Poet X, is one of my favorite books of all time, and With the Fire on High is a great follow up.

Marley: I’m going to say I liked it more than Poet X! And I *loved* Poet X. That’s not a judgment on Poet X, but I loved With the Fire on High.

Jeanie:  I’m going to read everything Acevedo ever writes! Just like Angie Thomas.  But let’s move on to On the Come Up. Angie Thomas was the author of The Hate U Give , which everyone is reading and talking about, but On the Come Up is an amazing novel on its own right. Could you introduce us to the main character Bri?

Marley: Yeah. So: Bri. I have trouble sometimes in my mind, separating Bri from Starr; Starr’s the main character in The Hate U Give, and in my mind it’s almost like they’re sisters and I’m constantly comparing them.

Bri’s in high school, and she’s from the same neighborhood as Starr, Garden Heights. Which is a made-up neighborhood, a fictionalized neighborhood. She’s feisty. She doesn’t fit in this perfect box. It seems like she’s always getting in like little bits of trouble, little scrapes. She’s still trying to figure out who she is. I think what’s very apparent throughout the whole book, is she has all these different ways she could go, these sort of paths she could go and she’s trying to figure out which path to take and who to be, throughout the whole book.

Jeanie: That sounds like your average high school kid.

Marley: Yeah.

Jeanie: Her childhood, unlike Starr’s, it’s been really challenging. I wondered if you could read a section from page 43 of the book just to give our listeners an idea of the challenges of Bri’s young years?

Marley: Yes, definitely. In this section, Bri is dreaming this nightmare from her childhood. Bri is describing a nightmare she’s had throughout her life. When she was four, her father was an up and coming rapper named Law. And he was shot and killed. And in this nightmare, she’s five years old. A year after that.

I'm five years old climbing into my mom's old Lexus. Daddy went to heaven almost a year ago. Aunt Poo’s been gone a couple of months. She went to live with her and mommy's auntie and the projects. I locked my seatbelt in place and mommy holds my overstuffed backpack toward me. Her arm has all these dark marks on it. She ones told me she got them because she wasn't feeling well. “You're still sick mommy?” I asked. She follows my eyes and rolls sleeves down. “Yeah, baby.” She whispers. My brother gets in the car beside me and mommy says we're going on a trip to somewhere special. We end up in our grandparents' driveway. Suddenly, Trey's eyes widen. He begs her not to do this. Seeing him cry makes me cry. Mommy tells him to take me inside but he won’t. She gets out goes around to his side unlocks his seat belt and tries to pull him out of the car but he digs his feet into the seat. She grabs his shoulders, “Trey, I need you to be my little man.” She says her voice shaky, “For your sister's sake. Okay?” He looks over at me and quickly wipes his face. “I'm okay a little bit he claims.” But the cry hiccups break up his words. “It's okay.” He unlocks my seatbelt takes my hand and helps me out of the car. Mommy hands us our backpacks. “Be good, okay,” she says, “do what your grandparents tell you to do.” “When are you coming back?” I asked. She kneels in front of me. Her shaky fingers brush through my hair then cut my cheek. “I'll be back later. I promise.” “Later when?” “Later. I love you, okay?” She presses her lips to my forehead and keeps them there for the longest. She does the same to Trey and then straightens up. “Mommy, when are you coming back?” I asked again. She gets in the car without answering me and cranks it up. Tears stream down her cheeks, even at five, I know she won't be back for a long time. I drop my backpack and chase the car down the driveway. “Mommy, don't leave me.” But she goes into the street, and I'm not supposed to go into the street. “Mommy.” I cry. Her car goes, goes and soon is gone, “Mommy.”

At this point, in the real world Bri goes to live with her grandparents, her dad’s parents, and she lives there for several years. Her mom ends up going to treatment and breaking that addiction, even though it’s something that she definitely still struggles with the temptation of. Bri eventually gets to go back and live with her mom, but she still is dealing with the consequences of feeling abandoned as a child. And of losing her dad. She’s stuck in between her grandparents and her mom.

Jeanie: There’s a lot of trauma in Bri’s really early childhood, that continues to show up when she’s in high school.

And this book really helped me think through how trauma plays out for kids later in life when they’ve experienced it in their early years.

Because like you said, her mother, in dealing with the death of her husband, becomes an addict. And while she gets clean Bri is abandoned by her for a while, and there’s a lot of pain in that. Plus the pain of losing her father, which happened right outside her home. She heard the shots that killed him. I don’t know that– it felt heavy. It was a heavy start. I have to admit this book slowed me down. In fact I read it slowly because it felt heavy and hard at times. I don’t know if you had that experience?

Marley: Yeah, it’s interesting because The Hate U Give starts out with a shooting. You would think that that would be a tougher start. But you’re right. There’s a way we can really empathize rather than judge when we see what Bri has gone through and what her family has gone through. In fact reading about her mom, I never felt judgy. I never felt like her mom wasn’t a good mom because of her addiction. I realized that that addiction came from so much pain, and that her mom didn’t come from a good family.

Jeanie: Yeah. I love Bri’s mom, Jayda. Bri calls her “Jay” most of the time but her name is Jayda. I have so much love for her and her struggle to be the mom she wants to be for her children. Yeah, I want to come back to that a little bit later because the struggle is real for Jayda, not with just addiction but with economics, with making ends meet for her little family. I want to come back to that a little bit later on in the story because Angie Thomas writes Jayda was such empathy and understanding. As a mother myself, I just felt such kinship with Jayda, even though my life has been nothing like hers.

Another challenge for Bri is school. She lives in Garden Heights, but she’s bused to a much wealthier neighborhood.

This is an imaginary Chicago, but she’s bused to an arts magnet school outside of her neighborhood, which should be an opportunity for Bri in many ways. She doesn’t have to worry about the violence at her local school, for instance. But… it’s also not an opportunity. Let’s find out a little more about that school on page 49.

I’m going to go ahead and read.

A short yellow bus waits out front. Midtown the school is in Midtown the neighborhood where people live in nice condos and expensive historic houses. I live in Garden High Zone, but Jay says there’s too much BS and not enough people who care there. Private school is not in our budget. Midtown School of Arts is the next best thing. A few years ago they started bussing students in from all over the city. They called it their diversity initiative. You’ve got rich kids from the north side, middle-class kids from downtown in Midtown and hood kids like me.

There’s only 15 of us from the Garden at Midtown, so they said the short bus for us. Mr. Watson wears his Santa hat and hums along with the temptations version of Silent Night that plays on his phone. Christmas is less than two weeks away, but Mr. Watson has been in the holiday spirit for months. “Hey, Mr. Watson.” I say, “Hey, Briana cold enough for you?” “Too cold.” “No such thing. This is the perfect weather.” “For what? Freezing your –”

I think I’ll stop there. Do you want to talk a little bit about Bri’s experience of the magnet school that she goes to?

Marley: Yes, it’s funny that you think of Chicago because in my mind, this is Atlanta and it’s always been. I have no idea why! We talked about the school as an opportunity and it is… on paper. It is an opportunity for her to be at that school. But we can already see that there’s such a challenge because Bri feels like she’s just filling a quota the school needs: to have a certain amount of students of color. And that she’s just the student that was placed there. She talks about that on page 63, she talks about how the security guards at the school, when they don’t think she’s listening? Are complaining about “those kids” in this school.

Jeanie: Would you read a little bit of that? I think that’s a really powerful passage.

Marley: Sure. Let me flip to it.

In this part of the book, Bri is in the principal’s office, and the principal’s there talking to her. She didn’t say there would be a security guard ranting in her office about those kids bringing that stuff into this school. The door was closed, but I heard him, those kids this school, like one doesn’t belong with the other, and Bri is just as much a student at that school as every other white kid.

The sense she gets — and it’s pretty apparent through the book that she’s not making it up — is that she doesn’t fit in. That she’s almost like, an outreach project that’s been brought into the school. Nothing about her is celebrated or believed or trusted in the way that the white kids are celebrated, believed and trusted. And while it’s amazing that she gets to go there, in the sense that she’s out of her school that doesn’t have as good of academics and maybe isn’t as safe? This school has different situations going on. She just feels like a charity case almost.

Jeanie: Absolutely. I think that there’s this feeling she gets of like, “We’re doing you this big favor, you don’t really belong here, you should be grateful because we’re doing you this great favor”. There’s also this sense that the school gets to pat themselves on the back because they’ve successfully completed their diversity initiative, right? And that’s one of the hazards of diversity initiatives. Frankly, it helps white people at the expense of black and brown people who have to feel like I don’t really belong here.

Marley: That makes me think about what Rebecca Haslam said. This summer she told a story about being on a walk with a friend and how she called herself an ally and her friend said, ”Being an ally isn’t a badge you get to wear, you have to do that every single day.”

The same is true when we talk about fighting racism and fighting against white privilege. And all of that is not like a quota we fill, and then we’re done. Like: “We have some people of color in our school, and we did a training on it, so we’re diverse”. It’s something that we daily, and weekly and yearly, are putting into our curriculum and the things we do with our students and the way we treat our students.

Jeanie: Right. It doesn’t just mean, “You’re here so act like us.” Right? Inclusivity has to embrace all the ways there are of being and knowing in the world. It can’t just be “Look, we’ve got some black and brown students here now and look, they’re poor too. Aren’t we doing such great work?”

I think too, about what you just said about Rebecca Haslam. I was talking to somebody recently about anti-racism. We were talking about this book, So You Want to Talk About Race by Ijeoma Oluo, and this idea that being anti-racist and fighting racism isn’t a destination. It’s about the journey. And it’s that daily actions you take to be an ally or to fight racism.

Oluo said it’s like dental hygiene: you don’t just brush your teeth once. Twice a day minimum is what we’re supposed to be doing. And anti-racism, fighting racism is just like that. You don’t just get to say, “Oh, look, we have a certain percentage.” Or “there’s no acts of racism here” because nobody’s saying the n-word in your school. There’s more to it than that.

Yeah, this book makes that crystal clear in Bri’s experience, and I just need to turn to page 7. The very start of the book. Bri has this experience that just says so much about her whole experience in the entire school.

Marley: YES. Yes to all of that. I feel like that’s the assumption we make often. And I speak as someone who has to fight those assumptions in myself. I don’t speak as someone who’s an expert or wonderful at this, but just making assumptions, because of the neighborhood someone comes from, or because of who their parents are, that their life is a certain way, or that they’re only capable of a certain level in school because of that. That happens to Bri all throughout this book. Instead of all of her positives being praised and focused on? It’s always about her home life. Or what’s going on, is she smuggling in drugs, is she experiencing violence at home. Etc etc etc.

Jeanie: Corey Smith and I just recently had an episode where we talked about The Benefits of Being an Octopus. One of the things I found in researching for that episode was some mentor texts, from young adult and middle grades literature, and school is written about in those books. This is a great mentor text. For those of us with privilege — and if we’re working in schools, we have privilege — to check our privilege and think about where are we using deficit-based thinking with our students because of their social class. Because of how they dress, because of their race, because of gender. Where do we need to be aware of that? Where can we use a more appreciative lens and connect with them as humans as opposed to as statistics? As opposed to archetypes or stereotypes.

Marley: I grew up in Mississippi and the high school I went to was about 50% black, and 50% white. I just always think it’s interesting because I remember when I read The Hate U Give, was some people, they mentioned being surprised that this family that in Starr’s family, her mom got pregnant in high school, and they stayed together. They were so surprised by that. I just was shocked. Like, why is that so surprising? I mean, is that abnormal?

I think that there is when the danger of living in Vermont, when you have so little diversity, is it’s really easy to make those assumptions because all you see is one thing.

Whether it be intentionally what you’re saying or what the media is putting out there to you, you’re not seeing the whole span of the African American Community and culture. And what their lives are really like. Just like you’re also in Vermont seeing only one span of white culture too. It’s really important for books like this, that can break some of those stereotypes in your head.

Jeanie: Right. Old listeners, you may have heard this before, but I made a commitment six or seven years ago to read half of my books written by people of color to expand my horizons. What was a challenge at first has now become so easy, and it’s changed my worldview. Because for me? Books are a way to walk around in somebody else’s shoes to have empathy for somebody else’s experience of the world that’s different than me. It’s really changed my perspective on the world.

Marley: Yes, I’m going to give my credit for that to Jessica DeMink-Carthew. When I took her class in grad school, on teaching English literature, she had us just start listing some of our favorite books that we would want to use with middle schoolers, just like an online digital library. Halfway through, we had to go through and say, “What are we not representing?” That was so helpful for me to think, what am I not representing in my own reading life? What would that mean for me as a teacher, if this was all I was putting out there? So kind of a similar mindset. Shift and say, “I cannot just teach white female authors or white female heroines.”

Jeanie:  Right. Could you say more about how that shows up in your classroom now, Marley? Then we’ll get back to Bri.

Marley: Yes. I really intentional seek out books and I have an amazing co-teacher Matt Lutz, who does the same. We just really try to seek out books that have a range of narrators, so that we’re showing heroines and heroes that are similar to our students, but also really different. We will make a list of our books. We’ll have a lot of mini book groups going at the same time so that we can offer differentiation within levels of reading, but all centered around central themes. Right now, we’re about to do historical fiction.

We’ll look at that list and say, “Okay, what do we not have represented? Where can we pull that in?”

In fact, we’re going to use On the Come Up in the spring for a social justice book group. Every book will center around– maybe it’ll be civil rights, maybe it will be the Holocaust, maybe it’ll be the Japanese internment during World War II, and it might be even more current like On the Come Up. We’ll use Dear Martin, we’ll use All American Boys. Books around police brutality and current things.

Our hope would be that there are students reading all those different books with diverse authors and diverse main characters, and that they’ll see the central theme. Injustice and what that looks like, and how we can actively fight against it. It’s really just like an intentional, make the list, step back from it and say, “What am I missing? What am I not representing?”

Jeanie:  Yeah. What resources do you use when you do that? Are there any recommendations you might have for listeners?

Marley: Yes. One thing I would say is use people like me, who have to read a lot for Green Mountain Book Award or anything else because I’m doing all that reading. There are other people in my committee doing all the reading of the current books. Ask us. We would love to talk about books.

I love We Need Diverse Books. It’s both a website and a hashtag. You can look it up on Instagram. Just the whole bookstagram world out there. I know most educators love Twitter. I’m really scared of Twitter! I don’t know why. I live on Instagram.

You can always follow great teachers and educators who are posting diverse books. That’s always helpful. In fact, I use that with my own children to make sure that I’m bringing books into their lives that aren’t just all white main characters. I’ll get a lot of picture books for them, for my five-year-old.

Jeanie: Those are all excellent strategies. I’m going to add one: talk to your librarians, folks. Your school librarians know so much and can access so many great titles and help you fill those holes in the viewpoints that are represented in your books.

Marley: Yes, I have the world’s best librarian, Heidi Eustace. We usually have a read-off, and we’re within one or two books of each other each year. She knows all the amazing books. That’s her job, right? Like, let’s use that resource.

Jeanie: Absolutely! Well said, you do have a fabulous librarian here in Heidi Eustace. Let’s get back to Bri. (Even though I could talk about this with you for ages.)

Bri is often in trouble. Something happens at school that really– that changes the course for her. I wondered if you could tell us. Listeners, I don’t think we’re spoiling it because it happens on page 59. It’s really central to the story. Something happens with the security guards Tate and Long, and I’m wondering if you could just talk about that?

Marley: Yes, so there are security guards at the front of our school, which is not that uncommon. That happens sadly, more and more in schools. As Bri’s going through with her friends, her friends go through first, and the guards stop her. She doesn’t beep the alarm off. There’s no reason she should be stopped. They ask her for her bag and, Bri is running a little side business in which she buys bulk candy and then sells it at school. She doesn’t want them to see her bag. Again: they have no right to see her bag, and nothing has gone off.

Bri says no, and the security guards put their hands on her; they push her to the ground. Her friend Malik actually records it. It ends up being a big situation where she’s actually suspended, even though she did nothing wrong except for bringing the candy. And it doesn’t seem like the guards face any consequences.

Jeanie:  We should say that one of the guards is Black. There’s a white guard and a Black guard. And not just Bri, but the other kids from the projects, from Garden Heights, feel like they get treated differently than the kids from the wealthier neighborhoods. There’s a real sense of implicit bias in this book.

Marley: Let me read a little section from page 64. At this point Bri’s mom has come in and is speaking to the principal.

Dr. Rhodes points to the two chairs in front of her, “Please have a seat.” We do. “Are you going to tell me why my daughter was handcuffed?” Jay asked. “There was an incident, obviously. I will be the first to admit that the guards use excessive force. They put Brianna on the floor.” “Threw” I mumble, “They threw me on the floor.” Jays’ eyes widen, “Excuse me. We’ve had issues with students bringing Illegal Drugs.” “That doesn’t explain why they manhandled my child.” Says Jay, “Brianna was not cooperative at first.” “It still does not explain it,” Jay says. Dr. Rhodes takes a deep breath. “It will not happen again, Mrs. Jackson, I assure you they’ll be an investigation and disciplinary action will take place if the administration sees fit. However, Bri may have to face disciplinary action at first.”

And one of the words that really sticks out to me there is that Idea of Brianna not being cooperative.

It seems like when you read the book, that Bri just was protecting her rights. Bri didn’t set off the alarm. She said, “You can’t touch my bag.” She wasn’t overly, a word we’ll use later, aggressive. Bri  just was doing what she knew she was allowed to do. The bias against her is that by refusing to give up her rights, she wasn’t being cooperative. And therefore it was okay that the security guards threw her to the ground. That seems to be what the principal is saying. He’s defending their use of violence against her.

Jeanie: There’s great research out there that says that Black and brown children are more likely to be treated as if they’re older, in any disciplinary situation. We’ve seen recently news stories about children being taken to jail for school offenses.

These are *children*.

The word for me is when Jay says, “That does not explain why they manhandled my child.” This is a kid. Was there any reason to throw her to the ground? No. No matter how uncooperative she was being, there’s something about that: the unquestioning of the implicit bias that’s happening based on where Bri’s from, and the color of her skin. That really ticks me off. That made me really angry when I read this book.

Marley: Yeah. One thing that also stuck out to me is during this whole process, Bri reflects on how her mom has taught her to respond to police and security guards. I’m always really struck by that. I have two little boys, and I haven’t had to sit them down and say, “At night, you can’t wear a hood. We’re not playing with toy guns because what could happen, or when the police stops you, this is what you do.” I don’t have to have those conversations.

African American moms have to have those conversations with their kids, if they want their kids to be safe. If they want their kids to not get killed, honestly. That really stood out to me. And Bri is little. She’s not a tall girl. And she’s not large; she’s a tiny little teenage girl, and there’s no reason they should have thrown her to the ground.

Jeanie: I am a grown woman. I gotta say if I had to learn in an environment where I might possibly be thrown on the ground, where my very presence was suspect, I couldn’t. That would get in the way of my learning. I wonder about Bri, who kind of struggles as a student, who’s not always the most disciplined of students, but still deserves an education. How is she supposed to get one in a place where she doesn’t always feel safe in her body? It’s heavy.

Marley: It is. This is a really heavy book.

Jeanie: I found myself crying when reading this book. What Bri has to face as a human in this world? I have never experienced before the kind of microaggression she faces on a daily.

Marley: One thing is that they talk about her as being aggressive. She’s called aggressive. Let me flip to the page real quick, page 66.

His pale cheeks reddened, “Because we’re following a lesson plan, Brianna.” He said, “Yeah, but don’t you come up with the lesson plans?” I asked. “I will not tolerate outbursts in my class.” “I’m just saying don’t act like black people didn’t exist before.” He told me to go to the office, wrote me up as being aggressive.

Bri goes on and talks about several other incidents with teachers who say similar things. I know that’s a big topic. Out there is this reality that Black women are seen often as aggressive if they’re outspoken, if they’re speaking the truth about things. They’re being called aggressive a lot, which is, to me, again that implicit bias. Because I feel like as a white mom, if I were to be a big advocate for my child, if I were to go to a school and talk to teachers and say, “No, we need to make this happen.” I would not be called aggressive. It might be like, “Well, she’s a strong mom.” If a person of color, if a woman of color, were to do the same thing and go to school, they would be seen differently by white people.

Jeanie: Yeah, absolutely. I can’t help but think about the way in which Bri can’t win. Bri is really doing critical thinking. She’s asking these really hard questions, something we should be celebrating in school.

But because she’s Black, because of her neighborhood, because the way she’s taken, she ends up in the office.

Don’t we want kids in a history class to be thinking about these things, about why history is told the way it’s told? Don’t we want them challenging and thinking about, hey, how come it’s just this story and not that story? That’s part of what being a historian is about. The fact that the one time she’s really engaging, she gets thrown out of class. It’s no wonder she doesn’t engage.

Marley: Definitely. What if one of her white classmates had asked a similar question? Bri’s trying to probe in differently, probing into what they’re talking about and find out more. But it just makes her teachers angry.

Jeanie:  It further disenfranchises her from school. She feels like her voice isn’t valuable. She’s constantly feeling like she doesn’t belong, in the sense that her thinking is unwelcome. Her perspective is unwelcome in the building and in the school. And she checks out a little bit, as you would if you felt unwelcome and lacked a sense of belonging.

Marley: One thing that you were saying earlier before we started, is that she’s in art school and it’s really ironic that she’s a rapper, which isn’t art as far as the school is concerned. Yet that part of her, who she is and that she’s really talented? We’ll see throughout the book. It’s what a lot of the book actually focuses on. That part of her is not praised at school. It is not seen as an asset because it doesn’t fit in with the schools’ idea of what is art.

Jeanie: We did talk a little bit earlier before we started recording, about how Angie Thomas is also a rapper. She writes these amazing raps, these amazing poetic forms in the book. Marley and I were like, how do we put that in this podcast, and we decided we can’t. Two white women trying to rap, two white women who don’t rap, trying to rap Bri’s amazing lines, it’s just not going work. I do want to set up what it’s like for Bri to rap.

I want to find when Bri first enters this rap competition, and just what’s happening. You can get a sense of how miraculous her skill is ,how talented she is as a young woman.

Marley: Alright, so Bri is now in the ring and doing a rap battle. This is her thinking to herself.

Rule numero uno battling, know your opponent’s weaknesses. Nothing he spit this round is directed at me. That may not seem like a red flag but right now it’s a huge one. I blinked. A real MC would go for the kill because of that, heck I go for it, he’s not even mentioning it. That means there’s a 98% chance this is pre-written. Pre-written as a no-no in the ring. A bigger no-no, pre-written by someone else.

But since my dad isn’t off-limits, not a thing is off-limits. Rule number two of battling, use the circumstances to your advantage. Supreme doesn’t look too worried, but trust he should be. That goes in my arsenal. Rule number three, if there’s a beat, make sure your flow fits it like a glove. Flow is the rhythm of the rhymes and every word, every syllable affects it. Even the way a word is pronounced can change the flow. Well, most people know Snoop and Dre for Deep Cover. One time I found a remake of it by this rapper named Big Pine on YouTube. His flow on the song was one of the best I’ve ever heard in my life.

Jeanie: There is so much that goes into the rapping that Bri does so well and in fact, the title On the Come Up is based on a rap that she’s written. That becomes a really big deal, not just in her neighborhood in Garden Heights, but also in Midtown where she’s going to school, right?

Marley: Yeah. She ends up recording the song and it’s kind of what a lot of the book later on focuses on. We have this first event with the security guards. But a lot of the book is on her rap song that’s becoming big, and if it portrays what she wants to portray about herself. And just the idea of putting it out there, what that song says about who she is. Like I said earlier, the whole book is about Bri figuring out who she is. She wants to be a rapper, and she’s an amazing rapper. She wants to make sure that the image she’s putting off is who she really is.

Jeanie: It’s a real tension, right? Because Jayda wants her to do well at school for a good reason. Jayda wants her to be a success in the world. Jayda wants her to have a happy, healthy life, and she wants her to focus on school more. For the reasons we’ve already recounted, Bri is pretty alienated from school. Also, this arts magnet school doesn’t realize that she’s making this profoundly complex poetry. She’s creating these rhythms and rhymes with music that have great meaning. That she’s using metaphor. That she’s telling stories in these really interesting ways. It’s all art. It’s *so* creative, and she has no path forward for it at school. All of her talent is outside of school in a way that completely alienates her.

Marley: There was this guy in my acting class in high school, and he was an amazing freestyler. When we would have to do these free writes, he would get up and just *go*. He would just go out there with his raps; they were amazing. It’s such a talent to figure out, because rap is not just the end rhyme. You know it’s not just the syllables; it’s the internal rhyme. In fact, if you’ve ever studied Greek and Latin epics, if you look at the internal rhyme in The Iliad and The Odyssey, there’s so much internal rhyming going on. That’s what you see happening.

And so much rap is not only the end rhyme, it’s that internal rhythm and beat that’s happening at the same time. It’s so powerful and amazing. The fact that so much of what Bri does is like instantaneous. She’s out there and she’s freestyling and her brain is working in a way that mine is not even capable of, to make these end rhymes and internal rhymes and allusions and metaphors and similes.

I mean, she’s killing it. She’s doing an amazing job with all the poetry, but then she goes to school and she’s not getting A’s in her English class, right? She’s being assessed on other things. That’s not what they’re looking at, that talent she has.

Jeanie: It’s not even remotely what they’re looking at. It’s completely ignored, right? It’s  divorced from school altogether. Jamila Lyiscott has amazing this TED Talk about the art of the cipher.

She talks about how, when she’s working with pre-service teachers, she puts on some music and ask them to create a cipher, to write some verse. Just listening to this, I had such empathy for them because I knew even before she said it, that it challenges them, that they don’t know what to do. That it’s overwhelmingly hard for most of them, and they’re panicked, and they know that the art they’re creating is not up to snuff, that it’s not good, and it’s just super hard. And I could feel that in my body.

Her point is that meanwhile, the folks who can do this stuff, we label them like, they’re illiterate or incapable, when they can create this complicated art form that we cannot.

Marley: It really is amazing. In my hometown we just think, well, if your grammar doesn’t match what the Oxford English Dictionary says is the right grammar, what our grammar textbook say is the right grammar, then it’s wrong. And that’s not the case. It’s just different. It doesn’t mean it’s wrong. It just means it’s different. We need to re-look at it and say, “Okay, how is what you’re saying also grammatically correct?” Right?

Jeanie: Right. There’s not just one way, right way, right? And Bri does this all the time, she knows exactly how to code-switch, and how to talk in the standard American English. It’s not that that’s not valuable. It’s that that’s not the only thing that’s valuable, that there are other ways of talking and being in the world that are sophisticated, and that convey profound meaning and that are intelligent.

But there’s no place for that in in Bri’s school.

Marley: You see that even when Bri talks to her teachers. It’s like code-switching, but she hasn’t quite mastered it in the same way that Starr from The Hate U Give has. And that’s not a bad thing. In fact, I enjoy that about Bri, that she doesn’t code-switch quite so well, because why should she have to?

Jeanie: Right. Angie Thomas is really challenging us in this book to say: how do we need to change schools so that we don’t require kids like Bri to assimilate into our notion of what it means to be in school? Or what it means to talk in a scholarly way? Bri doesn’t need to act white to earn her place in school. There’s equally valued and valid ways to be in the world.

Jeanie: For me, one of the things especially towards the end that I just loved — and I don’t want to give away too much — is that Jayda is struggling as a working-class parent to make ends meet. Trey, Bri’s older brother, has graduated college and is not able to find a job in his field. And he’s taking some time off; he wants to go to graduate school but he’s helping out the family by working at a local pizza place.

They struggle, like many working families do, probably like many of our students in Vermont who are working poor do, to meet the electricity bill, to pay for food. Often their fridge is nearly empty, and part of why Bri wants to succeed as a rapper is to lessen the financial struggles they’re going through. The thing I loved about Jayda so much is that she keeps saying to Bri, “I got this, I’m the parent here. You don’t need to be the parent here. This is not your concern. Your concern right now is being a kid.

While I understand that Bri is concerned, I also just love that Jayda was like, “That’s my job.” I wondered if you had any thoughts about that?

Marley: Yeah, I felt the same way. I love Bri. I probably connected more with Jayda actually. Because of that because she just was just loving her family so well and really struggling at the same time. She’s just amazing. She fought so hard to overcome her addiction. Now she’s fighting to get an education for herself. She’s taking night classes. She’s fighting to make sure that Bri gets a good education. And she’s fighting to make sure that Trey can go to grad school or get a job working in his field. While doing all that fighting, she’s having to continue to fight off the temptation of her past addiction.

So she surrounds herself with friends that can take care of her and protect her in that way. She’s always trying to protect Bri; she’s just a really amazing woman. Jayda has a gentleness to her that I really loved. And a kindness. And I loved seeing her relationship with Bri, because Bri really pushes against her a lot. Some of it is past issues. Bri, as we saw, is still having nightmares about being abandoned, she’s still struggling with that so much. Throughout the book she has to see over and over her mom’s love for her and really trust that.

Jeanie: Yeah, thank you for speaking to that, you spoke to that so beautifully. I can’t help but return to this other theme of: Bri has to make some really hard choices. And she makes some bad decisions in this book because she wants to be a rapper. She wants to follow her art. She wants to make a little money at it so her family doesn’t struggle so hard. I couldn’t help but wonder if she had a flexible pathway through high school that allowed her to develop this talent within the context of her education, would her choices have looked different? Would her pathway have been — I don’t know if the word is smoother — but would she have gotten in less trouble?

Marley: I talk about the way we do school here a lot when I’m down visiting my family in Mississippi. And I’ve talked about this before with my mother in law. She’s said she was someone who struggled in school, not because she isn’t bright, but because she maybe doesn’t fit in what we like categorize as how a student should be. And she said, “If I was at your school, I would have loved that.”

My goal is to have a classroom and be on a team in which someone like Bri would come in, and we would celebrate her talents. That we would find those talents and help figure out ways for her to explore that. That we would give her books that were interesting to her, projects where she could really shine, rather than saying: you need to fit in this box. Goodness gracious, she’s in art school, right? I hope that all the teachers in Vermont are doing this with fidelity. We have all of these students in our classroom and hope we’re recognizing it and noticing that.

Jeanie: How do you feel like you do that here at Charlotte Central School?

Marley: I really strive to source, through different means, the books that keep them interested. I won a Scholastic grant this year. I’ve done PTO grants. The reason I did GMBA in the beginning was to get books from my classroom and to make sure I had new books to recommend.

We also have Genius Hour, which is where kids do personal interest projects. There was a student last year, and he maybe didn’t always fit the mold for what we were looking for in class, and Genius Hour became a way in which he got to shine. It was amazing. And then a lot of it is just the relationship building. If Bri’s teachers knew her, if they really knew her and really liked her, what would that look like? How would that be different? The teacher who sent her out of class, maybe instead would have realized, “Hey, look she’s asking a question, she’s engaged. Let’s talk about this.” And I think relationships is the biggest thing to start that.

Jeanie: Well said! I love it. Do you have any other books to recommend? As a huge reader and lover of YA. Do you have any other books to recommend for our listeners?

Marley: Yes. If you’re looking for diverse books, which hopefully we all are, I thought of We Set the Dark on Fire. We Set the Dark on Fire is amazing. Patron Saints of Nothing is also amazing it’s by Randy Ribay.

He also wrote After the Shot Drops, which is on GMBA this year. It’s an amazing book. A boy goes to the Philippines. He was from there and then spends most of his life in America; his cousin dies very unexpectedly and very seriously, so he goes there. It has characters that are LGBTQ, it has themes around race and themes around addiction, themes around low socio-economic class — just really amazing.

It’s based, in real-world information. You close this kind of book and you say, I want to know more about what’s happening in the Philippines, and it draws you in and gets you engaged. I would also just put a plug in there, that if you want to read good books, you should read the Green Mountain Book Award list for this past year. I’m a little biased, but I think it’s amazing.

Jeanie:  It’s a fabulous list. I have to say I love to list this year. Thank you so much. I have read none of those books. I’m so excited to check them out.

Marley:  Now you have to be read list.

Jeanie:   I sure do. I’m so grateful. So grateful to you for choosing this book to talk about. It required me to give it another read through and think about it differently than the first time when I read it just for pleasure and for your insights into the book and then and how you use literature in your classroom. Thank you so much.

Marley:  Thank you for letting me be on it.

 


#vted Reads is a podcast of the Tarrant Institute for Innovative Education at the University of Vermont. Thank you to Marley Evans for appearing on this episode, and to Angie Thomas for writing such powerful and transformative books. If you’d like to come on an upcoming episode of #vted Reads, get in touch. We’d love to chat.

#vted Reads: The End of Average

Today on the show, we’re going to talk about The End of Average: How to Succeed in a World That Values Sameness, by Todd Rose. We’ll be joined by Emily Gilmore, who teaches world history at South Burlington High School, in South Burlington Vermont.

But first, a few words of background for today’s show.

In case you haven’t spent quality time with the spectacular wrongness of Industrial Revolution philosophers, it will help to know the following:

Frederick Winslow Taylor was a 19th century industrial engineer who spent a lot of time during thinking about how to improve the efficiency of factories. He wanted to get more product out of workers, faster. And when psychologist Edward Thorndike came along and read Taylor’s ideas? His own thoughts naturally turned to — where else? — school. When not avidly playing tennis, Thorndike spent his time trying to figure out how to make schools work more like factories.

Frankly, both of them needed flinging in a pond.

But that brings us to Todd Rose, a high school dropout who now runs one of Harvard’s most prestigious thinking departments. Rose has some ideas that would have made Taylor and Thorndike’s hair curl, but that just might explain why proficiency-based learning is so important to keep pursuing in Vermont schools. 

This is Vermont Ed Reads, books with educators, for educators and by educators.

Let’s chat.

Jeanie: I’m Jeanie Phillips and welcome to Vermont Ed Reads. We’re here to talk books for educators by educators and with educators. Today, I’m with Emily Gilmore, and we’ll be talking about The End of Average: How We Succeed in a World That Values Sameness, by Todd Rose. Thanks for joining me, Emily. Tell us a little bit about who you are and what you do.

Emily: I’m so excited to be here! My name is Emily Gilmore and I am a social studies teacher at South Burlington High School, and a Rowland Fellow. I spent two specific years really diving into proficiency and personalized learning. So I’m really excited to talk more about the End of Average because it’s just the most validating book I think I’ve ever read in my whole life.

Jeanie: Excellent. I’m so looking forward to this conversation! I have so many post-it notes in this book. Tell me, what are you reading now?

Emily: Yes. So I am reading There There by Tommy Orange. And I picked it up when I was in Michigan, and sitting on the beach reading about the peoples who inhabited the land originally? Their stories now in modern day are just heartbreaking and so powerful. I just can’t stop reading it and I’m like slowing down, so I can really sit in it. And really feel all of the feelings that come from it.

Jeanie: Yeah, that’s a really powerful book. I love that book. Tommy Orange is indigenous himself, Native American himself. And then he’s writing about urban Indians. Urban Native Americans in Oakland, California. That book was *really* powerful.

Emily: Even the prologue is so incredible. Every educator should read at the very least those first 10-15 pages, going into the history and why the book is so important for everyone to read.

Jeanie: Yeah. I found those pages hard.

Emily: Yes, very…. Like, that was so engaging for me to then really get into the characters too.

Jeanie: Yeah, it’s a great book, great recommendation. So this one, I saw that you tweeted about one day on Twitter and reached out to you right away and said, “Let’s talk about it on the podcast!” And you gave an enthusiastic yay. I found this book to be so enlightening!

My number one takeaway I think was right away at the beginning of the book. The book is divided into three sections. And it illuminated one that we all hold without really thinking about it, or why we hold it. That is what Rose calls “averagarianism”. Is that what he calls it?

I found it so fascinating. And it’s that everything in our contemporary lives is ruled by averages.

How we look at testing in schools, how we place kids in schools, the way we give grades in schools, right? How we think about healthcare and our medical lives, are all about averages. The average blood pressure, the average cholesterol level, the average…

Emily: The size of your foot when you’re born! How long you are. How wide you are.

Jeanie: Right, and the way doctors look at the milestones you hit as a young child, and whether you’re in what percentile. And then in our workplaces, the way we’re evaluated for our jobs, the way we do our jobs, is all impacted by this concept of average. I just want to talk a little bit about the way that Rose lays out how that came to be.

So let’s introduce Quetelet.

Emily: Oh, *Quetelet*. This whole part was really, I think, the most enlightening for me because I spent so much time in college really learning about ideology and sociology. I took a course that was The Sociology of Ideology and Religion, that ended up being focused on really the evolution of communism, but also cults. And also really had an emphasis on eugenics. So this was for me like, oh my gosh, I can’t believe Quetelet was really at the center to spark what became such a key part in really modern history.

Jeanie: He was an astronomer who — for a bunch of reasons — didn’t have the access to his telescope. In astronomy I’ve learned this concept where because people measure the distance between stars or planets with time, and the times that they had weren’t always accurate, they average them. So at the same time that his telescope became inaccessible to him, all of this social data was suddenly available.

Emily: Yep, and he became *obsessed*.

Jeanie: And Quetelet started looking at this social data, which was like, some of it was like measurements of soldiers or like the ages when people died, and he started applying these concepts that he used in astronomy on social data. He determines that being average is ideal and any disparity from average is a flaw. Which is fascinating. Because that’s not how we think about it!

And what was really interesting, what Todd Rose I think is really interesting points out, is that even when you set up an average, like they do it with the average soldier or the average pilot, the average woman — nobody even comes close to the average when you do all those measurements or all those things, right? Nobody, actually. Most people have more disparity from the average than they do likeness. Like more than half.

Emily: Right! And there are actual competitions to see if there was the most average person. Which sounds like the most boring competition of all.

Jeanie: Right.

Emily: Are you going to file your nails before you go? How do you know what exactly you need? Are you going to stand up straight? Anyways, it’s mind blowing that those were those things that people focused on and valued was being the most 50% possible.

Jeanie: All because of Quetelet.

Emily: Right.

Jeanie: But then some time goes by and we meet — *dun dun dun-dun!* — the villain of our story, Galton.

Emily: Yeah, Sir Francis Galton. What an interesting fellow. So he saw Quetelet was I think learning from him at the time and saw that Quetelet was comparing people to the average. So Galton says, “I think you’re better or worse than the average. If you’re above average, you’re better. And if you’re below average, you’re worse.”

Jeanie: He’s related to Darwin, right? He’s a cousin of Darwin.

Emily: Right.

Jeanie: And the founder of Social Darwinism I believe. And he’s an upper-class Brit and he has this notion that if you’re good at one thing, you must be good at all things and that these below-average folks bring society down.

Emily: The “imbeciles”.

Jeanie: Yes, these terms! Like he makes this whole scale of humanity: “imbeciles” all the way up to “the eminent”, “the uncertain”. And as this is the case all the time, Galton defines himself as eminent, of course. Above average.

Emily: Of course, but Queen Victoria is also an eminent. And I thought: she might be the only female [eminant]. Which I would like to look more into.

Jeanie: Right! So, Galton starts looking at standard deviation. Average is only average. And he’s the first person that gets us as a society looking at social data and thinking about being above average or below average. Which really gains a foothold, first in work through Taylor — who focuses on standardization of work to meet the average. But then through standardized testing, IQs, Thorndyke and his standardized tests and his notions, and so I wondered if you wanted to talk a little bit about that.

Emily: Yeah, absolutely. I think Taylor really stands out to me as somebody who, during the Industrial Revolution or post-Industrial Revolution, the whole Western society is trying to figure out how to do things bigger and better and faster and more efficient. For cheap. And that’s where Taylor really makes a huge shift in the whole dynamics of Western society. A shift of “we should have people who are not physically doing the work, but telling people how to do the work”.

Which I think everybody listening and not listening has probably felt: “I’m doing something and the person above me may or may not know what I’m actually doing”. You can thank Taylor for that.

Jeanie: Right. Also humans as cogs. You do the job and that’s it. Someone has decided what the most efficient, best way to do it is.

Emily: Yeah.

Jeanie: There’s no room for innovation. This is like, factory model, where you do the same thing over and over again.

Emily: Yeah, there’s a great quote that I found, hold on one second. So in 1918, so at the end of World War I, Taylor says, “the most important idea should be that of serving the man who is over you his way, not yours.” It’s on page 47 from my book.

Jeanie: Talk about disenfranchisement! And what’s really interesting is that education followed suit.

So Edward Thorndyke who apparently was a very efficient man, who did a lot quickly, was also one of the creators of standardized tests. And he believed, and this is a quote from page 53,

Thorndyke believed that schools should clear a path for talented students to proceed to college and then onward into jobs where their superior abilities could be put to use leading the country. The bulk of students, whose talents Thorndyke assumed would hover around the average, could go straight from high school graduation or even earlier into their jobs as Taylorist workers in the industrial economy. As to the slow learning students? Well Thorndyke thought we should probably stop spending resources on them as soon as possible.

I wonder in what ways schools still produce these results even if they don’t intend to.

Emily: Absolutely. This is also putting it into context, which Rose does, is in 1900, two percent of Americans were graduating from college.

So that is a massive– it’s a massive growth that we’ve seen in the United States, which Rose also talks about not taking that for granted. Like, yes, Thorndyke and Taylor had huge impacts on America, and without that, many people would be in totally different places. And yet those really, really negative consequences are still things that we’re trying to unpack today. Especially the worth of serving those who deserve it, those who are skilled. What does that mean? Who is actually being served then?

When he’s writing this, women didn’t have the right to vote. The Civil Rights Act had not been passed. So we’re looking at such a small section of America, and it’s post World War I. We haven’t seen the Great Depression yet. We haven’t seen World War II. The world is so vastly different that it’s fascinating to think about what this landscape looked like, that he was really talking to.

Jeanie: Right. It’s also a really narrow definition of talent? Who gets to define what talent is and what it isn’t. I worry that it’s really a double whammy for some students. Not only are they not given the resources they need to thrive in our world, they’re also stripped of their own talents because they’re not recognized.

Emily: Yeah, absolutely.

Jeanie: I remember being– I’m a bit older than you. I remember taking standardized tests in the 2nd or 3rd grade. On paper. With bubble sheets! And crying when they got too hard for me because it was progressive, you kept going. I believe they had the name Thorndyke on them. I have this pretty solid memory of the name Thorndyke from my elementary school years. So his tests stuck around, right? Like that model stays with us today through NWEA and SATs and ACTs and all of the standard aspects, all the standardized tests that are norm-referenced. That they’re referenced against an average.

Emily: Right, and even in conversations today with students about when you should sign up for the SAT? Recommendations are being made that you should be taking the SAT when more students are taking the SAT because your chance of being above average is greater because more students are taking the test. That is *absurd*. Especially for students that are saving money, their own money to take the tests when they should be, first of all, not having to spend their own money and not having to pay for a test that is not giving valid results.

Jeanie: Right, because that still only measures certain kinds of talent, right, reading, writing, math. The ACT is a little bit broader, but that’s still a very narrow notion of what talent means.

Emily: Right.

Jeanie: I was also listening to Radiolab. They did a series called G, which was all about IQ tests.

The End of Average Radiolab G

So, as I was reading this book and learning about the ties of standard deviation and average and standardization and norm-reference tests to the eugenics movement? I was also learning about the IQ test and its link to the eugenics movement. And Galton’s language, which sounds very like the eugenics movement, and just feeling like: *ugh*. This grief or this, I guess, rage. That we still use these tools that were used to strip people of their humanity. These tools that were linked to genocide, and to all sorts of horrors are still in our toolbox.

Emily: Right, the forced sterilization that’s still happening today because of ideas that are centuries old and have been proven to be fairly irrelevant.

Jeanie: That gets us to this fascinating part of the book called the Ergodic Bait and Switch. Do you know what I’m talking about? This was thrilling to me on page 62 of the book. Because it’s not just that they were old, they were wrong!

Emily: Right?

Jeanie: “Molenaar recognized that the fatal flaw of averagerianism was its paradoxical assumption that you could understand individuals by ignoring their individuality. He gave a name to this error, the ergodic switch. The term is drawn from a branch of mathematics that grew out of the very first scientific debate about the relationship between groups and individuals, a field known as ergodic theory. If we wish to understand exactly why our schools, businesses and human sciences have all fallen prey to a misguided way of thinking, then we must learn a little about how the ergodic switch works.”

And he proceeds to tell us in this chapter about how the math is wrong. The math we’ve used for centuries? Is wrong.

Emily: It makes sense! *laughs*

When any person talks about their experiences. Even my mother talking about how her three daughters were born on their due dates and how that’s bizarre. Then why have a due date? When you’re measuring and you’re seeing the development of children over time — and he gets into this later in the book — about learning to crawl versus learning to walk and how babies will do that at different times and at different rates? We see it every day. But we’re told something different and somehow we still believe what we’re not seeing.

Jeanie: Yet parents worry over those developmental milestones, and we’ll talk more about that later, and the science that’s debunked them as useful. So the thing I really love that Todd Rose, the point he makes again and again in this book is that: averages just don’t work. Not just don’t they work for everyone, that they’re outliers? But for anyone. There are a ton of anecdotes in the book about how nobody’s really average. I don’t know if there’s one you want to share or if there’s something from your classroom that you’ve noticed.

Emily: First of all, what stands out to me is right after reading the book, I listened to Todd Rose, his interview with Dax Shepard on Dax Shepard’s Armchair Experts, which I love. They both talk about individuality versus individualism and that the focus is really on individuality, the individual person. And they spend a lot of time talking about Todd Rose’s experience and his own educational career, and how, when he was in high school, he failed out. And yet now he’s a professor at Harvard. Very well renowned and is running the Mind, Brain & Education program. Is just phenomenal, and you would never know that he was somebody who failed out of high school.

Jeanie: All of his teachers are in shock that he’s in Harvard. They’re all going, “How the heck did that happen?”

Emily: Right? Exactly! The individual has different needs. And his dad saw that and so his dad was really able to help him. That was when he really became that teacher figure, that one to really intervene and say this, this is why you haven’t been successful yet.

Jeanie: I love that this book comes out of Rose’s own lived experience.

Emily: Yes.

Jeanie: Right. Like his passion for this comes out of his own lived experience as somebody who went back to college and with kids who struggled. Who had to find a different path.

Emily: Yeah and I think, from the other articles that I’ve read in the interviews, he really is so drawn on trying to prove himself wrong and he keeps finding more and more evidence as to why the End of Average is constantly a necessary piece of life.

We need to get rid of the average because we’re all individuals. We love ourselves. And we want to love our potential. As teachers, that’s what I want to see every day.

That’s my goal at the end of the day is for each student to feel like they know themselves a little bit better.

Jeanie: A lot of his stories wrap again and again around this idea of pilots. And building a standard, average-sized cockpit for pilots. And it fitting no one. So there were a lot of errors and unnecessary crashes, because it fit no one.

Then he tells this great story. I almost don’t want to tell it because if you read the book, you should totally read this book. I’m not even going to tell it. Because it’s so great when you realize more about the specific pilot who does this amazing thing.

But when they design for average, no one wins. Like I said, it’s failure for everyone. I think about that in our schools. Because I think unfortunately because of our workloads and our class sizes and the amount of courses we teach and our little prep time? I think it can be really easy to plan for the average.

Emily: Yeah and that’s the visual that immediately comes to my head is in every professional development that has anything to do with personalization, there’s always the image of: don’t teach to the middle! And there’s the row of desks, and one student in the desks and then you have the students on the outside who are below and above. Really it’s just those different pieces of the individual that we see highlighted in that particular classroom.

Jeanie: Yeah. I love this quote that he has on page 66 about that. “Averages provide a stable, transparent and streamlined process for making decisions quickly. And in a way, we stuck with averages because of efficiency, but I just think of all we lose. And what do individual students lose in a system that’s still using norm-referenced tests and focused on how if you’re on grade level or off grade level. That’s part of averagarianism is this idea of grade level.”

Emily: Right. I think that was a really interesting concrete takeaway for me when he talks about Khan Academy and the beauty of Khan Academy, and how it can really meet students where they are. He keeps coming back to this idea that speed does not equal success. And that is something that keeps coming back, and it’s so powerful to really sit and seep in. It doesn’t matter how fast it takes. He gives a great anecdote about driving and he says: “A driver’s license does not record how many times you failed the written driving an exam or the age when you finally obtained it. As long as you pass the driving exam, you are allowed to drive.”

Jeanie: Right. I think we in schools privilege fast processors.

Emily: Oh, absolutely.

Jeanie: All the time.

Emily: It’s easier.

Jeanie: I am a fast processor. And school really worked for me because I’m a fast processor, and I don’t just mean like wait time. I think a lot of teachers try with wait time, but the fast processors, the kids who get it quickly, maybe not deeply but get it quickly, are really rewarded in our school systems.

Emily: I think that looks different too. I have a lot of students in my classes that look visually like they’re understanding what’s happening. Right, if you’re quiet, she’ll move on. She won’t ask any questions.

Jeanie: Yeah.

Emily: That doesn’t mean learning’s happening.

Jeanie: Right. We have a lot of kids who slip through the cracks that way, right?

Emily: Right.

Jeanie: Yeah. Now this book is just *full* of research, and he delves into this idea of pace later on in the book. He mentions an experiment where students are learning probability theory, this math. And they do a control group that learns at a fixed pace. They learn the same material at a very fixed pace. And then they have a self-paced group and they can learn it however long it takes them. At the end when they do the test, 20% of the fixed-paced group achieved mastery and they have defined mastery in a particular way, but 90% of the self-paced group did.

And that data really blew me away. How can we go with fixed pace when that’s the difference, right? So providing varied pacing is challenging in public schools. I get it. It’s really hard.

Emily: Yeah.

Jeanie: I think we have to shift our paradigm of what school looks like in order to make really widely varied pacing work? But it seems really worth it!

Emily: You’re right, the evidence is right in front of us. *laughs* Over and over again.

Jeanie: Ninety percent achieve mastery, and this is statistics! This is not three digit addition. This is statistics. So I’m wondering, have you experimented with pacing in your classroom?

Emily: I’ve definitely used more and more as the years have gone on with really self-driven summative assessments. That really has been a game changer.

Today was the first day going back into the school building for actual work. Going back and thinking about: what are my goals for my students this year with the new crop of 9th graders? And looking at their pictures from 8th grade knowing that they had yet to experience that school year — because we get those little pictures from the incoming students — and going back and then thinking about: what was the experience, the reaction of my students from last year, my 9th graders leaving their 9th grade experience?

Seeing some of the still 8th grade pictures because they didn’t get their school pictures updated and thinking about the growth that happened when you don’t assign them a topic. That, for me? Is a small jump into the self-paced.

A lot of the work that we’re doing in the world history classroom is removing those immediate definitions and terms that went along with the old, very Eurocentric curriculum that I learned when I was in high school. And really opening it up to look beyond things that you know.

So when we’re learning about forms of government, we’re going to look at pivotal shifts in forms of government, so you need to be able to show me:

  • What was one form of government?
  • Who was trying to change it, and why?
  • And now what’s the new form of government if there was a successful change?
  • Or what was the form of government that they wanted in the attempt to overthrow the status quo?

And through that, students were looking at everything from what was happening in Venezuela to what was happening in Mexico. I’m sure there’ll be a lot looking at what’s happening in Hong Kong right now. And students were looking at 500 years ago to what was happening in modern day and they’re having these conversations together. Comparing what’s happening with democracy and how democracy looks in so many different ways.

But they had weeks to work on it in class. And so some students were working on the first step of the project up until the final day because that was what was most interesting to them. It didn’t mean that they weren’t interested in analyzing the pivotal shifts and the different forms of government. They were like, “But what is this government? It’s so complex.”

And that to me was more valuable than having them jump through the five steps that I had put together to eventually look in deep analysis — which I’m realizing is more of like a college project.

But by having those really varied opportunities for students, they’re able to choose how they’re using their time each day.

Jeanie: So it sounds to me like you are using pacing and voice and choice in really powerful ways. One of the things I hear from teachers a lot is, “But how do you manage all of that? How do you manage so many kids on so many different topics?” I hear that you have this overarching topic and on different paces, so I’m asking you: how does Emily Gilmore manage this?

Emily: *laughs* It takes a lot of control actually, to let go of the old curriculum.

When I first started working at the school I’m at right now, I had had a totally different teaching experience and a totally different upbringing through the education system than what I was experiencing in my first year teaching. I was looking at this really, *really* Eurocentric, very confusing curriculum that went from the Renaissance to the Berlin conference in Africa.

So you went from “Germany doesn’t exist” to “Germany’s imperializing a country and committing genocide”. So what happens there?

That was very confusing and felt like a lot and very stressful. Every day I was walking into school, how am I going to teach the enlightenment? World War I’s really important. How do I teach the Industrial Revolution? Those things aren’t there. How do you make those connections?

The next two years I started to really think about: that’s okay. I can introduce it and I can give anecdotes, but the bigger idea is that students care about what they’re learning in world history. They’re in 9th grade.

I can’t tell you how many — particularly, it just so happens to always be this group of 49 to 70 white men — who are reading Civil War books and World War II and are all: “You’re a history teacher? Now what are you teaching about the Civil War? What are you teaching about World War II? Have you learned about these different battles in World War I?”

I’m like: “Hm. Mm-hmm.”

I have no reason to teach my kids the specific battles of World War I as 14 year olds! They need to learn about the world around them. And that there are different people. And that different people are good and that they are interesting. Your experience is different than the person sitting next to you. We’re going to build empathy and understanding of that first. And that, to me, is world history.

Jeanie: So do you find that your kids are more invested because they have this choice of pace, product, and topic?

Emily: I think it takes a lot at the beginning of the year? And that’s really the biggest source of anxiety? Is a lot of students unlearning the passive form of education that they are mostly accustomed to.

And that’s not saying that all of their learning experiences by any means, but a lot of insecurities really bubble up.

Especially 14 year olds who are right at the cusp of figuring out who they are and what they’re interested in and worrying about,

“If I say I’m really interested in the French Revolution, is the person next to me going to make fun of me?”

That is a really tough spot. And so that is really the focus of the beginning of our 9th grade experience. It’s like who are you? Everyone’s going to be vulnerable together. And we’re going to build trust. We’re going to build an environment that’s inclusive.

And from there the students really begin to think about, oh so when she gives us choice, it’s not overwhelming.

Jeanie: This is perfect. I was going to have to say, let’s get back to the book, even though Emily’s classroom is way more interesting. But actually what you’re talking about? Directly applies to the book. Which is: Rose introduces this idea — and I’m sure he’s not the only one to use it — called the jaggedness principle. This idea that two people who have the same IQ? Can have vastly different sorts of talents and skills, or strengths and weaknesses within an IQ test. That they’re not the same, even though they both have the same number. So I’m wondering about how you use this idea of the jaggedness principle to really help students get to know themselves? And for you to get to know students and know them well, as learners and as humans?

Jagged profiles for intelligence from page 89 of The End of Average
Jagged profiles for intelligence from page 89 of The End of Average

Jagged profiles for size from page 81 of The End of Average
Jagged profiles for size from page 81 of The End of Average

Emily: What really stood out to me is thinking about personality tests and the jaggedness principle. It’s just something that I really continued to come back to as I kept reading about. And eventually he does make that connection. That people are complex and that, in its own right, is important. And that is what teachers see in their students. I think that for me is the part that I have embraced the most. And I now I’m getting back into, okay, so how do I take the complex identity and teach them the world history curriculum that I’m required to by law? That’s like trying to make that work.

But the personality tests keep coming in from me. When I was in high school and taking psychology, we took the Myers Briggs personality test. And I was INFJ. It was INFJ is the least common personality type. I was like, “Oh, that’s so cool.” Jerry Seinfeld, you’re an INFJ!” and as I’ve grown up–

Jeanie: I’m so unique! *laughs*

Emily: I’m so unique! I’m in a percentage of people who are also INFJ! *laughs*

The really important part is the first part of INFJ, it’s I, it’s introverted. In high school I felt very, very introverted. I knew I wanted to be a teacher and I would sit back in class totally silent and just absorb. And then as soon as I entered college and was studying teaching, I was like, “Oh, I’ve got to have a self-talk. I can’t actually be an introvert.”

And it gets to that idea that your personality actually it changes in different situations. Which jaggedness principle then connects to all these different ideas that he pulls in with Bloom and lots of fabulous people.

Jeanie: I just think if we could really help our students begin to understand their own jaggedness, their strengths, their places of challenge or places for growth? We could really transform their lives.

Emily: Absolutely. Absolutely. And I think that also builds that compassion that when you see students who are maybe struggling with a creative project, because it’s called a “creative project” and a student previously hasn’t seen themselves as creative. I remember that feeling when I was in high school where you had options for your summative assessment. It was your final project. and it was a test. You could take the multiple choice test. You could do a book report. I remember one teacher always wanted us to make a rap. Or you could do something creative and you’d have to talk to the teacher. And I was like, “Oh, essays sounds great to me.”

Jeanie: Rapping is hard. I am older than you because nobody ever gave me the option in high school of making a rap. I remember we could write a play, maybe.

When you’re good at school, it can be easy to say, “Oh, I’m not doing the creative thing. I’ll take multiple choice test please, thank you very much.” I think it can get really frustrating for students when we ask them to step out of those comfort zones, especially those kids who are good at doing school.

This is where proficiency-based education really frees us up, right? Because the criteria is the same but you can demonstrate it in so many ways.

And that leads us to the next principle that Todd Rose outlines, which is the pathways principle.

I think this is so relatable to Act 77 and to our work in schools right now. The kind of things we’re still figuring out. He’s suggesting that, like it or not, whether we want this to be the case or not, we all take different paths as we learn and grow. He gives countless of examples of different ways people learn to read. Different ways science shows us, research shows us, different ways that people learn to crawl or walk. That we all develop differently. That there’s no such thing as a single ladder of development. There are many different pathways or webs. So I’m just curious. I think that we’re still on the cusp of figuring out flexible pathways for students. One way I hear you doing it is saying, here’s the learning, here’s the big thing. Find what interests you and apply it to that.

Emily: Yeah, and the more that you learn about your students too. That’s been the greatest takeaway for me, is that I feel this deeper sense of love. And the environment is so much more positive, when you see students sitting at their desks or walking around the room looking at other people working and you don’t see anybody judging one another and they’re asking questions like, “Hey, where did you find that?” or, “I read this really good article, but it actually, it connects more to your project. Do you want me to send it to you?”

Jeanie: I was in your classroom once last spring, and it was such a calm and focused place when I was in there! So I’m going to share a quote, another quote from Rose that I really loved from page 129 because I think it’s really relevant to what we’re talking about, and we’d almost forgotten about him.

Emily: Oh no.

Jeanie: And The End of Average! We got so interested in what we were talking about.

“The fact that there is not a single normal pathway for any type of human development, biological, mental, moral or professional, forms the basis of the third principle of individuality, the pathway principle. In all aspects of our lives and for any given goal, there are many equally valid ways to reach the same outcome. And second, the particular pathway that is obstacle for you depends on your own individuality.”

I feel like this needs to become the heart of schooling.

Emily: Absolutely.

Jeanie: There’s no one way. There’s no one valid way. And I think he goes on to say that talent lies in all the different paths. I was really inspired by that. It makes me so happy about the flexible pathways portion of Act 77.  And thinking about how we can help more students be successful by broadening the scope of pathways available to them.

Emily: I think it even comes down to what “successful” looks like and feels like. Because that’s so tied to this idea of success according to Thorndyke might look different than success according to Galton. And success according to you and I! That is so important to really unpack. Success for whom and where and how do you achieve that, again, comes back to those pathways. But success is so I think tied to a certain set of values that we see in society.

I see the hinge of the status quo of what we’re working towards, really in Vermont of: we want all of our students to be successful.

And I think also the caveat there is whatever success looks like for them and feels like for them. Not what I think is successful for a certain student or their family or whatnot. But how that student is defining for themselves. I think that’s such the central piece of what we are really talking about is how do we get students to really have that metacognition of: what does it look like and feel like when *I’m* feeling successful? How can I bottle that up and take that with me for the rest of my life?

Jeanie: What you’re saying reminds me that– and I think Rose would agree — we’ve got a really narrow notion of what success looks like in schooling. So if you’re good at math, reading and writing, you’re a success.

Emily: And athletics.

Jeanie: Yes, but academically, we have this notion that math, reading and writing are the pinnacle, right? So if you take calculus, you are one of the smartest kids in the school, and we fall back on Galton and we assume that if you’re good at calculus, you’re good at everything else, right? You’re just smart.

And I just really think, not just because it’s the right thing to do for individuals but also because our economy is demanding it of us, that we need to broaden our notion of the many ways there are to be successful and talented in this world, of the many ways in which there are to thrive. Back to that podcast, the Radiolab G podcast. One of the hosts on there points out that in Darwin’s world, in true Darwinism, variability is a strength. In the standardized world, variability, doing things differently, being an outlier is not a strength. You have to succeed in these ways, in these categories instead of really appreciating the full broad spectrum, the broad ecosystem that is humanity.

Jeanie: Just reading this book made me realize, made me think about how a lot of teachers I know are really struggling with implementing proficiency based education because they’re like, “Kids don’t want it. They want to go back to the way things were.” Part of that’s comfort, right? Like just give me the quiz, right? Don’t make me *really* demonstrate anything, just give me the quiz.

But part of it is I think that our whole world is set up in this way that demands conformity and sort of asks us to compare ourselves with each other.

And when we start shifting schooling to be more about:

  • Who are you?
  • What’s the right path for you?
  • How do you access learning in the way that’s best for you?

We’re not just fighting against years of schooling that didn’t ask that, we’re fighting against a whole world that doesn’t ask that of kids. It’s countercultural in a way.

Emily: So what happens when we’re seeing how proficiencies work naturally in the classroom? And fit so many of the good practices that  teachers have? Just like you were saying, students may say that they don’t know what it is and they don’t understand it and whatever, but if you take that out of the conversation and you just let the students learn and you’re using that language? They get it eventually. And they move on. They’re adapting to everything. Everything is new for them, and that’s life for all of us is the next step is always new.

Throughout the whole book, Rose keeps bringing up that; with all of these examples, there’s groups of people who are being hurt in the process. And that’s the greatest risk of all: by not doing anything, we’re hurting more people than we are helping.

Jeanie: We’re under-serving some and over-serving others.

Emily: Right, but we’re over-serving so few. And we’re under-serving *so* many.

Jeanie: Right, and disenfranchising them from their own sort of learning. Their own ability to learn.

Emily: Right.

Jeanie: And the way they think of themselves as learners. We have a lot of power.

Emily: We do. It’s overwhelming!

Jeanie: It is. But we have a lot of power to do good, to help students find themselves and feel good about themselves and cultivate their own awareness of their jaggedness so that they can navigate their learning well into the future.

Emily: Yeah.

Jeanie: I am just starting the doctoral program here at UVM, and I feel like, “Oh, I know myself as a learner so well, now.” I’m sure there are challenges ahead, but I wish I knew myself as well as I do now when I was an undergrad.

Emily: Yeah, or even in high school. I just think like, “Oh, the stories I could tell myself. And my friends, whisper in their ears: you won’t believe what you’re doing in 10 years. Stop doing that.”

Jeanie: Are there resources that you use to help students get to know themselves or that you use to get to know students better?

Emily: We keep trying new things each year and I think especially with the more and more resources that Teaching Tolerance is putting out around identity and social justice and really making sure that the work that we’re doing is productive and not harmful? Has really helped me be reflective in getting to know you activities. Because so many of them are alienating to so many of our students.

That’s really been an important learning process for me of how to best learn about our students.

I would say that’s definitely been the most useful of how can we really set up the learning processes for our students. So I start the year off with my identity iceberg. What do you know? What can you make assumptions about? Then what’s below the surface? What are the things that you need to learn about me in order to really understand who I am? So that’s some of the work that we do at the beginning of the year, and it’s amazing. It’s *amazing*.

Jeanie: I’m also just thinking about how equity work is such a natural fit here because it’s about celebrating difference and honoring difference. And noticing difference. And isn’t that what we want for our students? For them to understand their own difference. In order to make the most of it.

Emily: Right.

Jeanie: In order to develop their talents, to know where their gifts are.

Emily: And to love themselves.

Jeanie: They all come with gifts! And we need their gifts in this world. We need *all* of the gifts we can get in this world. We need all of the genius we can get in this world. There’s so much to do.

Rose ends with these recommendations really for higher-ed, and I just thought, “Oh, we at Vermont are so ahead of the game!” Because he starts with the idea that there are three concepts to transform education. One is to grant credentials, and not diplomas. This idea that you get credentialed because you demonstrate a competency or proficiency at skills which I think we’re sort of using that competency based approach even if we’re not giving kids specific credentials.

Emily: Although some schools around the state are using credentialing and they’re really powerful.

Jeanie: And micro-badging, right?

Emily: Right, absolutely.

Jeanie: Micro-credentialing and badging, and so… I just combined those two, micro-credentialing and badging. You’re right, they are. Do you have any examples you’d like to share?

Emily: I think about the work that Jen Kravitz and Erica Walstrom and Marsha Castle did at Rowland with their STEM and their global studies badging credentials. I’ll come up with the right term eventually, but their programming is fantastic. Where students are really choosing a path that’s interesting to them while maintaining the curriculum that is in place at the school, but they’re navigating it through a particular lens and field of interest.

Jeanie: Then the second concept is to replace grades with competency. So we’re beginning that work. I think a lot of people are really navigating the hard road of getting rid of letter grades and moving towards a competency-based system. Not easy.

Emily: Not easy and lots of learning and self-reflection I think is the really big takeaway in this process.

Jeanie: It requires a lot of educating parents.

Emily: Yes.

Jeanie: Yes, your kid will still get into college.

Emily: Right.

Jeanie: Yes, they’re still a good student even if they don’t have straight As.

Emily: Right.

Jeanie: They’re still a good learner. And the grading system we have is not ideal anyway. It doesn’t really tell us anything. So scrapping it for one that actually defines what they’re proficient at seems worthwhile to me even though the road is hard.

Emily: Yeah, and I think there’s more meat behind it too. Now students have products to prove their proficiencies rather than maybe some conversations with teachers to bump up grades.

Jeanie: Yeah, evidence.

Emily: You’re right, evidence.

Jeanie: Evidence of learning.

Emily: Yeah.

Jeanie: Right. Then the final principle is to let students determine their educational pathway. I think we’re still on the road with this one. We’re still figuring this one out.

Emily: Yeah. I think there’s definitely more and more options available pre-K through 12. Then it’s that jump from, well, what does undergrad need for the application process and what will they accept and how will they compare the applicants to one another?

Jeanie: Yeah. Well, I think these things going hand in hand. You need to be able to define proficiency to have a competency- or proficiency-based system in order to create flexible pathways that lead to the same credentialing, if you will. The skills are really important. It’s not that we’re saying throw those out and let kids wander around wherever. They’re still aiming towards that learning goal. We’ve defined it such that kids can get there in a lot of different ways at different paces. They can demonstrate that in different ways. The core skill, the core learning is the same, but the pathway is different. And those things are interdependent. And! Dependent on knowing students well and helping them know themselves well. And helping them communicate their identities as well to the adults who are there to coach them and provide them the opportunities they need.

Emily: Absolutely. In the long term that makes our world more successful as we have individuals who are aware of their behaviors and the impact of their behaviors and have real confidence in their abilities to move the work forward. Whatever that work may be.

Jeanie: Yeah because we don’t need any cogs in machines right now. We really need creative people who are able to use their talents, whatever they are.

Emily: And to continue to adapt to do that as well.

Jeanie: Yeah. I am *so* grateful to you for introducing me to this book. I think I just saw you tweet about it and was like, if Emily’s reading it, it must be good! Because I enjoyed every second of it. I must have 600 post-it notes in it, and we’ve just scratched the surface. Are there any other quotes you’d like to share?

Emily: Oh boy. Let me see. I will leave us with a little bit of a scare maybe. This is what we want to avoid at all costs that I think is important to leave us thinking to grapple with a little bit. This was on page 33, Sir Francis Galton, and he said, “What nature does blindly, slowly and ruthlessly, man may do providently, quickly and kindly.” How we apply that? I think is really what sets the tone from the rest.

Jeanie: Yeah. In a healthy ecosystem, lots of things flourish, right? In a healthy ecosystem, there’s diversity. We can also create diversity in our schools.

Emily: We’ll let our kids flourish.

Jeanie: Let all our kids flourish. Thank you, Emily, for all you do to help students at South Burlington flourish and thanks so much for taking the time to talk about this book with me right before school begins. I really appreciate your time and your thoughts and your many examples from your classroom.

Emily: Thank you, Jeanie, for the reset.

 


 

#vted Reads: Dreadful Young Ladies, with Sarah Birgé

#vted Reads logoListeners: how do you talk to your students about the special love that exists between a woman and a Sasquatch? Or between an insect and a robot-powered building? And where and how do you determine which texts are appropriate to give to students?

On this episode of the podcast, I’m joined by Sarah Birgé, a lifelong Vermonter and English lit teacher in the Montpelier-Roxbury district. We’re talking about Dreadful Young Ladies and Other Stories, by author Kelly Barnhill.

We’ll share our favorite moments from Barnhill’s collection as well as other collections of stories we’ve used with students, and our love of low floors and high ceilings. Come for the mysterious love affairs, stay for the power of short stories and how they can help students find entry points for talking complex concepts and issues!

I’m Jeanie Phillips, and this is #vted Reads. Let’s chat.

Jeanie:  Thanks for joining me, Sarah. Tell us a little bit about who you are and what you do.

Sarah: Thanks, Jeanie. Glad to be here. My name is Sarah Birgé, and I’m a Vermont native. I was an English teacher for about a decade. I’ve also worked at the Agency of Education as our State English Specialist, and I’m currently an instructional coach at Montpelier-Roxbury Public Schools, and a lifelong reader. So happy to be here.

Jeanie:  I love talking to readers, and this is my favorite question to ask. What are you reading right now?

Sarah:  I thought about this on the way in, and it’s a slightly longer answer because yesterday I just finished a book called The Water Dancer by Ta-Nehisi Coates. I was lucky to get advance copy. It’s not coming out till the end of the month, which made me feel very special. It’s a crazy book that combines historical fiction and sci-fi. Strongly recommend! A very powerful book.

Then yesterday, I started a new book which is part of the Rivers of London series, which is another wonderful, fantastical detective fiction by a guy called Ben Aaronovitch, who used to write for Doctor Who. Very much having like a fantasy, sci-fi moment of my reading.

Jeanie:  Thank you. Let’s talk about this book! I don’t know that I would call it fantasy, but it’s on the ghosty side.

Sarah:  I mean some of the stories are a little sci-fi here and there. It’s definitely a genre mishmash.

Jeanie: It’s a collection of short stories with one novella at the end, full of really unconventional female characters, even the title, Dreadful Young Ladies and Other Stories clues you into that. This was a title you selected, and I’d like to know why. What do you love about this collection?

Sarah: Well, the thing that attracted me to the book was the title. I was like, “Dreadful Young Ladiesthat sounds like Victorian.” I’m like, “What’s happening?” It’s going to be interesting, and about female characters. I had actually never heard of Kelly Barnhill, who is pretty famous YA author. And I love the cover! I know you shouldn’t judge a book by it. But as soon as I started reading, I was hooked because like you said it’s unconventional female characters.

Dreadful Young Ladies, by Kelly Barnhill (cover image)

I love things that play with genre, and this is really like a lot of the stories you think you know where you’re going, and then it takes a sharp left turn. I think I read it if not in one sitting then very quickly. It’s a really engaging book.

Jeanie: Let’s talk about some of the really unconventional characters in this book. It’s hard with short stories because you don’t want to give too much away.

Sarah: I know.

Jeanie: I feel like we can give *a little* away, though. I’m going to start with one of the stories I fell for was called “Open the Door and the Light Pours Through”. It begins as letters between two characters, Angela and John. I think John is off “at war”. Angela has left the city to go to his mother or something. It’s not entirely in letters, right? Because there is a letter and then there’s what’s going for real, which is so intriguing because they are love letters and then there’s the stark contrast with reality. Shall we read a little piece of that?

Sarah: Sure.

Jeanie: It starts on page 33, but you can choose any selection from that story. I’d love to get a letter and then also what’s really happening.

Dreadful Young Ladies, by Kelly Barnhill, p.33

Jeanie: Hmm… There are so many layers to this story. I thought of it as the perfect mentor text for students to write short fiction that is letters? And then what’s really happening.

Sarah: I loved the — I think I’m going to pronounce this right — the epistolary novel. I was a big Victorian literature person in college, so I love any idea of a novel that’s letters and the reliable narrator. This took it where you have some *unreliable* narration and some reliable narration. I think it would be a really good mentor text, also, for things like point-of-view and author’s voice, and even the idea of a narrator. I could see that.

Jeanie: Meaning that in this story, we have two narrators in their letters and then we have this…

Sarah:  Like the omniscient narrator.

Jeanie: The omniscient narrator as well.

Sarah: Right.

Jeanie: Three different points of view in the story.

Sarah: Also, how do you trust the narrator? Who do you trust? When it’s letters, I think we’re so used to just generally like the omniscient narrator is pretty common in a lot of the books that we read and the kids read, but when you get a letter, you have to remember that people don’t always tell the truth.

Jeanie: It turns out John’s not entirely being faithful. Our Angela is not entirely drawn from accuracy either in her letters, right?

Sarah: Which I think you would need a kid who had either a solid understanding of narration and point-of-view and things like that, to understand the author is playing with that here. I think it would might be a challenging text for somebody who is already maybe shaky or didn’t have a grounding in some of those things. I don’t know. Or would you just let a kid jump in? Even if you didn’t know if they really understood what it meant to be a narrator?

Jeanie: Hm. Those are good questions because you could take it either way. It’s discovery, or it’s  scaffolding. It reminded me when I was a school librarian, a lot of students really love ghost stories. Many of these have that supernatural or mysterious element that a good ghost story has. It made me think of Mary Downing Hahn, who’s written so many books that kids love, that you’re like… it takes a while for the reader to figure out what’s happening. Then I also thought of Neil Gaiman’s book, The Graveyard Book .

Sarah: The Graveyard Book. It’s a graphic novel and a written novel I think, right?

Jeanie: You are probably right. I’ve only read the written novel. It was one of my very favorites and one of my students’ very favorites for a long time. But I love that it could be available in graphic novels as well.

Sarah: I think The Graveyard Book would actually be something you could use as a primary text, potentially. I think ghost stories, everyone loves that. Like, that’s what you tell around the campfire. They’re fun. And it’s also a safe way to be scared, you know? It’s scary, but it’s a book. You can put it away or you’re reading it in the daytime in the classroom with you teacher. I’m a big proponent of things like that for kids.

Jeanie: So many times I thought of that when I was reading this book. They’re not quite ghost stories, but there’s a little magical realism. And there’s a little supernatural element. There’s a little quirk, a little turn of the screw, if you will, that makes you think a little. That makes you think differently.

Sarah: I’d love to know what are Kelly Barnhill’s top ten stories that she loves, or top ten favorite authors. I don’t know if I always think that when I’m reading something, but here I was like: I wonder what ghost story she likes. What do her bookshelves look like?

Jeanie: Listener, we are going to tweet at her. We’re going to find out. We’re going to find out what Kelly Barnhill likes to read. And we’re going to talk further about her as a writer, but let’s dig into these a little more. So, another story that I found myself really smitten with was “Mrs. Sorensen and the Sasquatch”. Mrs. Sorensen becomes a widow and she takes up with this Sasquatch in town. The animals, all the animals flock to her, so she goes to church with a whole pew full of animals. And the narrator, in that case, is the minister.

Sarah: Yeah, he’s like the kindly, old priest of the church that she’s bringing these animals to.

Jeanie: And people are drawn to her and perplexed by her. And she seems to like it that way.

Sarah: As it went on, you’re talking about unconventional female characters. She’s described as very beautiful. She’s the pretty widow. She’s so talented. She smells really good. And all the men love her. Then as it goes on, she realized that some of her qualities are other-worldly. Like, she’s not just pretty. She’s not just interesting… she can talk to animals, maybe. Again, with a lot of these stories you start off and you think it’s one way, and then as it progresses, it’s another way.

But because it’s the narration of the priest, you get to see all the different range of reactions to her because some people really don’t like her. There’s these three sisters who are busybodies, and they really *dislike* her. It made me think. So I’m an animal lover. Anytime someone says they don’t like animals, you rarely hear that. To me, that’s a big red flag. The story is about the opposite of that, like what happens when you really, *really* love animals to the extent that you fall in love with the Sasquatch.

Jeanie: Right. As absurd as that sounds.

Sarah: And my favorite detail there is that the Sasquatch, he wore shirts but not pants. He’s very furry so that’s okay. And the fact that he’s not wearing pants horrifies people. That’s the kind of detail that I can see really being very funny for an older kid.

Jeanie: It felt to be a little bit like a fractured fairy tale and that it was a bit Beauty and the Beast-ish, but the beast stays a beast. She loves him for who he is. Very playful and serious at the same time. I had a hard time sometimes knowing whether I was allowed to laugh or not! And then I just did. Then there’s another story, a longer story, [“The Insect and the Astronomer: A Love Story”], where the main character is an insect who wears a waistcoat.

I guess there are two main characters in that one. And the other is an astronomer, who may or may not be alive, who builds automatons, including the whole building is an automaton.

"The Insect and the Astronomer", by Kelly Barnhill. From Dreadful Young Ladies and Other Stories

Sarah: Right. I thought that was the weirdest story in the whole collection. I think the first time I read it, I just read it purely. And I was attracted more to the other stories. Then when I reread it in preparation for this, I was thinking through that lens of: well, how would you use it with students? That’s one that I maybe wouldn’t necessarily use with students because it was so out there. It’s a love story, kind of, between a grasshopper and a maybe-robot.

That one to me, that was definitely set on an alien world, right? The other ones are in maybe a world like ours where there’s a maybe little magic or this or that, but that, the grasshopper and the astronomer was definitely an alien world. It was just — it didn’t resonate with me as much. What do you think about it?

Jeanie: I think I thought of it as a fairytale world. I think where it really hit me that it was a fairy tale is when the grasshopper is on this pilgrimage. I actually am not I thought of him as a grasshopper. Is it called just the grasshopper? The Insect.

Sarah: He’s just the Insect.

Jeanie: The Insect and the Astronomer, but he has wings. We know he has wings tucked under his waistcoat. He’s a very proper insect.

Sarah:  They described his body a lot, or hers. There was a lot of wings and the waistcoat, and how he puts clothing or an insect body.

Jeanie: The thorax, the various parts. The Insect goes on this pilgrimage to find the Astronomer. He’s feeling called to the Astronomer. The Astronomer’s calling. I guess that’s why he called it a love story to the Insect. When the Insect arrives in the town, a farmer feeds him lunch but then scatters off. “Here, you can have my lunch, but I want nothing to do with your kind,” kind of thing.

And then the Insect is taken into the house of this old couple. And it started to feel a little Hansel and Gretel-ish. I will say no more, but there was this moment of, like, “Oh, we’re in a fairy tale!” That’s when it occurred to me, “I’m in a fairy tale.” Instead of an alien world.

Sarah: I went to like, “Well, this is clearly sci-fi,” like I’m visualizing the world. You’re right, it is more of a fairy tale.

Jeanie: It’s the waistcoat, really.

Sarah: It was the waistcoat, yes. It also felt like a love story to me. I was like, “This is an unconventional love,” but in keeping with the unconventional female characters. There is a lot of unconventional love in this. I think I’d be fair to say that that’s a theme of the collection. I think that’s also great for kids because how many love stories are just a boy and a girl, and a boy and a girl, and a boy and a girl and to explode the notion of what love or what romance can be is I think good for all kids to see.

Jeanie:  I love that. A relationship between a maybe-robot astronomer and an Insect is–

Sarah:  It’s also fine.

Jeanie: — is also fine.

Sarah: Or, a woman and a Sasquatch.

Jeanie: So, let’s dig a little deeper into all of those exploded notions about the norms of being a woman. And so this story, which is early in the book, just intrigues me. I love this notion of not only exploring with kids the different ways you can be in love, through story, but also the different ways you could be male or female, through story. On page 65, the story begins, “It was easy enough to lose a child by accident. To do so on purpose turned out to be nearly impossible.”

What an intriguing beginning, right?

Not only does she want to lose a child, which flies in the face of all things we think about being womanly and motherly. And so I’m wondering what other stories or even how *that* story helps to explode or explore some assumptions that we make about gender, about humanity.

Sarah: Yeah. Well, I think that also goes back to the fractured fairy tale metaphor that you drew. Sorry, Audrey. I’m going to do that over. I think that goes back to the fractured fairy tales analogy that you drew, where there’s some women in this collection who are evil, they’re bad. They’re the witch. They’re the wicked stepmother. But then there’s women who have those powers who aren’t evil, who use them for good.

Then you have women who might not be evil *witches*, but they’re not necessarily good, or they’re not maternal and it’s an explosion of these really standard tropes that we still see all around us, all the time. And so even though if you’re going to explode those stereotypes, you’re going to get some bad women out of it. So it’s almost like this shows the whole range of the way that women can be instead of saying, “Well, this is an old evil crone, and this is young mother. This is the romantic figure.” You get everything. You get the whole range of the way that people can be, especially around motherhood. I thought that was really interesting.

Jeanie: They’re complicated, messy characters. In these really interesting ways.

Sarah:  And kids need to see that. Kids need to see characters who aren’t so black and white, or so obvious. I think even younger kids, they can grasp the nuance that like, “This person maybe made a bad decision, but they’re still an interesting character.” Even the story you reference, the woman who wants to get rid of the child, she’s not sympathetic but they do explain the rationale.

Jeanie: Right. Her sister. Her sister?

Sarah: I think this one, it’s her boyfriend’s child. And she doesn’t like the child.

Jeanie: But when she was growing up, she was babysitting her sister. Her sister, well, she was busy making out in the corner, just flew away!

Sarah: Flew away.

Jeanie: ‘Why won’t this kid just fly away? Why can’t I lose this kid?’

Sarah: I think some kids could read that and they could just talk about that. This is a character who might have had some trauma and then they made a bad decision, but they’re not totally evil. Then I think someone else could read it and they could get into the ambiguities of like, “Well, did the sister fly away? Is there really magic in the story, or is there not magic?” I love magical realism but almost more than that, I love stories where you’re not sure if there is magic or not.

Jeanie: I think… a lot readers are like me? And we want surety. What I love is that you’re letting me know one way that we could really use these stories is to explore the ambiguity, is to interpret it in all the possible ways and find all the possible… trajectories, of the story, if you will.

Sarah Birgé

Sarah: I taught primarily middle school. And I remember my students getting so frustrated when I’d show them the multiple ways you can interpret a story. And a lot of people are like, “No, there’s just– what happened? I want to know what happened. I don’t want to be unsure.” Which is in a lot of stories you’re not and that’s totally fine, but I like it when you really don’t know. To me, that’s a much harder trick as an author: to leave the reader wondering at the end.

Jeanie: Well, it certainly doubles the half-life of the story in your brain. I’ve spent a lot of time pondering the stories from this book, because so many of them are open-ended or could be interpreted — like you said about the insect and the astronomer story — either in a fairy tale world or on another planet, the science fiction setting. That leads me to ask: you’ve taught middle school. How would you use short stories in a middle school classroom, or in a high school classroom? I think so often we want kids to read novels, but what does it look like to use short stories in the classroom?

Sarah: I think you’re right that people mostly want to use novels. And I would really push people towards a mix, in part because  there’s so much to teach out there. And especially for kids who are not the speediest readers, which we all know has nothing to do with intelligence or how much you love a text. But some people read more slowly, and that’s fine. Saying, “I have to do these five books this year,” can sometimes really hamstring us.

I know that I’ve had books that I’ve taught that I’m like, “Ugh! This book is going on and on and on.” And short stories can be a great way to either supplement or sometimes replace — because I think especially sometimes stories like this, you can get the same level of text complexity. You can get the same themes. You can dig in. It’s also a lot easier to differentiate teaching with short stories? Than teaching with a novel by and large.

I’ve heard writers say that it’s much harder to write a short story, than a novel. Because you really have to pair everything down. I think they offer a lot of opportunity for play. This particular one? I would definitely be very choosy with middle schoolers and these stories. I think a lot of them, there’s some sexual content, most of it implied or off-screen, so to speak. But, you know, you want to be careful about what you’re exposing kids to. But there’s others stories in here that I would definitely teach with kids.

Some of them I might want to do that as a whole class. Something I love to do is to say to a kid, “Hey, I think you’d really like this. Will you give it a whirl?” And help kids choose texts that they might fall in love with. I think saying, “Hey, will you give this short story a whirl?” is a much easier ask for some kids. You also reference mentor text I think would be so interesting to this as part of the unit on mythology, or gender, or families, or any number of things. And just keep it in your teaching toolkit.

Jeanie: Conformity.

Sarah: Oh! That’s interesting.

Jeanie:  I want to go back a minute because you said so many things that were so interesting and I didn’t want to interrupt, but I am thinking about both differentiation and choice. I’m thinking about what might it look like to give students a range of stories to choose from, so that kids have a choice, right? Maybe they selected small groups, but maybe some kids read a story all on their own.

I’m thinking about that differentiation piece too. That we can choose stories of different interest, but also different reading levels, or different complexity, in order to plan for student readiness. And then I’m wondering about formative assessments. Thinking about it in a proficiency-based system, it’s so much quicker to read a short story and then understand if your students are identifying a theme, or able to summarize a story, or able to pick out imagery, or whatever it is you’re aiming to do with students in a shorter text so you get whether they’re getting it before you dive into a longer text.

Sarah: That’s a great point. You guys can see what I’m nodding really emphatically at all of these. The first part of what said about choice and differentiation? I think that it’s really important to remember that you want to differentiate and you want to give different levels of text complexity, and make sure that kids are reading at a comfort level.

But sometimes you come across something that you just know a kid is going to be so interested in? That it’s okay for a kid to choose something that might be out of their quote-unquote “level” because they love it. I love reading YA! I can read it a much higher level than that, but sometimes I love to read YA.

Jeanie:  Oh, me too!

Sarah:  Right?  I remember I had a Roald Dahl short story that involved cars. I had a student who was an emergent reader and he loved that story that was really not “at his level.” I think choice is so great to remember when we’re talking about differentiation. And short stories are a great way to do that. Then also like you said in the proficiency based system with formative assessments, which I’ll talk about that till the cows come home. *laughs*

You’re right. It’s much easier to say: I need to figure out if this child can identify theme. It’s possible to do that in a short story. It’s much harder to do it with longer texts.

Jeanie: Yeah. It’s a bridge. I love what you’re saying about reading levels because I do not believe in them. I think they can help us find a text that works for a kid sometimes, but we should not limit kids to their “reading level” or their… no. No.

Sarah: I almost think it’s almost more relevant outside of the English classroom because let’s say you’re in science and you need kids to understand, you know, the geology of a volcano. If they’re reading for information, they should be reading at “their level,” but everybody’s different. And if it’s a topic of interest, who cares what your reading level is?

Jeanie:  We’ll all work harder. Let’s think about some of those story collections or stories you might use with students. So, I had one that I read recently that came to mind for me, which was Black Enough: Stories of Being Young and Black in America, by Ibi Zoboi? Which is a collection of short stories by writers of color. And a lot of them are about: what does it mean to be Black? What are all the ways to be Black? I think like this book explodes some conventional thinking or some stereotypes in really interesting ways.

And there’s so many great stories in this collection! There’s one by Jason Reynolds that was so simple and lovely that I just fell head over heels for it. But just thinking about race and ethnicity through that lens of short story, I thought was really interesting. It could be a really interesting book to use with a class. On identity.

Sarah: And like we said earlier, grappling with something scary, be it a ghost story, or challenging your perceptions about race, doing it in a text is a really great way to do it. Because you can do it at your pace and you save space and you can discuss. Is Jason Reynolds also an educator? I feel like I’ve seen him on ed Twitter. Maybe he is also an author, but I recognize that name from ed Twitter.

Jeanie:  Oh my goodness. We love Jason Reynolds here at #vted Reads. He is the author of so many books. Mostly for middle grade students. Some of them also for more young adult audiences and high school audiences. He wrote Long Way Down. He was a co-author on All American Boys. He’s an African American writer extraordinaire. And a huge proponent of diverse and inclusive literature for young adults and middle grade students, and just one of my heroes. I’ve seen him speak and I just adore him.

Sarah: It’s so important. Like, I love the canon. I was an English lit major, but I’m also all for exploding the canon especially in a state that is so ethnically homogenous. Even in schools where there are no children of color, we still need to be reading diverse texts because that’s a reflection about most of the world looks like.

Jeanie: Yeah. Absolutely. What other texts might we explore in this way?

Sarah:  I’ll mention two that I wrote down. I actual referenced one of these earlier, the story about cars. Roald Dahl, everyone’s favorite creepy children’s book author, also wrote short stories for adults. I’ve taught with a couple of them. There’s a variety of collections. Some of them are definitely not appropriate for children, and maybe even some adults would be pretty weirded out by them.

He has a couple that I really like to teach in part because they have pretty complex themes. The one with cars is called “The Hitchhiker”  (.pdf) There’s no violence, no sexuality or anything like that, and the vocabulary and plot is pretty simple? But the themes are complex. I really love that it was like a low floor, high ceiling for kids. I also love “The Hitchhiker because it talks about class. If you can tell what class somebody is because of the way they speak, I thought that really resonated with a lot of our kids. He has a couple of other ones, so I’d encourage you to check out his short stories for adults. And A lot of them are very short, so you can really use them in one class period.

Jeanie:  I wonder if you could, for our listeners, for whom it might be new? Talk a little more about that concept of “low floor, high ceiling”.

Sarah: Sure. This is one of my favorite things. I say it all the time. Low floor, high ceiling — I do not know who came up with this idea but it wasn’t me — it’s the idea of arranging activities, or units, or lessons, or anything you do such that anyone can enter the lesson? But you can make it really challenging.

It’s almost like we’re not just going to differentiate, we’re going to have a full spectrum in our lessons.

A concrete example might be [“The Hitchhiker”] where most kids, even if you were a couple grade levels below in your reading, you can understand the story, which then allowed you to talk about extremely complex themes because we have brilliant kids who might struggle with reading, and a lot of the time they’re cut off from talking about the interesting stuff because they’re reading less complex texts.

I also really love teaching Shakespeare, and I’ve taught Macbeth more than any other text. That would be one where I could have kids who could watch the movie and really understand what was happening… And then discuss complex themes. The low floor easy entry point, high ceiling, it can get very complex very quickly.

Jeanie: What I love about that is that the complexity is not dependent just on decoding.

Sarah:  Exactly.

Jeanie: So I think a lot of times when we read whole novels with kids, some kids get behind. Then we’re discussing things they haven’t read yet and they can’t enter into the conversation and so even just by having a shorter text, we’re lowering the floor, right?

Sarah: Right!

Jeanie:  While we are still able to delve into that complexity.

Sarah: Yeah, you’re maintaining rigor. I don’t want to dump on novels. Like, please read novels. Read novels with your students! But consider other ways, too. Do that low floor, high ceiling. Because too often we equate reading ability and intelligence. And those two things don’t always go hand and hand. I had students who were, like I said, emergent readers who were capable of really complex, critical thought. And they should have access to those conversations.

Jeanie: Right. Decoding and comprehension are two different things. I found the audiobook support for students in reading novels to be crucial for kids who had learning disabilities that made decoding really hard for them? But they were so into audiobooks! And so when I was a school librarian, part of my role was to expand the number of audiobooks we had, so it could support student readers. And to put them on iPads and iPhones and devices so that kids had access to them.

Sarah: Right. I think we get really hung up on like, oh this kid needs to read, and yes, they do, but you really want to make a lifelong learner. If you turn out adults who are listening to audiobooks on their drive to work every day, that’s success. That’s a great way to keep people engage in literature. At the end of the day, you don’t read To Kill a Mockingbird so you can recount the plot blow by blow. You read To Kill a Mockingbird, so you can talk about complex themes. And that’s the end goal.

Jeanie: To develop empathy.

Sarah:  To develop all these. Yes, all the things.

Jeanie:  Peter Langella was on the podcast last year and we talked a lot about reading as a strategy for increasing empathy. We definitely need more empathy in this world.

Sarah: We do. And there’s a lot of research backing that up, too. It’s really important. You do need to understand every single plot point and decode every single word perfectly to develop a sense of empathy.

Jeanie:  To walk around in somebody else’s shoes for a little while.

Sarah: Exactly.

Jeanie:  So let’s talk about some other shoes we might walk around in! Let’s see. I thought there’s a great story collection by Ellen Oh of #diversevoices, it’s called Flying Lessons & Other Stories that I thought I would add to our list. It’s great for middle school. It’s perfect for middle schools, a perfect text collection of short stories that might be of use to our listeners and their students.

Sarah:  I’ve never heard of that. What’s it about?

Jeanie: I’m not sure that there’s a common theme except that they’re diverse authors. So stories from a variety of others that create this middle grades collection from diverse voices.

Sarah:  That’s awesome.

Jeanie: Yeah! Right?

Sarah: The collections are nice, too. It’s nice to have a collection that’s all by one author. When you get collection that’s by a set of authors, it makes it even easier to help students pick or really tailor a story to what you’re working on in a classroom. And then I have one more, which is Sabrina & Corina by Kali Fajardo-Anstine. She is wonderful. I think her short story, “Any Further West”, I believe was one of the first short stories I taught with kids, and one of the first short stories I taught that was maybe not explicitly for kids, but it had really complex themes and also dealt a lot with poverty, which I think is important.

When we talk diversity, being on the stream a lot but it’s important to remember the class diversity we have here in Vermont. When we say people should see themselves reflected in texts, we shouldn’t shy away from stories and books that deal with people in poverty.

Jeanie:  Listeners, you can’t see me smizing at Sarah, but that’s what we call it, smiling with my eyes. I’m nodding my head in agreement.

Tyra Banks demonstrates the art of the Smize: smiling only with your eyes

I love that as a way of talking more about the lived experience of our students and having them see themselves in literature. I’m also just really taken with this idea when we take a short story that’s intended for adults and say to the kids: this is for grown-ups, but I think you guys can handle it. This was written for adults, but you guys are awesome. I think you’ve got this, right? The motivation that brings out in kids.

Sarah:  It’s huge! Something I would also add on to that when I would do this with the kids. I’d say, “This is for adults, so if you don’t understand 100% of this, that’s okay. i don’t expect you to.” Freeing kids up to kind of be okay with not completely comprehending a text. Leaning into that confusion or discomfort.

Because I think children internalize the expectation that when they read something, they have to understand it perfectly or it doesn’t account. I really want to encourage everyone to read things that are hard and challenging, that they don’t get 100%. I think there’s a lot of value to bringing in stuff that might be for adults. Although another thing I thought as I was reading this is you want to be sure that it’s appropriate.

Like, you can definitely read things that are for adults, but there are stories in here that I would not do in a middle school classroom and would maybe even be cautious about doing it in a high school classroom.

Jeanie: Yeah, you need to be choosy. I agree with that. But I love that idea of like, you’re not going to understand all of this, but you’re going to read it and understand what you understand and then we’re going to figure it out together.

Sarah: That’s okay. You know, it’s not an arithmetic problem. There’s not necessarily a right answer to what the theme is, or whether you’re in a fairy tale or on an alien planet. You can have multiple interpretations, and that’s great.

Jeanie: Yeah, it’s art!

Sarah: It’s the mark of a great piece of art if everybody agreed on what it was about would be incredibly boring.

Jeanie: When I was a school librarian, one of the big hits still, maybe it still is, was The Hunger Games. I always thought we should be reading that with “The Lottery”. That that short story–

Sarah:  It has the Vermont connection, too.

Jeanie: Right. There are so much about the premise of The Hunger Games that seems built on the premise of “The Lottery”. And I just thought that would be such an interesting pairing to discuss with students.

Sarah:  I remember there was a lot of pushback around The Hunger Games where people were like: this is too violent, kids shouldn’t be reading this. I remember giving a high school or the graphic novel Watchmen because I thought it would be really up his alley and he wasn’t much of a reader. The parents were not very happy because there was *one scene* of drug use.

Of course, I apologized because they are the parents and that’s their decision. But I remember thinking: what if the first time your 15-year-old child encountered the concept of drug use, it was a drawing in a book? Like The Hunger Games, like that violence in there and all the intensity and all the tension, like: encounter it in a text where you can really grapple with it. If the first time you see that stuff is not in a text but in real life, you’re going to be much less equipped.

Jeanie: These issues exist and our students know about them. They need help thinking about them and exploring them safely.

Sarah: Yeah. And in a way where there’s an adult who’s guiding them and they can talk to them because again all these students have the internet. So there’s always that.

Jeanie: I think you want to highlight another story from Dreadful Young Ladies. I want to talk briefly about the novella at the end as well.

Sarah:  That sounds wonderful. This is the story, and I think it was my favorite? I think it’s also potentially the story that I would read with students. It’s “Notes on the Untimely Death of Ronia Drake”. I don’t want to give too much away, but I think it is pretty age appropriate. And I also love it because at the heart of the story, there’s this woman, Ronia Drake, and she is no longer with her husband. I don’t think I’m giving away any spoilers. And what I love is that she’s okay. I’m just going to find the passage and flip to it.

Jeanie: Please.

Sarah: The section i’m going to read is not actually about Ronia missing her husband. It’s about now that she is not with her children 100% of the time because she and her husband are no longer together in what she does to fill her time. It’s on page 133. The story is Notes on the Untimely Death of Ronia Drake, which is a little bit of a spoilery title.

Dreadful Young Ladies and Other Stories, by Kelly Barnhill. P133. ""Then Ronia Drake did not miss her children. She painted, she worked, she ran long runs along the river or the creek or from one end of the city to the other. Sometimes she ran for hours without tiring. She felt unfettered, faceless, and unnamed. Lost, yes, but there is a freedom in being lost. There is a freedom in abandonment too if you thought about it right."

“Then Ronia Drake did not miss her children. She painted, she worked, she ran long runs along the river or the creek or from one end of the city to the other. Sometimes she ran for hours without tiring. She felt unfettered, faceless, and unnamed. Lost, yes, but there is a freedom in being lost. There is a freedom in abandonment too if you thought about it right.”

There’s so much going on there. It’s so beautiful. Also, this is not the traditional narrative of the divorced woman who’s sitting there sad. I really like that. She seemed to me Ronia Drake, she’d be one of my favorite characters in the entire book.

Jeanie: One of my favorite characters is from the end of the book in the novella. One of my favorite characters is from the end of the book in the novella. The novella is called The Unlicensed Magician. The main character in the story is Sparrow.

Sarah: Already that title, you want to read it!

Jeanie: Right. Why is the magician unlicensed?

Sarah: Who’s giving these licenses?

Jeanie:  What does it even mean to be an unlicensed magician?

Sarah: So intriguing. Sparrow is a great character.

Jeanie:  Sparrow is a young woman, maybe a middle school age, really. She lives in this world where there’s a comet, the Boro Comet I think it’s called, that passes by periodically. During the time of the Boro Comet, the women who are pregnant, some of them give birth to magical children. The minister —  he’s called the minister of the Harry Potter variety. The minister, like the head of government.

Sarah: It’s a very 1984 world. That’s what I thought about when I read this short story.

Jeanie: George Orwell’s 1984, yeah. The minister collects the magic children to magic himself a tower to reach the comet. But Sparrow eludes the minister. I’m not going to say much further than that, but I will say that I just adored Sparrow. Because. She reminded of all that kids are capable of.

One of my key values or beliefs in the world is that kids are capable of *so much*. They’re so good and they’re so powerful, if only we get out of their way. I love this section where Sparrow’s in the church unseen. She’s often unseen, but occasionally she is seen because she’s hiding, right? She’s hiding from the minister.

Sarah:  She sort of spends her life in hiding.

Jeanie: She had a couple of allies, like her father. Do you want to say something about her father?

Sarah: I just loved her father. He’s one of those flawed characters. He has, I think I can say it, he has something of a drinking problem. He loves Sparrow and shares that love with her. Again, when I was reading that, I was like, “I think a lot of kids might have someone in their life who’s not perfect. But you can still love that person and they can still love you.” Sparrow’s father, the Junk Man, is great.

Jeanie: And then her other ally in the world is Marla? And she’s the Egg Lady. She sells eggs. And Sparrow’s magic has a really positive effect on the village, but I’m going to read one instance of Sparrow’s magic in action, starting on page 202.

“Martina Strange, two rows up starts to cough. The cough tears through her chest and sends rhythmic waves coursing over her back, no one responds. She’s been coughing for years and she is old.

It’s only a matter of time. The Junk Man’s daughter stands up. She snakes through the pews, no one notices. She lays her hands on the old woman’s back. The girl is standing so close to the man sitting behind Mrs. Strange. She is practically in his lap. He doesn’t notice. The Junk Man’s daughter feels a pleasant heat between the skin of her hands and the coat of the woman.

She feels the coat, thin, and gave way and the flannel shirt and the thermal underwear and the thin jersey that probably belonged to the old woman’s husband years ago. She presses until she is skin-to-skin. There is, the girl notices, a cancer wedged in the lung, black and twisted and oozing. The heat on her hands is so hot she can feel her fingertips start to blister. She closes her eyes and doesn’t move.

The woman shudders. She lurches. She gasps, clasps her hands to her mouth and coughs so hard, the sound might have come from the center of the earth once, twice, and at that third cough out of her mouth lies a bird, black and twisted and angry, oozing pustules for eyes, talons gripping something bloody. The congregation gasps. The bird hovers in front of Mrs. Strange all rage and malevolence, spirals four times inside the four walls of the church. And with a tremendous squawk shatters the third window on the east side and flies out of sight.”

Sarah: It’s so good.

Jeanie: I love Sparrow so much. She’s constantly feeling love for her community. And she loves them so much sometimes it hurts her. This is a big good, right? She like, cures this cancer. But she does all these little goods, too. She makes people’s hens lay more eggs. She has this subtle positive impact on a community. I think about our young people have the potential to have *great* positive impact in their communities.

Sarah:  I mean she’s doing random acts of kindness. Sometimes it’s deliberate, like what she does for this woman in the church, which parenthetically just the bird and the pustules. It’s so dark, too, which is great! As she walks around, people’s apples are shinier and no one can see her. And I think our kids moving through their communities, and they’re smiling and they’re helping someone. They’re picking up trash, and you can really draw a lot of parallels even if you don’t have incredible, awesome magic.

I think you can still be that sort of, positive force of kindness. I’ve certainly known many children like that. So. I think the novella is also really great. And teachable for kids, right? That’s a kid-level novella. It made me think of The Girl who Drank the Moon.

Jeanie: Let’s talk more about that. I didn’t realize this and I am ashamed of myself, not really, but I’m a little bit like, “Hey, I’m a librarian. I should have known this.” Let’s talk about Kelly Barnhill’s other work.

Sarah: I also didn’t know, but I found this book at a conference for English teachers years ago where all this stuff was being given away. I said, “What a cool title. I’ll take it.” I had no idea. I read The Girl who Drank the Moon after reading [this collection]. I felt like there were a lot of parallels, like there’s magic. The magic is forbidden. There’s benevolent yet flawed creatures who helped a magical girl. A key component of her magic is that she spreads kindness. That’s a great message because it helps to have magical powers, but you can also just spread kindness as a normal, boring, unmagical human.

Jeanie:  Thank goodness.

Sarah: Yes! I know. Have you read The Girl who Drank the Moon, or what do you know about it?

Jeanie: I haven’t. No, I haven’t. The cover is really familiar. I know it won the Newbery Award, so it’s going to go on “to be read pile.”

Sarah:  It’s great. It’s just a delicious, little confection of a book. Like the stories in here, it’s not just perfectly sunny Pollyanna, Disneyfied fairy tale. There’s darkness and there is complexity. I think kids really respond to that because that’s what the real world is like.

Jeanie:  Well, that’s what the original fairy tales were like, too, right, a place to explore the dark side a little bit. It occurs to me that one of these stories from Dreadful Young Ladies could be a great companion text if you were to read The Girl Who Drank the Moon in a reading group or in a class…

Sarah: Definitely.

Jeanie:   … or as a read aloud.

Sarah:  I think kids are, if you look at a lot of famous and beloved children’s literature, there’s elements of darkness. I was a huge fan of Green Gables‘s fan as a kid. And that story hinges on the main character being an abandoned orphan. Kids want to see texts that reflect the real world in some ways.

Jeanie: I was in Prince Edward Island this summer. And we listened to Anne of Green Gables as we drove around the island because it’s set there. And as we were driving around listening to it,  I heard it in a different way than I had as a kid. I heard the trauma. When I was a kid reading it, I heard the joy of it but I could feel Anne’s pain a little more this time.

Sarah: I think a pivotal plot point is that she’s not sure if the family who have taken her in are going to keep her or not, which is… dark. I’ve read every single thing that that author has ever written. A lot of them are really scary and sad, but that’s what I wanted to read as a kid. You know, I wanted to read stories about kids who experienced real things.

And I think that’s, like I said, I think that’s what kids respond to is texts that reflect the way the world really is and maybe with a little gloss of magic over, but don’t cover up the dark parts.

Jeanie: Harry Potter wouldn’t be Harry Potter if his parents hadn’t been murdered by Voldemort.

Sarah: Harry Potter is very dark. Hunger Games. What are some of the other? I mean some of the other big YA, like all the dystopian fiction which is a whole other conversation. That’s what interests people, that’s why we love ghost stories and fantasy.

Jeanie: Listeners, we want to know: are you reading short stories aloud or with your class in some way? Are you giving your students a range of short stories to explore? How are you using short stories in the middle grades classroom or in the high school classroom? Let us know. Give us a holler. Send us an email. We want to know more about what that looks like.

Sarah: I’d also love to see if there’s any short stories or collections you love that we somehow didn’t touch on today, what those are? I always want new stuff to read and new stuff to share with educators.

Jeanie: Excellent. Or, are you sharing stories written for adults with your readers, with your learners? Let us know. Sarah, thank you so much for bringing this glorious book to my attention and for taking the time to talk to me about the mystery of it and about low ceilings and… I’m going to say that again, Audrey. Sarah, thank you so much for bringing this glorious title to my attention and for taking the time to talk to me about the mystery of it and also about low floors and high ceilings. I really appreciate it.

Sarah: Thank you so much. This is a great experience and I’m glad we got to talk about this book.

 


#vted Reads is a twice monthly podcast hosted by Jeanie Philips. Each episode talks about books for, with and by Vermont educators. Subscribe to #vted Reads on iTunes, Android, Soundcloud, or wherever fine audio entertainment is vended.

#vted Reads: Place-Based Curriculum Design

This episode is all. About. QUESTIONS.

Why are we here? Who was here before us? What kinds of stories do we tell about the world around us? And: how can we change from seeing the world as something to be studied, to something that can be acted upon …and changed.

First-year educator Thierry Uwilingiyamana  — now in his second year at Winooski Middle-High School — joins me on the show to talk about Place-Based Curriculum Design: Exceeding Standards Through Local Investigations. The author, Amy Demarest, is herself a longtime Vermont educator who has touched both my guest and I deeply.

(We’re big fans!)

Plus: why you absolutely need to spin Google Earth with your students. Just once. Their reactions may surprise and delight you.

I’m Jeanie Phillips, this is #vted Reads: books for educators, by educators and with educators.

Let’s chat.

Continue reading #vted Reads: Place-Based Curriculum Design

#vted Reads: The Benefits of Being an Octopus

This one goes deep, folks. On this episode educator Corey Smith joins me to talk about The Benefits of Being an Octopus, by Ann Braden. We talk glitter and posterboard, coffee and peanut-butter smoothies, and using the Equity Literacy Framework to dismantle inequality in our systems of learning with both students AND adults. What might we — and you — miss about students’ complicated home lives? And what can we learn from gun control debates about community conversations?

Told ya. Strap in. It’s #vted Reads.

Let’s chat.

Jeanie: I’m Jeanie Phillips and welcome to #vted Reads, we’re here to talk books for educators by educators and with educators. Today I’m with Corey Smith and we’ll be talking about The Benefits of Being an Octopus by Ann Braden. Thank you for joining me, Corey. Tell us a little bit about who you are and what you do.

Corey: Sure. Thanks for having me. So, my name is Corey Smith and I work at the Greater Rutland County Supervisory Union. Up until last year, I was a classroom teacher. I had taught first grade, second grade, third grade and fourth grade with third grade being my most recent and at the end of the year I was given the opportunity to become a PBL coach. So now I get to have the opportunity to go into the schools within our district and work with the teachers to implement project-based learning, proficiency-based education, place-based learning, technology and student-centered learning. So that’s what I do now.

Jeanie: Excellent. We are recording in the school in which Corey was a first, second, third and fourth grade teacher, Proctor Elementary School, in Proctor VT. And I’ve got to tell you, there’s more flexible seating in this school than I’ve seen anywhere. It’s really a lovely, lovely building. Thanks for inviting me in.

 

Corey: Thanks for coming here.

Jeanie: So I’m going to start us off with my favorite question.

What are you reading now?

Corey: So, I am reading Harbor Me by Jacqueline Woodson right now. I have an 11 year old, sixth grader at home who has been an incredibly reluctant reader his entire life and this year’s DCF lists came out and it excited him and he has been reading nonstop, so we decided to pick out a book from the DCF list to read together. So that’s what we’re reading. We’re not too far into it yet, but I’m really excited about it so far.

Jeanie: I really love all of Jacqueline Woodson’s books, but Harbor Me was a really special one. I think it’s a great empathy builder. So good choice for both of you. So let’s get to this book which we both adored and which Vermont educators are really loving and educators all over the country, The Benefits of Being an Octopus by Ann Braden. I wondered if you could introduce us to Zoey by reading the first few paragraphs of the book.

"I settled onto the couch with the chocolate pudding I saved from Friday school lunch. The silence is amazing. Well, it's not complete silence -- Hector is spinning the whirring dragon on his baby seat while he eats Cheerios -- but it's pretty close. I savor a spoonful of pudding. How long do I have before Bryce and Aurora burst out of our bedroom arguing about something? When I left them in there, Aurora was pretending to be Bryce's cat and he was pretending to feed her milk, but that can't last. I mean, they're three and four. That's not how it works. I take another bite with my eye on the bedroom door, but it stays closed. This never happens. I glance down at my backpack, my debate prep packet is inside and I'm actually tempted to work on it. I'm not a kid who does homework. And I definitely don't do big projects, which usually require glitter and markers and poster board and all sorts of things. None of which I have. Plus, last year in sixth grade when I actually turned in a poster project, Kaylee Vine announced to the whole class, “Everyone! Alert the authorities! Zoey Albro turned in a project. The world must be ending.” Then she made that aghn aghn aghn sound like a fire drill and did it every time she passed me in the hall for the whole next week."

Jeanie: Perfect. So here we’ve got Zoey, she’s a seventh grader. She’s got a lot of responsibilities.

Corey: Zoey has two younger brothers and a younger sister. We just met Bryce and Aurora, three and four, and then she has an even younger sibling, Hector, who is around toddler age.

And Zoey is responsible for caring for these kids because her mom works.

In the afternoon, Zoey will get off the bus and she’ll meet the kids at their bus stop to pick them up to take them home. She’ll go to the pizza shop where her mom works to pick up the baby and she cares for these kids. As you get to know her, you find that a lot of what caring for the kids means is keeping them quiet. Making sure that they’re not interrupting others adults in the house.

Jeanie: Yeah. She gets them ready for school every morning. I mean, it’s hard enough to get myself ready for work! But she’s a seventh grader who gets herself ready for school *and* she gets two of these three kids ready to get onto the Head Start bus every single school day.

Corey: It’s amazing.

Jeanie: It’s a tremendous amount of responsibility and yet we could also hear the way Zoey’s teachers must see her: she owns up that she doesn’t really do projects or homework. So, I’m sure that given the lens of school, they really see her as a not-responsible person.

Corey: As I read the book, what struck me was my own teaching practice. And I really used the book to reflect upon myself as a teacher. How many times have I made quick judgements about students without really knowing who they are, what their background is, what they come to school with every day. With Zoey as the reader, she comes off as incredibly responsible, a caretaker. And yet the people at school don’t see that from her.

Jeanie: Yeah. I love that Ann Braden as an author, gives us this real appreciative lens to look at Zoey and her many strengths — and she has so many!

Corey: She does.

Jeanie: She’s a creative as a caretaker of these children. She makes up stories every single evening.

Corey: Yeah. I love the stories! The stories that she tells them are incredible.

Jeanie: Right? And yet at school she’s completely silent. But at home, she’s this incredible story-weaver. What other strengths did you notice in Zoey?

Corey: Zoey’s incredibly creative — though it comes out in ways that we might not expect, or ways that most people wouldn’t see from her. She is adaptable. I don’t know that she views herself as adaptable? But she has so many different situations within her life, so many responsibilities. And she adapts to what she needs to be for each of those people in her life. Her friend Silas, her friend Fuchsia, her siblings, her mom — we see her take on different… I don’t want to say personalities, but different *characteristics* to help her be the strong person in each of those scenarios.

I also thought she was incredibly brave for everything that she goes through.

She is a seventh grader. So that puts her at 12 or 13. And… look at everything that she’s going through! I felt like she’s the glue that holds her family together, that she’s the one who brings the family together and make sure that it functions.

Jeanie: Yes! Her mother could not do it without her, for sure. And that brings up that Zoey has a lot of obstacles in her life. There are a lot of struggles and obstacles to her success, not just in school but in general.

I wondered if we wanted to name some of those obstacles that Zoey faces.

Corey: Yeah. I feel like a lot of her strengths are also obstacles. Being the caregiver is a strength for her, but at the same time, it’s an obstacle. Because she is a seventh grader who does not get to do seventh grade things. If you look through what she had to go through to get paperwork signed to be on the debate club, it wasn’t what your typical seventh grade student would have to do.

I think another one of her struggles is her family dynamic.

Mom works quite a bit and when she comes home she has to be a caregiver, not necessarily to the children, but to her boyfriend and her boyfriend’s father. Zoey is responsible for making sure the kids are quiet so that Lenny, the stepfather, or boyfriend, doesn’t get agitated or annoyed at the kids. So, I think her family life can be a struggle.

Jeanie: Right. And her family is complicated, right? She has a father: her father is one man. The two older siblings have a different father and then Hector’s father is Lenny. And Lenny doesn’t have a lot of affection for Zoey or her two older siblings. He only has eyes for Hector and Zoey, her housing situation has been rocky… And she’s really invested in staying in this house, in this trailer because it’s clean. Because it’s tidy. Because it’s a home. But Lenny doesn’t make that easy for them. He’s got pretty strict high standards — especially given that there are toddlers. And he’s… well, he seems like a stable guy: he’s got a job, the place is tidy, the bills are mostly paid.

But he’s got other issues.

Corey: …Yeah. You hear the way that he talks to people throughout the story especially to Zoey’s mom and you hear a lot of blaming. So he does come off as being this responsible guy who provides, but at the same time he provides the home, but not the stability or the caring environment that these kids need.

Jeanie: Yeah. He undercuts Zoey’s mom a lot and she spends a lot of time wondering why her mom isn’t as strong as she remembers her. And that’s another obstacle, I think. Zoey’s concern for her mother and her mother’s wellbeing and the whole family’s wellbeing. She carries a lot.

Corey: I think at some point too, she starts to hear what Lenny is saying to her mom and she starts questioning herself and wondering if she fits those character traits that Lenny *says* her mom has, not necessarily that her mom does have.

Jeanie: Right. Yeah. There’s a lot of emotional tension in this house that Zoey has to navigate constantly.

Then there are just these like practical things, these obstacles to just belonging that Zoey carries.

Her clothes are usually not clean. She rarely has time to brush her hair or her sibling’s hair. So her appearance — at a time when appearance is everything, seventh grade — her appearance doesn’t really fit in and so she gets made fun of for the way she looks or smells. And so she’s really… doesn’t have a sense of belonging at school.

Corey: No, and because of her family struggles, she comes with assignments not done. She doesn’t participate in extracurricular activities like other kids do. So when she does, kids tend to poke fun at her.

Jeanie: Yeah. It just flies just under the radar in ways that we’re a little familiar with I think when we spend time in schools.

So, the octopus comes out having a really special meaning for Zoey.

I wondered, given the title, The Benefits Of Being An Octopus and the octopus theme runs throughout the book, if you want to talk a little bit about what the octopus represents for Zoey.

Corey: Yeah. So, Zoey brings up the octopus pretty quickly at the beginning of the book because she has this assignment that she’s thinking that she might actually complete this time. They have to debate which animal they think is the best. And so she goes on to explain the octopus and she views the octopus as this really strong creature. That it has multiple tentacles or arms, which would allow her to handle multiple tasks at a time: do her homework, pack her backpack, take care of the kids.

She talks about how the octopus can camouflage itself. So if it’s in a really nervous situation? If that were her, she could blend in, people wouldn’t necessarily notice her during those really uncomfortable times.

She at one point talks about the octopus starting out as this really small vulnerable creature and it grows into this really powerful creature. And that it sort of defies the odds in that sense. And that she wishes that that could be her, that I think she feels pretty small, maybe invisible or potentially even useless. That if she were this octopus, she could grow into this creature that is powerful and doesn’t let things bother her.

She oftentimes is listening near her mother’s bedroom to how Lenny is talking to her mother. And when she talks about going up to these spaces to do things, she’s talking about slinking along. How quiet and stealthy an octopus is, which would allow her to do what she’s doing in taking care of her family and keeping them safe? Without the challenges in her life affecting her.

Jeanie:  You know, at Middle Grades Institute, Ann Braden, the author came to meet with teachers and talk about this book and I had lunch with her, with a couple other MGI folks. She, and a couple of us have this great fondness for animal names of groups of animals.

Like the one I recently came across was a group of hummingbirds is called a charm. A charm of hummingbirds.

Another one is a flamboyance of flamingos. They’re so much fun!

So I looked up what a group of octopus is called — and turns out, by the way, you guys, Zoey tells me that the plural could be octopi or octopus. So I’m choosing octopus, a group of octopus doesn’t have a name because octopus are solitary creatures. It occurs to me that Zooey is also a very solitary creature. She doesn’t really feel like she fits in anywhere.

Corey: I think she views the octopus as this big, strong creature but at the same time, a creature that’s by itself. One of the things I was thinking of as I was reading the book is she talks so much about how if she were an octopus and I think she’s more like the octopus than she ever gives herself credit for, in the ways of being solitary but also in the ways of strength.

Jeanie: Yes! Yes. She has *so* many strengths. And also in the way of camouflage! She often flies under the radar at school, from her peers, and from her teachers. Except one teacher who takes a special interest in her: Ms. Rochambeau, her social studies teacher. I’m just going to pull up page 38 to do a little introducing of this teacher.

Octopuses can squish their bodies down to no bigger than a crumpled-up bag of chips. By the time Ms. Rochambeau gets to my desk, I might as well be that balled-up bag with all the chip bits eaten, ready to be tossed into the trash. Ms. Rochambeau raises her eyebrows when she gets to me, not in a "how clever to ball up like a bag of chips" way, but in a "you have disappointed me with your very being" way that teachers are so good at. She shakes her head as she writes my zero in her grade book. “Sometime, Zoey, I hope you surprise me.” "I forgot it at home", I say to my desk. "I promise I finished it." "Mm-hmmm", she murmurs. "It doesn't do you any good at home, unfortunately." She pretends she believes me. I pretend I don't want to squirt octopus ink all over this classroom. "Maybe I could be in the debate anyway", I say even though she's already moved on to the next kid. "I know all my facts." She doesn't look up from the other kid's packet. "Then you should've brought in your filled-out packet so I could see that. I was very clear with my expectations."
page 38, The Benefits of Being an Octopus

Phew! What are you thinking about that Corey?

Corey: Yeah, I had mixed feelings about Ms. Rochambeau! You read passages like that and oh, the emotions. You feel very frustrated. And then there are moments throughout the book where I think maybe she gets Zoey? But she goes back and forth so often that I really wonder if she really understands who Zoey is. And then I think about me and being a teacher and I wonder how many times have I done that exact thing to a student. Not intentionally, but out of frustration. So I try to see Mrs. Rochambeau’s or Miss Rochambeau’s point of view, but at the same time it’s…

You come away feeling hurt for Zoey.

Jeanie: Yeah. Yes. I think one of the things that really interests me is that while I was doing research for this episode and thinking about what we were going to talk about, I stumbled across this really interesting website. It’s called Writing Mindsets. ‘Using mentor texts to analyze how kids see schools and teachers.’

And the author of this blog has pulled a bunch of pieces from young adult and middle grades literature — including Harbor Me, by the way — to look at teachers in schools through the lens of young students and imagine what *they* see.

It really made me think about my own experience as a school librarian and the ways I might have come across in ways I didn’t intend to. It lets me reflect on that. And reflect on how much power our words and our tone and our way of being in a classroom has and in ways that we don’t intend, or realize.

And Ms. Rochambeau I think would be mortified to know what’s going on in Zoey’s mind.

Corey: Yeah. I think it goes, I think throughout the book as she’s trying to reach out to Zoey, you see those moments where she thinks she’s doing the right thing. So I think it’s very unintentional, but at the same time, sometimes she comes off as this villain.

Jeanie: I have to say what I appreciated about how Ann Braden wrote Ms. Rochambeau is that Ms. Rochambeau gets these glimpses of Zoey. She sees her in this particularly tense moment in the bus stop when things go awry and she’s picking up her siblings. So she gets to see these little windows into Zoey’s real life and the responsibility that Zoey is caring and so she becomes more empathetic.

But I also really appreciated that she didn’t rescue Zoey.

That this does not use that teacher as savior trope, that we are complicated people as educators. And that it’s not our job to save kids.

Corey: No. I don’t think it’s realistic for us. I think what she did do is she gave Zoey the stepping-off points that Zoey needed to save herself. That Zoey may not have been happy with how the whole debate club came about, but if she was never given that push. Everything that came of that — standing up for her friends, standing up for her family — never would have happened.

So, I think that she was not Zoey’s savior your by any means. But she certainly gave Zoey the tools that she needed to be her own savior.

Jeanie: Ms. Rochambeau eventually does see some real potential in Zoey, and she invites her into this after school debate club and offers her a ride to make it possible. So by no means a villain, at all, in many ways a great help in the way that teachers ALL OVER #VTED ARE, she gives Zoey these opportunities to shine in different ways.

I had a little love hate relationship with ‘Ms R.’

Corey: I did too. I didn’t know if I liked her or if I didn’t like her. I think ultimately she did the best that she could. Teachers can do so much, and we are human and have limitations as well. So, I think that she did what she needed to do with Zoey? Maybe not in a way that Zoey always was happy with? But I think in maybe a way that Zoey needed.

Jeanie: Yes, absolutely. Thank you for that analysis of Ms. R.

Let’s move on to another character. I wondered if you’d introduce us to Zoey’s neighbors, Silas on pages 28 and 29.

Let’s get a little picture of Silas.

“Maybe Silas is stealthy enough to figure out how to reconnect our electricity without the company knowing.
But it might have to be a bobcat-shaped electrical box for him to pay any attention to it. He’s going on now about what its scratch marks look like on trees. About how you have to keep your face to the wind when you’re tracking. “Whatever bobcat is out there, It’s one that knows how to hide, knows how to disappear.”

“Too bad, man.” I say.

Silas stops walking, looks at me and gives that same weird, “we’re part of an awesome conspiracy” smile. “No. Not bad at all.”

I stare at him. I picture his dad and him sitting in the front seat of their truck talking about bobcat tracks. They always seem so happy together. Like they’re on the same team.

“Hey”, I say. “Do you know where you filed that form to get help with electricity and stuff like that?”

He stops and looks at me. “I think my dad used to bring it to Family Services up on Route 14.”

“Oh yeah, thanks.”

He nods and goes back to talking about the bobcat stuff. About how snow conditions are perfect because they prefer to be able to walk on hard crusted snow, but this most recent dusting over that icy stuff, will let him pick up its tracks. On and on.

Until we reached the bus stop — it’s packed with kids older than us and who look a whole lot less grimy than I do — and he clams up like he’s never once heard of a bobcat. Because that’s Silas’s superpower: going for entire school days without talking. He’s been doing it since the fifth grade when Brendan Farley got people to place bets on how quickly Silas would start crying, so he’s really good at it by now.”

Jeanie: Silas breaks my heart a little bit! I love him.

Corey: Yeah. He goes through just as many struggles as Zoey does. Which is perhaps why they have this connection throughout the book.

Jeanie: I’ve known Silases in schools. Kids who slide under the radar, who are quiet, who don’t engage… And I don’t know. I worried about him all the time, throughout the book. He’s got such a good heart and no one can see it because he’s completely closed off. And made himself invisible. He erases himself at school. I wonder what we could do for kids like Silas in schools.

Corey: I liked his character so much? And I would worry what would happen if he didn’t have Zoey in his life someone that he could connect with because he and Zoey would always meet at the bus stop and they would always chat and — most times about hunting and bobcats. But he goes through a period in the book where he even shuts Zoey out. And you worry about him quite a bit.

Jeanie: He has a strong connection, though with his father as well. So, he’s got this home connection, but so many of the things he’s good at is tracking. And don’t show up at school. I think he is alienated from much of the content in school because it doesn’t have relevance to the rest of his life.

Corey: Yes. I think that’s something that Vermont educators are starting to understand about their students? And with the implementation of passion projects or PLPs that we’re starting to see more kids taking on content that they really like.

Jeanie: I was talking to a friend who was saying that her middle school son is really passionate about his Hunter Ed program. And that it has nothing to do with her or her husband, but that he gets there, he’s studying, he’s really engaged and it’s all this learning he’s doing outside of school in the way that Silas is doing all this learning about bobcats.

How do we get teachers to understand that so that finds a place on his learning portfolio or his PLP?

Corey: I think so often we’re so stuck in these standards. And that there’s one right way to teach standards — and certain content that goes with certain standards.

As we start exploring giving students more voice in their education, I think we’re going to start seeing more kids meeting proficiencies because it’s content that excites them. It’s stuff that they’re already doing.

I mean, how many kids are out there doing exactly what Silas is doing?

If you look at the transferable skills, how many kids could meet those transferable skills through their passion?

Jeanie: Yes. I love that.

So, Silas and Zoey have a lot in common. But Zoey has one other friend at school, Fuchsia, who’s got a life that’s as complicated as hers, but there’s another classmate that she really admires, maybe in a crushy kind of way, named Matt. I think she likes him because he’s a nice kid. He works really hard at school. He gets good grades. Everybody likes Matt. I think there’s this really interesting contrast between his life and hers.

I’m going to read from page 83 to give a little sense of who Matt is, and the role he plays in Zoey’s life.

On the bus, I ignore the eighth grade boy who pretend-coughs some comment I can't understand and lean my face against the window. I can see Matt's house as soon as we turn the corner onto his street. His front door is open, and when the bus pulls up in front of his house I can make out his mom in the doorway with him, pushing a travel mug into his hand. She gives him a kiss on the cheek just as he heads toward the bus. “Is that coffee?” someone calls as Matt makes his way down the aisle of the bus. “Yeah, right,” Matt says, "Banana peanut butter smoothie. I was up late working on the essay for social studies, and I didn't have time for breakfast." I try to picture my mom pulling herself out of bed to make me a smoothie because I'm tired in the morning. As if she wasn't exhausted. As if she didn't have to take care of Hector. As if Frank wouldn’t throw a fit for getting woken up by a blender. As if we had a working blender. As if we had bananas. As if.

There’s just this really great tension between Zoey’s life as she becomes aware of how different other people’s lives are.

Corey: Yeah, Matt comes off as almost having the perfect life. Mom that kisses him goodbye at the door and gives him breakfast. He runs for class president. He’s part of the debate club. He comes off as seemingly perfect. I think at one point Zoey even acknowledges him and says something along the lines of, it’s not so much in a crush way, but it’s more of an admiration way. She *admires* the traits that he has.

Jeanie: Yes, and he’s kind to her, especially when she joins the debate club and shows herself to be a worthy opponent. He acknowledges her, her knowledge and her knowledge of baseball, I believe it is.

Corey: Yes.

Jeanie: So baseball or football.

Corey: Football! Because Zoey likes football. She watches that with Lenny. It’s the one time she and Lenny connect.

Jeanie: Yes, and Lenny actually shares food with her.

Corey: Yes.

Jeanie: There’s something about that that’s really interesting to me and one of the most wonderful things about Ann Braden is, she’s a former educator, a middle school educator, social studies, I believe. She has the best teacher’s guide (.pdf) on her website for this book.

link to The Benefits of Being an Octopus educator's guide

One of the things she does is there’s an activity in there about comparing Zoey’s family’s budget with Matt’s family’s budget.

It’s a great opportunity to work with students around some math, around difference, how people’s lives are different, around equity really. Thinking about the resources that are available to us, the obstacles that are in our way. I really love that and so it builds this into the novel and then also into the educator’s guide.

So, that brings me to this next question, which is:

How might you use this book in the classroom?

Corey: I’ve been thinking a lot about this. I have never been a middle grades educator, because I’ve always taught fourth-grade and under, but I think what I love so much about this book is there’s such a movement in education right now with equity. Acknowledging inequities and educating people on inequities and equities and how to approach that.

I think it’s so easy for us in little rural Vermont to say we don’t have a problem. We don’t have racial difference, or cultural differences. We all outwardly appear to be the same, but the inequity that is so common in our little schools is our socioeconomic status. And poverty. I think that this book brings that to light.

Just the differences in home lives with all of our students. And I think students need to recognize that within one another. When my son and I chose the DCF book we wanted to read together, one of the books that we had talked about was The Benefits Of Being An Octopus. I was hoping he would pick it only because I felt like it was something that he could really relate to within our own town. Students need to see what all students go through. I think that this book just paints a nice picture, whether it’s Silas or Fuchsia or Zoey or even Matt. It brings in all of those students and all of their home lives.

Jeanie: Yes. I think when we ignore the way in which difference shows up and is privileged or not in our schools, it’s an act of erasure. Because I travel around schools all the time and we have more students of color in our schools, even our small schools than we acknowledge. There’s an act of erasure when we say, “Oh, we don’t really have racism as an issue we need to deal with”, because we do actually. We have students of color in great numbers in some of our schools, and then in some of our schools that even, race impacts all of us.

Corey: It does, whether it’s viewed as big or not, the idea of “we don’t have racial problems” or “we don’t have race” *is* a problem in and of itself.

Jeanie: Exactly. And then you’re right too about how economics plays a huge role in the way that kids have access to the resources and privileges that help them exceed in school or excel in school, I should say. Or not.

I love this question from Paul Gorski that I think plays well with this book, which is:

“How has your school set up to bestow unearned privilege on some and unearned obstacles on others?”

For Zoey, a place that we can recognize right away that there’s some variation in access is the homework policy.

Whether it’s that she doesn’t have access to poster board and glitter, so she just gets newsprint, or just the *time* she has available and the help she has available to her after school hours to do that homework that is required of her.

When Ann Braden came to MGI, we looked at Zoey’s life through the Equity Literacy Framework, and thought about:

  • How do we first recognize those things such as homework?
  • And then: what might we do as a school to respond to those in some way
  • And then readdress. How does our policy need to change to meet the needs of students like Zoey?
  • How do we create and sustain equitable school environments over time?

We really use that lens to examine Zoey’s circumstances.

Corey: And I think what’s great is that we can bring students into that conversation. With a book like this, we can use that framework to have *students* have that conversation and talk about how can we make our schools better for all. Because it’s ultimately, it’s their education.

Jeanie: Yeah! How do we look at school policies or school procedures or just everyday events in school through all sorts of lenses to see who benefits and who doesn’t?

I love helping students use the equity literacy framework from a young age. Imagine the society we will be if kids can do that! In sixth and seventh and eighth grade.

So, another way to use this book is with teachers.

Corey: Yes. I think for the same reason. For me it was eye-opening because I questioned my own practice. I questioned who I am as a teacher and I questioned how I can make myself better. How can I talk to students? How can I build relationships? I’m not afraid to admit that at one point in my career I was one of those teachers who said, we don’t have a problem. I don’t have a problem, but I do, and that’s okay.

But I think it takes reading something like this for me to be like, “Huh, you know, is that me?” Then having conversations as a faculty, it’s the same thing. You use the same framework, the literacy equity framework of looking at our policies. And how do we make them more equitable for all students.

Jeanie: Yes, I’m a huge fan of adults reading middle grades and young adult novels, and picture books frankly, as a librarian. With an eye towards empathy.

How do we step into the shoes of students in general again? Because it’s hard to remember what you were like at 12. It’s hard to remember what it was like to go through the day as an eight year old or as a 15 year old.

I’m a big fan of using young adult in middle grades literature to step into the shoes of young people in general. And then whether we were raised middle-class or not, we are now as educators, middle-class. And so, being able to step into the shoes of a working class or working poor kid is huge. …I think about how much we don’t see because we’ve never experienced it.

I was raised working poor, and so this book for me was like being seen in a different way. When I was a kid all the books I read about kids were middle-class kids, and I thought that was a normal life. I thought that if only we were normal. I think Zoey has that a little bit too, like, “If only I… like everybody else.” And so this book was like an act of like, “Oh, this is normal too.” And to feel really seen.

Corey: I think it lets kids see themselves in literature.

Jeanie: Yes, and for their strengths! Like Zoey’s not somebody we pity.

Corey: No. No! She’s strong. I even was thinking throughout the whole thing that to me she would be a hero for me, because of everything that she works really hard for and accomplishes.

Jeanie: Yeah. I love the dual play that you can use this with kids and with teachers in really profound ways. When I was a school librarian, I used to have debates sometimes. Did you ever have debates in your classroom?

Corey: No. *laughs*

Jeanie: No. Maybe it’s an older thing. I think with fifth and sixth graders we used to have debates and Ann offers this other structure that comes out of her work with guns. Conversations around guns and gun control in Vermont. Which is: although we might differ in our opinions about an issue, whether it’s about guns and gun control or about something else, how do we come to common ground?

So, this idea that instead of debating each other, pitting ourselves and our opinions against each other, how do we have conversations and listen well? So that we can find that space where we agree, even though we’re not going to agree on everything. And I think that would be a profound thing to do with teachers as well as with students. Right?

Corey: I think so, too.

Jeanie: So, I highly recommend folks, I can’t recommend the educator’s guide enough.

What other books would you recommend for our listeners who are interested in this one?

Have maybe already read The Benefits of Being an Octopus and are looking for other ways to be empathetic for the student experience or the experience of poor working families.

Corey: There are a few books that have been recommended to me, but I have not yet read myself? But I’ve heard wonderful things. I know No Fixed Address, was a book that was recommended to me.

Jeanie: I just want to say I loved that book. We did a podcast on it last spring. It is a tremendously good book about a kid. He lives in Canada, but it could be a Vermont experience of a kid in housing insecurity, which is what we call it in schools, right? We don’t call it homelessness. Usually, we call it being housing-insecure. I just adored Felix, the main character in that book. It’s a great read. It’s a great companion to this book actually.

Corey: It’s on my list. And then another book that was recommended to me was Front Desk. I have not yet read that one, but I have an aunt who’s a librarian who highly recommended that one, because I was looking for books to start conversations with my 11 year old.

Jeanie: Front Desk, I haven’t read that one yet either. It’s on my list, but it’s got a highly capable young woman who helps her family–

Corey: –run the front desk of their motel, hotel, whatever it is.

Jeanie: I’m going to put some other titles on. One of my very favorite, YA books, is a little bit older is Eleanor and Park by Rainbow Rowell. Eleanor lives in poverty and really brings to light what it’s like to be a high school kid struggling with and under financial tension. I have a couple of other titles.

And I’m also going to make sure to link that, 33 passages from middle grade and young adult books to spark discussions about schools and teachers for your use. Because I’d love to hear folks, if you decide to have a conversation as a faculty or as a team about some of these quotes and how they help you think about your presence in the classroom.

Any other thoughts on The Benefits of Being an Octopus? Anything we didn’t get to that you want to make sure we get to?

Corey: No, the only thing that I would say is that if there is one book that you choose to read, it should be this book. I think that it will open your eyes. I think you’ll find it to be an incredibly great read and a really reflective read.

Jeanie: Yeah. I recommend it as a read-aloud too. It’d be a great read aloud in the classroom. I know a teacher at Flood Brook is planning to read it aloud to seventh grade students this year. We had a long chat about that. And connect with Ann! She’s a busy woman because her book is on fire, but, she does do Skype visits. Check out her website for all the resources that she provides. She’s so lovely! She’s a really lovely human. It was such a pleasure to have her at the Middle Grades Institute this summer, and it’s such a pleasure to have you Corey on the podcast. Thank you so much for your enthusiasm for this book and for joining me to talk about it.

Corey: Yes. Thanks for inviting me to talk about it.


Books mentioned in this episode:

 

#vted Reads: Personalized Learning in the Middle Grades, with Penny Bishop

#vted Reads logoHELLO! I’m Jeanie Phillips and welcome back to vted Reads! We’re kicking off our second season of the podcast with none other than author, professor, associate dean and Vermont education LEGEND, Dr. Penny Bishop.

We’ll talk VT PLPs, the power of a compelling school example in changing classrooms practices, and how to steal all the examples from Personalized Learning in the Middle Grades, with Penny Bishop.

But before we get to the episode I just wanted to say thank you to everyone who’s listened to us so far, everyone who’s sent messages and tweets of support and love. We love you all right back, and are so excited that you want to talk books by Vermont educator, for Vermont educators…

You know the rest.

It’s vted Reads time. Welcome back.

Let’s chat.

Jeanie: I’m Jeanie Phillips and welcome to #VTed Reads. We’re here to talk books for educators, by educators, and with educators. Today I’m with Penny Bishop, and we’ll be talking about Personalized Learning in the Middle Grades: A Guide for Classroom Teachers and School Leaders by Penny Bishop, John Downs, and Katy Farber. Thank you for joining me, Penny.

Penny: My pleasure.

Jeanie: Tell me a little bit about who you are and what you do.

Penny: Well I am a professor and an associate dean at the University of Vermont, and in the College of Education and Social Services. I’m also founding director of the Tarrant Institute for Innovative Education.

Jeanie: Thank you. I’m so delighted to talk to you about this book. I’m going to start with a softball. What book is on your bedside table right now?

Penny: Well, there are probably 12 actually, and there’s a bit of toppling action going on at the moment.The one I’m reading is by Annie Proulx and it’s Barkskins. I don’t know if you’ve read it or not, but it’s an amazing tale of over 300 years. How immigrants came to New France and the landscape, and how landscape and people change over time. I’m really enjoying it.

Jeanie: Oh, I’m so glad. I’ll look forward to talking to you about it when you’re done.

So, let’s talk about this book, Personalized Learning in the Middle Grades. You really start the book, you and John and Katy, by defining personalized learning. I wondered if you could put your definition in a nutshell for us.

Defining “personalized learning”

Penny: Happy to! So, I think the foundation, for me anyway and the foundation for the book, is: believing in the capacity of youth to do great things.

In order to do those great things, we need to enable them, invite them to have more say, more ownership, more agency in what they do and how they learn. The way that we have conceived of personalization in the book is to think about it in terms of three pillars.

The first pillar is knowing students well.

We use a personalized learning plan as a way, as one mechanism, one way to do that, to get to know students well, and then using what we know about students. That first pillar leads to the second, which is flexible pathways or creating authentic opportunities for learning. The third would be a proficiency-based assessments, so valuing what students learn. Using those three things in conjunction is essentially what we talk about in the book.

Jeanie: What I noticed when I was reading through, especially that first portion where you’re defining it so well, is that you take Vermont’s Act 77 and put it in context and into practice in a way that makes it visible for people. You take this abstract concept and really make it visible.

Penny: I feel really fortunate to be working in a state where we have Act 77 because I think it’s given educators license to do a lot of developmentally and culturally responsive work, the kinds of work that teachers know is right, and now we have permission to do it.

So it’s a very exciting time.

Jeanie: One of the tools you use in the book to really take this framework, the three pillars framework and the legislative framework, and make it visible, make it practical, is vignettes. You share stories of personalized learning in action throughout the book. I wanted to just ask where these stories come from because they’re so compelling.

Penny: Thanks. Well, the vignettes that begin the chapters are compilations, so they are not stories of one specific learner but rather they are representations of a number of learners we’ve interacted with across many of our partner schools and across Vermont.

Katy Farber, one of my coauthors, has an amazing ability to bring those stories together. She was the primary author of most of those, but they were the result of the stories that we were bringing from a variety of schools and students.

The personalization and action vignettes that are within chapters, however, are specific to schools and to students and families and educators. In those instances, those are named.

Jeanie: Penny, would you mind sharing one of the chapter beginning vignettes with us, one of your favorites?

Penny: I’d be happy to. I think I’ll read from the very first one, which just tells the story of Miles.

Page 1 of Personalized Learning in the Middle Grades: "Miles pulls up the hood of his sweatshirt in the dark morning and hoists his backpack onto his shoulder. The cool late fall air nips his face as he walks to the end of his driveway on the dirt road where he lives. He thinks about the kids in his sixth-grade inquiry group with whom he texted last night. They are so close to completing their big project to establish a nature trail on school grounds and they're excited and nervous about presenting their proposal to the school board. He's still a little stunned that they'll be assessed on their presentation, rather than taking a test or writing a report. He remembers that he still has a few things to finish on the slide deck but he's feeling good about the argument he's written, the budget tables and cost projections they've developed, and their compliance with trail safety and accessibility standards. The bus lumbers along the icy roads, rattling as it climbs the hill to where he stands and gasping puffs of air as it stops. As Miles climbs the stairs, he wonders if his friends will be already sitting together, and if there will be room for him. While Miles has a sleepy and uneventful bus ride, his advisory teacher, Ms. Phillips, is already as school, preparing for the day. She sips her quickly cooling coffee as she reads her students' latest entries in their personalized learning plans (PLPs) on her laptop. She tries to spot patterns in their personal communication goals so she can group them for peer practice, and critique as they prepare for their upcoming project presentations. In 20 minutes, she needs to be standing by the door and even a quick glance at the PLPs usually leaves her ready to greet her students, with something specific to say about each."
Page 1 of Personalized Learning in the Middle Grades. Click or tap to enlarge.

 

Jeanie: I think Miles’ story goes on doesn’t it?

Penny: It does go on. It’s a long one.

Jeanie: I love it though because it illuminates all of the things you mentioned in your definition of personalized learning. So, in that short vignette, I saw a student agency. I saw how Miles had agency over his own learning. I heard about his flexible pathways. And I saw instances of authentic assessment, where he was going to give a presentation to the school board. All of those things, those terms, those jargony terms we throw around had meaning in that vignette, became really crystal clear to me about how they could look in a classroom.

Penny: I’m glad you enjoyed it. It was a lot of fun. A lot of fun to put together.

Miles is just one of a bunch of composites in the book that I think bring to life the great things that young people are capable of.

Jeanie: Thank you for sharing that, Penny. The way that, in using these vignettes, you’re able to unpack the shifting roles of both students and teachers in a personalized learning environment. You see Ms. Phillip’s role and you see Miles’s role and the other students’ and… it’s different than we think of education from our childhoods, from our own childhoods.

Penny: It’s quite different isn’t it? It’s interesting, I was just doing some writing this morning about this notion that personalized learning may render teachers obsolete. That if you’re looking at things that are highly digital and that sort of version of pace based personalization that so many people equate personalized learning with, that there’s been this backlash around people fighting back against Summit Learning and this idea that we don’t have access to teachers and kids are teaching themselves.

What we’ve found, certainly what’s represented in the book and what we’ve also found in our research, is that teachers are needed more than ever.

That so much of this work is about relationships. So much of it is about helping students find those pathways, scouting out ahead of them for resources if they’re human or digital or otherwise. So yes, we do talk in the book about the fact that when you position students or help them position themselves as drivers of their own learning, it necessarily means new roles for teachers as well.

We’ve conceived of several different roles for teachers in personalized learning environments.

Some of them are similar to roles that teachers already embodied daily, but others are a little bit more unique.

Teacher as Scout

So, for example, when we talk about teacher as scout, we really are talking about, if we’re in a personalized learning setting where students are pursuing, say, 15, 20 different interests in the classroom, how do you stay ahead of students? How do you equip them with enough community mentors? How do you help them find access to the types of curriculum they need? It’s a very different thing than identifying leveled text sets, for example.

Teacher as Scaffolder and Assessor

Similarly, we’ve identified scaffolder or the different types of assessment that teachers are engaged in. The need for even more formative and regular assessment than we’ve done in the past. The importance of building community and so on. So, yes, there are a number of ways that we’re rethinking teacher roles, as well as some teacher dispositions. To have a greater capacity for tolerating a little bit of chaos, for example. Not always having things planned out ahead of time, not having one’s ducks in the row. That’s not always super comfortable for everyone.

Jeanie: I think as a former school librarian and always school librarian, I think that role of scout feels really comfortable to me because a lot of times my role with students K to 12 was to say,

“Well, I don’t know the answer to that, but let’s find out together.”

I love that role because you’re thinking about where each student is heading, or small groups of students are heading, and you’re forecasting ahead, what are they going to need, what resources. The other thing I love about it is that you don’t have to know everything. You just have to know to get them what they need to know. There’s something really interesting to me about that role.

Penny: That’s come out a lot in the research that we’ve done on teacher roles and dispositions. It’s really been about being comfortable with not knowing and being upfront about not knowing. That’s, again, not in everyone’s nature to feel comfortable with that, but it does seem increasingly important to be able to be upfront with kids about it and to say,

“Hey, we’re going to learn this together, and in fact, I might be learning from you.”

That’s a very powerful shift, and it’s an exciting one.

Jeanie: Yes. There’s reciprocity in that. I’m teaching you, you’re teaching me, we’re learning together.

Penny: Absolutely.

Jeanie: Kids love that.

Penny: They really do.

Jeanie: Yes. Do you want to talk about the parallel shifts in student roles that go along with these shifts in teacher roles?

Penny: Yes, thanks. It’s interesting because on page 38, we have a diagram that shows how those things interact between the teacher and the learner.

Page 38 of Personalized Learning in the Middle Grades
Page 38 of Personalized Learning in the Middle Grades. Click or tap to enlarge.

Students as drivers of their learning

Penny: So if you think about the student as now the driver of their education, of their learning, they need to now be doing a number of things they weren’t doing before, or they may have been doing in a number of classrooms. I don’t want to simply dismiss the great things that have been happening in Vermont classrooms for a really long time, because we are very fortunate to be in a state filled with great educators.

But some of the distinctions that we’re seeing are, for example, even this idea of learning at one’s own pace. So needing to be conscious of, as a learner, one, what my pace is, how I manage that pace, how I set goals, how I project manage.

All of those things are more important in a self-directed, kind of personalized learning environment than they have been in a more teacher-directed one.

So those are pieces. *Actually* keeping up with one’s learner profile. So thinking about what’s important for me to know, how do I change over time, how does that change what my goals are? Monitoring that.

Using data is another thing, so helping students have access to their own data and thinking about that data strategically, and what it means for their learning, and how they can move forward. Those are all relatively new roles for a lot of learning environments anyway. Yes, those are a few.

Jeanie: What’s occurring to me as I hear you talk about this and as I read the book too, is often in education we think about various initiatives. We’re always talking about initiative fatigue and how it’s another thing we have to do. One of the beautiful things about this book is that it weaves together these things as a whole and shows you what the big picture looks like where these things aren’t separate things.

Thinking about proficiency, flexible pathways, and PLPs in particular, and how those weave together to form a whole learning experience.

But I’m also thinking about these roles, how it layers in really deeply and meaningfully what we think of as the transferable skills: self-direction and communication being two that feel really important to this work.

And metacognition and reflection. Like if you’re thinking about “who am I now? What’s it mean for me to be a learner?” Those are deeply woven in. Even knowing students well means understanding trauma-informed practice. So, it’s not about separate initiatives, but how we create a cohesive whole to create the educational system our learners deserve.

Penny: *laughs* I really wish you’d written the conclusion because I think that’s exactly it. It’s really about thinking about this work as a cohesive whole.

I think one thing that we’ve learned over time since 2013 when Act 77 was passed, is that we really need to implement it as a whole.

If you take any one piece of this, if you take the PLP, we learned the hard way about the PLP. We talked a little bit about that in the book, that a lot of schools started with PLPs, which seemed like it made really good sense. It was the first deadline, if you will, that came through the legislature: all students have to have PLPs by a certain date, and so we thought: okay, yes. PLPs, goals, let’s do it.

But in fact, if you don’t have flexible pathways, meaningful ways and engaging ways for students to achieve those goals, and then you don’t honor that learning in ways that count, there’s no increased engagement.

There’s no increased learning. So it really is the whole package. It is not a curriculum. It’s not a program. It really is about teaching and learning writ large.

Jeanie: Yes. In many schools that I’m familiar with, PLPs have become a dirty word with both students and teachers because they were implemented without the other two pillars.

Penny: Absolutely. In fact, we’ve seen schools rename or re-label PLPs as something entirely different just to rebrand things.

The Purpose of PLPs

Jeanie: So that takes me to page 52, a page I’ve bookmarked because I plan on using it with some schools as we rethink PLPs. It’s something that I really also appreciate about this book, which is the way that you’ve thought about not just the what, but the why. Do you want to talk a little bit about how you reframed PLPs in terms of their purpose for each stakeholder?

Page 52 of Personalized Learning in the Middle Grades
Page 52 of Personalized Learning in the Middle Grades. Click or tap to enlarge.

Penny: Sure. I’d love to. I think one of the things that is essential to this work is understanding why we do it. Because you’re right.

We place so many heavy expectations on educators that if we don’t have a clear sense of why, if we don’t have a clear sense of what we’re trying to accomplish, we really do fall into “initiative fatigue”. It’s so easy to see this as one more thing coming down the pike.

So, what we’ve done in this chapter in particular is to focus on purpose and to invite readers to identify their own purposes for the PLP and for adopting personalization.

Move beyond the idea that, “I live in Vermont and it’s mandated here”, or “I live in one of the 39 states where we’re moving in this direction”. It’s: what’s your central purpose? What are you trying to accomplish with this, and for what stakeholders?

So, we talk about in this chapter a little bit about what possible purposes, one might adopt it for for students, for teachers, for families, and then for invested others.

For students, for example, some of the educators we work with identify things like helping students explore their identities in a safe space.

We know that that’s an important work. We ground this book in the middle grades and in early adolescence in particular, although I do think that a lot of it is pertinent well beyond the 10 to 15-year-old. But we do know that in particular, adolescents are all about identity development and it’s a great space for that.

Other purposes include ensuring that students are well known as individuals. Or providing them with greater control over their own learning.

For teachers, they serve a number of purposes including giving them a way to manage all those idiosyncratic pathways, all these flexible pathways that students are now pursuing.

How are we documenting those? How are we keeping track of them? Also assessing a student growth? How do we do that in a meaningful way?

For families, we’ve found that they are really powerful particularly when coupled with student-led conferences.

They convey both that adolescent identity, but also growth over time, best work, what really powerful portfolios can do in a way that is even more driven by the student and can help families be even more connected to adolescents at a time when adolescents are starting to pull away.

So that’s an exciting opportunity for families maybe to learn a little bit more about their own child.

We included this other category called “invested others” because as learning becomes more personalized, and as we do find teachers acting as scouts and engaging community more in mentoring young people, we find that that category is broader and broader.

It really does take a village. So, invested others may be community members who are mentoring in this school or allowing a job shadow or simply being an online support in some way.

Community could be quite broadly defined, so it could be folks who are across the globe or it could be people in one’s own town. Purposes for them might be to discover common ground for collaboration with students as well as to convey a sense of respect for the value in the community and the knowledge of the community.

It also helps for all of us to expand notions of where learning happens.

I think across all of those stakeholders, a central purpose is also to see adolescence through an appreciative lens, which we so often adopt a deficit lens. So, that’s a big one for me.

Jeanie: Oh gosh. I have so much to say right now. There are two directions I want to take this.

I’m going to start by thinking about how I love this “invested others” category because it creates avenues for authenticity in the student work.

One of my passions is creating work that’s real for kids. Right now I’m thinking about the kids at Edmunds who did some social justice work, and there are a couple of girls who really focused on the pink tax and they have connected with the legislature and in really powerful ways with lawmakers.

So, thinking about what a powerful learning experience that is for them, and also how grateful I am to them as a woman in this state for getting this important message out and making change happen. This kind of PLP leverages authenticity and meaningful work for kids.

Penny: I think that’s right where the engagement resides. It’s in that meaningful work on matters of personal and social significance. That’s the engagement right there. That’s what makes all the difference.

Jeanie: That’s the learning you remember. Those are the powerful moments that really stick with you.

Penny: Absolutely.

Jeanie: Then the other side of this is:

I’ve been thinking a lot about how we are often trying to shift practice — classroom practice, school practice, teacher practice, and student practice, without shifting belief.

I think that’s where initiative fatigue comes in too. Do this new thing, administer this test. But there’s no why behind it. So, I also love that this asks us to think about belief. What do we really believe about teaching and learning, and how does that belief shift into this PLP to make it meaningful?

Penny: And what do we believe about the purpose of schools?

Jeanie: Yes. I just really appreciate the thought that goes into both sides of that. The, “Why are we doing this anyway?” Let’s spend some time on that so that the practice makes sense and we invest ourselves in it because it has something to back it up.

Penny: I agree.

Jeanie: Props for that to you guys.

Penny: Thanks. Thank you.

Jeanie: I can already see the countless ways that I’m going to use this book, but what’s your hope for how Vermont educators are going to use this book?

Penny: Well, I think first and foremost, I hope that they see the great capacity in youth. What I mentioned earlier. Students are capable of so much.

I think the pink tax work is a great example of that, that our youth are capable of real work with real outcomes, powerful work. There are so many examples of that in the book, not just from the composites but from actual teachers and students working together in really authentic ways.

I hope if nothing else, it’s inspirational in that regard because it really is the product of so many students and educators working together and working really, really hard. I hope that it may give them some clear strategies. We tried to make it as useful as possible.

Teachers are busy and it’s definitely written for the teacher audience, so we tried to make it accessible and inspirational. Each chapter provides both personalization and practice, which gives little examples of what it’s looking like, but also some ideas that people could even just steal, and put into practice the next day. I’m hopeful that it’s useful in that way as well.

I’m hoping that it will serve as a conversation starter, because it was just our best thinking at that time, and it’s been out for a few months, and certainly it’s been done for probably a year. So, it takes a while for it to come out, and so now we’re already into another place in terms of how we are imagining what the potential can be.

I’m hoping that teachers and students will help us move it forward.

So, a conversation starter.

Jeanie: Yes, I totally see the practical strategies. The two chapters that really hit home for me in terms of the like, “Oh, I could take this and run with it,” are the Laying the Groundwork for Personalized Learning chapter, about building that community. That’s a lot about teaching the skills that students need in order to be agents of their own learning, to be drivers of their own learning. I just love the Launching PLPs with the Learner Profile. You have such rich examples from excellent Vermont educators around the state and what they’re doing in practice in that chapter.

Penny: Well, it’s funny that you mentioned those two because for me, yes, chapter three that sort of sets up some infrastructure is I think a helpful one. Then the Laying the Groundwork piece.

Often we expect students to know how to be self-directed. We expect our classroom culture to support it without ever really attending to it.

So really thinking about: what is the executive functioning? How do we interact as a community? All of those pieces really need to be in place to see it done well and to help students be successful. I think if we don’t attend to those things, we risk setting them up for failure as well as ourselves. I think those pieces are really important.

Then I love that you brought up the examples that are about knowing students well, because one of my favorites there, actually, there are so many great ones. But Lori Lisai and Joseph Murphy from Lamoille Union Middle, have this incredible set of activities called the Geography of Self.

Autobiographical Maps from the Geography of Self Project

I just love so many of the things. One of them is an autobiographical map. I just love the idea of being cartographers of one’s own life.

There are so many rich examples like that. That’s just one small one, but I just found them so engaging. If I were in the classroom, those are a number of the ones that I’d want to steal right away.

Jeanie: I love those Geography of Self examples. I love the iceberg activity that happens at Tuttle.

There are so many great examples in there. Then another thing that I noticed that I just… I remember seeing it on the wall when I visited there is, at Williston they use these great handouts for executive functioning skills that really lay out exactly what it looks like to be self-directed in ways that helped me as an adult.

https://twitter.com/JPhillipsVT/status/913045031245815808

I know these were designed for middle school kids, but I’m like, “Oh, that’s how I get started.”

Penny: Well, it helps give you language to talk about it. Right? Yes. I find all of those examples were terrific.

Jeanie: So this book, it’s really written for teachers, but I feel like it also has relevance to systems-level leaders.

I’m wondering about how you see it being used for systems change.

Penny: Well, that’s a great question. Our hope is that it will inform both that daily practice in the classroom, in and out of the classroom. We hope that a lot. But it also has implications for systems, both at the school and the district level. The supervisory union level.

I think one of the pieces that I hope people find helpful is this idea of some guiding questions. It gets back to the why are we doing it idea, but it gets even more pragmatic. I think on page 75, we offer some guiding questions for PLP design teams.

Page 75 of Personalized Learning in the Middle Grades
Page 75 of Personalized Learning in the Middle Grades. Click or tap to enlarge.

I think it depends on where that design is happening, but I know a lot of schools are doing that at the school or district level. We pose questions for folks to think about in terms of their purpose and their audience, and how those two things need to drive the content and the form.

Then how really explicit conversations need to be had about roles and responsibilities in relation to all of those things.

So, when we asked teachers before we wrote the book, “What would you like to see in a book about personalized learning, and in particular PLPs?” They answered with questions like:

  • What’s the purpose?
  • Who is the audience?
  • What should go in it?
  • What are the required contents?
  • Will all classes contribute to the PLP?
  • What platform will we use?

We quickly realized that it would be a very short book if we answered these questions because our book would basically be, “…It depends.”

It depends on your classroom, team, school, district,  and supervisory union. Whatever your unit is, that asks and answers those questions, doesn’t it? So, those are precisely the questions to be asked, and they do inform systemic change.

My hope is that by offering some of that, we can inform infrastructure in a way that helps people find a path toward coming up with some common language and a common vision.

Jeanie: I’ve been thinking a lot about how one of the things that gets in our way as we try to reform schools or think differently about schools is a failure of imagination.

It’s hard to imagine school different than how you went to school.

It seems to me that this book fills the gap that is left by a lack of imagination in helping not just teacher see how it could look different.

Because I think teachers know how it could look differently, but administrators and school board members and other stakeholders for whom they might say, yes, we want personalized learning, but then walk in the classroom and expect the classroom to look the same.

I love this one vignette where the principal walks into the classroom and can’t see the teacher and he looks around and the kids are all doing different things.

There’s this moment in the vignette where the principal thinks, well, I know the teacher’s in here somewhere.  And then he finally spots the teacher sitting on the floor in the corner working with one student. It reminds me that, as somebody who likes order, that when I’m in a classroom that’s really personalized, I always have to take a deep breath and think, “Okay, look around, what’s really happening. Yes, it’s noisy. It feels a little chaotic, but what’s really happening? Everyone’s actually on task and doing something. I’m the only one that’s uncomfortable.” I think administrators have to figure that out.

Penny: Yes. They’re not the only ones who have to figure it out, but they absolutely do. In fact, when we were speaking earlier about roles and dispositions, and I said, sometimes you have to be a little comfortable at chaos, usually it’s not chaos.

It just looks like chaos because it’s not form and order and things that we come to associate with what learning should look like, quiet compliance as opposed to active learning.

So, I agree. I appreciate that you picked up on, it’s the book’s ability to convey what could be, that idea of imagination, because that certainly was a goal. In fact, it hit home for me a few months ago when our state legislature was grappling with some pushback on proficiency-based assessment and the proficiency-based graduation requirements. Maine as a state had those, and those were… they were moved from mandated to optional.

At that same time, in Vermont there was some pushback. So, the House Ed Committee invited me to come in and testify on those. What I quickly realized as we were having a conversation in that space is that so many people just couldn’t see it.

It’s that gap between our own experience in our education and what’s happening in today’s world. We needed more examples and stories of what it looks like and what it can be.

So it is, I appreciate your putting it into the words around a failure of imagination. Or maybe the bright spark of imagination because I am hopeful that it’ll do that.

Jeanie: My understanding of Maine is that one of the findings is that while the graduation requirements changed, in places where classroom instructional practice didn’t change, things didn’t work out so well. (.pdf)

And what this book does for me is it really demonstrates how classroom practice changes.

How the mechanics of what happens for learners in the classroom is vastly different than a stand and deliver a teaching method.

Penny: I think it builds on this notion that the three pillars need to be enacted together. As opposed to really highlighting well, if we only do proficiency-based assessment, then yes, we are going to see pushback because nothing else is changing.

Jeanie: Yes. So do you imagine that this book could play a part of Vermont Education Policy? Do you think that this book could foster conversations that would help the legislature as they navigate Vermont Education Policy?

Penny: I absolutely do. I think that had it been published back when I was testifying [to the legislature about Act 77], it would have been a really useful thing actually to give to House Members. Because it not only imagines what’s possible, but it also shows what’s happening in Vermont schools right now.

I think that’s one of the things that’s most exciting to me, it is the stories of real kids and real educators working really hard on this work and doing inspiring work.

Jeanie: How do you see it as a part of a more national conversation?

Penny: Well, right now if you were to examine Every Student Succeeds Act educational plans, which every state had to file, 39 of them referenced personalized learning in some way as a priority in the vision to some extent. So, it’s very much part of the national conversation right now.

Accompanying that is this focus on competency-based, or what we call proficiency-based here in Vermont, assessment as well. So, it’s very much part of that national conversation. My colleagues and I here at the University of Vermont and at the Tarrant Institute certainly do a lot of national presentations and we write for a national and international audience, so I know that we are informing those venues. I know that a lot of people in the US are looking at Vermont right now.

We have one of the most comprehensive policies in place for personalized learning, and so we’re kind of on a national stage and with Maine having folded back on their proficiency-based graduation requirements.

People are looking at Vermont to see what’s going to happen next, and so I’m really hopeful that these stories will show what’s possible.

Jeanie: Yes, I hope so too. Have you gotten any feedback on the book from educational leaders or practitioners yet?

Penny: We have, actually. I’m delighted to say that we’ve gotten some really great feedback. It seems to be being received well, so I’m optimistic about that. We’ve had a number of folks shoot us emails to say, “Wow, it’s really great. Thanks so much. This is helpful. I’m going to use it in this way or I’m going to use it as a whole school read next year for our faculty. I’m having folks use it in this way.” So we’ve definitely gotten some nice reviews and some emails, so thanks for asking about that.

Jeanie: I do wish I had a time machine and that we could shoot this book back to when I started my job here at the Tarrant Institute! It certainly would’ve been helpful for me. And it also feels like really personal because it celebrates Vermont schools, and you’ve referenced that many times.

It feels like a real celebration of teaching and learning in Vermont.

As I read through the book, I just delighted in the number of teachers who get a shout out for their hard work, the number of students featured, the presence of both student and teacher voices. Do you have any messages for the Vermont Education Community?

Penny: Yes, a few. There are a lot of shout outs, and there were so many more shout outs we could’ve given.

So that’s sort of a hard thing is that there’s a page limit. Turns out, they won’t let you publish a thousand-page book! We have thousands of pages worth of great stories in Vermont to tell.

I also would like to say that we sent a copy of the book to all schools that have grades five through eight, or students ages 10 to 14 or 15 across the state.

If you’re listening to this, there’s a really good chance that there’s a copy kicking around your school right now.

(Ask your principal about it.)

The final message I would want to say is that, as you know, Jeanie, we do present nationally a fair amount. So, we talk a lot with educators from other states. Inevitably, when I come back to Vermont after having gone to national conferences, I come back with a renewed appreciation for the depth of care and sensitivity and dedication that our educators have for this work and for our youth.

We are so fortunate to be in Vermont, and Vermont educators are doing incredible work.

I just feel really lucky to be here. Sometimes I think people don’t always get a chance to leave and then come back to appreciate anew what a great education system we have here. I just kind of wanted to name that.

Jeanie: Well, I just want to name that the book feels much like when we talked about the reciprocity between the teacher roles and the student roles. This book feels like a gift of reciprocity. It feels like you all and we all as the Tarrant Institute learn so much from our partners in Vermont schools. From the partner educators we work with. From the students at those schools. And from the conversations we get to have with Vermont teachers and educators across the state.

You wove that learning and created something new out of it that teachers can then learn from. There’s something about the way that you synthesize all those experiences into this rich work that everybody can learn something new from. I just have deep appreciation for. Yet you still are constantly giving shout outs to all these great schools and teachers and students.

Penny:

Hopefully, it shows a bit of the enormous gratitude we feel toward educators and students because they’ve given us a ton.

Jeanie: Yes. Any other thoughts, Penny, about Personalized Learning in the Middle Grades?

Penny: Well, I’d just like to thank you for inviting me to talk with you today. I really have enjoyed it.

Jeanie: It’s a pleasure. It’s always a pleasure to talk to you, Penny Bishop.

 

I’m Jeanie Phillips and this has been an episode of #vted Reads, talking about what Vermont educators and students are reading. Thank you so much to Penny Bishop for appearing on the show, and talking with me about Personalized Learning in the Middle Grades. If you’re looking for a copy of Personalized Learning in the Middle Grades, check your school or your local library.

To find out more about #vted Reads, including past episodes, upcoming guests and reads, and a whole lot more, you can visit vtedreads.tarrantinstitute.org. Follow us on Twitter and Instagram at @vtedreads. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

#vted Reads: Watch Us Rise

with 6th grader Abby Bunting

#vted Reads logo

As we close out the first season of #vted Reads, we celebrate another first: our first student guest on the podcast. In this episode, I’m joined by South Burlington sixth-grader Abby Bunting, as we discuss the book Watch Us Rise, by Renée Watson and Ellen Hagan. We’ll meet the book’s artivists (Google it) and talk about how unpacking stereotypes that might not apply to you still makes the world a better place for your own activism.

I’m not a minority, and  I’m very… definitely just privileged. I feel like these books are a way for me to… like when we’re talking about stepping in the others’ shoes.

Let’s chat.

Jeanie: I’m Jeanie Phillips and welcome to #vted Reads. We are here to talk books for educators, by educators, and with educators. Today I’m with Abby Bunting, and we’ll be talking about Watch Us Rise by Renée Watson and Ellen Hagan. Thanks for joining me, Abby. Tell us a little bit about who you are and what you do.

Abby:  Hi, I’m Abby and I am a sixth-grade student at Frederick H. Tuttle Middle School in South Burlington. I love to do sports, read, pretty much a lot of out of school activities.

Jeanie: Excellent! I’m so delighted to have you here, Abby, and thank you for selecting this lovely book, Watch Us Rise, which is written in two voices. Could you introduce us to Jasmine and Chelsea?

Introducing Jasmine & Chelsea

Abby:  Jasmine is a young, black woman and Chelsea is a young, white woman. Jasmine is a lot more quiet. Chelsea is more of a firecracker and is outspoken and loud and likes to stand up to things, whereas Jasmine normally takes a little bit of a backseat to think about more ways to do it in a polite manner or softer way.

Jeanie: They’ve been friends for a long time, haven’t they?

Abby:  Yes, they’ve been friends for a long time.

When a white girl on the playground told Jasmine that if she took a bath hard enough, the brown would come out of her skin and Chelsea slapped her.

Eventually, they learned about the non-violent movement, but that was a really good moment for Jasmine to feel that she had a friend in Chelsea.

Jeanie: Yes. I had forgotten that part. Thank you for bringing that forward. They have a couple of other friends who play a role in the story, too, even though they’re not primary figures. Do you want to introduce their two other friends?

Abby:  Yes. Isaac and Nadine. Isaac has been a part of their group for a long time and there’s a little bit of romance going on between Isaac and Jasmine. Nadine is one of their friends, a fashion diva. She’s amazing and really a centerpoint for the group.

Jeanie: Did you, like me, feel like,

“This just makes me want to be in their friend circle?”

Abby:  Yes, I do. They have a really good relationship and all communicate very well.

Jeanie: Right. They spend a lot of time at Jasmine’s house. Jasmine’s father, Mr. Gray, is sort of an inspiration for them. He works at a local cultural center and museum. He sends Jasmine, and Isaac, and Nadine, and Chelsea off on these “challenges”, he calls them.

And the book begins when he sends them on the “Brown Art Challenge”.

Do you want to talk about what the “Brown Art Challenge” is?

Abby:  Yes. It’s pretty much going around New York and finding exhibits that aren’t really well-known and taking a look and being inspired. I know Chelsea writes a poem. Isaac, who’s a really good drawer, does a lot of pictures about them.

Jeanie: Right, and so he’s really asking them to find art that represents brown and Black people, people of color, right?

Abby:  Yes. That isn’t very much represented around New York, popularly.

Jeanie: Yes, and so he sends them to Harlem, to explore the Harlem Renaissance at one point, right? Do you remember any of the other things he sends them towards?

Abby:  I don’t remember any of the other things he sends them to, but he sends them, at the end — even though at the beginning he says that they’re not allowed to — but to where Mr. Gray used to work for a new exhibit.

Jeanie: Yes. I wanted a dad like that in my life. I wanted somebody like that, who would inspire me to look out beyond myself. Did you feel that way, too?

Abby:  I did. I think Mr. Gray is a really good character and obviously has a lot of input on Jasmine and inspires her a lot. I think Mr. Gray (or, her dad) is a big part of Jasmine’s life.

The artivists

Jeanie: Absolutely. He also calls this crew of four the “artivists” like activists but with art. Artivists. I love that term. Do you want to talk about why he uses that term in particular?

Abby:  I think that it’s a really good way for him to put across a message to the kids that art can be a very good non-violent way of getting a point across

but also it’s almost giving the person a point of view from your perspective and a really good way just to see all of the things in a beautiful art form.

Jeanie: Yes. It’s like he sees these kids already as change-makers.

Abby:   Yes. I think definitely they all put forth a strong vibe of wanting to make a difference.

Jeanie: Do you want to make a difference in your world?

Abby:  Yes.

I feel committed to making the world a better place. We have so many wonderful parts of it right now but it’s an opportunity.

Jeanie: Yes. Did this book feel like it inspired you, or did it feel like mirrored your own path?

Abby:   I would say it definitely gave me some inspiration just to be who I am and pretty much forget about anything else that the media or world is trying to send at us and just to be myself and doing what I want to do.

A social-justice approach to education…

Jeanie: I bring up the artivism, the artivists, because Chelsea and Jasmine especially become artivists in a really interesting way in their school. Their school is Amsterdam Heights Collaborative Community School. It’s a real social justice-oriented school.

It prides itself, right, on being social justice-minded. The students at that school are required to join the club and attend weekly meetings after school of a club. For example, Nadine, she’s in a design club. Isaac is in an art, like a visual arts club. Chelsea’s in a poetry club. Oh no! I got it wrong.

Abby:   Actually–

Jeanie: Could you remind me of the clubs that our fearsome group of four start in at the beginning of the year because they’re all in clubs that they’ve been in for a couple of years?

Abby:   Yes. Chelsea is in a Poems for Peace group and she has been there for a very long time. She loves it because it’s a chance to express herself but also do it in a form of poetry which she also loves doing. Isaac and Jasmine are both in the theater group. Jasmine loves acting and they both are fueled by the same desire to just be on stage and be who they are.

… that may sometimes miss the social-justice mark

Jeanie: What happens that leads to Jasmine and Chelsea leaving their clubs?

Abby:  Well, for Jasmine, she’s always been portrayed as either depressed or lonely or sad, young, black woman or someone who can pour a lot of sad emotion now on the stage. She really has a good way of shedding her normal skin to play another character. They’re doing a freeze run where everyone is doing an acting scene and then you freeze and someone else comes in and starts where you start to make up a new… makes up a new scene.

Jasmine and Isaac have a special moment together. Mr. Morrison, all he sees is a young, sassy, black woman. Jasmine finds that really offensive. Another character in the book, Meg, is someone who really puts Jasmine down a lot. She’s very skinny, and Jasmine has more weight than she does. I think it’s like she just feels that it’s not right for her and she has so much more in her than being sassy, black, and overweight.

Jeanie: Right, she’s pigeonholed into stereotypes. It really echoes what we see in Hollywood where you see people really advocating for a broader array of roles for women characters and especially women of color characters.

Dealing with stereotypes

Abby:   Yes, in fact, Jasmine’s first post on their Write a Girl blog is about the stereotype Hollywood actors that most black woman put into for all their roles.

Jeanie: Would you like to read that post?

Abby:   Yes, I would love to read them.

Abby:   Okay.

Page 90 of Watch Us Rise

Page 91 of Watch Us Rise

 

Some of these are The Jezebel, The Sapphire, and The Mammy. This is all of her post, her first post.

Jeanie: It’s so powerful, that’s she’s really spelling out for people who don’t understand what it means to have your role narrowed because of what you look like.

I love the way she ends it,

Let me repeat: I will not “act like a black girl.” Not unless she is nuanced Not unless she is imagined to be more than tired tropes and predictable clichés.

That is a fabulous passage that you shared, Abby. I think it really illuminates Jasmine’s experience in the world especially in her art, which she loves. Posting this is one way she’s being an artivist, isn’t it?

Abby:  Yes, definitely. This is an insight to… this is just the beginning in the book. She really begins to find her stride and post more of these.

Jeanie: We’re getting ahead of ourselves though folks because we haven’t told you what this is yet. Let’s talk, before we go there, about Chelsea. What happens that she leaves the poetry club?

Challenging the (poetry) canon

Abby:  Chelsea quits Poets for Peace and Justice because she feels that they’re studying too long ago writers, and while she feels like their writing and poetry is important, she feels that they should be studying more modern approaches to poetry.

A lot of her fellow poets say there’s always an issue with Chelsea for anything that she really does. She feels she uses her voice a lot to argue against anything that she feels is wrong. When she does that, people are saying that the classics are classics for a reason, but she feels it’s a racist reason because all of the people they study are white. At the end, she really quits because everyone says that it’s a poetry club when she feels that it could be more than that.

She wants a space where everyone is represented and she feels free to share what she wants to share.

Jeanie: You summarize that so beautifully, and it made me think: I read a lot of reviews of this book when I wrote my own review of this book. A lot of people do not like Chelsea. A lot of readers are not a fan of Chelsea and I wonder if they’re missing the point a little bit. Here’s why I’m going to say this. Chelsea is experiencing a kind of sexism, right? People are saying to her, “You argue too much. You speak up too much.” I’m not sure she would get the same reactions if she was male. What do you think?

Abby:  I agree with that. I think that everyone who does think that Chelsea is not the best of characters, I think it’s a really good way to provide some insight to what it might be like being a girl who wants to speak up, who wants to share her own opinions and perspectives but is often put down because she is, yes, what you said, arguing or speaking up too much.

Jeanie: Yes. She’s a born leader. She’s a little bit of a bull in a china shop, right? She makes mistakes and messes up and she’s loud and emotional and outspoken, but I think she gets a bad rap, in part, because she’s not quite feminine enough.

Not feminine enough

Abby: Yes. That’s definitely something that both of them are dealing with. For Jasmine, she’s often put down because I think she’s not acting feminine enough or she doesn’t look the feminine part because she’s overweight. A lot of people put her in a box so she can’t run very well. She’s not strong and she’s not capable of doing all these things that really she can do but she’s put down because of her weight and how she is expected to look as feminine.

Jeanie: Yes, absolutely. There are all these assumptions made about her that she maybe can’t be attractive, and yet Isaac finds her very attractive, right?

Abby:  Yes.

Or small enough

Jeanie: Or, that she’s must be unhealthy instead of just being big.

Abby:   Yes, and she always knew that there wasn’t something… she says there wasn’t ever something right. When she was younger, the plumpness was cute and then she got older and she knew it wasn’t just big bones.

Jeanie: Unfortunately, even though Jasmine’s parents are amazing, her mom sometimes carries some of that baggage about weight and makes Jasmine feel bad about her size. It’s not just what happens out in the world on the subway, or on the streets, or at school with her peers, sometimes it even happens at home. How does Jasmine reckon with her body image? How does she deal with it?

Abby:   Well, she struggles a lot with it throughout the book and she finds self-confidence in herself and learns to respect her body even though it’s big. At the end, Meg has poked fun of her a while for being overweight or her size.

She says that she’s not beautiful even though she’s big, she’s beautiful because she’s big.

That’s a really strong point for Jasmine and it gives her a chance to really just say that, “I don’t really care what you think because I know I’m beautiful.”

Jeanie: I love that you shared that. I had forgotten that powerful moment when Jasmine really claims her full self, the beauty of her full, whole self and it was a beautiful moment, a really powerful one. Poor Meg was left speechless.

Abby:   Yes.

Jeanie: Jasmine and Chelsea no longer have a club, right? They’re completely stuck without a club and they have to have a club. They decided they don’t want to join an existing club, so what did they do?

Write Like A Girl

Abby:   They decide to make their own club and put together and led by Ms. Lucas. It’s really something for them. They wanted a space where they could be themselves and share their own ideas. And stand up for being a woman and dealing with a lot of the sexist and racist accusations and stereotypes at their school which prides themselves on being really just a place for social awareness. It’s really a way for them to put forth a message that none of them really… the clubs that are existing, are dealing with what needs to be talked about.

Jeanie: Right. There are gender issues, that these are showing up and nobody’s talking about them. Each club has to have a blog, and what do they christen their blog? What do they call it?

Abby:   They call it “Write Like a Girl.

Jeanie: I love that title, do you?

Abby:   Yes, I do as well because I think it really just says that they’re unafraid to be put down like that. A lot of people say, “Oh no! You throw like a girl, or you scream like a girl.” All of those things are perfectly normal to do.

It’s fine to write like a girl. They’re standing up for who they are. I think it’s a really good title for them.

Jeanie: Yes. You shared Jasmine’s first post on Write Like a Girl. Is there one of Chelsea’s post you’d like to share from the blog?

Abby:   Let’s see.

Jeanie: The one I’m really interested in is… let’s see if we can find it, “Beauty Magazine Redux” is a found poem and isn’t going to read very well but she often writes about what she calls the Princess…

Abby:   Industrial Complex.

Jeanie: The Princess Industrial Complex. Do you want to read that one?

Abby:   I’d love to read that one. This is page 108.

Page 108 of Watch Us Rise

Page 109 of Watch Us Rise

Jeanie: I love that. That’s so powerful, isn’t it?

Abby:   Yes, it’s amazing how she came up with these elements. I think she just shows that she’s such an amazing poet.

Jeanie: Yes, and fierce and yet she struggles. Chelsea really struggles, right? She is a rabid consumer of…

Abby:   Of fashion.

Jeanie: … beauty magazines, right?

Contradictions and inward struggles

Abby:   She really advocates against them saying that they put forward a stereotype, but at the same she struggles inwardly when she wasn’t put to be in the basketball homecoming. Her mom took her out for a Sunday and told her that girls don’t need that, they’re fine with their heads and their brains and they’re beautiful just the way they are. But instead Chelsea goes out the next day and finds all these beauty magazines to try and become beautiful on the outside.

Jeanie: Yes, she sort of has this obsession with lipstick even as she makes fun of the names of the shades, right? It’s complicated for her. She spends a lot of time thinking about what she looks like even as she talks about not wanting to think about what she looks like.

Abby:   Yes, it’s an inward struggle for her.

Jeanie: Do you think that’s the reality for a lot of girls?

Abby:   Yes, I think so because we’re growing up in a modern era where this is really… we’re put to be beautiful just the way we are, and a lot of people say that. But at the same time, there are always these little people who tell you to look a certain way. There’s this inward voice that’s telling you to be beautiful on the outside.

Even though in your heart you know you’re beautiful in the inside, but it’s still a point where you want to look beautiful on the outside even though you know you shouldn’t have to.

Jeanie: Yes, and there’s a lot of shame and guilt around that, right? You can feel like, “Oh I shouldn’t care what I look like.”

Abby:   Yes, but at the same time you do.

Jeanie: Yes. I think it’s a really a complicated world for women, for young women, and for women my age as well. I really appreciate that Chelsea’s really like her full flawed self with this, right? That she’s not perfect. That she shows us her real humanity.

Abby:   Yes. We already talked about Chelsea and how most people don’t like her as a character, but I think this really gives an insight to that, what you said, she’s human and she deals with all this guilt and sadness for knowing that it would be alright to not focus on these. At the same time she wants to look beautiful on the outside.

Calling out bias

Jeanie: Yes. There’s a reckoning for Chelsea and Jasmine as friends. As you’ve said they began their friendship because Chelsea stood up for Jasmine when somebody said something racist, but Chelsea expresses her own biases. Jasmine has to really call her on it in various points throughout the book. The most memorable one being about T-shirts.

Abby:   Yes, and I think Jasmine really talks a lot about that and it teaches Chelsea a lesson going through this book. Chelsea thinks she knows a lot of things and she does and she stands up for a lot of things.

At the same time, Jasmine teaches her a valuable lesson that sometimes you’re fighting for all of this that sometimes you forget that you can be the one who’s making up these issues.

When you talk about the T-shirts, she had ordered T-shirts for Write Like a Girl and showing like woman power and some famous poets. She ordered all woman sizes and small, medium, and then the large and then she ordered a man’s large but she forgot that Jasmine is a little bit bigger than her and she won’t fit into all of these.

Page 193 of Watch Us Rise

Page 194

Chelsea tries to smooth it over by saying that she got a man’s large. Jasmine knows that it won’t really fit the right way and she needs to tell Chelsea that she needs to look out for that more.

Jeanie: Jasmine’s been sitting with this for a while, right? They go shopping. Of course, Chelsea loves to shop. But every shop they go to, Jasmine can only buy accessories because there’s very little clothing in her size. It’s not like their standard place to go is Lane Bryant, or a shop that has the kinds of sizes that Jasmine will wear.

Abby:   Yes, and even in the plus sections Jasmine goes to, there are sizes that are way too small for her. She looks at these posters at the plus sizes in the racks and says that that would be a very skinny woman when you’re in an oversize world or the people around you who are the same way.

Walking around in other people’s shoes

Jeanie: That shop clerk’s come up and say, “Oh our plus sizes are on the internet. You’ll have to go on the internet for those.” She’s like, “I’m a teenager. I just want to shop in a store,” right?

That was a really good experience for me to walk around in Jasmine’s shoes in those chapters. I learned a lot walking around in her shoes. Which is why I read, so that I can walk around in other people’s shoes. Do you have that experience, too?

Abby:   I love being… it just teaches you a lot, reading, and these stories that you read teaches us such valuable lessons.

Especially these new modern writers who are tackling these tough issues and stories that just really everyone can connect to.

Jeanie: Yes. Is there another passage you would like to share from the book? We don’t want to give away any spoilers, folks, so we’re just giving you a teaser on how this book progresses.

Abby:   I’ll read one more from the Write Like a Girl blog. This one is Chelsea’s. This starts when she goes into S-T-E-A-M class before. She finds sexism in Silicon Valley.

Jeanie: You said it right. It’s a STEAM class.

An erasure poem on erasing women from tech

Abby:   Yes, it’s a STEAM class, and her teacher challenges her to look up James Damore’s Google Memo about how women aren’t suited to be in the technology era or work in these places. She creates an erasure poem. An erasure poem is a piece of text that you cross out parts of it to make it a different meaning. One of the lines is “openness directed towards feelings and aesthetics rather than ideas.” You’d cross out, or what she did was she crossed out “directed,” “towards,” “and,” “rather than,” so it reads openness, feelings, aesthetics, and ideas.

Jeanie: Would you like to read just the uncrossed out sections of James Damore’s Google Memo, an erasure poem.

Abby:  

Page 126

Page 127

Jeanie: I love that. I love that she completely changed the meaning of his text by crossing out certain words. Have you made any erasure poems of your own?

Abby:   I have not. This was something I never heard of and also for the people who read this blog, it also strikes them. Yes. They say,

would love to see more of these erasure poems. It’s a very interesting form.

I think it’s good… Chelsea to bring up a different style of poem that isn’t very as well known.

Watch *us* rise.

Jeanie: Yes. This blog gets them into some trouble. We won’t spoil the book for you, but it also leads them to some really robust activism in their community and in their school which to me felt really empowering. I wondered what it was like being a student in a school to read about kids being activists in their school for you as somebody who’s an activist in your school in SOAR. What was that like for you?

Abby:   I think it really struck me as I could connect with these characters, but as I said before, they really inspired me.

They showed me that it’s all right to get in a little trouble for what you’re doing because you know that if you really feel strongly and that you know it’s the right thing to do and stand up for it.

Normally, what you’re trying to stand up for isn’t very… or the audiences’ opinion I guess or what most people think, but it’s a way of changing minds and opening up a lot of barriers that some people wouldn’t normally look into.

Jeanie: Abby, I know that you’re involved in some activism here at South Burlington in Tuttle called SOAR, and I wonder if you saw any parallels or any ways in which that work is similar to the activism that shows up in Watch Us Rise?

https://twitter.com/lifelegeros/status/1130916728039452672

Abby:   I think that I can connect with Watch Us Rise because I do do some of this work in SOAR. SOAR is Students Organizing Against Racism. We do a lot of work with just like gathering confidence in the people who attend to speak up against racists and all the issues that we feel are going on outside of school or wherever you really see them because it is hard to stand up when you hear those things.

I think SOAR is a place where you learn to have confidence in yourself but also know the right way to deal with the situation.

I connect more with Jasmine though because we don’t do what Chelsea does which is put posters everywhere around the school and spread the message in a big way. And I think that’s a good way to do it, but at the same time in SOAR, we go to conferences and give presentations about what we’re doing to inspire other schools to do it, or other people to know who we are.

https://twitter.com/MsDeeley/status/1130898118877286400

Jeanie: That’s great work you’re doing. Congratulations on all the success.

Abby:  Thank you.

Books with strong female voices

Jeanie: I think the last thing I really want to pick your brain about and learn from you about is this is a book with powerful female voices with girls really learning and practicing using their voice in powerful ways. I’m wondering if there are other books you would recommend to readers that would inspire or demonstrate girls grappling with how to find their voice in the world.

Abby:   Some of the other books that I feel are good ways for women to hear their… young women grappling to try and find their voice is The Hate U Give and On the Come Up. Both of these are by Angie Thomas, and I think she’s an incredible writer.

In The Hate U Give,  Starr really has a time figuring out who she is and what she really wants to stand up to. There’s these issues in the book, things that happened that really lead her to think a different way about all those and find her voice definitely.

Jeanie: Yes. Those are both great books. Actually, I’m reading On the Come Up now, and it really appeals to me as a book about a young woman finding her voice in rap music.

Abby:   Yes, it’s a really interesting way to write a book.

I love Angie Thomas’ raps themselves. I thought they were really standing up for something.

At the end of our book, the main character really finds who she is and doesn’t listen to all that goes around in her neighborhood about. She knows that she really needs to find her voice and know if she’s going to continue with rap music she needs to stay in her own boundaries and what she wants to do instead of what other people are forcing her to do.

Jeanie: Yes. Those are great recommendations. I am also thinking about… this is an oldie, but Laurie Halse Anderson’s Speak. Have you ever read that book? It’s about a young woman who doesn’t speak, who loses her voice because of an act of violence. And how she comes back to finding her voice. That feels like another one to add to our strong female voice playlist here.

Then I was thinking about Amal Unbound, which is a favorite of mine from last year about a young Pakistani girl who really wants to get an education. She actually wants to be a teacher but because of the circumstances of her life is forced out of schooling and then has to find her way back. She also feels like a fierce, young woman who’s saying,

“No, my voice deserves to be heard and I deserve to be educated.”

I’m sure we could come up with some others. Other strong female characters? Renée Watson’s other book, Piecing Me Together seems like a great example of a young woman who’s really finding herself and her way in the world.

Abby:   Yes, I think that’s a great one to put on the list. I’d really recommend that one because she’s a person of two worlds. She goes to a school where it’s mainly white and she’s very privileged there, but also she describes it as “an ant in a sea of milk.”

She’s really by herself there but when she goes home, it’s also different. She can’t get the same education but she feels more at home with people like her there, and it’s like a way for her to encourage the school that she goes to mix both of these things and piece her together, hence, I think the title.

Jeanie: Yes. I think Renée Watson writes microaggression so well, right?

Like in this book, too, she experiences all these little pinches of racism and sexism that aren’t quite like hate speech but that add up, that have this cumulative effect.

You also see that show up in Piecing Me Together. Nobody’s shot by a police officer. It’s not a Black Lives Matter book necessarily but it’s a book about microaggression.

As somebody who doesn’t experience a ton of microaggression in my life, it really helps me see the world differently to read from that perspective.

Abby:   I definitely agree with that. I’m not a minority, and  I’m very… definitely just privileged. I feel like these books are a way for me to… like when we’re talking about stepping in the others’ shoes.

Reading is a great way to really stay in tune with the world outside you that you might really not pay attention to as much but can relate to with these characters and these stories.

Jeanie: Do you have any other book suggestions for us, Abby, that allow you to have empathy for other people’s lived experience?

Abby:  These aren’t necessarily women empowering books but Dear Martin and Anger Is a GiftAnger Is a Gift is a new book. Both of these I would recommend for people just grappling with the issues outside of school or wherever they are and getting a real empathy towards these characters and what they’re going through. But it also inspires me every day to just continue living up to who those people are.

Jeanie: That is the perfect way to end this episode. That was beautiful. Any last words on Watch Us Rise?

Abby:  I would recommend it to anybody. I hope that the people who are listening to this really check it out.

Go read it!

Jeanie: Thank you for sharing your voice with us, Abby, and your insights into this beautiful book and for taking the time to talk to me. I really appreciate it.

I’m Jeanie Phillips and this has been an episode of #vted Reads talking about what Vermont’s educators and students are reading. Thank you to Abby Bunting for appearing on the show and talking with me about Watch Us Rise. If you’re looking for a copy of Watch Us Rise, check your local library.  To find out more about #vted Reads including past episodes, upcoming guest and reads, and a whole lot more, you can visit vtedreads.tarrantinstitute.org. Follow us on Twitter and Instagram @vtedreads. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

#vted Reads: Reaching and Teaching Students in Poverty

In this episode of #vted Reads, I return to my old stomping grounds at Green Mountain Union High School. I’m talking with school counselor Ally Oswald, about the realities of reaching and teaching students in poverty. Reaching and Teaching Students in Poverty is also the title of a 2013 book by educator and reformer Paul Gorski. And we’re going to use Gorski’s text to identify some concrete strategies to help us, as educators, move from wishful thinking to direct action. Our students need us, and we all know they’re worth it.

So let’s roll up our sleeves and figure it out.

Let’s chat.

Jeanie: I am Jeanie Phillips and welcome to #vted Reads. We are here to talk books for educators, by educators, and with educators. Today, I’m with Ally Oswald. We’ll be talking about Reaching and Teaching Students in Poverty: Strategies for Erasing the Opportunity Gap by Paul Gorski. Thanks for joining me, Ally. Tell us a little bit about who you are and what you do.

Ally: Thanks, Jeanie. It’s great to be here. I’m a school counselor here at Green Mountain in Southern Vermont. I’ve been here for about 10 or 12 years now. My husband is an educator in the building. My two sons come to school here so, this is really a family affair.

We’ve been reading this book as part of a group of teachers from our district, as a study group. We meet once a month and discuss a chapter. It’s really helped me learn about the wealth gap. To learn about how we think about students in poverty. The stereotypes that get associated with families and really question my own practices. It’s been really great to be a part of that group.

How poverty shows up in Vermont schools

Jeanie: You are the perfect guest then for us to dig into this book and think about what action it calls to us in our Vermont schools. Thank you so much for joining me.

So, Paul Gorski begins this book by dispelling the myth that public education is a great equalizer. He says, that’s what we want it to be, but that’s not how it works out. And sighting just countless research, he begins with this,

Students from poor families continue to be subject, on average, to what Jonathan Kozol has called the savage inequalities of schooling. The examples of these inequalities are numerous. Poor students are assigned disproportionately to the most inadequately funded schools with the largest class sizes and lowest paid teachers. They are more likely than their wealthiest peers to be bullied and to attend school in poorly maintained buildings. They are denied access to the sorts of school resources and opportunities other children take for granted, such as dedicated school nurses, well-stocked school libraries, and engaging pedagogies. In fact, by these and almost every other possible measure, students from poor families, the ones most desperate to find truth in the “great equalizer” promise, appear to pay a great price for their poverty, even at school. Of course, these conditions are not the fault of teachers, who are often are blamed unjustly for their effects. In fact, teachers who teach at high-poverty schools, as well as an increasing number of their colleagues at all public schools, too often are themselves denied access to adequate resources.

I wondered Ally, as a school counselor in Vermont School, do you see this playing out in your experience? That schools are being blamed for the effects of poverty over which they have no control.

Ally: Yes. I mean, I think it’s really interesting here in rural Vermont, because there’s not a whole lot of coordination of services between towns and so, schools become the community centers. They become the hub where people come to expect services. Expect food and clothing. The schools are the one place where we can provide those services, because we have access to families. We have access to students and we do have the funding to do that.

I worry about our students in poverty here in Vermont. Especially because housing is so hard to find. Long term housing is so hard to find. I think that students often have to leave schools and transition to different schools. That really gets in the way of their learning.

It just seems to be present all the time. As I’m sitting with students in my office and I’m reading this book, I keep seeing evidence where poverty is getting in the way of students being successful in school. Things like when kids are being evicted from their home, that’s definitely a stressor. When kids don’t have access to food, that’s definitely a stressor.

Health care, I had a student tell me that their parents had to decide whether they’re going to get their wisdom teeth pulled. If they were going to do that, they were going to have to sell their car, or dad was going to have to lose his second job because their family was making too much money to on Dr. Dinosaur. These things are present all the time in our Vermont schools.

Jeanie: Right. While teachers can be there for students in so many ways, we can’t make sure kids get adequate health care.

Ally:  Yes.

I think that’s what great about this book is that it allows us to understand sort of the full spectrum of how these injustices sort of reoccur both in and out of school for families.

Our job as taking care of kids like, we just have to be aware that these things are at play. At least we can’t perpetuate these stereotypes and these biases that we have. We work to serve kids and remove these obstacles and remove these barriers.

Jeanie: Yes. So, let’s get into that.

Ally: Yes.

The transformative power of educators

Jeanie: The mission of Gorski’s book is really to expand our capacity to teach for class equity, as he says. He starts with a really awesome quote. I thought I’d ask if you could read it. In my book, it’s on page five.

Ally: He writes,

I also wrote it because I believe in the transformative power of educators, perhaps not always as the frontline people in the struggle to end global poverty (at least not on their own), but as people committed enough to walk into classrooms and schools full of students, dedicated to do the right thing by each of them despite all the challenges.

Jeanie: We see you, teachers. We know that you want to do right by kids. We just want to honor you at the very start of this. Even as we’re digging into things we might do differently or ask you to look at differently, we see you and your vision to be there for kids. To help every kid learn.

Ally:  Schools are full of educators who care and want nothing but the best for these kids despite what kids actually think what their teachers think about them.

I have yet to meet educators who don’t want the best for these kids. So, I really believe in the power of educators coming together and understanding these issues deeply and working towards solutions.

Jeanie: Yes. I have yet to meet an educator who doesn’t work their butt off for kids, who doesn’t work so super hard. We just want to honor you from the beginning. I think Gorski does that too. He sees you and knows that you work hard and that you love kids. So, here we go. Let’s see what he’s asking us to think about.

Starting with definitions

Gorski really begins this book with definitions. He defines poverty and working class, middle class. He goes through all these different terms. I was really struck by this. I think we throw around terms like poverty and middle class, right, without really thinking about what they mean.

There are always these studies out for years now in the paper that say, “Most people see themselves as middle class even if they aren’t.” It’s like we all sort of put ourselves in that middle class bucket. I found it really interesting that Gorski starts with definitions and what he means in this book in order to be more precise.

Ally:  Yes. To really clarify who the injustices are happening to. How it’s been designed and framed in the last 30 years in terms of politics. I think that really plays into how we fund things and how we make decisions about policies. All of those things.

Language is important.

He talks about how important language is in his text and framing the language.

Jeanie: Yes. We’re going to get to that more because he talks about a strength-based approach to language too. I just found this so interesting because it’s really easy to be unclear. That causes like obfuscation, right? If we’re unclear, then what are we really talking about.

It’s really nice that he starts this book with some real clarity about what he means when he says working class,  and middle class. He talks about the owning class. He talks about wealth in ways that are different than I’ve seen in other places. I just appreciated his frankness about that.

… and numbers

Ally:  Can I point out some statistics?

Jeanie: Yes, please.

Ally: Is that okay?

Jeanie: Yes.

Ally: I’m going to turn to page 41 in my copy.*

A record 47 million people in the United States live in poverty, about 15% of the population. Actually, that figure is based on that government standard for poverty line income we explored earlier, which is, for example, $24,600 for a family of four. Another 30 million are living just above the poverty line, in constant danger of dipping below it. That’s 77 million people at or near the poverty line in the United States alone.

I just think it’s really important to know that the poverty line in the United States is $24,600 for a family of four. I don’t know about you, but my family of four is struggling to get by on quite a bit more than that. So, I’m wondering why these numbers are these numbers. Who benefits from the numbers being this low?

The fact that we have another 30 million people living just above that line and are constantly in danger. He talks about us being an emergency visit away from poverty.

Jeanie: Yes. I don’t know many educators living a lush life either, right?

Ally: Right.

Jeanie: On their salaries and yet, we are as educators formally in the middle class. Even if we weren’t middle class growing up, we’re middle class now by virtue of being educators. Yet, most educators I know have to take second jobs or think about how to make ends meet.

Unequal access

Ally: He talks about how poverty… so, in public schools, we say that everybody has equal access to things, right? But, when we talk about wealth. Kids actually don’t have equal access, right? Every summer program that my kids are signing up for, costs money, right? I’m fortunately in a place and I have family who can help pay for those things.

But, my kids are learning math this summer at camps. So, of course, they’re going to come in better prepared next year. Other kids don’t have access to those kinds of camps. I think VSAC in our State does a great job of trying to reach out and provide services for kids who are first generation and who fall in this poverty line. But, like what I just said, that $24,600 annual income, if that’s our basis, then we’re missing out on a whole lot of kids who need some extra supports.

Jeanie: Yes, absolutely. In that way, just like some families are just missing out on Dr. Dinosaur. You know, Ally? This isn’t in the book, but it makes me think about lately the news has been full of talk about how the economy is so strong.

I’ve got to tell you, every time Marketplace comes on NPR, I turn it off because I’m a little ticked off that our measure of economic success is all wrapped up in the owning class, as Gorski would refer to them, and how much they’ve traded stocks. Like if our measure is only in the Dow.

I want us to measure economic progress by how many children are living in poverty.

I want to know the number of kids who went without a meal on an average day as a measure of economic success. And I want to know how many families had to make really tough choices between medicine and food. Like, I want our measures of economic success to not be wrapped up in the owning class, but to be wrapped up in the working poor.

Ally: And the number of jobs that are available. I keep hearing that that number is so low right now. It’s because people are working two or three jobs to get by. That’s not the measure of how successful we’re doing.

Quite frankly, we’re not taking good care of our children right now. We need to invest money in feeding our kids, in providing preschool, education for our kids.

We’re here to talk about the book. I’m not going to go on a political rant, but this book helps me see these small injustices that happen every day, right?

Kids can’t… our food service people do a great job getting people access to food here on campus, but the fact that a family has to fill out a form to get access to free food. Why aren’t we just feeding every kid? Why do they have to… he talks about showing their poverty or… I forgot the word he uses now, but I’ll see if I can find it.

But, we’re asking kids to like present their poverty for food. Let’s just feed everybody. What’s the harm in that? How much would that really cost us? I’m sure that we can find money to feed kids in schools, right?

Jeanie: Yes. It’s like demonstrating your poverty.

Ally: Yes.

The Equity Literacy Framework

Jeanie: Yes. I’m sure we can talk about this for a long time. I actually think that Gorski’s point is that we have to act up in society if we want equitable conditions in schools. We’ll talk about that as we begin to delve in to the equity literacy framework that Gorski outlines.

I really want to spend some time on this. Let’s do a pair reading Ally. I’ll read one and you read two, et cetera. Because there are four abilities of equity literacy. The first ability is:

the ability to Recognize both subtle and not-so-subtle biases and inequities in classroom dynamics, school cultures and policies, and the broader society, and how these biases and inequities affect students and their families

Ally:  It’s recognizing these small injustices that are happening.

Jeanie: Yes. What’s number two?

Ally:  It’s about responding.

the ability to Respond to biases and inequities in the immediate term

He says, it’s having the skill and will to call it out when you see it happening in schools.

Jeanie: Yes. Number three is:

the ability to Redress biases and inequities in a longer term, so that they do not continue to crop up in classrooms in schools

Not only do we have to recognize them and respond right in our classroom in the moment, we’ve got to figure out what’s causing them.

Ally:  Right. Understand where it’s coming from and change the system. Like, consciously find solutions that solve the problem and not further perpetuate the inequities.

Jeanie: Yes. Number four?

Ally:  Number four is:

the ability to Create and Sustain a bias-free and equitable learning environment

Doesn’t that sound amazing?

Jeanie: It sounds amazing. It sounds aspirational.

Ally: It does.

Jeanie: I think that you and I both saw Paul Gorski speak at a School Reform Initiative Fall Meeting. I’m not sure if it was the same one, but this is reminding me of a story that you and I both love from one of those fall meetings.

https://twitter.com/MatteaGarcia/status/820323823694282752

Pulling babies out of a river

The story was this, there’s a person standing by a river. They start seeing these babies coming down the river. First one baby, so they pulled the baby out of the water. Then, another baby floats down the river and they pull that baby out of the water. Then, another baby, and they pull that baby out of the water. The person with them goes running off, “Wait, wait, where are you going?” There are all of these babies, right?

The person that runs off said, “I’m going to find out how come these babies are getting into the river in the first place.” In a way, number three redress biases and inequities in a long term, is about figuring out why the babies are in the river in the first place. I know that story resonated for you because I know you as a school counselor feel like you’re yanking babies out of the river.

Ally: I do.

I feel so helpless in this current system to be able to provide what children need.

Nothing is more frustrating in my job than… I get to know kids and be with kids through really tough times. I feel like that’s something that I do really well. I’m proud of the fact that I can sit with kids in their grief and in their struggles.

But it would be so satisfying to find ways to help them not feel like their suffering so much. To find solutions so that they aren’t ashamed of their lives. So that they feel empowered to become these amazing people that they are. I want them to see that.

Jeanie: I wanted to be able to unpack the equity literacy framework. I wondered if you would play along with me. I chose an example that’s a little easier than poverty, that I think is a little clearer. I’m going to lay out a situation, a scenario if you will. Let’s see if we can figure out what it would look like to use these four abilities to get underneath of it.

Ally: Okay.

Applying the Equity Literacy Framework to school dress codes

Jeanie: Here’s my scenario. It comes from real life. This is not made up. When I was a librarian here at Green Mountain, I heard… this is actually not unique to Green Mountain actually. I would suggest almost every school in Vermont probably has this same issue and across that country.

I would often hear kids, female kids, girls talk about the dress code. They were really annoyed by the dress code. I would hear some girls say, “Oh well, if you’re skinny, you can get away with dress code violations, but if you’ve got a little flesh on you, you can’t.” Or I would hear, “None of the boys ever get called down for dress code violations. If they do, they just have to turn their shirt inside out because it has something on it.”

So, I would guess, that if we looked at dress code violation data in almost any school in Vermont it is disproportionately affecting girls.

If we go through this framework, the ability to recognize both subtle and not so subtle bias, what do we see?

Ally: Yes, I think we see girls in half-tops who are getting called down because they are a distraction to other people, right? They are a distraction to boys or other adults in the room. We’re not really… the first recognition is that, that’s sort of unjust. She’s not responsible for the distractions that are happening in the classroom.

Jeanie: Yes. When my son was in middle school many years ago now. A lot of the boys in his class tried to get called out for dress code violations and couldn’t. Meanwhile, girls were shopping at the stores available to them, buying the clothes available to them and they couldn’t wear them to school.

In order to meet the dress code regulations at his middle school, those girls had to go buy clothes at like, old lady shops. Shops that I shop at, right? Not fashionable teenager wear.

It was almost impossible sometimes, especially the short requirement. That the shorts had to be longer than your fingertips. Pity that poor tall girl with the long arms and the long legs, right? She always ended up in the office for a dress code violation. These were often families who had money to go buy clothes. Imagine how challenging it is if your wardrobe is limited because of the income of your family.

Ally: I would say that this is… there’s also an unjust piece to this about kids in poverty because I often see the kids who are well off or who are popular, well put together wearing real skimpy stuff and nobody calls them out. Where it’s a red flag if one of the kids who often gets in trouble, who might be a little bit on the larger size, who is more noticeable as a student on… at somebody’s radar gets called out more often for it than the kids who are well behaved in our school. I think that that’s unjust as well.

Jeanie: Yes.

I call that the red sports car, having been the mother of a red sports car. The red sports car gets more speeding tickets because it’s more visible.

We do have those kids who stand out and get in trouble because then they have a reputation for getting in trouble. We unjustly call them out for wearing the same thing that somebody else is wearing.

There’s all sorts of ways we can recognize both subtle and not so subtle bias about who’s getting called out. I would say just the disproportionate number of girls that get called out for dress code violation should be a flashing red light that says something’s wrong with our policy if only girls are getting in trouble.

Then, if we move on to set two, the ability to respond to biases and inequities in the immediate term as they crop up in classrooms and schools.

Ally: This is a hard part, Jeanie. This is where I am struggling to find the courage to do this. It’s in those everyday moments when we’re talking as teachers about… well, those parents just don’t care. They won’t take time to come meet and talk about their kid. I think we all know these moments when they happen where they are cringe worthy and I let them slide.

This is about not letting them slide. It’s about having the skill to say… actually, parents of students in poverty care just as much about their kid’s futures as kids from their wealthier peers. Having the skill and will to call it out.

Jeanie: Yes. I also didn’t take a very courageous tack. Now that I’m no longer employed by a school, I can honestly say that my response to what I deemed as sexist dress codes was just to ignore kids’ clothing. Like, I didn’t call. I never once reported a kid for a dress code violation. Because I felt like the policy was not worthy of being implemented. Not a very courageous move. Not really a response that changed anything, but that was my response.

Now, if I could go back and have a do-over, I might respond differently. I might actually seek out and get a group of girls to go with me to the principal’s office and say, “Hey, let’s have a look at this dress code. Let’s talk about it.”

Ally:  And really get to the root of what the problem is.

Who is affected? How are they affect… what is the problem? I feel like in education so often we go and thinking, making all kinds of assumptions about what’s at play and putting a band-aid on things. Instead of really deeply looking at and figuring out what the problem is.

Then, practical solutions to that problem.

Jeanie: This is an example I think where band-aids are prevalent because I remember a staff meeting here at Green Mountain about the dress code. One of the things that I think we can all agree on is that not one of us wants our young women to be preyed upon by predators outside of this building.

Like, we’re genuinely concerned for their safety. So we want them to dress appropriately so, they don’t draw that kind of attention to themselves and that they don’t get in trouble. That’s a legitimate concern for kids that we don’t want them to get hurt.

But unfortunately, what we’re demonizing is girl’s bodies instead of a culture that preys on young women and that’s really problematic when we make girls feel like their bodies are shameful or should be hidden when the real problem is elsewhere.

I remember having that conversation. I remember feeling like… obviously, I don’t want these girls to be assaulted. I also want them to feel free in their bodies.

Ally:  Mm-hmm. And feel good about themselves.

Jeanie: Yes.

Ally:  And powerful, right?

Jeanie: And powerful. That gets us to that next ability.

The ability to redress bias and inequities in the longer term. This is where I feel like activism about rape culture and calling out that women are not responsible if men and boys are distracted by their bodies. That women have a right to their own bodies. That their bodies are their own. Men too, by the way, your bodies are your own too.

Ally:     Yes.

Jeanie: So, that gets to that. This is where I think Gorski is asking us really to step up beyond what’s in our control in our classrooms and schools and address larger societal problems. Because they show up so often in our schools, right? So rape culture shows up in schools. Even if it doesn’t originate in schools.

Ally:  Right.

Advocating for young people

Jeanie: Yes. It’s complicated. He asks us in a way to be political. To be engaged. To be advocates for young people beyond our schools.

Ally: Yes. He does this. I wanted to talk about this at the end, but now might be a good time to talk about it. I’m going to turn to page 87. One of the things that was really helpful for me in understanding, I think I had a really narrow window of what it meant to live in poverty. But, in this chapter, I think… I forget what chapter it is.

He talks about how… it’s chapter six. Class inequities beyond school walls and why they matter at school. So, he helps us… even though we may not be able to change things about food, and housing, and access to medical care, we need to understand that those things are intertwined, right?

Ally:   

As we strengthen our equity literacy, we begin to see how these disparities are the result of structural disadvantages.

He talks about livable wage jobs with benefits, health care, adequate and healthy food, stable affordable quality housing, healthy living and working environments, recreation and fitness options, community and social services, quality child care, cognitive enrichment resources and a validating and bias-free society.

Jeanie: That’s a tall order.

Ally:   We can do it, Jeanie. I know we can. But when we’re talking about creating and sustaining equitable ways of living and creating educational opportunities for kids that are free of bias. He’s really talking about these things. These things that are outside of our realm of control. It is bigger than us and we have a responsibility.

Building our Equity Literacy muscles

Jeanie:  I love how he started with, “As we strengthen our equity literacy skills.” This idea that this is a muscle. That these four steps recognize response, redress, create and sustain feel like a lot.

But, we can start just with recognizing. Then, we can recognize and respond, right? We can slowly build up this muscle like, we would a muscle at the gym, right? We can slowly practice this until we become stronger and stronger.

It starts with just being able to see the inequities that are present for our students.

Ally:     I’m going to tell you a story about fall meeting this year. I was at the School Reform Initiative’s Fall Meeting. I was facilitating a small group. It was educators from across the country at all levels who are really interested in this particular conversation, talking about race and inequities around race.

We met and we were all on the same page. Paul Gorski has a second book that’s called Case Studies on Diversity and Social Justice Education, by Paul Gorski and Seema Pothini. In this book, they outline actual case scenarios from school around bias and inequities.

With that group, we started reading three of these. We sat in different groups. We read three and processed what would you do in this scenario?

One was about a student with a physical disability and a field trip. Getting access to the learning that other kids were doing on that field trip when a state park is not allowing a student to go on a particular trail.

We were practicing that muscle. When we were debriefing that, people in the room were like, “Oh my god! I thought I knew. Like, just because I believe in justice doesn’t mean I can call it out and change it.”

It’s so confusing, it’s so murky. What’s the right thing to do in the moment? And then how do I respond. I have to take care of this kid who doesn’t have access. I have to deal with the parents.

Like, there’s so many layers to this that I think it is really good to find a group of people and practice these things with and keep talking about it and thinking about it because there’s no simple solution.

Teachers as life-long learners

Jeanie: Yes. This just makes me think about how as educators, we have to constantly be learners. So many of our schools right now are sort of engaged in some sort of learning around trauma-informed practice. We’re doing work on proficiency. We have to constantly be learners. Our students are changing, but this is just another way in which we have to keep learning. Keep getting better. But we can, we can get better.

Ally:  It’s for the benefit for our kids. We want to do better.

We don’t want to hold the stereotypes in our brains and in our hearts.

Educators want kids to be successful. It’s worth it if we can start to explore sort of all these things that we hold to be true in ourselves.

Jeanie: There’s another way in which we can have our students help us with this work too. Christie Nold is doing amazing work where she has kids recognizing bias into her classroom, in the books they read.

There’s a school library in Ottaquechee which is engaging students in finding, doing an audit of the library collection to find bias and redress bias.

Our students can be our partners in this work, but also we need to be doing this work.

10 principles of equity literacy

As if these four abilities weren’t enough, Gorski also outlines ten principles of equity literacy that all seem really important. We don’t have time to talk about all ten, but I wondered if you wanted to talk about one that is especially meaningful to you in your work.

Ally:  Yes, I think I’d like to talk about number five.

What we believe about people experiencing poverty informs how we teach, interact with, and advocate (or fail to advocate) for them.

One of the truths that he explores over and over in this book is that the most powerful change a teacher can make or the most powerful learning that we can have is this recognition that we hold stereotypes about people of poverty. We have those and we need to challenge those. We need to look at those and understand them so that we can challenge them.

Because the biggest shift that can happen for educators is if we do this. If we believe in students experiencing poverty and have high expectations for them. Believe in their power, then we can help them be successful.

He talks about no amount of professional development, no books, or number of pencils you provide is a substitute for shifting your beliefs about students in poverty.

Jeanie: Yes. It’s like starting with your heart before you move to your head. I’ve been thinking a lot about how in education we try to shift practice without shifting beliefs. This is really important. What we believe in our hearts shows up in our bodies, in our heads, in our brains, right? Comes out of our mouth.

Ally:  Right.

Jeanie: So, we have to believe that all students can learn. We have to believe that all students are doing their best. That makes a huge difference. That really resonates for me.

Number eight. These all stand out for me. But number eight, I think ties in really… these all tie in together too. In my book it says,

Equitable educators adopt a resiliency rather than a deficit view of low-income students and families.

Equity illiterate educators recognize and draw upon the resiliencies and other funds of knowledge accumulated by poor and working class individuals and communities and reject deficit views that focus on fixing disenfranchised students rather than fixing the things that disenfranchise students.

For me, this is all about shifting my language from a deficit-based vocabulary to a strengths-based vocabulary. That is constant work. I think I used to use words like, I think I used to refer to students in ways that I thought was really sensitive to them, but actually was further marginalizing them, right?

So, I tried to change my language to be more strength-based. That ties in with what I believe. It helps me more adequately express what I believe and also shifts what I believe when I use a different language.

So, the title of this book is a perfect example. For years, we’ve heard about the achievement gap. Kids of color are not achieving at the same level as white kids. Kids in poverty are not achieving at the same level.

When we call it achievement gap, then we’re blaming the kids or their families. When we call it an opportunity gap, the implications of having different opportunities, a gap in opportunities if you’re poor turns that on its head.

Ally: Right. It completely shifts your thinking when you change the language and you frame it a different way.

Jeanie: Yes.

Ally:  He does that with the term generational poverty. We have this term generational poverty that we often use. He changes it to “generational injustice.” So generations of people having their lands taken away. Having their rights stripped. Not allowing access to purchasing things, purchasing land, owning land.

How you talk about things matters.

Do you mind if I find that place in the book?

Jeanie: Go ahead. I would love for you to share that. I think words do matter. Generational poverty makes it sound like we’re passing poverty down, right? Like, this is your inheritance. I was poor, so now, you’re poor. Generational injustice points to what’s really happened, that systems have made it impossible for certain groups of people to accumulate wealth.

Ally:

Reaching and Teaching Students in Poverty. Photo from the book with the quote: "...generational poverty always seemed to me to be a deficit suggestion: the idea that poverty is a result of a set of cultures, behaviors, and attitudes reproduced in families experiencing poverty and passed down from generation to generation."

Reaching and Teaching Students in Poverty. Photo of the book with this quote: "What if, instead of talking about generational poverty, we talk about generational injustice? How would it change the way we defined, understood, responded to, and redressed the problem? Suddenly, we’re not looking at poverty as a personal or cultural failure focusing on how deficit mindsets are passed from generation to generation. But instead, examining how policies, practices, and institutions marginalize generation after generation of some families and communities."

 

Jeanie: Thank you for sharing that. That really speaks to me about a question that I… you know I ‘m very fond of questions. A question that I often… that sits in my tool kit for equity is this question of… especially around policy is, is this policy trying to fix people?

Because if the answer is yes, it’s likely an inequitable or inadequate policy, right? Is this program trying to fix people?

If we’re trying to fix people, we’re part of the problem, right? What we need to do is fix systems.

As long as we’re focused on fixing people, we’re avoiding or ignoring the real problem which is systemic inequities, systemic biases that create the disenfranchisement, that create the inequities that show up. That really shines up my question for me and make me think about it more. About how that question can be used as we’re designing policy or procedures in schools.

Ally: He also says, and I agree with him when he says, that students know. Students know if you’re pitying them. They know if it’s a band-aid. They know if it’s really getting to the root of the problem or if it’s unjust. If you wonder about that, if you just ask kids like what’s going on? They’ll tell you.

Jeanie: Yes. Nobody wants to be fixed. Don’t tell me I’m broken, don’t pity me, don’t try to change me. Change the systems that create the inequities that make it hard for me. Yes, thank you for that.

Dismantling the myths of the culture of poverty

Gorski spends a whole chapter dismantling the myths of the culture of poverty.

Ally: And really addressing those stereotypes that are common stereotypes of families in poverty.

Jeanie: That section, in particular, you and I, that’s also posted as an article online. That section that dispels common stereotypes about poor families. That’s a really powerful section. You and I have used that in a Collaborative Practices course we co-facilitate to help people look at bias that they have unconsciously held.

We found that to be really painful in a lot of cases for our teachers who are like, “Oh, shoot! I had no idea.” Painful but fruitful that teachers are really having to scrutinize their own beliefs in ways that can be really uncomfortable.

I wondered if you wanted to talk about a particular stereotype that stands out for you from that section.

Ally:  I actually am reluctant to read any of these stereotypes because I think they perpetuate, they further perpetuate the story.

What I got out of this chapter is sort of understanding where stereotypes come from. That there’s an inside group and an outside group. Often stereotypes come from an outside group. They don’t come from the people who are experiencing those things.

All you need is a hint of truth for people to buy into it.

I’m going to read this part at the top of page 72.

we tend to require less evidence, and less accurate evidence, to convince us of the legitimacy of a stereotype about a group to which we do not belong then we require to convince us of a stereotype about a group to which we do belong. Social psychologists have referred to this phenomenon as in-group bias…

Jeanie: Yes. So, it’s who gets to call the shots. Who gets to decide?

Ally: Right.

Jeanie: It’s about power.

Ally: It’s about power. It’s less about what’s true and what’s not true.

When you hear Paul Gorski speak, he has this quiz that he makes you take. So, those questions are sort of jaw-dropping about… I even think he lists them in here. About the things that we believed to be true.

Photo from the book: Poverty Awareness Quiz
Click or tap to enlarge.

 

Jeanie: Yes. He calls on us again and again to evaluate those things we believe to be true. He throws a ton of research at us. This book has so many parenthetical citations that it exhausts me a little bit.

The one that stopped me in my tracks when I first read it and that I still struggle with is this idea about linguistic deficiency.

For me, the reason is that I grew up working poor. My family to this day does not speak with Standard American English grammar and syntax. They say words that embarrass me. “Ain’t” probably being the least embarrassing of them, but the way they talk is not the way that I talk.

What I love about Gorski is that he cites so much research that just made me have to rethink my thinking about that. He says,

Linguists roundly reject this superior/inferior dichotomy. Some call it “standard language ideology” in reference to the presumptuous and familiar term “standard English.” According to Kathryn Woolard and Bambi Schieffelin,  “Moral indignation over nonstandard forms [of language] derives from ideological associations of the standard with the qualities valued within the culture, such as clarity or truthfulness.” In fact, since at least the early 1970s linguists have bemoaned the ways of which students are taught to misunderstand the nature of language, including the false dichotomy of “correct/proper” and “incorrect/improper” language varieties.

In linguistic reality, all variations of a language and all dialects, from what some people call “Black English Vernacular” to the Appalachian English spoken by my grandma are highly structured, with their own sets of grammatical rules.

This notion that we have, that when kids speak in their home vernacular, they are less intelligent. That shows up for me. Like, I hold that bias and I have to work hard against it.

Ally:   I think as educators were in a unique position too because it’s not to say, “This is the only way to do it.”

We can say, “When you are writing a resume, when you’re applying for a job, when you’re writing an email to your boss, this is the way communication happens. In other circles, in other places, this is also powerful language and it’s still valued.

Jeanie: Yes. You said that so well. Folks, I’m going to pull us back to a more hopeful place. Because Gorski asked us to do all this hard work to look at ourselves really closely and the biases we hold. To work on recognizing bias in action and redressing it. He’s really asking us to do a lot and it’s hard work.

But he also has this section where he points out strategies that research has shown to be effective for children living in poverty. Let’s turn to that.

Instructional strategies for equity

Jeanie: There’s some great stuff in there. There’s a great little instructional strategies that work list. Then, he digs into them a little further.

These are good for all kids. Just like good trauma-informed practices is good for all kids.

These eight strategies are great for all kids, including kids living in poverty. Would you read the list of strategies that work for all students, not just those in poverty. Then, we can talk about a couple.

Ally:    

Photo of book with this quote: "The equity educator has the knowledge, skills, and will to: 1. consider data humbly, responsibly and collaboratively; 2. prioritize literacy instruction across the curriculum; 3. promote literacy enjoyment; 4.  have and communicate high expectations; 5. adopt higher-order, student-centered, rigorous pedagogies 6. teach critical literacy; 7. teach about poverty, economic injustice, and class bias; 8. analyze learning materials for class (and other) bias; 9. make curricula relevant to students experiencing poverty; 10. incorporate music, art, and theater across the curriculum; 11. incorporate movement and exercise into learning."
Click or tap to enlarge.

 

“These strategies just sound like good teaching,” he says.

Jeanie: They are.

For me, I, of course, adore “promote literacy enjoyment.” I hate when reading is turned into a chore. I want it to be fun. As a librarian, it was really important to me that I had books that kids could enjoy. That they felt drawn to. I wanted kids to love the books that they took home, right?

Like, the come to me and say, “Oh my gosh! I love this so much.” That was like my best reward. That combines with the making curricular relevant to the lives of our students. So, it’s really important to me that whether in classrooms or in libraries, that kids be able to see themselves in books.

That means having LGBTQ+ characters in books. That means having kids of color in books. Kids who are refugees in our stories. That we have stories about kids living in poverty where it’s not just demoralizing, right? We don’t have a single story of that, exactly. That we have opportunities for kids to see all different kinds of people like themselves and not in literature and in the curriculum.

It’s super important to me. I’ll give a little shout out to a book I’m in love with right now. Ann Braden’s The Benefits of Being an Octopus. It’s a great opportunity for kids to see their strength and resilience in a character, Zoey, who is experiencing poverty and some abuse in her life.

What rings true for you out of this list?

Ally: I love the last two about incorporating music, art, and theater across curriculum and incorporate movement and exercise into learning.

I think when kids are able to be physical on their bodies that the learning sticks with them.

But, I also want to draw attention to number one. Because we can do this easily. I want to stress how important this is to educational leaders that we take time to do this. Consider data humbly, responsively, and collaboratively.

 Data doesn’t have meaning until we look at it together and make meaning together. Then, create a vision for how we want things to be. I can’t do that by myself as a school counselor. You can’t do that on your own as a librarian. We have to do this collectively.

Jeanie: I think that you’re absolutely right about that Ally. That we need to work together in community to look at data and figure out what the biases are and how to redress them. I would recommend to administrators, and teachers and leaders who are interested in doing this work the book, Solving Disproportionality and Achieving Equity.: A Leader’s Guide to Using Data to Change Hearts and Minds by Edward Fergus.

This book was recommended to me by Jillian at the School Reform Initiative. I haven’t had a chance to put it into action yet, I have a copy and it’s just like this amazing opportunity to dig deep in data. You’re right, it doesn’t have meaning until we start to make sense of it and use it for the good of our students.

Focus on relationships

I also love that you called forth the same thing that Gorski calls forth at the end of his book which is a focus on relationships, right? That we need each other to do this important work. Gorski says,

Every practical strategy in the world will not work if we treat poor and working-class youth, or their families, even in the most implicit ways as though they are broken or some lesser other.

Remember, as we learned earlier, that research has shown that who are what we choose to blame for poverty guides the policies and practices we are willing to implement. In other words, what we believe about low income students, how we relate to them is just as important as how we teach them. In fact, it plays a considerable role in determining how we teach them.

This quote really reminded me of you because having known you and worked with you for such a long time, I know that you have this gift for seeing students, really seeing them. I wondered if you wanted to talk about what that means to you.

Ally: That’s really nice, Jeanie. I think what that means to me, in my own personal work that I do. I’m part of a Courage and Renewal cohort. During that work what I’ve realized is that my… I’m only good at my job when I can show up as my full self.

When I begin to be honest about who I am, with everything that I’m awesome at and also everything that I’m not so awesome at. If I can just be fully available for kids, it’s better for them.

I think fully seeing kids is creating spaces where they too can be their honest self. They don’t have to deal with judgment. They don’t have to deal with shame. That they can be a mess, because we’re all kind of a mess.

I think the more spaces we can create, not just for kids, but for people to be their full selves, the better aligned we’ll be as a society about like what matters to us. We can sort of follow our hearts and trust. Trust the choices that we’re making. To feel powerful about changes that we need to make.

Just even in my own personal stuff, I think we all got caught up in our insecurities and feel like, “Oh, I’ll never be able to do this things.”

When we create spaces for people to explore their full selves, they start to recognize that they have a lot of power. They have a lot of skills and they’re really beautiful. They can make changes and make things happen for themselves.

Jeanie: Yes. I think that the special thing that you do, Ally, is you… by helping kids feel fully seen, they also really trust you. So, they can…so many of the ways in which kids, especially kids experiencing poverty show up in schools is to hide.

You helped them realize they don’t have to hide themselves. That they can come clean about what they need or what’s going wrong in their lives.

Ally:  But, can I tell you? It’s sort of terrifying too, right? To hold this trust in a system that doesn’t necessarily work for them. In a system that sort of feels unjust. Like I have to talk to girls about their dress code issues. I have to tell kids that college is really important, right? Like, there are all these scripts that I have as part of being in the education system. I worry about having that. It feels like a huge responsibility to hold that trust.

So, this work around equity literacy is really good for me to make that the stories that I’m… these scripts that I’m using are not holding kids back, are not further perpetuating these stereotypes.

Jeanie: Yes. You reminding me that as educators in buildings, we really have to have a two-pronged approach. Like, we do need to play by the rules of the school even as we may be behind the scenes for kids, we may be talking to administrators, to other teacher and to school boards about why those rules need to change. That we do need to uphold policies even as we’re advocating for changes in them.

Ally: I think that’s where people in the world of equity in schools sometimes get sort of chewed up a little bit is in that, in the place of those two things. Sort of ground up in the wheels of holding and creating space and upholding the principles that are in the foundations of education.

Jeanie: It’s exhausting work.

Ally:  It is, but it’s so worthwhile when you get to see students being successful in opportunities that they have.

Access and opportunities, those are what we need to focus on for kids.

That’s what Paul Gorski argues about, access and opportunities.

Jeanie: Yes. Teachers, take care of yourself. We know you’re doing so much. We hope you’re doing a little self-care as well because it’s a lot, as Ally said, it’s easy to get ground up in the wheels of this work.

There is so much more to this book. It’s a thin little book, but there is so much more that we haven’t discussed because it’s such a rich resource. Just chock-full of profound thinking and references to research. I wonder if there’s anything else you’d like to call attention to.

Ally:  I don’t think so. I had a lovely conversation with you, Jeanie. I think we covered a lot of ground.

Jeanie: Yes.

Ally:  I can’t imagine people want to listen to this. Sorry.

Jeanie: How am I supposed to respond to that? Well, I enjoyed listening to you Ally. You have so many great insights. Thank you so much for joining me on the podcast to talk about this really important book.

Ally: Yes. Thanks, Jeanie for having me.

 

 

*Ally quoted from the 2nd edition of Reaching and Teaching Students in Poverty, while I quoted from the 1st edition.

#vted Reads: No Fixed Address with Annie Brabazon

#vted Reads logoReader, today we’re going to talk toilets. Now, not in a weird way or a gross way, but because they’re a central theme in Susin Neilson’s No Fixed Address. They’re big white porcelain symbols of the main character’s resourcefulness as he navigates housing insecurity, and they’re really important to think about in terms of access for your own students.

Really.

Have a seat, and let’s chat.

Jeanie:  I’m Jeanie Phillips. Welcome to #vted Reads. We’re here to talk books for educators, by educators, and with educators. Today I’m with Annie Brabazon, and we’ll be talking about No Fixed Address by Susin Neilsen. Thanks for joining me, Annie. Tell us a little bit about who you are and what you do.

Annie: Hi Jeanie, thanks for having me. I am a school librarian at Grand Isle School. We’re currently a K-8 school. At the end of this year, we will be becoming a K through six school.  I’ll be starting my ninth year in the fall. Prior to that, I was a public librarian for a while and then prior to that I worked in Higher Ed and student affairs. I’m on the Dorothy Canfield Fisher Book Award Committee. This is my third year. I’ll be stepping off at the end of this spring. It’s been a really great pleasure to be able to dive into a bunch of books and work with a committee of readers to figure out the best books that we want to present to kids in our community.

Meet Felix

Jeanie:  You guys do an amazing job at that. I always love the list and we’re going to talk more about that list at the end. But let’s start by introducing this fabulous book, No Fixed Address. I loved it so much. I read it in a day and I wondered if you might start by introducing us to our charming narrator, Felix.

Annie: Yes, I’d agree he’s really charming! Felix Knuttson, he’s 12 and I think he turns 13 in the course of the story. He lives with his mom who prefers that he call her Astrid, because she thinks “Mom” and “Dad” might create a little bit of a hierarchy, and she’s not really into that. And he’s a smart kid. He’s a really funny kid and he’s a really, really sweet kid that has to do a lot of adult things and kind of be the adult in his relationship with his mom. More than a kid should have to be.

…and his quirky family

Jeanie: Yeah. He has kind of an out of the box, non-heteronormative family. Do we want to talk a little bit about his family circumstances?

Annie: Sure. So, his mom, Astrid is not in a relationship with anybody. She goes in and out of different relationships. But that’s not really the main focus of the book. His dad is someone who he hears from once in a while, but is a gay man who donated his sperm to Astrid so that she could have Felix. Again, I think with both his parents, Felix kind of has to be the adult in those situations. His dad is a struggling artist who is, I think caught up a little bit in finding romance in his life a little more than he is in consistently being a part of Felix’s life. Felix is forgiving and understanding about that. More than I think, if that were me in that situation,  I think I might be.

Astrid is a mom who has a hard time holding down a job. She can’t always hold back what she’s thinking and feeling. And it doesn’t always work well in jobs that in particular involve customer service component to them. So she might lose jobs pretty frequently throughout the story. She struggles with depression. Felix calls it her slumps. And when those happen, he again has to step up and really be the parent and the adult in that situation.

Dealing with mental illness

Jeanie:  Yeah. He really describes the slumps really interestingly. Let’s think about that for a minute. I love where he talks about what it’s like when his mom is in a slump. I’m on page 87. I’ll just read a portion of it.

She likes to say that the day I was born was the happiest day of her life. And she named me after her brother, to keep his memory alive. I think that’s why she likes me to call her Astrid instead of “Mom,” because that’s what Original Felix called her.

I know some people find it weird. I remember other parents in the schoolyard thought I was precocious, calling her Astrid. But when they found out she wanted it that way, they looked at her like she was precocious.

I’m just trying to give some context before I mention Astrid’s Slumps. That’s her word for them. Slumps. She’s had them off and on for years, but they usually don’t last very long — a few days at most. During a Slump she stays in bed and I take charge. Mormor took charge when she was alive, but after that it was left to me.

So, Mormor is the grandmother who really, sort of anchored Felix before she passed away when he was a young man. I think you really hit on something interesting, Annie, which is that, because Felix’s parents are so immature, he has to be mature beyond his years.

Annie: Right. It’s amazing how he does that. And! What I love about him is that he also can be a kid and he has some terrific friends that help him be a kid and be silly and goofy and have that part of his life feel rich and full as well. So, I feel really happy for him that he can still have the opportunity through his friendships to have moments of being a kid.

The spiral path to housing insecurity

Jeanie:  So when the book starts, Felix is sitting in a police office talking to a police officer. He’s explaining their circumstances, particularly how he and his mother came to be living in this Westfalia van. I wondered if you could just give us a brief summary, as Felix does, of their struggles with housing.

Annie: So they haven’t always lived in a van. When the story starts, it’s about four months that prior to that, that things started to fall apart.

It’s so interesting for people that are not secure about their home situation or their living situation, how in the forefront it is of they’re thinking.

Felix can specifically talk about how at one point they lived in a 400-square-foot basement and then another point they lived in a 600-square-foot apartment and then they owned an 800-square-foot condo before they had to live with their grandmother Mormor. And then, once Mormor died and all of those other situations fell apart. They couldn’t continue to be in any living situation where they needed to pay rent. Astrid wasn’t holding up her end of the deal.

Jeanie:  Thanks for that summary. The part that really sticks out for me, because it’s true that Astrid doesn’t hold jobs very well, nor friendships, and that *that* makes their housing more unstable. But there’s a point at which Astrid and Felix, when Mormor dies, they inherit her house. They come into some money and they purchase a condo, right? And they’re living in this condo quite happily in a neighborhood he loves, with the school he loves. But the condo starts sinking. It’s structurally unsound and each person in those condos has to pay, I think it’s like $40,000. So, what was a stable housing situation that they could afford despite Astrid’s employment irregularities, they suddenly have to sell it at a loss. And that starts this downward spiral.

So, Astrid is not perfect, but this situation was out of her control.

Annie: So right. You’re right, absolutely right about that. And she has a sense that things start to spiral. Astrid also actually had a job as an art teacher. But again, a thing out of her control was that the enrollment and the art classes decreased. So they didn’t need to keep her. That was not anything that Astrid could control. So, some of those situations out of her control —  in combination with some of her challenges with holding down a job — made maintaining a stable home environment really hard.

Jeanie:  I think that’s really important.

I think it’s really easy to pigeonhole or stereotype poor people, and think that they are poor because of the bad choices they made. We all make bad choices. Some of us just have stronger safety nets.

Annie: Right. That’s a really good point because I think with Mormor gone, that was a big safety net for both of them. The man that Astrid had been sharing a living space with, left. That was another person that had been kind of a support and a safety net for them as well.

And I think some of the shame around insecurity around your home situation and not being able to talk to people, I think contributes to that spiral continuing because it’s uncomfortable to ask for help. It’s uncomfortable to seek out resources that might identify you as a person who doesn’t have a secure, stable home situation. Astrid was very proud and didn’t want to ask for a lot of support or help. Because I think she wanted to be able to provide that for Felix and maintain this hopefulness that things would work out.

The importance of a safety net

Jeanie:  I had a lot of empathy for the before and after Mormor. Like the way in which Felix’s grandmother was such an amazing support for him and for Astrid. My grandparents were a safety net for my family? And that I can’t imagine what my childhood would have been like without their support. NS I see this a lot for our Vermont students. I think this shows up a lot for students in our schools. They’re really reliant on the support of aunts and uncles and grandparents and other family members. And some of our students really lack those support networks.

So for me, this story is really important to have in Vermont school libraries. It’s important that many of our students could see themselves in Felix’s story.

Annie:  In my school community where I teach, I also live in the town next-door. A lot of our families or our kids are being raised by their grandparents; more and more that number is increasing. If they’re not being raised by them, they’re definitely being supported, and the parenting and the caring for them is being shared. So I do think that a lot of kids would see themselves in Felix. I also think in terms of security around a consistent home and space to live? That’s something more and more kids in the community where I live would identify with as well. And I do think that grandparents — it’s kind of a wonderful relationship to see with kids.

Parental love

Jeanie: I can’t say enough that Astrid really loves Felix. This kid is really well loved.

Annie: Oh, totally well loved. Yes. One of the moving parts for me was when Horatio, the hamster, died. Astrid had gone out to get a space heater for the van and ended up having to try to shoplift it and got caught. And so was held up at the police station because of that and wasn’t home for Felix when he woke up and discovered that Horatio was dead. But when she did come back her love and her comforting of him was just, that was just that such a great part of the book for me. It just really reminded me how much she does love Felix and how much he loves her. He even called her mom in that moment because his emotions were so strong. His grief was so great. He knew that even though he doesn’t call her mom, she is still that to him. She is still that one who cares and nurtures and takes care of him.

Jeanie:  I just don’t want to villainize her and I’m never fond of books that create a villain out of somebody who maybe struggles with mental illness, but who is doing the best she can. Astrid is *really* doing the best she can.

Annie: She totally is. The humor in this book that helps us kind of appreciate that about her too is what one of the other things that I really loved about this when he talks about Astrid’s lies and the different kinds of lies she’s telling.

A “Glossary of Lies”

Jeanie: I would love it if you would turn to page 31 and read the opening paragraph under Astrid’s Guidebook to Lies.

Annie:

I suppose I need to pause here to explain that yes, on occasion, my mother lies. But it’s important to note that she has levels of lies, and rules surrounding each. Sort of like the Church of Scientology and their levels of Operating Thetans, her rationales don’t always make a lot of sense. But this is how I break them down in my head.

Jeanie:  Let’s just go through the list.

The first one is The Invisible Lie

Annie:

This is your run of the mill white lie, that type we all tell  multiple times a day without even thinking about it. For example, say you’ve just been diagnosed with a terminal illness and your waiter/bus driver says, “How are you?” And you say, “Fine.”  Because it’s understood that they don’t really want to know the truth.

Jeanie:  Yeah. And then I love this one,

The “Give Peace a Chance” Lie

Annie: He refers to that a lot, and sees that in other people as well throughout the story. It’s a kind of lie that we say to spare someone’s feelings. Someone asked Astrid’s waiter friend if the pants she had on made her butt look big, and Astrid, of course, said, “No”. Because she didn’t want to hurt her feelings.

Jeanie:  Yeah. Then there is:

The “Embellishment” Lie

Annie:

Astrid  would argue that embellishing really isn’t lying, it’s just adding some flavor, like putting more spices into a dish. For example, she will pad her résumé with some things that aren’t, shall we say, accurate, depending on the type of job she’s applying for.

That’s a great one.

Jeanie Philips:  I love this one. It’s such a short description,

The “No One Gets Hurt” Lie

These are bald-faced lies aimed at helping out the liar in some way.  But — and this is crucial — they harm no one.

Annie: Yeah. Then

The “Someone Might Lose an Eye” Lie

These are the worst type of lies, the kind that have the potential to hurt the teller, the tellee, or both.

Jeanie: This is early on in the book, and what I love is that we come back to this again as both Astrid and Felix himself tell lies.

He’s really exploring morality in this really interesting way, in a life where he has to, because of shame and circumstance, tell different sorts of lies just to survive.

Annie: Right. He doesn’t want his friends to know that he doesn’t have a home. He uses some of these lies to just again like you said, not feel so horrible about himself and the shame that goes along with maybe not having a home. And the fear that, what would his friends think about him?

Homelessness?  “Houselessness”? Housing Insecurity?

Jeanie:  I think that brings up something really interesting because Felix doesn’t think of himself as homeless. And that just reminded me of a couple of things I’d like to process with you. One was a This American Life episode about a girl who found refuge in a library, and didn’t realize that the reason her mom took her to the library every day is because they were homeless. She didn’t realize until much later.

And then recently on a learning journey, I took to Hawaii to study, place-based learning, there’s a huge problem with people who don’t have adequate housing. So they set up encampments. And the advocates there are calling it “houselessness’. Because these folks are making homes.

And, in fact, Felix and his mother do make a home out of the Westfalia van. They just don’t have a house.

Then I think about how in schools we use this term housing insecure because many of our students without houses are living with family members or in houses that are too small. They’re sharing homes with other people. I’m thinking about, how the terminology impacts self-identity because Felix has this moment where he suddenly realizes, “oh.” He realizes that in contrast to the homeless man on the street, and it occurs to him suddenly, like, “I’m like that guy.”

Annie:  Right. I was thinking about that, especially when they finally get that apartment above the grocery store and…

Jeanie:  Shhhh, no spoilers!

What makes a home

Annie: Sorry! (I know, I was wondering if I should go there.) But I do think he sees that housing and having a home are different and they look different. His situation looks different from Bob, the man who was living in a cardboard box beside a building. Even when he brought his friends, Winnie and Dylan to the van, and he finally opened up to them about where his home was.

When he was talking to them and showing them around, he realized that he had a lot of what makes a home. It made it feel different for him, I think, to be open about it, and bring his friends there.

Jeanie:  Absolutely. It’s this huge moment in the book too that I think is really interesting to explore with kids about Winnie and Dylan have to decide whether or not to disclose this secret. Because Felix swears them to secrecy. He can’t tell anyone because his family is afraid of the Department of Children and Families. He’s afraid of that. He doesn’t want to be separated from his mom and he worries about that. So, he swears them to secrecy, and WE WON’T GIVE IT AWAY.

Winnie and Dylan really have to wrestle with whether or not to keep a secret.

Annie: The other part I think about is, so one of Felix’s strategies to try and change his situation and get he and Astrid out of the van is to enter this Who, What, Where, When game show. It’s kind of like a Jeopardy type of show and he’s a master at answering the questions. There’s history, geography, science, all, the whole gamut. He enters this contest hoping that the prize money will be what is needed to get he and his mom back on track again and having more housing security in their life. And at one point he realizes that they might be in a motel where the signs on the motel have lit up letters that are not lighting up. So the words aren’t clear. There are some shady characters that live there and there’s a whole list of what you can do and what you can’t do.

For him, that doesn’t feel like a home. For him, that feels like a place that’s not safe. I think it again makes him appreciate the van.

Even though there were a lot of struggles living there, there was the ability to be who he was and feel safe and secure with Astrid there.

Resiliency, resourcefulness, and morality

Jeanie: And he has to be incredibly resilient. Both he and Astrid do. He has all of these strategies for dealing with this housing situation, like keeping clean. He keeps a toiletry kit in his locker. Hiding the truth takes a lot of work, right? Like he has to sort of lie about where he lives, but he also has to sort of pretend like he has everything he needs and it requires a real resourcefulness. And then just the life skills he has for dealing with that reality. So, I’m on page 67 and it says,

As September drew to a close it got colder, especially at night. This is something you become acutely aware of when you live in a van.

But we adapted. As Astrid likes to say, living in a Westfalia definitely makes a person more resourceful. “Resourceful, Felix, is a good life skill to have.”

And we are nothing if not resourceful. Take Wi-Fi, for example. When we need it, we go to a coffee shop, or find an unsecured network. When something needs recharging, like a phone or batteries for our headlamp, we plug in somewhere like the Laundromat. Sometimes we plug in at a power source outside an empty house. On the west side of Vancouver, there are a lot of big, brand-new houses with no one living in them– Astrid says they are “investment properties.” It’s one of her pet peeves. “Our city is becoming a playground for the rich. Enormous, empty homes,  when so many people who live here can’t find affordable housing. Our politicians should be ashamed of themselves,” she says. Over and over and over and over.

He goes on to talk about food and how they survive on food. And this is a point where I got really — my heart broke for Felix even more. He says,

But to be clear, I am not malnourished; not too badly anyway. I don’t think I’m suffering from scurvy or a vitamin deficiency or anything like that. We shop at the No Frills, where you can get really good deals on produce they’re about to throw out. And once in a while my mom will–

and we come to a place of morality again. What are your thoughts about Felix’s resiliency and all of the life skills he has?

Annie: Yeah, I think it’s amazing. I know in addition to what you’ve talked about, just when Astrid is in one of her Slumps and she might not get out of bed, there’s in the van things he needs to get to that he can’t get to until she’s out of her bed. So, he learns to plan around that and access those things when he can, when it’s not a rush for him to get to school. Or sometimes he can’t, and he has to go to school in the clothes he slept in or wore the day before. So, he has a plan for cleaning himself up at school when those situations arise.

He just amazes me in his ability to get to school every day and be the amazing kid and friend to his friends that he is every day with everything he has to go through.

As far as the morality goes… So, sometimes Astrid needs to shoplift so that they can have food or things that they need to survive in the van. Felix struggles with that and I think he struggles from knowing that it’s not right to steal. Also that he worries about his mom getting caught and what that might mean for them in terms of them staying as a family.

He keeps track of the things that have been shoplifted with a plan to, when they get back on their feet again, reimburse all the places where things have been taken. Food or other items. Again, I think that just speaks a lot to his character and his understanding of right and wrong, but his ability also to understand that situations sometimes demand us to be resourceful in ways that are the right thing to do. And sometimes they’re things that aren’t the right thing to do, but they’re not hurting anybody.

Jeanie:  Yeah. Just like his lies.

Annie: Just like his lies. Right?

The Importance of Friends (and toilets)

Jeanie: Yeah. He so wants to be a good person. You’ve mentioned several times that he’s a good friend and he has good friends. Dylan was a friend who went to school with when they lived in their condo. They used to visit each other’s houses and when they moved out of the neighborhood, he didn’t have access to Dylan anymore. He loves to go to Dylan’s house because there’s lots of food.

Annie: Right, and a warm bed and a warm shower. You don’t have to work to have them be available. They’re just there.

Jeanie: And Dylan’s family is so welcoming. Then he makes this other friend.

He and Dylan end up being friends with this other person, Winnie who I think of as the Hermione Granger of this book.

Annie:  Yes. I agree. That’s great.

Jeanie:  Hermione, as you may or may not recall, listeners, (was I bet you do), was kind of an annoying know-it-all at the beginning of the book. She sort of wheedled her way into Harry and Ron’s friendship and eventually into their hearts and Winnie Wu sort of does something similar. She’s sort of an annoying know-it-all, and becomes their friend.

I really love this scene on page 72 and 73 when Dylan and Felix first visit Winnie’s house. Her mom is a doctor; I think she’s an obstetrician. So, her mom is sleeping after a late shift and, Mr. Wu, her father, is there. Winnie is fixing them snacks, but she makes this terrible gluten-free bread.

Winnie held out a plate to her Dad. “You sure you won’t have one?”

Mr. Wu padded his stomach, “Wish I could. Still stuffed from a late breakfast. Honey, do you mind getting my water glass? I left it in the other room.”

The moment she was gone, he motioned to us. “Quick. Take out the cheese and hand me the bread.” We did as we were told. We wolfed down the cheese while he slipped the bread into the garbage, making sure to put other items on top of it. When Winnie returned he told a Give Peace a Chance. “Your friends are bottomless pits! I’m making them lunch number two.” He started pulling stuff out of his grocery bags. “Steamed pork buns, anyone?”

“Ba, what have I said about pork?” Winnie chastised.

“Once in a while I need my fix,” he said. I ate four of them. They were legit delicious.

Mr. Wu seemed like a very good dad.

Before Dylan and I left, I used the bathroom. It was white and clean and smelled like lavender potpourri. They even had a heated toilet seat.

I sat there for a long time, feeling the warmth radiate through my bum. And suddenly, out of nowhere, tears pricked my eyes.

I longed for a toilet.

And I longed for my dad.

So, I really love this because actually, toilets are a big theme in this.

Annie: Yes. It’s so funny if you think about really his priority was having a home would mean having my own toilet. For him, there were some struggles in the book for just being able to have that privacy and that space to use the bathroom, and go to the bathroom. For any of us, that’s a really embarrassing thing to not have that. And for a 12-year-old boy, even more so.

Jeanie:  Yeah. Not having a house, living in a van is hard at the best of times. Like if you’re out camping on family vacation, there’s already a little hardship that goes with that. Anytime that times get tough, it gets even harder. So, when Felix gets really sick, it’s just awful. When it gets really cold. When his mom’s in a Slump, there are just so many times in which it goes beyond just slightly challenging to downright almost impossible.

Annie: Yeah, and something that most people would not have to endure over a long period of time. If your house gets stinky, you can clean it or air it out. Sometimes in a small space like a van that’s not so easy.

A teacher’s responsibility

Jeanie:  But he hides it. He manages really to mostly hide it from the teachers at his school. Like Mr. Thibault is his classroom teacher, I think.

Annie:  He picks up on it a little bit. He asks, I think one of the days when Felix wasn’t able to change his clothing, he checks in, if everything is okay. But the teachers don’t, for the most part, know, or push really hard to find out more.

Jeanie:  As an educator, I can understand that. Like it’s really hard to navigate. How do you help somebody?

I guess what’s really hard to navigate, is how do you make sure that you’re allowing somebody to claim their full dignity, but also to make sure they have everything they need.

I would really struggle with a Felix in my class, because even if I suspected things weren’t quite all right at home, I would also want him to have agency over his life.

Annie:  Right. Yeah, and to know how to let him know that resources are there without having to feel like you’re prying or talking about things that aren’t just comfortable for him to talk about or that he’s not ready to talk about. Yeah, I agree. You do want to be sensitive and respect people’s situations and dignity like you said. I think that would be really hard as an educator for me, too. To know how to navigate that with him.

Empathy

Jeanie:  Right. This book to me felt like such an important empathy read for adults who work with young people. Also for young people to really grapple with how easy it can be to lose your house or to be put in a predicament that it’s impossible to get yourself back fully on your feet.

Annie: Winnie, I think does a good job of modeling how to be a good friend around that. At one point in the story, I think she’s coming to understand that Felix might be poor. And she’s not, in her situation. Her mom is a doctor and her dad’s a nurse and she just, as kids can so well do with one another asks, “Are you poor, Felix?” And they try to talk about it a little bit and then she shares her food with him because so often he comes to school with no breakfast. Then having had no breakfast and then having no lunch to bring with him.

So, she just doesn’t make a big deal about it and just graciously and kindly shares her food with him. And it doesn’t try to save him or fix him, she just wants to know and just because she cares about them.

Jeanie:  There’s a real sweetness, a real tenderness in his friendships, and how they support each other.

Annie:  Yeah, absolutely.

Jeanie: There’s also great middle school dance kind of scene that happens, which is just so much fun. Readers you will enjoy that section of the book too.

Vermont’s Middle School Student Choice Award

This book is on, as you mentioned earlier, the Dorothy Canfield Fisher award list, which is our Vermont State Middle Grades Student Choice Award list. Recently in the news, we hear that a name change is planned for 2020. Do you want to talk a little bit about that process and what’s happening there?

Annie: Yeah, so I think people were ready to hear a decision about this. It’s been talked about for quite a while. I’m happy that we’re moving in that direction because I think, there’s a lot of different opinions out there. I think, once we learned that that name was serving to exclude some kids and some families from participating in that book award because of Dorothy’s Canfield involvement in the eugenics movement, that it was for me a no-brainer to look for some other name.

I think book awards, and especially student choice awards, should do all they can to include, and pull people into that experience versus serve to exclude.

So, the decision was made to change the name and Jason Broughton, the state librarian announced it at the Dorothy Canfield Fisher conference last week, and the plan is moving forward to when we announce the next list. When kids vote on this list in the spring, next April they’ll be voting on the current list that which includes No Fixed Address. They will also have an opportunity to vote on a new name for the award. So, they’ll be given some options.

And they’ll cast their vote for what they’d like the book award to be called from this point forward.

We thought that would be a great way to again, gives kids some ownership in the name and also, will make them more familiar with it, and maybe more excited about this book award as well. So, yeah.

Jeanie: That’s a great plan. So, my guess is that you just announced this year’s winner, which students in grades four through eight vote for. What’s the winner, from this past list?

Annie: So, Alan Gratz’s book Refugee won for this year. What’s exciting about that is this is the second year in a row for him to be a winning author. Last year’s Project 1065 won. Kids are really excited about his books and, so he’s a winner again. Second year in a row.

https://twitter.com/PALibraryVT/status/1120606563893489664

Jeanie:  That’s wonderful. When I was both a kindergarten to sixth-grade school librarian and then again in seven to 12, these books flew off my shelf.  You all put together such a lovely list. Some of my favorite middle grades reads have been on that list, including now Felix and No Fixed Address.

I wondered if there are some other gems on the list that you’d like to share with us.

Annie:  Yeah, so there’s a lot of great books, and I’m really excited about our new list.

We have some great Vermont author books on this year’s list.

We always like to try to put a creepy, scary book on the list every year. Small Spaces by Katherine Arden is a great creepy book, and also a great place book in terms of the setting in Vermont. This one’s going to fly off the shelves. I know for sure.

So, kids are kind of going on this field trip from Hell where they’re like stuck in this field and there are scary scarecrows and there is all kinds of mystery. It all revolves around this book that a woman was going to toss into a river and this kid grabbed it. Then strange things start happening. So, I can’t tell you more than that, but it’s going to be a really fun, scary book that I’m sure will fly off the shelves.

Jeanie:  It sounds like a winner. I know one of the Vermont authors is also Ann Braden.

Annie: Oh, yes. In her book, The Benefits of Being an Octopus, again, one of my favorites on the list.  And one that the minute I read it in a day, and I said, I could think of so many kids that I’ve worked with that this would be their experience. Again, it’s a book about a kid living in poverty, and living in a situation where her mom is not physically abused, but emotionally and mentally abused and stepping in, much like Felix to have to be the adult in that situation. and just take on a lot of responsibility as a middle school kid that shouldn’t have to be her life.

So, another resilient strong character that is struggling through some hard times in some, again, security around where home is and where there’ll be living and all those things that come with financial struggles and home stability struggles.

Jeanie:  I loved that book so much, and I’m really excited because Anne Braden has agreed to come to our Middle Grades Institute conference in June and she’s going to be doing some workshops and meeting with educators and meeting with the students who come there for camps.

Annie:  Oh, great. Yeah. I think kids will identify with that book so much. There are other issues too that I talked about and they’re like, gun rights and things like that. So, I think a lot of really interesting topics that kids will connect with and also be able to talk about and discuss with each other.

Another great Vermont author book is Just Like Jackie, which again, a girl who is biracial and lives with a grandparent, and is kind of trying to learn from him about her parents. But her grandfather is struggling with dementia or Alzheimer’s. And so she’s trying to cover up for him because again, that fear of what will happen to her family if people find out that her grandfather is not doing well.

Just so many of these books have such amazing, strong, resilient kids, and characters that I can’t wait for our students and our readers to connect with and learn about and hopefully identify with or learn from in some way.

Jeanie:  I was delighted to see that Amal Unbound by Aisha Saeed was on the list. That was a favorite of mine, and it’s set in Pakistan.

Annie: Yes. It’s one of those windows to the world about things that we might take for granted as, school and our day to day life isn’t always a given in other parts of the world. And so she’s a real hero for girls and the importance of education and risking her security and her family because of that.

She has to ultimately become an indentured servant for a wealthier man in her community. But while she’s there, she’s so strong in her beliefs about the power of education that she teaches another servant girl there to read who never had the opportunity to learn to read.

Jeanie:  I love those books with fierce characters.  She’s really fierce. I loved that one.

Annie: Front Desk is another great one by Kelly Yang, and again, this is about a Chinese American girl whose parents immigrated to the United States and live in California. They manage a hotel and she really steps up and manages the front desk. She’s good at math and her parents are trying to just make a living and make it in America. She again assumes a really important role in the success of the hotel and you also through her understand some of the prejudices and discrimination that Asian Americans experience. And then also some of the characters in the hotel. There is an African American man there who is experiencing some discrimination.

She starts to help readers understand the connection between prejudice and discrimination and how it cuts across a lot of different things in terms of our race, or socio-economic status and things like that.

So she’s a great character for shedding some light on that for all of us and for her own kind of understanding of that and wanting to do something about that. Her family tends to take in people that are either immigrating into the country and trying to get themselves established or experiencing some oppression in some way and they seek a little refuge in that hotel. And they help them out in the midst of their own, trying to get their feet on the ground and get established. So just the ability of people to care about each other even in spite of their own struggles and their own misfortunes in life.

Jeanie:  That feels like a great companion to another book on the list: Harbor Me by Jacqueline Woodson. That’s also about security and stability. In this case, there are some stories around immigration. Another book about communities that support you when you’re struggling. She always writes just the right book at the right time.

This is another perfect example of that. Six kids are allowed to come together in a classroom every Friday afternoon just to talk without any adults there. So, as they become more comfortable and more able to share and be vulnerable with each other, we learn that one has a parent that might be deported, and he’s not sure if he’ll ever see his dad again. Another boy is experiencing racial profiling out on the streets of New York and is scared because of that to be out there, walking around. Another has a father who is incarcerated and is soon to be released, and she’s been living with her uncle in the meantime. So, her anticipation and worry about how that reunification will be.

So, kids with a range of issues that are real and everyday.

For some kids here in Vermont, some of those might be things they connect to, but some of them might be windows to experiences that they might not have here.

Because of our demographics and because of living in a more rural setting versus an urban setting. So, I love those books that can kind of transport kids to places with other kids where they just might not have those experiences but can again build that empathy and that understanding and that broader lens to think about things.

Jeanie: Just like the kids in Harbor Me having a dialogue and finding common ground. Our Vermont students can have a dialogue with a book and find that common ground.

Annie: Absolutely. That’s a great way to say that. I love that.

Jeanie:  Well, I’m a huge fan of this book award program. As a librarian, I often had kids in small reading groups reading this book, teachers using them as readalouds, because they’re so good. It really refreshed their readaloud list and offered them something new.

I used to borrow books from the Department of Libraries book sets so that my kids could be reading these in small groups that could send you six or eight copies. So many of my students have loved this program over the years. So, just deep appreciation to the committee for continuing to provide a book list that is diverse and robust and has so many really beautiful stories on it.

Annie:  Yeah, it’s a lot of work, but it’s a lot of great work and it’s… I think we’re working every year to be sure that it reflects a lot of different perspectives. There’s a lot of diverse points of view, representation of different kinds of families, of different kinds of kids, of different places in the world, things like that. And that we also have… try to have something for everyone.

I think every year, non-fiction can be a little bit of a struggle on this list. Just finding interesting non-fiction that’s not too much that wouldn’t be something kids would want to dive into a for pleasure reading. Because these are more pleasure reading kinds of books. But also the importance, that some kids are really drawn to non-fiction. So finding those non-fiction sometimes is our challenge.

We always usually like to have some graphic novels on the list because we know that those are super popular and we have some great ones on that list. The Prince and the Dressmaker in particular is just a wonderful book about acceptance and being true to who you are. It’s just great. It’s a great book and it’s flying off the shelves before it even got on the list. It was flying off the shelves in my library.

Jeanie:  It’s a beautiful book. I love that one too.

Annie: Yes. Again, I think kids choose books for all different reasons and I think the artwork in that book has appeal for a lot of kids. The characters are amazing and the story is really a beautiful, important story.

Jeanie:  Thank you to the whole committee, but to you also for creating a list where so many kids can see themselves. I really appreciate that. And they can get to know people unlike themselves as well.

Annie:  Right. I think it’s great.

Jeanie:  It’s been such a pleasure talking to you about No Fixed Address and about the awards list. Thank you so much for coming in Annie.

Annie:  Well, thanks for having me and thanks for choosing this book. It is a great one on the list.

Jeanie:  Yes. I hope everyone will check it out. You’re going to want to read it aloud to somebody, I know I did.

#vted Reads: We Got This, with Kathleen Brinegar

Cornelius Minor likes to ask himself three key questions.

#vted Reads logoOne: what are his students trying to tell him? Two: What are they *really* trying to tell him, through their actions, and their silences? And three, what do these students — who he worries he might not be reaching — all have in common?

I’m Jeanie Phillips, and welcome to another episode of #vted Reads, talking about books by, for, and with educators. Today I’m with middle school equity scholar Kathleen Brinegar, and we’ll be talking about We Got This: Equity, Access, and The Quest To Be Who Our Students Need Us To Be, by Cornelius Minor. We’ll unpack some of our own biases and ask you to think about yours, as well as look at the shiny shiny power of disruption.

And remember: watch your language!

Let’s chat.

Jeanie: I’m Jeanie Phillips and welcome to #vted Reads, we are here to talk books for educators, by educators, and with educators. Today, I’m with Kathleen Brinegar and we’ll be talking about We Got This: Equity, Access, And The Quest To Be Who Our Students Need Us To Be, by Cornelius Minor. Thanks for joining me, Kathleen. Tell us a little bit about who you are and what you do.

Kathleen: Sure! Thanks for having me, Jeanie. I am currently a professor in the education department at Northern Vermont University, Johnson.  I’ve been a member of the department for about nine years now, and I coordinate the middle and secondary teacher education programs. I’ve also recently stepped into the role of Associate Academic Dean, where I do a lot of work around helping students persist, through to graduation at the University. I’m also the co-editor of AMLE’S Middle School Journal, and I am a vice chair of the Middle Grades Special Interest Group. It’s a group of international researchers focused on middle grades education.

Jeanie: Excellent. Let’s turn to Cornelius Minor’s book, We Got This. The subtitle is, “Equity, Access, And The Quest To Be Who Our Students Need Us To Be.” And Minor begins the book with this powerful notion — and I’m going to quote him —

“If we are not doing equity then we are not doing education.”

Can you start by just telling us what this means to *you*?

Kathleen: Absolutely. To me, that is the mantra that I live by with my work, and it wasn’t always the mantra that guided my work, but over the past decade, my work has really become about equity. I truly feel that if the systems that we have in place to educate, particularly young adolescents since that’s my focus, if they’re not doing their job of supporting every single adolescent, then I don’t think we’re doing our job to support *any* adolescent. So, I think, the equity lens is — to me — the most important lens through which we can look at and measure success in education.

Jeanie: That’s really our mandate as public educators. Right?

Kathleen: Absolutely.

Jeanie: It’s not just to teach the kids who are easy to teach.

Kathleen: That’s right.

Jeanie: It’s to teach all the kids.

Kathleen: Absolutely.

Jeanie: I love that Minor gives us some really strategic tools to do that. He says this other thing that really touched me. He says, “Labels can’t cover our full humanity.” And on page 10, he says,

“We need tools to build a bridge between the discourse of our profession and the children that populate the communities that we serve.”

And it seems to me that he gives us some of those tools to build that bridge between our profession and the specific kids that show up in our schools.

1. The graphic organizer concept

Kathleen: What I love about Minor’s book, in general, is his focus is on listening to students, and really what that means. How it’s more of a true authentic listening? And a listening to not just what students are saying, but what their actions are telling us, what their silences are telling us. It’s really paying attention to who they are as whole human beings. And not just as, even, learners or students in our classrooms.

His tool on page 22, in particular, he shares the Listening To Kids organizer. I find it to be such a powerful tool in terms of thinking about not just kids in general, because I feel like sometimes… I know when I was taught to plan my instruction, it was really a focus on, “What are the developmental needs of this age group?” Which is certainly significant and important, but it leaves students out who may not fit into the categories of development that we typically use in classrooms.

Listening to Kids Organizer, for Kathleen Brinegar interview

Jeanie: In fact, Minor gives us a caution, doesn’t he? He says, it’s sort of a “Don’t judge a book by the cover” kind of caution. But he says, be careful of the archetypes and stereotypes we apply to take kids. That those shortcuts —  while they feel like we need them in order to do our jobs — actually get in the way of us really knowing students well.

Kathleen: Absolutely. I say that to my pre-service teachers here. I say,

If there’s one thing that’s going to really give me pause about recommending you for a teaching license, it’s if you are teaching to blank rooms. Or rooms of who you think should be in the room, not who you want to be in the room. As opposed to teaching the actual individual human beings in the space you’re in.

To me, that’s the key to instruction.

Jeanie: That seems to be the key to meaningful implementation of Vermont’s Act 77, too? That we really know our students. It also seems to me like if we’re not listening deeply to students, we’re not knowing students well, that’s where our implicit bias can *really* show up.

Kathleen: Absolutely. And, and to me it’s the difference between asking students, and listening to students. Because I think we have mechanisms in schools where we attempt to solicit student feedback and student thoughts? But I don’t know how much of their thoughts and their feedback actually manifest themselves into the transformation of our schools. So, the way that he really operationalizes that concept of listening?

To me that’s really about, again, that authentic piece of thinking about individual students with every decision that you make in the classroom.

The way he frames his organizer is this: he uses four different students each time he’s planning a piece. And he thinks about what those four students need in relation to:

  • What are they trying to tell him?
  • What are they trying to tell him, again, through their actions, their silences?

And he takes some notes about each of the students. Then he takes it a step further and starts thinking about:

  • What do these students — who I may not be reaching — what do they have in common?

To me, that’s when it really helps get at looking at those biases, those stereotypes. Are there components of those students’ identities that I may be completely missing, yet, that might be a pattern in my behavior as a teacher?

I’m thinking about: what are the ways to engage these students, both as this group of students that I’m missing, as well as individuals. He asks you to think about practices that you’re going to implement and try.

2. Listening deeply in action research

I love the way that he approaches his teaching as a constant action research project. That everything that he does, he acknowledges he doesn’t know whether it’s going to work. It might work, it might not. It might work for this student, but it might not work for another one. So his graphic organizers are a way for him to keep track of what’s working and what’s not working, in the way that any social scientist would study any environment in which they’re working.

To me, it really positions the educator as one of the most significant educational researchers.

Jeanie: That makes me think of Jamilla Lyscott, she said this thing that really resonated with me. She said, “Perhaps it’s not your students who are disengaged, but your pedagogy that’s disengaging.”

https://twitter.com/JPhillipsVT/status/1061308595525111809

In a lot of ways what Cornelius Minor is doing is putting the ball in our court as educators and saying,

Okay, you’ve got disengaged kids. What are *you* going to do about it? How can you think differently? How can your instruction be more responsive to their needs so they engage?

Minor is specific about asking us to disrupt the systems in classrooms. He says on page 31,

Systems don’t change just because we identify them, they change because we disrupt them.

He particularly points out the way in which education can be a little colonialist.

3. The effects of colonization

Kathleen: Sure, absolutely. No, he references in the book that when he talks about the colonizing aspect of education, that it’s an act of violence to students if we do not think about their humanity. So, when we think about colonization, and we think about this notion of coming in, assuming that we have the answers. That we can do things better. That way that we view the world is the way to view the world.

If we approach education in that way, and our students are left out of that conversation and left out of that equation, that in essence we’re erasing them, as he references. Not only, he talks very specifically about the students, but I’d argue, we’re also erasing the communities in which these students live and exist, if we’re not centering our education in what those communities — and therefore what those students  —  value.

Jeanie: Yeah. He has this quote that I think is really powerful. He says,

Colonialism has everything to teach and nothing to learn.

It strongly reminded me of the native Hawaiian word for teach, it also means learn. It’s a reciprocal term, in that the same word means both, to teach and to learn. Because the culture believes that teaching and learning go hand-in-hand.

If we, in our classrooms, pretend we’re the only one with something to teach, and students’ job is only to learn? That’s a kind of colonialism. We’re missing out on the richness that comes from students lived experience.

Kathleen: Absolutely. To me, it’s sort of the center of everything about equity work. I feel like I’m on this “permanent equity journey” because I feel like I could never define myself as an expert in equity. I don’t believe you *can* be an expert in equity. To me, equity is all about that reciprocal learning that takes place.

Every time I engage in a conversation with someone around equity, regardless of how they feel about it or what their perspective is or their background or their level of comfortability with it, *my* notion changes and grows and shifts. And I see that as central to being an educator. To view your work with students that way.

Every conversation that you have with a student or a parent or a community member, should be shifting and changing the way that you think. About supporting that community and that student, and creating a space for their values and perspectives to be at the center of the work.

Jeanie: It’s so interesting because teaching is one of the few professions where we experience what it’s like to be in a classroom deeply as students. And it’s really hard not to carry forward that notion of what we experienced. Yet, good teaching is a constant inquiry. We’re constantly inquiring into how to get better, what our students’ needs are, who our students are. Minor reminds us that just because we work with young people, it doesn’t mean that their understandings of the world aren’t valid. Or that they don’t have things to teach us about how the world works and what life is like in it.

Kathleen: Absolutely. Every human experiences the world completely differently. And therefore I feel like every opportunity you have to get to know a human in this world us another opportunity to sort of open your own perspectives on what the world has to offer and the way that we can, you know — as cheesy as it sounds — that we can continue to hopefully make it a better place. The only way you can do that is to, again, going back to Minor, is to listen, listen to the people around you.

Jeanie: Yeah. He even says that we need to look beneath the surface of the behavior of… My, do I wish I had this book when I was a brand new educator.

Kathleen : *makes strangled noise* I say that all the time.

4. Teaching the kids you have (not the ones you wished you had)

Jeanie: I love on page 80, he says,

Kids are simply trying to cope with all the input at school, home, hormones, and the world are handing them.

And he’s got this spectacular tool on page 38 and 39 called The Thinking About The Kids In My Classroom graphic organizer.  I wonder if you could unpack how you might use this with pre-service teachers or with teachers that are in the classroom.

Thinking About the Kids in My Classroom organizer for Kathleen Brinegar interview

Kathleen: Sure, absolutely. I’m actually going to be using it with college professors. Next week, I’m working on a workshop on our campus for our faculty. The title of the workshop is “Teaching the students you have and not the students you want.” The theme of the workshop really came out of this notion of, all of us as educators had our own educational experiences and, largely, those educational experiences drive the way that we then teach. What worked for us tends to be for the most part, what the strategies we employ in our classroom. Yet, the reality of it is, is we’re not teaching a classroom of us.

We don’t have 20 versions of ourselves sitting in front of us, but instead, we have 20 completely unique individuals in front of us.

So, the “Thinking about the kids in my classroom” protocol allows us to really think about the kids. For me, I often think about it from the perspective of– he poses it as who are the children that I worry about. In many cases, the children that I worry about, or even if I think about my pre-service teachers, the pre-service teachers that I worry about are often the ones whose experiences I understand the least. And because of that, I don’t always know the best way to support them or reach them. Or help them achieve, in my case, their goal of being a teacher.

But in the middle grades classroom, it’s whatever the goals are that our students have.

He proposes this notion of listing those students and then classifying them into groups of:

  • What kind of worrying are we doing about them?
  • Why are we worrying about them?

Again, I often have my pre-service teachers use graphic organizers such as this one when they’re learning how to plan lessons for the first time. What that does is when they’re in practicum experiences, it allows them to say, who are the students that you know and feel like you have a sense of understanding, and who are the ones that you don’t? Again, he uses worry. Sometimes I use it differently in terms of who we feel like we know and don’t know yet, and why is it that we don’t know them? In terms of thinking about: what is it?

In his graphic organizer, he talks about, for example, you may have students that are chronically late or absent or the kids that never seem to get it or the kids that talk all the time. Then he uses his action research model to then think about, well, what are strategies that I can use to help these students?

And what’s really powerful about this process is oftentimes it forces you to take a strength-based instead of a deficit-based perspective with your students.

Jeanie: That is so powerful, and you are very kind to say the students should worry about, or he uses the term worry, and you used another term. I think about this in terms of who are the students that drive me crazy!  We know as teachers that sometimes we have learners that for whatever reason we find particularly frustrating, and what frustrates us about them. Then he asks us to think about what would help them be successful, and then turn the page over — and here comes the really powerful part:

  • What are the barriers or obstacles?
  • And how might I remove those obstacles so that they can be successful?

I love that again, this puts the ball in our court. What can we do to eliminate the barriers? It forces us to have empathy for kids that maybe had just been driving us a little bonkers.

Kathleen: Absolutely, and sometimes I think it forces us to make the realization that *we* are the barrier, which is really hard to come to as a teacher when you know that you’re putting your heart and soul into your work.

But sometimes you’re an unintentional barrier to your students’ success. I think that can be a really powerful uncovering, that a graphic organizer such as this one can help you get to.

Jeanie: It took me a long time as a new teacher to realize that when I raised my voice, it got high and squeaky and sounded stressed.

Kathleen: I think we have the same voice.

Jeanie: And kids picked up on that and they picked up on that energy. The most impactful thing I could do was whisper. It took me too long to figure that out, and so something like this I think could have helped me go to even deeper truths? About things that I was doing that got in the way of student learning. And how I might eliminate those barriers and become a better educator.

Kathleen: Absolutely. Absolutely. I had a pre-service teacher recently plan a lesson, and I had him use a graphic organizer similar to this in terms of thinking about his students before he planned it. Well, first I had him plan a lesson before it. And then I had him re-look at that lesson using a graphic organizer such as this one. What he realized after diving into his students and really focusing on some specific students and planning the lesson, was that his lesson took out the mode of learning that the majority of his students identified as needing, to be successful.

So, he was able to revamp the entire lesson. When I asked him afterwards, he said, the most successful part of my lesson, and the part that we carried on twice as long, is the part that came out of what I had written in my graphic organizers my students need. It’s just such a powerful example of how it really does make a difference.

Jeanie: Yeah. It could be really concrete.

I need to try building movement and talk breaks into the class

is one example he gives on page 42. Or,

I can find ways to utilize their voices in the classroom.

That’s really powerful, instead of just expecting them to be quiet and movement free.

I can work to eliminate the expectations that kids need to master a thing on the first try by creating a lots of low-stake opportunities to try things.

These are powerful strategies for any educator and the fact that he’s identifying these because of student needs is really… I don’t know, it gives me chills a little bit. And I love that you’re going to be using this same strategy with your teacher educators.

Kathleen: Yes. Well, I think as teacher educators it’s extremely important for us to model the teaching that we want to see in our classrooms. As soon as “teaching” came out of my mouth, I was like, it’s not quite teaching. It’s about the type of people, the type of educators we want our students to be, are the type of teacher-educators that we need to be. I still lesson plan as a teacher-educator. And I still revise lesson plans. I still take notes on my lesson plans. I’m actually going to use some of Minor’s graphic organizers to help me because then it allows me to show my students and say,

“Here’s what I was thinking I was going to do with you all first. Here’s what I learned when I completed this graphic organizer around my own teaching and you all as learners, and here’s what it looks like now. How would you have responded to each of these lessons?”

I think the more we can be intentional about that, I think the better our future teachers will be.

Jeanie: That’s just such a powerful way to make your practice public.

Kathleen : Yeah, I think we have to. I think we have to.  I’m using the example of teacher-educators, but actually, I think educators need to make their practice visible to their students. I think, particularly in our Act 77 context, if we want our students to become quote-unquote “expert learners,” we have to be transparent about the decisions we are making as educators that influence their learning.

5. We Got This: Power

Jeanie: That leads me to this next concept that I think Minor really gets at to in the book which is power. There’s this wonderful quote from page 81 that I just adore. I keep quoting because his writing is so powerful.

Listening to me is not the extent of the learning that kids can do in the classroom. Learning is something that kids have to elect to do and I as teacher can make it easier or harder.

That’s so powerful. The idea that when we are just asking kids to listen to us, that’s a singular modality that doesn’t meet their needs. But also, it makes us think about the reciprocal notion of listening to them — like the back and forth of listening.

I wondered if you wanted to talk at all about his idea of creating a space where kids feel safe, means creating a space where they share power with us? But it doesn’t mean a space that’s out of control.

Kathleen: Right. Absolutely. I think in some ways it’s a space that is co-developed and co-constructed in terms of, again, it goes back to that transparency as educators. Letting students know about the types of decisions that they need to make as educators in order for everybody in the classroom to feel safe and respected. But then use the voices of the students to decide what that actually looks like. So, posing those sorts of questions to students around:

  • How do we want to go about exploring this guiding question?
  • What are the different ways that you can demonstrate your understanding of whatever the concept is that you’re teaching?
  • What are the modalities?
  • And even opening it up to: do we all need to be doing it the same way at the same time, all the time?

Finding those different ways for students to have that ownership and be able to advocate for what’s going to work for them.

Jeanie: So, building in opportunities for voice and choice, whether that’s negotiated curriculum or having kids decide what product they’re going to produce to demonstrate their learning on a proficiency target. I was thinking, I’m reading Emily Rinkema and Stan Williams’ book, The Standards-Based Classroom. One of the things they say is that they went to a conference where somebody pointed out that not all group sizes needed to be the same, and what a revelation that was.

But I think that’s a revelation for many of us, that you can have kids working solo, in pairs, and in small groups within the same classroom. It’s not a one-size-fits-all model. But if you’d asked me as a teacher, I would have been like, “Well, I want six groups. So, I’m going to just divide the class.”

Kathleen: Either we’re going to count off or I’m going to make groups specifically so that I separate people who need to be separated! We had a really powerful experience in student teaching where I was working with a small group of students and they needed to work within groups within that small group. A group said, “We’re friends, but we work well together. Can we try it?” And I remember being terrified.

Friends can’t work well together. They’re never going to get anything done! And then they did. What they produced was one of the most beautiful products that I’ve ever seen. It came with a thank you note after saying, thank you for trusting us. Thank you for allowing us to work together because we knew we had the potential to do it, but nobody had ever given us the chance before.

Jeanie: Yes, absolutely. The other way that Minor does this, is through class meetings. And he has a whole section on how to show kids you hear them, through class meetings. And co-construct those class meetings so it’s a gradual release of power and control. So the students have more and more of a role in that.

I know many of our Vermont educators have town meetings or class meetings that allow for that as well, and I applaud them.

 

Kathleen: What’s interesting about Minor’s model that I had never thought about before, is he talks about those meetings being like 15 minutes in length, right?

He’s like: look, approach one issue, one thing that’s happening in your classroom and take that, 10, 15 minutes of time to really work with your learners about approaching it. About how you can rethink it. Get their feedback, get their perspective, and then you can go right back into the curricular learning that’s happening in the classroom.

I point that out only because I wonder if sometimes teachers in schools hesitate to use a town meeting model or something of that sort, because of the pressure sometimes that’s felt around time and the value of time and not wanting to take away from the curriculum. But Minor has found a way to do it in a way that accomplishes the goal of including student voice and student decision-making in a way that’s doable in any curriculum.

Jeanie: He also really talks about scaffolding. So, starting with something really low stakes at the very beginning of the year. In his case it’s eating salads in the lunchroom. And then he moves on to the kids kept encouraging him to see The Rock in a movie. So, he watched a movie and he engages in a conversation about that, but then he moves onto like, negotiating conflict. And it’s actually based on a book that they’re reading. You start low stakes at the beginning of the year and then you can talk about things that are curricular or harder or more intense, as you build the capacity to share that space together.

Kathleen: Absolutely. I love his salad example because he talks about the fact that he’s wanting students to eat, and to think more nutritiously about what they’re selecting and choosing to eat in the cafeteria. That it doesn’t need to be time happening during the day. But his salad conversations happen while he’s walking to lunch with students.

What I love again about his work is that he views every single minute he has with students as a way of building, of listening to them, building their confidence, building their strategies and their strategies of being able to advocate for themselves and think deeply about the little things in their lives, which is what they eat in the cafeteria, and the big things in their lives, such as how they manage peer conflict, which we know is a critical part of middle school.

Jeanie: It’s not him preaching at them about this. It reminds me of my friend Mike Martin. He often says:

the one doing the talking is doing the learning.

So, by listening to students, he’s also providing an opportunity for them to do the learning.

Kathleen: Absolutely. Absolutely.

Jeanie: On page 94, he has another graphic organizer. We’re going to link them in because they’re freely available. They’re available on the publisher’s website. The one on 94 is a blueprint for shifting your mindset from punitive to proactive. I think it’s particularly a powerful tool to use with students. It asks us to think about what we need to be successful, how the teacher can help with that and how students can help with that.

 

Kathleen : Absolutely. I’m teaching a methods class right now for middle and high school pre-service teachers. It’s their first methods class that they’ve had. Right now we’re looking at a reading on classroom management from Teaching Tolerance. It’s actually titled Reframing Classroom Management. Its whole premise is on this notion that the goals of teachers should not be to manage. It goes back to our conversation about Minor and power. If we’re managing, it assumes that we are in positions of power and our students don’t have voice or choice.

I’ve actually been thinking about using this graphic organizer in conjunction with that reading with my students because to me, that’s what it’s all about. Moving from punitive to proactive.

I think a lot of the ways that we traditionally define classroom management leads to punitive consequences for students.

So I thought about using this with my students to model it for them. It starts with, “We will be successful this week if we:” and I feel like you could do that with *any* community. I felt like I could do it with some of the adult groups that I work with. “Our work will be productive this week if we…” And to get us to think about collaboratively, we can help each other do that by et cetera. So yeah, this is one that I flagged as well as something I want to use.

Jeanie: Well, and it seems so important because it’s about not compliance, but community.

Kathleen: Absolutely.

Jeanie Philips: It gets us to think beyond our outdated notions of what a successful classroom looks like.

And that feels really important to me because actually some of the best, most rich and rewarding learning environments I’ve been in? Aren’t pretty. It’s a little messy. It’s a little loud. It feels a little chaotic.

I have to do that internal judgment of like, okay, pay attention. What’s really going on here? Look beneath the surface, what’s really going on here? Minor says something that is just like, I want to put it on big banners, and parade it around schools. He says,

I am not interested in raising a nation of well-behaved children.

Kathleen: I loved that one too.

Jeanie: Just this idea that our job is to help kids learn. It’s not to keep them neat rows, raising their hands all the time. I think that sometimes we get in our own way around thinking about what learning looks like. This graphic organizer asks us to really deeply think about what does success look like, and let go of the rest. If we really focus in on what successful learning looks like in the context of *this* classroom with *these* kids and *this* learning target, and we’re specific about that? It might be noisy.

Kathleen: Absolutely. When we were talking about this article, one of my students said,

If I focus on the noise level in my classroom, I am going to be ignoring my students who grew up in an environment where noisy is normal. Where noisy is accepted, where noisy is just the way that they present themselves.

That’s huge for me around this question of equity, right?

When we think about anything to do with compliance, it assumes that someone else’s way of being is better than somebody else’s… than another individual’s.

6. Disruption & “unconditional positive regard”

Jeanie: Yes. He also really asks teachers to be thoughtful about how they deal with disruptive behaviors. He has on page 99 this beautifully thoughtful way of thinking about what I say with my voice, and what I say with my body.

A page from We Got This, by Cornelius Minor
Click or tap to enlarge

Another great moment of learning that I wish I had had sooner in my own teaching career was realizing that I could have a script that allowed me to interrupt behaviors that were getting in the way of learning without having to rationalize it to my students. It could be quick and simple. I could use my whole body — my body language, my vocabulary, my short sentences — to get the point across without laying a guilt trip on kids, making them feel bad without negotiating with them. That I could just be really plain about it.

He asked us really to think about that. What do you say? What does your voice say, and what does your body say? It reminds me, and thinking about that in advance, allows you to stay strengths-based and positive. Recently, I was talking to Christie Nold, and she brought up something that Alex Shevrin-Venet uses, which is, “Unconditional positive regard.”

https://twitter.com/AlexSVenet/status/1118853270783647754

That I can develop a script that allows me to have unconditional positive regard for my students so that our relationship is intact, but still allows me to disrupt behaviors that are out of place in the classroom.

Kathleen: I love that notion.

Jeanie: Right?

Kathleen: Yeah. Absolutely.

As educators, we make so many in-the-moment decisions, and every single one of those decisions has an impact on at least one other human being.

So to think ahead of time about what our responses might be, could be, should be in any given situation, certainly would make me feel better about going back and managing a middle school classroom again. It just gives you that reflection time to think in advance of the power that your actions have on students. So, really thinking about those consequences in advance.

Jeanie: Yes. Libraries are a free and *nowadays* noisy place. When I was a school librarian, in my 7- 12 library, occasionally, as one might imagine, a kid might use a naughty word. And I really have zero tolerance for naughty words for a lot of reasons that I won’t go into here. But I found that the quickest, easiest way to deal with it was just to say “language” or “Watch your language.”

If I said more words than that, I just sounded like a teacher from Charlie Brown anyway, blah, blah, blah, blah, blah. That was just the quickest, easiest way to deal with it. I think that often quick and easy, firm and kind is the way to go.

Kathleen: Absolutely. It sort of opens the door I found, and for me in my classroom, I think we all have those things that we focus on is teachers. For me it was those comments: “He’s so gay,” or use of the word “retard.” Those sorts of things. For me in my classroom, those were the things that just shook my whole body. What I found was the same exact thing that you did, that one word of, “Language…” And what I found is that my students started saying *that* to each other outside of our classroom space. And I don’t think that would be the case if, as you said, it became this big back and forth conversation. Then I think it would become a power struggle as opposed to just a norm.

Jeanie: Yes.

Kathleen: Right?

Jeanie: Absolutely. If I said something like that, I would want to be called out on it.

Kathleen: Yes, absolutely.

Jeanie: I would want to be reminded to be my best self.

Kathleen: Right, right. Without being embarrassed. And without becoming this big production! Without forgetting that you’re a human being who makes mistakes. Or in some of my students’ cases, they had never even heard why those terms were problematic. But just using one word allows them to bring the conversation to “why,” versus me going at them.

7. We Got This: Curriculum

Jeanie: This book is not very long. It’s less than 150 pages. The last thing that Cornelius Minor really addresses, I think, so beautifully is curriculum. I want to talk a little bit about that before I ask my next question. He says,

My job as a teacher is not to teach the curriculum or even to just teach the students. It is to seek to understand my kids as completely as possible so that I can purposefully bend curriculum to meet them.

He goes on to think about harmful curriculum is a curriculum that doesn’t see students, that isn’t flexible, and it doesn’t grow him as a teacher. But that powerful curriculum is relational. It allows you to relate to kids and their lives, and allows them to grow into what the future holds for them. I wonder if you wanted to think about his conception of curriculum, and its purpose. And how they use it for good and not harm.

Kathleen: Absolutely. One of my favorite things that you sort of allude to is his notion of: curriculum should benefit our students now. In the moment. Our answer to why am I doing this should never be “because you’re going to need to use this at the future.”

To me, we are educating our students at a point where they are who they are, in that moment. If our curriculum, as he says, doesn’t bend to meet them, who they are in that moment, then I question its effectiveness.

I know in my own learning as an adult, I don’t choose learning opportunities that don’t feel relevant to what I am thinking about in the moment or what I’m focusing on or what I need. So, I very rarely choose a professional development opportunity by, “I’m going to need that one day in my life or in my career.” I think as, as educators, we owe it to our students to approach it in that same way. I appreciate that Minor, again, he creates, provides some graphic organizers for teachers to say, if you are given a mandated curriculum, here are some questions to ask yourself about how you can bend that curriculum to be appropriate for your students.

I feel like in many ways we’re lucky in Vermont because we have fewer schools providing us with scripted curriculum and that sort of thing. But there are constraints in our work as teachers, and Minor not only gives us permission to subvert those, but he gives really some concrete strategies for how to do that.

Jeanie: He says pretty plainly, people want to learn more about the things they care about. So, it behooves us to help our students connect to what we’re trying to teach them and care about it. Through relevance or by making it relevant to their lives as they are. Which reminds me of John Dewey, and “education isn’t preparation for life but life itself,” but it also just reminds me of how we can situate content and skills in ways that feel real to students.

Kathleen: Absolutely.

It goes back to the choice and voice and allowing them to advocate for approaching the proficiencies or learning outcomes, learning targets, however, you’re framing your curriculum.

But it allows students to say, I have a way that I can demonstrate this.

I have a topic or a theme that I want to spend some time with that allows me to get at that. Sometimes we try that, and it doesn’t work, right? What I have to keep reminding myself and reminding the educators that I work with, is it doesn’t work not because it’s not an effective strategy. It doesn’t work because our students haven’t been brought up in an educational system that gives them that power and that voice. So the first few times we throw that out to them, it’s no wonder that it’s not going to be effective.

Again, it goes back to this notion that he talks about a lot that we all know is going to come from Piaget of scaffolding. We have to scaffold choice as well sometimes for students. And acknowledge that in one classroom of individuals, we may have some students who are ready for that sort of full-on, self-directed choice. And we have other students who need us to scaffold it for them.

Jeanie: So you’re making me realize that these strategies are meant to be used in concert with each other.

Part of knowing how to make the curriculum bend to the needs of our students is to know our students well.

Kathleen: Absolutely. Yeah.

Jeanie: Back to the beginning. This was such a powerful book, I think for the individual practitioner in the classroom. This book can help you really change the systems in your own classroom to better meet the needs of your students so that your teaching is more equitable. I guess my question for you is how did these ideas apply to Vermont’s specific educational landscape in where we have this move towards personalization and flexible pathways, and proficiency-based education and personalized learning plans?

Kathleen: To me, the most significant point of connection is none of those elements of personalized learning — proficiency-based assessment, personalized learning plans, flexible pathways — none of that works without first listening to students.

We can create as many flexible pathways as we want, but if they are not the flexible pathways that our students want, then we’re not changing the system at all.

We are changing the structures in terms of providing various opportunities for students. But in no way are we making an educational system, in general, that listens to our students any more than the old system did. So to me, that’s the bottom line around all of this, is listening to our students.

Jeanie: Yes. I think this book is really powerful for classroom use. I just would love to see a whole school using these strategies, because I think the students in that school would be so empowered in their own learning. It would just seem to be such an amazing thing. I think this could be a great all-school read. Because if everyone was applying these principles, it would make such a difference for students.

Kathleen: Absolutely. As a pre-service or as a teacher-educator, that is my biggest fear when I send my students out into the field.

We ground our teacher education program in equity, and then oftentimes students go into the field and we don’t necessarily have the systems in our schools that support teachers work towards being equitable.

Absolutely. I think if we did more as whole-school communities around reading texts, around equity, around engaging in conversations, around sharing what we know about our students — I don’t just mean sharing what we know about who our students are in our classrooms, but what we learn, and know about our students as human beings, and grounding our work in the values that they and their parents bring into the community? Without that I don’t know that we can make the changes that we need for our systems to, I guess to transform. We can change, but we can’t transform.

Jeanie: I think one of the things we need to do is shift those conversations. So, then when we’re having those conversations about our students we’re really shining a bright spotlight on their talents and their strengths, and the shiny brilliance that every kid has.

Kathleen: Absolutely.

Jeanie: Sometimes we have to dig for that shiny brilliance. Sometimes they’ve locked it off a little bit, or made it hard to see because of their experiences in the world, but every kid has that as their birthright gift.

8. Unpacking our own biases in Vermont

Kathleen: Absolutely. One of the questions that I like to pose to educators is, to think about the various identities that we hold as human beings, right? Whether that is around gender, around race, around sexuality, around socioeconomic class. Whatever those pieces are, and to really think in your school environment, which of these identities, which components of each of these identities are privileged? And which components of these identities are not? And how does that make you rethink the way that you approach, not just your individual students, but the larger policies that exist in your school, the way that you talk about kids, what you value as a community, what your culture values.

Jeanie: Yeah. It can be so hard to interrupt those implicit bias, the biases that we hold. In fact, the first step is just being able to see them.

I became aware of a couple of years ago of the bias I have around language. That I really held this belief, hold it still in some ways, that people who speak standard American English are smarter. That’s simply not the case. There’s no difference in size or ability of the brain if you speak standard American English versus vernacular. I have to constantly remind myself of that internally in my brain.

I have to interrupt those judgments that I make, and it’s really challenging. The first step was just noticing, just seeing, having that pointed out to me, by me really.

Then the second step is to start to interrupt that so I can see the content of what somebody’s saying and not judge it by my own notions of grammar and syntax and sentence structure.

Kathleen: Absolutely. I can give you an example from my own practice as well. For me, I had to reframe what it looks like to be engaged in education.

I’m coming at that from the perspective of thinking about my own students. And thinking about the fact that being late to class doesn’t necessarily mean you don’t want to be there. Or you haven’t tried really hard to get there. Or placing significance on family events over being present in a classroom setting or an educational setting.

And really having to check my own biases about growing up in a family where school came first, and if something was going on at home, we deal with that later. That’s not a norm that exists in every household. For some households, the necessity is what happens in our home has to be figured out first. It doesn’t mean my students who are coming from homes that come from that orientation don’t value their education just as much as I do or my parents did. It just means that they need to step back for a moment and then step into it when they have the capacity to do it because it’s so important to them that they need to be wholly present.

Jeanie: Yeah. I so appreciate you being vulnerable enough to spell that out.

I think that education, being an educator is vulnerable work and one of the most vulnerable things we can do is check our own biases and assumptions.

Really look, dig in there and it can be uncomfortable, but it’s also can be the most rewarding work you do. It can transform your practice in powerful ways.

Kathleen: For sure, and I think it goes back to, again, that listening to students, because my students, I think all of our students are sending us messages about what our biases at our stereotypes and things are. We just need to watch them and listen to them and they’ll help guide us in terms of figuring out what those are.

Jeanie: Listen to your students. You heard it here. Kathleen. Thank you so much for taking the time to talk to me about this fabulous book, We Got This: Equity, Access, and the Quest to Be Who Our Students Need Us to Be.

Kathleen: Thank you. It’s been fun.

#vted Reads: Pride with Meg Allison

What does Jane Austen have to do with a Drake mixtape?

#vted Reads logoFor this episode, I was joined by Vermont rockstar librarian Meg Alison, in discussing Ibi Zoboi’s Pride, a Pride and Prejudice Remix. We talk about gentrification, agency, and the amazing power of spoken word poetry, we give a shout out to DisruptTexts and ask teachers to think critically about the books they teach. Who is represented in their pages? And who isn’t? And how did Zoboi’s novel make one of our librarians think more deeply about a hotly contested road project in tiny Brandon, Vermont? Grab your six-dollar maple lattes, listeners, and find out.

Jeanie: I’m Jeanie Philips, and welcome to Vermont Ed Reads. We’re here to talk books for educators, by educators, and with educators. Today, I’m with Meg Alison. We’ll be talking about Pride by Ibi Zoboi. Thanks for joining me Meg. Tell us a little bit about who you are and what you do?

Meg: Well, thank you for inviting me, Jeanie. I love listening to your podcast. I think it adds a lot to the conversation around literacy and being a literate community statewide in Vermont, so thank you. I’ve been a librarian since 2001 when I found myself as the first children’s librarian at the Joslin Public Library, Waitsfield, Vermont. Then moved to the Kellogg-Hubbard Library in Montpelier, then the Moretown School Library for eight years. Now, I’m at U-32 Middle & High School in East Montpellier, Vermont. It’s my fourth year there.

I’ve served on the Dorothy Canfield Fisher Book Award committee. I’m a lifelong bookworm. I love to read. I couldn’t be happier to be sitting here with you today in Waterbury, Vermont, talking about books, and one of my favorite books of the year.

Jeanie: We have talked about books a lot as friends and librarians. Thank you for your nice words about the podcast.

Host Jeanie Phillips, left, with guest Meg Allison, right, and a copy of the book Pride by Ibi Zoboi

Meg: You’re welcome.

Jeanie: I’m so excited to have to you on.

Let’s talk about Pride, this book that we both love so much, we’ve read twice.

Tell me… just introduce us to the main characters and the setting, if you would?

Meg: I’d be happy to. Pride by Ibi Zoboi is actually a remix. Not so much a retelling of Jane Austen’s Pride and Prejudice. There’s a lot that Zoboi pays homage to with Jane Austin’s work, but there is a lot of new themes that Ibi Zoboi also raises in Pride.

We have five sisters. Instead of the Bennet sisters, they have the Benitez sisters living in Bushwick, New York, a burrow in Brooklyn. The main character being Zuri Benitez. She’s a senior in high school, her sister Janae, who’d be Jane’s equivalent in Pride and Prejudice, is back home for the summer from Syracuse and there are three younger sisters. They live with their parents in a two bedroom apartment in Bushwick.

https://twitter.com/ibizoboi/status/1047892435664347137

Across the street, there is a mini-mansion being built where formally there had been a boarded up broken down building. Their very curious, the sisters. about who’s going to be moving into this mini-mansion in their hood. They take all sorts of guesses. Could they be rappers? Could they be basketball players? And could they be *white*? Gentrification is a theme we’re going to talk about in the story.

And lo and behold it’s Darius Darcy and his brother, Ainsley and they’re Black. It throws the sisters off their game.

Zoboi has written a beautiful love story that is contemporary, authentic, and relevant.

It follows the same theme as Pride and Prejudice. We have a happy ending, but not without a lot of grit, and resiliency, and great storytelling.

Ibi wrote that after she wrote her National Book Award-winning finalist debut novel, American Street — that takes place in Detroit, which deals with a lot of heavy hard hitting topics about urban life, drug use, addiction, violence, and loneliness — that she was looking to write something lighter. In light of the political climate of today, she needed a story that was going to bring light. And it was her editor, I believe, that suggested that perhaps looking at Pride and Prejudice would be a good idea to base a story around. So, that’s what I hear is the story behind Pride about how it became birthed.

Jeanie: I love that she has updated the classic, but she’s also updated our thinking about what a rewrite is, right?

It’s not just a retelling, it’s a remix.

That she makes us think differently and that’s the language of young people, right? They remix songs. So, I love that she’s thinking that way, because there’s a lot of patterns. I’m a big Jane Austen fan listeners. I hate to admit it, but I have read Pride and Prejudice more than three times. And I loved being able to say, “Oh, Zuri is Elizabeth and Janae is Jane,” and “Oh, there is Lydia,” right? I think, Kayla is the Lydia character. Colin, is the Mr. Collins character if you will. I loved being able to like identify Darius Darcy as Mr. Darcy, and his older brother as Jane’s beau in the book.

But there’s more to it than that. It’s not a simple plug and play. It’s a remix. And it resets it and it explores new ideas in a way that really grabbed me. I thought I was going to be a tough sell for this book and I fell for it head over heels.

Meg: Much like in the — oh, I won’t give any spoilers. *laughs*

Jeanie: Yes, but it is, I should say, also way more than a romance. If you’ve endured high school English, you’ve likely read Pride and Prejudice. Elizabeth Bennet wants to marry for love and not just economics.

And Zuri Benitez tosses that right on its head. She doesn’t just want to marry for love. She wants to pursue her own potential and her own passion, and do what she loves.

Meg: Exactly. Zuri’s thinking that she’s got her sight set on Howard University as a place where she’d like to go to school. Her sister is the first in the family to go to a four-year college, at Syracuse. We have a young woman whose parents did not graduate from college, did not attend. I think her father may have attended a two-year program, but he is a janitor. He works the night shift at the hospital. They married young: her parents married for love. And that’s a bit of difference between the Bennets. Mr. and Mrs. Bennet may have married for love when they were young.

But what is such a pleasure in Pride and Prejudice is the sort of just devil may care attitude Mr. Bennet has it about his wife. She is just so focused on getting her daughters married, and in the right social circles and for wealth, so she can — I think — so she can live life vicariously through her daughters. It’s status that would be bestowed upon her, should her daughters have a good marriage.

And Zuri’s mom says, “Why don’t you be a player too?” She wants her daughters to go out and make something of themselves but doesn’t shame them if they fall in love at the same time.

Jeanie: Yeah. The Benitez parents have high standards for their daughters, though. The Benitez girls are not allowed to go and sort of flirt just anywhere, right? Even though mom is all for dating, they have really strict standards for these girls.

Meg: They do, but the whole hood knows about the Benitez sisters because there’s five girls. And they know how they’re being looked at. From that lens as well, when we look at dating norms or how chivalry or customs about romance and dating come into play between Victorian England and Bushwick, New York, 2017 or 2018.

It’s interesting because females have more agency, obviously, in today’s day and age. (Well, they do and they don’t.)

Zuri definitely is aware of that. There’s moments in the book where Zuri, with Warren, says, “Well, this isn’t really a date,” and, “How about I ask you out?” I mean, she definitely has a lot of agency. It’s just that she’s strong-headed, but she also wants to be loved.

Jeanie: Absolutely. She’s just as aware of her reputation as Elizabeth Bennet was.

I feel like there’s a piece on page 146 and 147 I’d like to share that’s specifically about Zuri having this desire to be somebody in the world. Oh, and it’s a poem. I wish I could read it as well as author Elizabeth Acevedo, who reads the audiobook.

Zuri’s visiting Howard for the first time. And the poem is called “Dear Mr. Oliver Otis Howard”.

Click or tap to enlarge

What I love about Zuri is she has this agency over her own life. She also has this strong desire to go and become something, so she can improve her home, which is Bushwick.

Meg: And through that passage, Ibi Zoboi is also standing on the shoulders of giants and giving homage to Ta-Nehisi Coates, to Howard University, to Langston Hughes — where Zuri finds herself reading poetry when she goes to visit Washington D.C — and Howard University. Her first time away from home by herself. She has a vision. She has a purpose.

Jeanie: This book really starts with Zuri focused on gentrification and the changing nature of her “hood,” her neighborhood.

When the Darcy boys and their family move in across the street. But this theme continues throughout. She has this real concern about how Bushwick is changing. Do you want to talk more about that?

Meg: I’d love too. She’s seeing it change right before her very eyes. And what she’s noticing is the changes are often wrought because white people are moving in. It’s a very explicit use of race in this book that’s very effective by Zoboi. It throws Zuri off her game a little bit. She assumes right from the get-go that the new people moving in across the street must surely be white. That Black people aren’t gentrifying. You know, so, I’d like to read this passage that starts on page 63, about the Maria Hernandez Park.

When we reach the park, Janae hands me a blanket from her bag. Then she and Ainsley go off on their own, leaving me to babysit Darius because he looks like a fish out of water. Or, maybe, I’m the fish out of water because no one told me that we were going to go to some sort of art and music festival for white people.

I look around to see that almost everyone is sitting on blankets, something we never did when I used to come here years ago. Nobody was having picnics in this park back in the day. We sat on benches and kept our eyes wide open in case anything went down. And something used to always go down. Still, I’m tired of standing, so I spread the blanket out on the dry grass, confident that with all these white people here now, they’ve cleaned up the rat poop and broken glass.

And so it speaks to the gray area, the complexity of gentrification because it’s not all bad, it’s not all good.

And she’s seeing changes happening. She’s seeing things get cleaned up. But there is a bit of sadness there because it wasn’t ever cleaned up for her. It wasn’t ever cleaned up for the people who were living there. It seems to be that she recognizes that it’s changing and being cleaned up for the people who are moving in. So there is that theme of who is inside and who is outside. And one thing that I find so compelling reading this book, and it speaks to my own biases, is that I didn’t know there was a difference between a “ghetto” and a “hood”. And what Zuri speaks about… She speaks about Bushwick as her “hood,” her neighborhood as a place of love. And it’s the people from the outside who judge it and call it a “ghetto”.

Jeanie: Yeah. I really feel that. Because it’s not like she doesn’t want her neighborhood to be safe, or clean. I think what she’s really concerned about is belonging. She feels a great sense of belonging. Her neighborhood, there’s a big scene in the book where they throw a block party. Her mother cooks all this Haitian and Dominican food, and there’s music, and drumming, and dancing. It’s like her favorite day of the year. It’s very influenced by the people who’ve lived in this neighborhood for a long time. And it’s a time where she feels like she really belongs. She belongs when she walks down the street to the bodega. So she knows what to expect. She looks out and sees the men talking politics. Or the young men talking smack, right.

What her concern is, as these people come in, not only do they make the neighborhood maybe safer or cleaner, but they also increase the likelihood that she’ll no longer belong.

Meg: And that scene, in particular, it’s very stark because Darius comes over and he is the fish out of water. He’s so awkward and stiff. And Zuri tries to get him to dance. And it’s a really telling scene because he’s there at the block party. He’s been invited over but he doesn’t have the Bushwick swag that Zuri is just keyed in on. He doesn’t know how to talk like he’s from the streets. He doesn’t know how to “dap,” you know, with the boys from the hood. And she’s really aware of that. It’s almost as if she doesn’t know what to do with him, you know, as a character.

Jeanie: She almost wants to coach him so that he can survive the hood. Even as she also wants him out.

Meg: And there it connects right back to Pride and Prejudice, because there is a dislike between those two characters that is pretty fierce.

Based on their prides of who they are, as well as the prejudices that have of each other.

And what’s interesting is that Darius and his family, the Darcy’s are moving into Bushwick, into this big mini-mansion, but they’re leaving Manhattan.

There’s a real telling scene, where Zuri asks him, why are you moving, you were living on the Upper East Side?  And he says, well, you know, we were one of the only Black families in our apartment building, and we were really cute. The neighbors thought we were really cute when we were younger, but as we got older, and grew into these tall, strapping, teenaged, *Black* boys that the neighbors in their apartment build were afraid of them.

Jeanie: Zoboi writes that scene so beautifully.

So much of this book, I guess and so much of Pride and Prejudice too, is about belonging. That theme of where do you belong? Where do you fit in?

Meg: That was powerful. And what Ibi Zoboi does so well is really paint this picture of Bushwick. And how Zuri Benitez *belongs* there. I mean, Bushwick is 80% Puerto Rican/Dominican. Ibi Zoboi herself is Haitian. So we have in our character, Zuri, this Afro-Latina young woman, who fully embraces her culture.

Zoboi weaves in all these cultural context clues for us as readers to discover, or to recognize, depending on our perspective as we read the book. For me, personally, it was a discovery. I’m not from Bushwick. I’ve never been there. I’m not a part of that culture. So, for me as a reader, it was this window into another world of bodegas, and bodega cats, and daps, and block parties, and the L-Train. All of the food that she talks about. And the spirituality of an Afro-Latina culture, through the lens of Madrina.

So we have this priestess in the mix, who lives in the basement. You were saying that, that might be a connection with “Pride and Prejudice” the character, who I couldn’t place who Madrina might be.

Jeanie: Yeah. Madrina is like this wise woman that Zuri seeks out. In many ways, Elizabeth Bennett seeks out the counsel of her aunt, right? And Madrina is like an aunt. She’s a family member but she’s not actually related to them. She’s their landlord, but she’s been in Zuri’s life her whole life.

But I want to talk more about, sort of, the Afro-Caribbean/Haitian spirituality that shows up in this book.

Because it also shows up in Zoboi’s other book, American Street, in a big way.

Meg: It was fascinating to me to discover this as a reader on my second reading of Pride. The first time I read it as a teacher/librarian, and I picked it up, and I was a fan of Ibi Zoboi’s first work, American Street. And, actually, I was a little hesitant to read it because I’m not a huge Pride and Prejudice fan. I’m not a huge Jane Austen fan. I’ve read it but I didn’t go head-over-heels in love with it. And so, I picked this up and read it, and loved it as a novel standing on its own.  I’m delighted to know that it’s on the Green Mountain Book Award list, it was just named.

On a second reading, so taking this book, and now co-teaching it with Jen Ingersoll, with juniors and seniors. It was then that I became a curious reader.

I approached this book with a more inquiry-based lens. So when I read about the Madrina character and all the spirituality from the Afro-Latina culture, I was curious. I didn’t know what I was reading. I had to use Google as look at these things.

Madrina lives in the basement. And she has ceremonies. Everybody comes, and there are drums playing, and everyone’s wearing white and headdresses, and they dance for the Oshun, who’s a deity of the river.

So Oshun is an Orisha and an Orisha is a spirit. Oshun is the goddess, or deity of love. And she’s embodied through water, through the river. So when I think about that, rivers are constantly changing and moving and changing form.  And Zuri is the daughter of [Oshun]. She’s the daughter of the goddess of love.

So it was so eye-opening to read the passage and reconnect this thread that goes throughout the. whole novel. This actually, this river goes throughout the whole novel that connects these themes of love, of why Zuri’s jealous. Love can be jealous, it can be envious. All of these characteristics come through in Zuri.

The idea that Zuri is a manifestation of the spirit Oshun whose an Orisha of water, goddess of water, really plays through with this quote that I just absolutely adore that Ibi Zoboi writes.

If oceans are the wounds of the world, then I am the interconnecting umbilical cord with deep love flowing.

Jeanie:  That’s beautiful.

Meg: That’s one of Zuri’s poems, one of her spoken word poems that’s woven throughout the text of the story, which is a difference in Pride and Prejudice.

So in Pride, what we have is Zuri sharing her spoken word poetry, which gives the readers a window into her inner thoughts and feelings in a way that’s just remarkable.

As a literary device, it’s a remarkable achievement. I also find that in those poems, Zuri writes about the grittier realities of life. When she talks about gentrification, she talks about the junkies on the street. She talks about the lens that, for me at least, I didn’t see so much throughout the narrative, but in her poems, reading them multiple times, you feel the pain and the pride.

You feel the tug and pull that Zuri is between this moment for herself of big changes, and that’s another theme. It’s a beautiful coming of age story. You talked about what it means to be an insider and outsider, what it means to leave home. Can you ever come back? Will it be the same?

Jeanie: For me, you’re just illuminating all of the ideas for how you might use this with students.

As a social studies connector, it does illuminate the African diaspora, and the many places that people of color come from and the many ways in which they traveled to where they are now.

For Zuri, it’s her mother is Haitian American and her father is Dominican, but she was born and raised in Bushwick, Brooklyn. So I think that connects powerfully to some of the things we teach in social studies.

On the other hand, this spoken word piece made me want to use it as a book to inspire poetry.

Meg: It’s a perfect month. It’s April; it’s poetry month. At U32 we’ve invited Jeff Hewitt to come work with our students who are studying this text in their world authors class to work with our students, to write spoken word poetry inspired from the spoken word in Pride. We also had the opportunity to invite Steven Willis, a visiting spoken word artist, to U32 for two years in a row who has introduced this art form to our students.

We want to be very careful that we’re not misappropriating an art form, but spoken word is just following in a tradition of performing your poetry, of knowing that you have an audience that it lives off the written page.

Our students that are participating in this class are a little nervous about that. It’s not part of their culture to have spoken word as it is for Ibi ZoboiIbi Zoboi is a spoken word poet. Elizabeth Acevedo was a spoken word poet who does the audio recording. It’s a part of Afro Latino culture to have spoken word as a part of your life and your form of expression but not so much up here in Vermont.

Jeanie: Yeah, I love the power that you have to speak your poetry out loud. It gives it this authentic audience. Years ago I used to use with students this fabulous documentary called Louder Than a Bomb, which was about spoken word poetry in this contest. There’s a moment where Zuri reads her poem out loud in Busboys and Poets, a bookshop named after Langston Hughes. The Girls in the Hood poem on page 153.  I love the emotion that she feels before when she signs up and then after she’s performed it?

Click or tap to enlarge

 

Meg: It is a gorgeous book, and I highly recommend that folks listen to the audio version as well read by Elizabeth Acevedo.

Jeanie: I loved the audio version so much for that very reason. She’s the author of another favorite book, The Poet X and a spoken word poet. She does those poems so beautifully.

I love that Zuri goes through that emotion that I see our students go through where they have this thing that they’re good at, but then they’re nervous, they’re vulnerable about sharing it and then she shares it and she has this, like people are so delighted with her work and applaud and she has that moment of pride.

It made me think about how do we give our students opportunities to cultivate their specific talents and then share them with an audience?

To go through that cycle of like, oh no, that’s so scary. Oh look, I did it! Oh, people loved it! Right? That’s such a fruitful cycle for growth.

Meg: I think what’s important to note is that Zuri left home, she didn’t do this in Bushwick. Her poems are written down in her journal, but she had to take this journey metaphorically and literally to step outside of her comfort zone.

Perhaps metaphorically and literally our students take this up outside of their comfort zones, step outside places that are familiar and comfortable to a place where they’re standing on an edge of something and they don’t know what’s going to happen if they give it their best shot.

In this case, Zuri gave it her best shot. She knocked it out of the park, and lo and behold, Darius was there.

Jeanie: Of course he was. Of course he was, and of course, she was ticked off about it at first, he wasn’t she? But we will not give away any endings.

Let’s talk a little bit more about what you’ve termed “standing on the shoulders of giants”.

Meg:   Well, it’s this idea that I have that Zuri herself, wanting to go to Mecca, made me think she wants to go to the Mecca because it’s Howard University. So many people that she’s admired have gone there as well. Just as if Ibi Zoboi weaves in these references to people that have influenced her like Langston Hughes, like Ta-Nehisi Coates, by paying respects.

I think that’s a part of remix culture.

We have a song by Drake that references Lauren Hill and plays a loop of her song, that’s giving her so much respect by looping in a verse from her song to bring it to another audience, to a new age.

I think that a remix does that very well by just sprinkling in that these nods of respect to the people who’ve come before us, to the poets, to the writers that have influenced us. Ibi does it in a way that’s very natural, but they really stuck out at me. I made note of some of them, but I’m not going to tell you what they are because there’s such a treasure trove to discover as a reader as you’re going through the book and just make note of all those nods that she gives.

Jeanie: They’re like Easter eggs, right? I remember, her father, Zuri’s father at one point sits down to read a book he’s read many times, and its Howard Zinn’s A People’s History of the United States. That made me chuckle. It’s fun to find these remix elements as you call them.

https://twitter.com/ibizoboi/status/1077234586541797382

Meg: It’s so much fun, and if you’re teaching this to students, it’s fun to find them as a reader sitting by yourself and going through the book.

For a teachable moment using this text in the classroom, now something you’ve curated all these cultural touchpoints to unpack with your students and not assuming that they know who these people are.

Then you’re just going down another rabbit hole after another rabbit hole building knowledge together through those little Easter eggs that Ibi weaves in for us or leaves for us. It’s a delight, absolutely a delight.

Jeanie: Yeah. Wonderful. It also felt to me like an entry point for empathy.

This book for me is an empathetic moment where I get to see what it’s like to be a young woman of color in Brooklyn navigating that world.

It’s an empathy point for me too, to see,  as somebody much older than Zuri Benitez, how young women are navigating relationships and romance in a much different time than when I was a young woman.

I just think often about adults reading young adult and middle grades literature as an opportunity to sort of step in the shoes of a younger character and see what the world looks like now.

Meg: It’s beautiful, and with that, as adult readers coming into YA, we can bring some of our own judgments and prejudices. It makes me think how this book might be unfairly judged by adult readers who aren’t quite so familiar with youth culture. For example, there is a reviewer in the Washington Post, when this book came out last September, who gave it a really negative review based on the Zoboi’s use of slang and African American vernacular English. The critic was thinking that it wouldn’t have much appeal outside of its young adult audience of ages 13 to 17.

https://twitter.com/ibizoboi/status/1044942479852752896

I quite disagree with her, and so did Ibi Zoboi in a well-documented rebuttal that she put out on Twitter. She really stood up for her book and stood up not just for her book but for her characters. I thought that was really telling that as a writer she has such deep empathy for her characters.

These are characters who are marginalized, who are living on the edges, not just of our narratives that we share commonly in our classrooms and in our TV shows and in our film, but on the edges of our society oftentimes. I felt like that was Ibi’s opportunity as well. She just stood up for these characters once again.

I had the opportunity to hear Ibi Zoboi speak at the Vermont College of Fine Arts in January where she got her Masters in writing for young adults in 2011.

She wrote that when she’s approaching a new book, anything she writes, she asks herself, are the children well?

It’s a Masai greeting that she has discovered, and she approaches her novels that way. “Are the children well?” When we think about approaching this text with empathy, are the children well? Is Zuri well? Is Darius as well?

Jeanie: You bring up something for me that I’ve been thinking a lot about as I’ve been reading more about culturally sustaining pedagogies.  This assumption that the only language, the only academic language or the only language we can speak in schools or in books, is standard American English.

There’s a moment in the book actually wears Zuri and Darius have this discussion that I’m just going to share because I think it’s illuminating, this idea that, oh, there’s too much jargon and there’s too much vernacular in this book. They’re in the car and it’s uncomfortable and they’re trying to find some music, and she says,

“Ain’t nobody laugh, Mr. Darcy. So seriously, you don’t got no trap music?” I ask, trying to figure out the buttons on his dashboard.

“You mean, do I have any trap music?” He says this slowly, enunciating every word.

“Hold up. Are you correcting me?”

“Yes.”

I don’t have any words for him. I just stare at the side of his face, and if he wasn’t driving at 65 miles per hour down a highway right now, I’d mush him so hard it would make him rethink his whole life.

Zuri’s point is well taken here. She is a perfectly intelligent human being.

Because she speaks the way her community speaks does not make her any less intelligent.

Meg: She knows how to code-switch. When she meets the grandmother, Darius’s grandmother, who is very rude and judgmental of Zuri. She’s very wealthy. She has a lot of class judgments of Zuri and where she’s from. She’s not happy that they’ve moved their family to Bushwick. She enunciates.

Zuri can pick up on all of that and just flip on the dime how she approaches the world and how she communicates. That’s a real undervalued skill, I believe. It’s speaking a second language.

Jeanie: Yeah, and Zuri calls her out too, just because you can speak a certain way and you have nice clothes doesn’t make you a kind person, doesn’t mean you’re polite, or you have good manners. That again reminded me of Jane Austen’s original, right, that money does not equate good behavior or good manners.

Meg: It’s so true.

Jeanie:  I’m really glad you pulled out that story about the Washington Post and also pulled out this notion of the slang and the vernacular that’s present in the book. I think as educators it’s really easy to short sell young people’s culture, and their culture just like ours did before folks, does include new language, new terms, new ways of speaking things just like ours did when we were young.

Meg:  And in Shakespeare’s time, as Shakespeare used a lot of slang in his plays. At the time it was considered quite lowbrow and vulgar, and now he’s held up as the epitome of highbrow literature.

Jeanie: Right. That’s a great point. I love that. Maybe Austen did too. Who knows?

Meg: Right.

Jeanie:  You’ve been using this book with students a lot. Is there anything else you want to share about how that’s going? How are students reacting to the book?

Meg: Well, I would just want to give a shout out to my colleague Jen Ingersoll who is taking a risk and introducing this book to her World Authors AP level class. The students have been digging into a treasure trove of authors from Achebe, to Kafka, to Chimamanda Ngozi Adichie. They just finished up Pride and Prejudice by Jane Austen in February.

Jen had seen a review I had left about Pride on Goodreads. My first reading, I gave it five stars. My second reading, I’m giving it 10 stars out of five. She approached me, I thought, out of a place of curiosity.

Could we use this with our students? It might make a great way to pair up with Pride and Prejudice. She’s looking to actively disrupt the canon of what is traditionally taught, even in a class that has a lot of diverse authors anyways that she’s introduced to the students.

I also think she’s disrupting it by bringing in young adult literature to an upper level English class, Where young adult literature is usually on the margins of what’s considered academically rigorous to unpack in a curriculum. As a librarian, I really appreciate that because we sell books all the time. I hand out books all the time to students who are looking for independent reads for pleasure reading, but not so much for books that are used in the classroom. I see it from a couple of different angles.

We are in the middle of teaching this unit, and our students are juniors and seniors. There’s a wide range of reactions to this book. Some students are really having a hard time liking Zuri, finding her not very likable, finding her pretty abrasive and immature. Some students finding out that this is their favorite book that they’ve read in quite some time.

They’re all approaching it with a real analytical lens, looking at thematic comparisons between Pride and Prejudice, looking at themes of gentrification so you can weave in history and social studies and sociology, race and gender.

They’re keeping dialectical journals, comparing the texts. We’re going to go into a spoken word unit which pairs very well with this text asking our students to give us a summon of assessment that will be a spoken word, which is going to push them outside that comfort zone.

Jeanie: It could also ask them to do their own remix in a way.

Meg: Exactly. We might leave that open for interpretation.

Let them help design the assessment.

What would they remix? Because we don’t want it to be a traditional paper? That that belongs in the Pride and Prejudice unit. We don’t want it to be a traditional dialogue. We want something to be new and fresh but relevant for the students to connect with.

They’re finding a lot of connections in their place here up in Vermont.

I mean we’re experiencing change as Vermonters, and they can see it with their own eyes. We may not have bodegas but we have general stores where sometimes you go by and the old guys are sitting out front talking about local politics, just like on the bodegas.

We have dairy farms that are dying off every year. There’s a loss of culture. There’s a loss of some of those cultural touch points in Vermont with new people moving in, bringing in new ideas and new customs and maple lattes for example.

So, it’s complex and they can see it with their own eyes as well.

Jeanie: I drive through Brandon all the time and I always want to do a study in Brandon on a side of a house. As you’re heading into Brandon from down south, it says, “Better for who?”  It’s about the way they’re updating Brandon, Vermont. They’ve put in a new road. I always think I want to know that person’s perspective. Wouldn’t that be interesting because it’s sort of like who is Bushwick better for? When gentrification happens, when change happens, who are Vermont maple lattes better for?

Who’s on the inside and who’s on the outside and who can’t participate?

Who’s unable to get that maple latte. It’s usually the folks who’ve already been here because it’s just– it’s so complex.

Jeanie: When property values go up, who gets to stay and who has to leave?

Meg:    Exactly, and who gets pushed out.

Jeanie: You bring up #DisruptTexts, there’s a hashtag DisruptTexts. The mission of #DisruptTexts, which was started by three educators is as follows:

Disrupt Texts is a crowdsourced, grass roots effort by teachers for teachers to challenge the traditional canon in order to create a more inclusive, representative, and equitable language arts curriculum that our students deserve. It is part of our mission to aid and develop teachers committed to anti-racist/anti-bias teaching pedagogy and practices.

I’m going to ask you why should we be challenging the canon?

Meg:  think we should be challenging the canon because it does give a platform for marginalized voices, stories, and authors.

It’s essential that we disrupt the tradition of only hearing from certain people, certain races, certain perspectives.

Change is hard. Change is hard for Zuri. And change is hard for our English curriculums in our schools and which stories are our cultural foundations. To Kill a Mockingbird is one, for example, that often comes up and is often taught, but why not use The Hate U Give by Angie Thomas instead, which is a new book that came out that’s about agency and finding your voice. That’s about the themes of self and society. Yet there’s a feeling that if we don’t teach To Kill a Mockingbird, that our students are missing out on a language that connects them to a tradition, to a foundation.

However, I question and I ask, if they can’t find any relevancy in the characters, or the setting, or the timeframe. If they can’t crawl into Atticus’ skin, because they can’t relate to him, because they don’t see him, they don’t know who he is, then how can they ever even connect to the themes of the book?

I wonder more and more if giving students’ opportunities to pick and choose books of similar themes, text sets that they might find more relevant, could possibly be a win-win. Any one of us could say, okay, these are the 10 most influential books every high school student needs to read, and we’re going to have 10 different book lists created.

Getting folks who make these decisions around the table to really sort of unpack where they’re coming from, their biases, and be open to trying new texts from new authors.

I mean, seeing how our students respond, in my opinion, it’s a win-win.

Jeanie: I couldn’t agree more and I think there are several layers to it. I think it’s really crucial that every single one of our students see themselves in our curriculum, right? In Vermont, while we may be a very white state, we still are teaching students of color, and they deserve to see themselves reflected in the books we teach, in the topics, in the content that we bring to them.

It’s also really important for white students to step into the skin of somebody different than themselves, right? It’s really important for them also to see themselves not at the center of a story, to experience a world in which they’re being asked to see the world through somebody else completely different’s eyes.

I would say the same thing about books and stories that feature members of the LGBTQ+ community. It’s really important for boys to read stories that center female main characters, right?

We can’t always read about people just like ourselves.

Both of those things seem really important to me. Seeing yourself in literature, and some of us have the privilege of seeing ourselves in literature a lot, and also of being able to have empathy for the other people’s experiences by stepping into their shoes in literature.

Meg: Yeah, I couldn’t agree more. There’s no better vehicle for that than through a book and through a book that’s being carefully unpacked and discussing in the classroom setting. Just as I, on my first reading, loved this book. On a second reading, interacting with this text and listening to dialogue that my students are having about this book has given it so many more layers than I had sitting alone reading it to myself.

We have this relationship with our books that’s quite intimate. We take them home, we read them, we sometimes talk about them with other people, but we can return them and we read a new one. They come to life when we have opportunities like this podcast. You need to talk about them, to talk about them with other people because we build and create that knowledge together.

A text like this that might throw our students off balance provides such rich learning opportunities.

Jeanie: I also heard you say, and I’m in your camp 100%, that it’s important that we bring YA into the classroom. When I was a middle and high school librarian, I worked with an AP English teacher, and towards this time of year, we would pull out all of the Green Mountain Book Award Books of the year, end of the year before, and kids would have choice.

I would buy multiple copies and they would get to choose a Green Mountain Book Award Book. Those were some of the most successful experiences they had in that class because those were their favorite books of the year. They were no less rigorous around the work they did around them. The reading was not necessarily easier. Some of the books were actually quite challenging or long, right.

They had this relationship with the book that was different than they had with Hamlet or than they had with The Things They Carried, for example.  I’m curious about using YA and middle grades books in our middle school and high school classrooms. Any experiences besides Pride you’ve had with that?

Meg:  At U32, thanks to our English department, and Kara Rosenberg who joined our school three years ago and chaired the Green Mountain Book Award Committee, has been instrumental as well as teachers who were ready to see this change in the department where they’ve implemented independent reading time for 15 minutes at the start of every English language learning arts class.

Our students are reading anywhere from 30 to 45 minutes a week independently at the start of their classes, and it’s been a game changer.

Our 10th graders also, just like what you said with your GMBA project, had to read a GMBA book over the summer and then be prepared to present a project for it for the library, like a marketing project using the book that they read at the GMBA list.

Now, these books are selected with great care and expertise and are celebrated with a lot of joy when they’re released in Vermont. It’s wonderful to see them being promoted in the classroom and to have time carved away during the instructional time for students to read independently.

I think that for some students that’s the only time that they’re given or they’re allowing themselves even to read independently.

These are students, I think about our emerging readers or readers who considered themselves non-readers. To have 15 minutes a day with a book in front of you, perhaps with a teacher or librarian who is very invested in finding the right fit.

There’s so many options in YA right now; it’s a wonderful time to dig into young adult literature. Unlike when we were younger and teenagers, I can’t recall a young adult book that I read. I think I stopped reading young adult after middle school after I got through all the Judy Blume books and I moved straight on to adult fiction or whatever was being taught in the classroom.

It is a golden age right now for young adult literature.

If you haven’t yet enjoyed a young adult book that there are so many layers to them. There’s love and romance, and yes, they’re coming of age stories because we’re capturing what it feels like to be of an age where you’re betwixt two worlds; you’re betwixt childhood and adulthood. That means they’re no less heavy hitting or dealing with issues that we’re dealing with just from a lens of young adults.

Jeanie: And they are literary.

Meg: Very literary.

Jeanie: There’s a lot of literary merit to them. It makes me think, I struggle a lot when I encounter teachers or parents that turn reading into a chore. For me, reading is so joyful, and that’s fed me personally and professionally, right?

Reading brings me joy, and anyway in which we can help our students, our young people, our children, our learners to love reading feels worth the effort.

Meg: Books like Pride by Ibi Zoboi, books by Jason Reynolds, Angie Thomas, Renee Watson, where our students can see themselves on the pages or perhaps have this encounter with someone that they don’t know anything about. Somebody like this character but they’re curious and they’re interested and it feels a little edgy. When they’re talking in slang and they’re referencing Beyoncé they’re making it relevant. It’s a joy to read something like that for students, I think. We all know, we all have students who just are non-readers, and its books like Pride who can turn the tide for students.

Jeanie: Let’s name some more of those books.

We also talked about sort of books that maybe could be paired, the way you’ve paired this one with Pride and Prejudice, in order to disrupt the canon a little bit, to challenge the canon.

One of the pairings that I thought about recently was Monster by Walter Dean Myers, which truly is a great way to talk about the juvenile justice system through literature. Pairing that with Dashka Slater’s, The 57 Bus, which delights me because that’s two books that are sort of outside of the traditional canon paired together. Let’s think about some other books we might bring in or we might pair.

Meg: I think about Trevor Noah’s Born a Crime which would pair very nicely perhaps with Catcher in the Rye. When you think about a young man’s sense of identity. His first forays into freedom. Trevor Noah’s memoir is about growing up in South Africa, in Johannesburg.

https://twitter.com/JPhillipsVT/status/1119956192187625472

He was born to an African mother, with a German father. He couldn’t even play outside on the streets because in the mid-1980’s, the procreation act, the act that he just came into being because his parent made him was illegal. It’s a very reflective memoir that intersects race, class, and politics that you could pair with something like Catcher in the Rye. Students can connect with Trevor Noah.

Jeanie: It’s a brilliant book. I have to say I purchased it on audio. He reads it, for my son and I to listen to when my son was in high school. He loved that book and I did to. Trevor Noah is super smart about race and does a great job of educating us all about the construct that is race. Yes, that’s a brilliant book.

Meg: I think of this books things like The Handmaid’s Tale and looking at the Green Mountain Book Award list. That contains authors who are diverse, that we are hearing from marginalized voices.

I think the key is whenever we’re reading a story, is to think about whose narrative is being centered.

I think of a book like Tommy Orange’s, There There, that came out in the fall that I shared with some of my faculty in the English department. Already, they’re considering adding it to their American writer’s curriculum. It’s a new voice, it’s a debut novel, but again, a very old voice. He is an indigenous Native American writer.

He has made it a very contemporary urban tale. Whereas traditionally, I think that we’re used to reading indigenous voices from the past, telling stories from the past, but not from a new lens, not from a present-day contemporary perspective. I think that book particularly is very exciting.

Jeanie: I loved that book so much. I loved that it upends this outdated notion of what it means to be Native American because all of his characters are urban and Native American, and living mostly in Oakland. That’s a gorgeous novel. It does bring really fresh voice especially as we struggle with whether or not to teach Sherman Alexie in this current moment.

https://twitter.com/wideeyedla/status/1085937576706371584

I also think of Jason Reynolds as one of those voices, especially for our middle-level readers that sort of brings this fresh perspective and high interest. Kids are loving his books. They can’t put them down.

Meg: They are verse novels. What that means is there’s a lot of spoken word in his novels. To read them, it looks on the onset like an easy read for our young readers, but again, interwoven into his words is the struggle. The struggle of what it means to be young, black, and living in a place or places that can be violent, where there is gun violence, where there is drug use. His Long Way Down is absolutely stellar. I’ve bought multiple copies of that book. It’s been awarded lots of shiny stickers on its cover, highly recommend.

Jeanie: Yes, that’s a great one. I have heard that many reluctant readers can’t put that down and want a book like that. I know for my son growing up in Vermont, often the violence he would hear about on the news or in the media felt so far away. A book like that allows us to step in and have empathy for people for whom this is their daily life. And yet, we can’t ignore that that kind of violence also does happen in Vermont.

Meg: Absolutely.

Jeanie: What else are you reading?

What else are you recommending to your teachers and your students?

Meg:  Some books that I am recommending to my middle-grade readers, and I am delighted to see that this was nominated for the Dorothy Canfield Fisher list, is The Prince and the Dressmaker by Jen Wang. It’s a graphic novel. It’s a fairy tale story.

In the story, the Prince doesn’t feel completely like himself until his dressmaker starts to design him some dresses. He is a very gender-fluid, non-binary prince, who fully comes into his own. It is a beautiful story that feels authentic. I am delighted that it’s going to have a wider audience being on Dorothy’s list.

Other ones that I am recommending for my middle readers, of course, I’ll mention again, Black Enough. It’s Ibi Zoboi’s anthology of stories about being young and Black in America. She’s curated many authors. Some of whom have gotten their writing chops at the Vermont College of Fine Arts. There is quite an alumni list growing from that campus in Montpelier of writers.

That book is very accessible. It’s got Jason Reynolds stories, Nic Stone, Renee Watson, writing about what it means to be Black, which again is a theme that she explores in Pride.

You are enough, you are enough exactly, who you are.

Angie Thomas has her new one, On The Come Up, which is not a sequel to The Hate U Give, but it is a stand-alone. Its own story about rapping and a young teenager who is finding her voice again.

This theme of finding our voices is very hot right now in young-adult literature.

I’m delighted.

Jeanie: Ghost Boys seems like a companion to The Hate U Give, especially for middle-grades novels. Who has written that?

Meg:    That was Jewell Parker Rhodes.

Jeanie: Yes. That’s on my next-to-read list.

Meg:    I haven’t read that, but I read her Ninth Ward that came out after Katrina. It wove magical realism with this story of survival from a young girl who was trapped in the attic of her home with her grandmother after the Ninth Ward flooded with Katrina. So, I highly recommend that book as well.

Jeanie: That was a gorgeous book. I loved that one too. It really put me in the shoes of somebody who experienced that tragedy in a way I couldn’t otherwise have experienced it.

These are all great titles. I’m super-excited about checking some of them out.

Anything else you want to say about Ibi Zoboi’s wonderful remix of Pride and Prejudice, Pride?

Meg: I would just let everyone know that it is a treasure trove to be discovered. The more that I encounter this text, read this text, and work through it with students literally every day, I am finding a new thing to appreciate, new things to discover. I don’t want to spoil it too much for you, but my colleague Jen Ingersoll and I will be creating a syllabus and sharing that out to the world of the resources that we’ve gathered. We’ve been watching YouTube videos about dapping, and listening to Bushwick poets read at poetry readings.

Just really discovering and bringing to life this community of Bushwick for our students in East Montpelier, Vermont. It’s been such a joy to co-create with her. I just want to give a shout-out and a nod to her, and for having just the courage to take a risk and to do it with me. It has made coming out of winter and coming into spring a delight.

This is usually a very hard time of the year because it has been a very snowy winter, but knowing that I can go to school every day and work with students around this text, I literally I’m waking up every day with a smile on my face. It’s exciting. It is a great text.

Jeanie: I just have to say I cannot help myself…  just watching you talk about this. I’m so delighted that you’ve brought your full learner-self to this text. It makes me wonder, do we in part teach the books in the canon because we know them so well, that we don’t have to think about it?

What joy awaits us when we put aside the book we know so well to take on a new one and to be learners alongside our students?

Embrace that joy, folks. I know you middle-school teachers especially are good at that. You’re really great at keeping up with Dorothy’s list and bringing new books in. I just want to keep encouraging you to do that, because watching Meg light up about the learning she is doing around this book, I can’t help but think about what an inspiration she must be for her students. Thank you so much.

Meg: Thank you, Jeanie. It’s been a real joy.

 

 

Jeanie: I’m Jeanie Philips, and this has been an episode of #vted Reads. Talking about what Vermont educators and students are reading. Thank you so much to Meg Allison for appearing on the show and talking with me about Pride. If you are looking for a copy of Pride, check your local library. Special thanks to Audrey Homan, audio engineer extraordinaire. To find out more about #vted Reads, including past episodes, upcoming guests and reads, and a whole lot more, you can visit vtedreads.tarrantinstitute.org. Follow us on Twitter and Instagram at @vtedreads. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

#vted Reads: The Power of Moments, with Rachel Mark

Thank you for joining us for another episode of #vted Reads.

#vted Reads logoThis time we will be discussing The Power of Moments: Why Certain Experiences Have Extraordinary Impact. We’ll look for ways to make classroom moments more powerful, explore opportunities to raise the stakes for your students, and visit the popsicle hotline.

Oh, and we’ll talk about the “soul-sucking force of reasonableness.”

On to the conversation!

Jeanie:  I’m Jeanie Phillips and welcome to #vted Reads. We’re here to talk books for educators, by educators, and with educators. Today. I’m with Rachel Mark, and we’ll be talking about The Power of Moments by Chip Heath and Dan Heath. Thanks for joining me, Rachel. Tell us a little bit about who you are and what you do.

Rachel: I’m Rachel Mark. I live in the southern part of Vermont, and I am in my fourth year of working as a professional development coordinator for the Tarrant Institute for Innovative Education. Prior to that, I was a middle school teacher for 16 years in Manchester at Manchester Elementary Middle School, and I’m also a mom. I’ve got three kids, an 8-year old, a 12-year old and a 15-year old, and we all live in sometimes happiness with our dog and my husband in southern Vermont.

Host Jeanie Phillips, left and guest Rachel Mark, right hold a copy of the book The Power of Moments

Jeanie:  Excellent. Thanks for joining me.

I know you and I are very excited about this book, The Power of Moments by the Heath Brothers.

Jeanie:  Let’s just talk a little bit about what it’s about. The Heath brothers talk about defining moments and they described them as meaningful experiences that stand out in memory. Why do you think they took the time to write about them?

Rachel:  That’s a great question. I think one of the things thats so lovely about this book is that it’s psychology, but it’s also culture and sociology, and I love that the Heath brothers think about these parts of our behavior and our lives that are kind of overlooked and tried to look at them really carefully and examine what’s unique about them. This interested me when it first came out, because I have noticed some of the same sort of observations that they have about why or something is so special.

Why are some moments more impactful and meaningful than others?

So, part of me was darn it! They beat me to writing this book, but they’re far more accomplished writers, and I’m glad that they beat me to it.

Jeanie:  Yeah. So, let’s give some examples. I’m going to give a non-education example of a defining moment that just delighted me early in this book, in the introduction. So, I’m going to turn to page 10. This defining moment takes place at a hotel. Actually, it’s called Magic Castle and it’s in Los Angeles, outside of Disneyland. So, here’s the description.

Let’s start with the cherry-red phone mounted to a wall near the pool. You pick it up and someone answers, “Hello, Popsicle hotline.” You place an order, and minutes later, a staffer wearing white gloves delivers your cherry, orange, or grape popsicle to you at poolside. On a silver tray. For free.

https://twitter.com/jesslyness/status/885591359381307392

I love this idea that if I went to a hotel and there was a cherry red phone, and I got to pick it up in order my popsicle, and it came out like almost livery service. I would be so delighted and I would never forget that.

Rachel:  It is unforgettable. At the same time, there was a piece of this that troubled me about this leading the book, because it does develop this idea about moments and memory, but it was also such a kind of trivial example, silly example that I wanted more from the book which comes.

Jeanie: So, this book is organized in such a way that it has two goals. One is to examine defining moments, and what makes them memorable, or meaningful, what helps them stick with us. Then the second goal is to help us create more defining moments so that we can improve our lives and the lives of other people around us. So, it’s not an education book, right? It’s a popular press book.

We can look at it through the lens of what makes a moment a defining moment, and then how can we create more defining moments in education.

Rachel:  Right. When you said that it prompted me to look at the book and notice that it’s really suggested as a business and economics book. I would also call it a psychology book and sociology because I think so much at play psychologically and sociologically. But as I read this, I read this as both an educator and the mother of children. I have no frame as a business leader, but I could see so many applications of this book to education.

Jeanie:  Yeah, I could too. My son has now left my nest, so I read it as an educator and also as somebody who just wants to have more memorable moments in her own life, as a human.

1. Elevation: building “peaks”

Jeanie:  So, let’s look at what makes up a defining moment, and the first thing the Heath brothers go into is elevation. What do they mean by elevation?

Rachel:  A few things stick out to me about their definition of elevation. They describe elevation as two things: building peaks and breaking the script.

To me, the piece about building peaks was resonant.

I do think that we have moments that stand out more than others in our lives, and that those moments must do something to us that’s transformative. They either provide for us a feeling in our hearts, or some kind of fizziness in our brain chemistry, but I do know as I’ve lived my life that something happens to me when I think about certain parts of my life. I’d be concerned if that didn’t happen for other people.

So, the piece about building peaks to me was really important. That’s probably why I really latched onto that senior signing day. One of the other stories that is important to me from the book is the story that comes from Hillsdale High, where teachers recognized that there were not enough kind of peaks for students in their high school experience.  A couple of really creative teachers developed an experience called the trial of human nature.

It’s essentially a kind of interdisciplinary and experiential learning experience that I believe was introduced for juniors at this particular high school. It’s a public school in California. It became so popular that I think other teachers in this school started to feel perhaps a little let down, and so some other teachers develop then something called a senior exhibition.

This person who is now the principal of this school named Jeff Gilbert talks on page 51 in a way about school that made sense to me.

School needs to be so much more like sports.

“School needs to be much more like sports,” he added. “In sports, there’s a game, and it’s in front of an audience. We run school like it is nonstop practice. You never get a game. Nobody would go out for the basketball team if you never had a game. What is the game for the students?”

That was something that I felt in my own experience as a teacher. I felt like even for myself, for my own, I don’t want to say sanity, but I needed things to look forward to, and moments to build up to, and moments of performance that we’re both engaging and fulfilling for the student, and as a teacher, I found them fulfilling too.

Jeanie:  I just want to throw in there that this really resonated for me as a student.  What I don’t remember is ninth grade history, because it was textbook, worksheets, and a teacher with a really droning voice, and it was the opposite of peaks. It was the flattest course ever, which made me think I was a terrible history student. But then I had Mr. Richardson and I had him for Russian history which I loved, and I had him for AP world history.

My most memorable high school experience or performance comes from his class where we had a debate.

We were put on teams, and I was on team Germany, and we had to debate who started the Second World War. Germany’s a tough person to be in that position, but I took that challenge. We had a panel of experts, and we got points, and I don’t want to brag or anything but I kind of won. The Germany kind of won that year, and I still think of that as so memorable, because it was a peak. We worked really hard towards it. We knew that there were these expert historians coming in, and I still remember it. I still know more about the start of World War II than I do about any other point in history.

Rachel:  That’s a great example of building peaks in the experience of school. I tried, but I could not think of many moments like that in my own experience in school, which may be why I’m so motivated to cultivate those moments for students now. I thought a lot about how some of the work that you and I do with schools that involves using strategies and approaches around project-based learning, complements this idea of building peaks.

The nature of project-based learning is that there’s some authenticity to the work, and hopefully some public performance and public product.

I have always felt like that’s a really important element of project-based learning. It helped me to think about those aspects of PBL within the context of this book and how it is about building a powerful moment.

Jeanie:  Exhibitions are often our powerful moments.

This morning I was at Leland and Gray with an engineer and somebody who worked in an architect firm, and we were giving feedback to seventh and eighth-grade students on their designs for projectile launchers for battle physics.

This was one sort of peak moment on the way to a larger peak, which is when they compete with students from Dorset School and Green Mountain Middle and High School. Their launchers go head to head to see you can hit the targets.

So, we have many other examples of schools doing really fabulous exhibitions where they build these peaks for students to show off. Do you have others you want to share?

Rachel:  I don’t have a specific one I want to share, but what you’re talking about makes me wonder what are the sort of conditions that are at play when we’re building those peaks. It makes me think about a few things. As you and I have worked with some schools in the last year or two, I do think that there is an element of fun with this event and that the peak event.

We may be in danger of underestimating the importance of fun.

Because I think that though we don’t want to put that at the forefront of our educational experiences and our assessments, that is probably what makes some of these things so memorable.

Jeanie:  Right, and the Heath brothers talk about two different aspects of peaks.

One is that they have sensory appeal that makes me think about what you’re saying with fun. They appeal to our senses. The other is that they raise the stakes.

Rachel:  Right. That was the piece that I was just thinking about with your example of the battle physics and students consulting with experts in the field is that there’s accountability and an authenticity to that experience. And so it does, they step up their game, because they raise the stakes.

So, I definitely think there’s something I almost wonder if we could rewrite the description about exhibitions, and the meaning and purpose for them to acknowledge some of the ingredients from this book about that being a peak moment with sensory experience and raising the stakes. We have, you know, reminds me of the example that came out of the school we both work with at MEMS. Students presented to the select board about their findings for some research.

In your videos and your footage from that, I can remember them being dressed up and poised. And students talking about how nervous they were, and I thought about that and thought they are going to remember that.

Jeanie:  It reminds me that so many of the things that are memorable or important to our students’ lives are extra-curriculars. You mentioned sports earlier. I think in a lot of communities is drama, the school play is a huge deal and the kids who do it year after year. Or musical performance, right.

You have to perform. You have an audience. The stakes are high.

You’re all in. And kids really passionately commit to that, and to all the learning. Whether it’s learning lines or choreography or learning whole musical pieces, right? There’s a lot of learning that they have to do in order to show up on performance day.

Rachel:  It’s reminding me about a blog post that I wrote about exhibitions, where I wrote about my own experience about exhibitions.  It wasn’t until I participated in an exhibition that I had some new insights into what is happening when we ask students to publicly exhibit work.

I learned two things. When I had to do a public exhibition at the deeper learning conference at High Tech High in California. I can remember being nervous and worried and I felt a little insecure because I was standing there sort of waiting for people to come up to me.

The emotional responses that I was having are doing something to solidify that experience in my brain.

Then the second thing, I realized was when I was explaining that work multiple times to different people, I got better at describing my learning. I actually was learning as I was talking. So, what I started out describing was something that I made with a group of people some of whom were complete strangers in about 40 minutes.

At the beginning of my presentation and exhibition sharing, I was a little embarrassed about the quality of our work and pretty unclear about how we got to this particular visual. By the end of that hour, I actually made sense of it in my own head and got a lot more clear about the different steps we went through in the process of this activity. So, it was interesting for me as an adult to go through that, and we think that’s all practice up for that event, but it was actually during that event that I had some pretty significant learning too.

Performance *is* learning

Jeanie:  I really love that. It reminds me of how we often think of performance of learning, but performance is often learning, right? You work with Flood Brook, and their middle school students presenting their passion projects. It makes me think how many of those kids maybe don’t get it the first time they do passion projects. They may not do it very well. They might not spend their time wisely. Some of them absolutely do, but then through that performance, standing there for an hour and a half explaining their project to so many different people, they might have new learning, new insights that might lead to new skills and habits.

Rachel: Yeah. I definitely agree with you. That’s another example of creating a moment that has that memory and impact for kids.  It does consider building a peak and raising the stakes, because there’s people there. When I’ve talked to students there they say,

“Yeah, this made me work harder, because I knew there were people looking at people watching.”

Jeanie:  So there’s a quote from this section that I just think is so apt for schools. I know even in the book it described schools, with our schedules, our regular routines and schedules as rather flat, and the quote I love is:

“Beware the soul-sucking force of reasonableness.”

It’s just a reminder that what’s reasonable it does not always lead to the most impactful or memorable learning, right? Sometimes we have to be unreasonable and go out of our way to create peak moments. Not all the time, not every day, but sometimes we have to do the extra work, or do the unreasonable thing to invite engineers and architects into our schools to give kids feedback, or to take our kids out into the world to have a peak experience.

Rachel:  Right. I’m finding this part on page 53 where the author says, most of our school experience and life experiences are:

“Mostly forgettable and occasionally remarkable…” The “occasionally remarkable” moments shouldn’t be left to chance! They should be planned for, invested in. They are peaks that should be built. And if we fail to do that, look at what we’re left with: mostly forgettable.

So, that’s inspiring to me to think that we should plan for peaks.

Jeanie:  Yeah. When we work with teachers on project-based learning, we ask them to think about those peaks early on. How well kids exhibit? Who will the audience be beyond you? How will we make this meaningful work for them to do, real relevant meaningful work for them to do?

Rachel:  When you launch in project-based learning, you’re even building a peak to build investment and generate excitement.

Jeanie:  Or you could be utilizing the second thing they talk about in The Power of Moments, which is insight. So a launch could be a peak. It could also be a moment of insight, and I really love this section even though I think it’s trickier. It’s harder for us to imagine where the Heath brothers talk about how when you as a human trip over truth they call it, that it packs an emotional wallop. They give these examples like these moments of discovery, these Aha moments. Do you remember any particular moments from the book?

The power of insight

Rachel: This was a hard section for me.

Jeanie:  One example that I remember is that they bring together all of these professors with their syllabus, and they realize that by looking at their syllabi together, by examining them together, they realize how uninteresting and boring they are. Like they have this moment of insight where they’re like, “Oh, right, this appeals to no one,” so, then they go back and revise. Instead of saying your syllabus stinks, they give them this opportunity to discover it on their own.

Tripping over truth

They talk about the one page, 105. They say there’s a three-part recipe for tripping over the truth: one is that you have this clear insight, it’s compressed in time, and the audience discovers it by itself. So, when I think about that, it reminded me of simulations.

I think a carefully crafted simulation can be that kind of opportunity.

Rachel: As you were talking, I was thinking about those three ingredients, the three-part recipe. It made me think that perhaps when we work with adults, when we work with a group of educators or a group of leaders, and we facilitate a protocol, which you’re famous for, we are conducting one of those three part recipes to trip over the truth.

I’m sure it doesn’t happen in every protocol, but in the best ones we are compressing, it’s compressed in time, and it’s revealed through the process that there are a few really critical insights about some experience or some conflict or some system.

Jeanie:  One of my favorite protocols to do whenever I’m working with adults, but also with kids. I’ve done this with high school kids and with middle school kids around equity and the way we treat people differently and status.  Its called Liar’s Poker. It asks you to get a card that you can’t see and put it on your head two to ace.

https://twitter.com/JPhillipsVT/status/820062082083090432

The higher your card, if you’re an ace or king or queen, the higher your status. So, you pretend you’re at a party and you’re trying to talk to the highest status people. Really quickly you end up with clumps. So, we do that for about 15 minutes.

Then I ask people to put themselves in order, still not looking at their card, and figure out where do you think you are. Almost always people get in pretty close order from two up to ace. Then we have a discussion. How did it feel to be a two? How did it feel to be an ace? And how did it feel to be an eight? What do you think happened there? How does this relate to what you see happening in school or with students? It really fosters a really rich discussion that allows people to trip over the truth of how inequity shows up in their setting.

Rachel:  That’s a simulation, right?

I mean, you’re simulating some sort of social strata and social experience that really happens.

Jeanie:  Like the brown eyes and blue eyes experiment, where a teacher sort of said that blue eyes kids were smarter and more capable than brown eyes kids. Over the course of several days, this sort of eye racism, this eye bias played out in the classroom. It’s really interesting film to watch. I think it’s from the seventies, you can still find it on YouTube. I’ll make sure to put a link in.

Stretching for insight

Jeanie:  The other thing in the insight chapter that I think is more relevant, especially as we engage in proficiency based education is this idea of stretching for insight. On page 122 and 123, the Heath brothers cite a study on how students respond to feedback. I found that really interesting because so often we think we know the research shows that if a kid just gets a grade, they don’t even read the comments.

High standards + assurance

Rachel:  Yeah. I’m so glad you brought up this part, and so I just turned to page 122 and 123, where the Heath brothers describe the work of a psychologist and a study that they conducted in a, I’m going to call it a middle school, they call it a suburban junior high school. In this particular paper by David Scott Yeager, he says there’s a two-part formula for… sorry, I don’t know what to call this. Anyway, David Yeager identifies a two-part formula in his research and he says “It’s high standards plus assurance.” I think that’s really interesting because I definitely hear schools and teachers talk about having high standards and how important high standards are. I have yet to hear the word assurance.

Jeanie:  This reminds me so much of my podcast with Bill Rich, talking about the culture code and sending this message of, “We have high standards here. You’re a member of this community. I believe you can meet those standards.” Essentially that assurance is like, we’ve got high standards here and I’m certain that you can put in the work to meet them.

Wise criticism

Rachel:  Yeah, and that’s what this psychologist found in his research. The teachers really gave deliberately different feedback in this test group. Rhe comments that the teacher gave to the test group were that high standards and assurance. One particular comment says, “I’m giving you these comments because I have very high expectations and I know you can reach them.” So, that was what the researcher called wise criticism, and almost 80 percent of the wise criticism students revise their papers. In editing their papers they made more than twice as many corrections as the other students.

So, for the other students that received a generic note in the teacher’s handwriting, the note said, “I’m have given you these comments so that you’ll have feedback on your paper,” which is hilarious. In that case, about 40 percent of the students chose to revise their papers. So, the finding is, that second note with the assurance is powerful, because it really changes the behavior of the students.

Jeanie:  We know that in order for students to take feedback and use it well, it has to be clear, it has to be actionable, it has to be timely. They need to be able to use it right away, and that’s the whole crux of proficiency based education is that you get the feedback you need to have to gain that insight, to do the work you need to grow.

Feedback that matters

It reminds me of a story from something I was reading recently about proficiency based education, which is a student goes to their teacher and says, “You know, all year you’ve been writing this word on my essays and I just don’t know what you want me to do.” The teacher says, “Well, what?” He says, “Vaguu”, the word was vague of course.

https://twitter.com/kdb4541/status/1045349651107520512

It has to be meaningful to the students, it can’t just be meaningful to us. The feedback isn’t for us. It isn’t like, we’ve done our job, we wrote on the paper the feedback is for the student, and how do we make it actionable, unintelligible to them.

Rachel:  As we’re talking about this, the section is making more sense. Like, I don’t know why. Some part of me thinks that I got tired at this point in the book as I was reading, which does make me remember that as I read this book, I had wished it was shorter, and I felt like it could have been accomplished in fewer pages. So, this second part about insight was where I got tired in the book. Can we talk about the next section?

Jeanie:  We certainly can.

Not all moments have all of these elements.

Tripping over insight is a particularly difficult thing to accomplish in schools. We can’t all be Mrs. Frizzle in the Magic School bus. We don’t have those powers and that can feel like what it is, is like you have to orchestrate at that level. But a good field trip can help kids trip over insight.

I think about a project that I’m working on at MEMS. We are just starting to plan, which is that we hope kids will be able to discover germs. Not just hear that when you don’t wash your hands that you end up with germs on your hands and you could get sick. But to actually swab for germs and do the tests of what’s it take. How many germs does hand sanitizer get rid of, versus washing your hands with just water, versus washing your hands with soap and singing the happy birthday song? So, that’s the kind of tripping over truth that we’re hoping that they’ll do there.

Let’s move on to pride.

Rachel:  This part was really meaningful to me. There were a couple of particular pieces.

Jeanie:  Could you, before you begin giving particular pieces, just describe what, when we say pride, what they mean?

Rachel:  Gosh, I hardly remember, but I think we all know what pride is. For me, it was their way of describing that within a moment of elevation, there’s a piece that made you feel good. So, it was not just important, but it gave you that validation.

Jeanie:  On page 139, they say,

How do you make moments of pride? The recipe seems clear. You work hard, you put in the time, and as a result, you get more talented and accomplish more and those achievements, spark pride.

Rachel:  You work hard. You put in the time and as a result you get more talented and accomplish more in those achievements, spark pride.

Jeanie:  Simple as that.

Rachel:  That’s doesn’t sound simple.

Jeanie:  No, it doesn’t. They start though by not talking about moments of pride because on page 142, they talk about a moment of, what’s the opposite of pride, of embarrassment that I’ve actually experienced. They talk about the kid who is told like, just don’t sing, your voice doesn’t work. I remember being in fourth grade and getting asked to leave chorus. Suddenly I didn’t belong. I don’t think I sang again until I had an infant.

Rachel:  I’m sorry, Jeanie.

Jeanie:  I know it still pains me, but so they start with the opposite of pride. Those moments of exclusion where you’re like sort of not told the opposite, not that you can get better at something. Not like, here’s how we can help you… I mean, because let’s just be honest, I don’t have a fabulous singing voice. But the way that shuts you down for new learning.

Recognition

Rachel:  They turned that kind of switch from that exclusionary, kind of punishing selection to recognition and appreciation. So, this part was fairly, in terms of the context of the book, business oriented. It talks about recognizing employees, and perhaps that there are recognition programs within certain businesses and systems and that’s not typical in our education systems.

Jeanie:  However, when I think about the MEMS caring day celebration and the opportunity students had to recognize and celebrate the empathy and kindness of members of our community, it felt exactly like, how do we recognize others?

Rachel:  Exactly.

This piece made me remember how important recognition is for teachers.

I was thinking about how I feel about that it’s hard as a teacher to maintain a positive outlook all the time. It’s a hard profession and certainly, you face a lot of challenges and keeping your morale high requires a resiliency that is hard to find.

I could really think so much about how much personal recognition and personal, what I started to think of as gratitude, made a difference for me. They talked in somewhere about this, about that there is a difference in sort of recognition in a program. I want to find this part. Okay. So, there’s going to be some turning pages.

So, they begin to talk in the book about, how we can recognize people’s contributions on page 147. It says, “Recognition experts recommend…,” I’m going to stop saying that. On page 147, the authors say,

In our own research, when we asked people about the defining moments in their careers, we were struck by how often they cited simple, personal events.

Here are some examples of people who are just describing some really simple praise, I would say, by a boss or a supervisor. So, what the authors of this book notice is that in these cases their recognition is spontaneous. It’s not part of your annual review, and it’s targeted at particular behaviors. What this then reflects on is a paper by some people that talks about how effective recognition makes the employees feel noticed for what they’ve done.

I really thought a lot about that noticing, and to me, that is such an important part of behavior and motivation.

I think about that in terms of education from both an employee within the school level and a student level in the classroom. And I remembered that I have kept some of my recognition over the year. I’ve never won any big awards or anything like that. I have a file in my bookshelf that’s a few inches thick that is basically everything I kept from my 16 years teaching. It’s pretty astounding to me that it could fit in one small shelf.

In there is a lot of forms. I went back through it this morning and remembered that I have kept written thank you notes from people and handwritten notes. As I went back through them today, I remembered why I kept them. Those people said things like, thank you for… This person said, I want to take a moment to thank you for being a wonderful addition to our staff. I admire how you jump in, take risks, and have experienced success.

It made enough of an impact that I’ve kept it.

Jeanie:  I also have a file like that, and my favorite things in it are the handwritten notes from students. I used to keep that file right on my desk when I worked as a school librarian, sort of in a place where if I needed a boost during the day, if I needed a moment of pride or recognition, I could remember why I did what I did even in the tough moments.

I think as teachers we know that implicitly, that if we can give kids some positive feedback, they’re also more likely to hear our constructive feedback or feedback for change.

Rachel:  I hadn’t thought about that, but that’s definitely interesting. This piece about recognition made me automatically think about a little bit of a buzzword in culture right now about gratitude. Coincidentally, this morning I  skimmed an article that came through my inbox about using gratitude with students. About both physical and emotional benefits of asking students in school to express gratitude. I thought this was an interesting idea, because I don’t see that fitting into any curriculum, right? Is that part of science?

And yet we know that there is a two-sided effect to gratitude.

The person who receives the gratitude has that moment of pride or that moment of feeling good, but the even more interesting outcomes are that research shows that you benefit when you give the gratitude. There’s so many good endorphins and serotonin that go on in your body when you express gratitude.

That just made me think about and tunnel into a little mini research about schools that are practicing this. Schools that are asking kids to do gratitude journals.

So, I thought about how could we embed that into some of our routines.

Some of our practices so that we’re just being more intentional about recognition. We could do that at faculty meetings when we recognize or give gratitude to our peers and our colleagues. We could do that at team meetings or advisory when we have students and ask students to express gratitude to their peers or their teachers. And we could do it at all school meetings in a more public setting when we have the whole school together.

We can recognize a student, have asked students to recognize one another, bring a special staff member down, things like that. I thought those are structures that we already have in place that we could possibly maximize to build in that sense of pride.

Jeanie:  Yeah.

I think it’s really important to practice gratitude.

I mean, it’s been really important in my life, but I also think not all of our students come to us with families that practice gratitude. If we want them to be grateful and thankful and experience the win-win of gratitude, the win that other people feel good, and the win that I get to feel good, then we need to build opportunities to practice it.

I want to move on though, because I feel like there are other ways that we in schools think about pride. One is building in opportunities to experience milestones. I think that’s especially important when we’re doing project-based learning or something bigger that can feel endless.

We build in these opportunities for checkpoints or milestones where kids feel like they’re having progress.

It reminded me of something that I know we all think about kids being really into which is, video games. One of the appeals of video games is they have these levels and milestones where you get to feel good because you accomplish something. So, how can we replicate that good feeling you get by reaching the next level in education? Any thoughts about that?

Rachel: I can think of a few things. Your video game reference reminds me of some of the work that’s happening in the state, in our organization, and in the country around badging and sort of digital badging.

It doesn’t necessarily have to gamify education, but that it does try to replicate that experience of identifying a set of skills or activities that once you attain that there’s a gold star.

So, it reminds me of that, but it also reminds me something that’s not really school-based, but something that really interests me, which is about cultural rites of passage. The sort of I don’t know how to say this.

I feel like we maybe don’t have enough cultural rites of passage in our society that are non-religious.

Jeanie: It reminds me of like goal-setting, and so right now I’m on Goodreads. I love Goodreads and one of the things I love about is I get to set a goal that’s meaningful for me and keep track of how I’m doing, how many books I’m going to read that year.

A year is a long time for young adolescents, but I used to use Goodreads with seventh graders, and they would keep track of how much they read and set a goal for themselves, and that was really meaningful for them. I’m sorry, maybe it was eighth graders, but it is like that.

How do you track progress towards your own goals?

It also reminded me of before and after photos and thinking about looking through Eli my son’s portfolio with him as he was graduating, moving towards graduating high school, and looking back over his work that we had collected over the years. He was able to laugh and be like,

“Oh, I remember when that was hard.”

There’s something about looking back and sort of noticing like, “Oh, I used to.” I remember him having this long discourse about, “I remember when Algebra was hard and now it’s not hard anymore.”

So, it made me wonder about writing from the beginning of the school year versus writing at the end of the school year or art or anything that we do in school. Really, you can compare an early draft, to work that you do on down the road.

Rachel:  Well, my thinking immediately jumps to what would be some of the ideal functions of a PLP, which would be that growth charting.  One of the outcomes of doing that, of collecting that work and reflecting on it would be to feel that sense of pride in the end.

Practicing courage

Jeanie:  Another thing they talk about in this chapter that really struck me was this idea of practicing courage. They cite DARE and DARE’s failure to prevent kids from using substances. They say one of the reasons is that kids never get the chance to practice saying no to substances. Like there’s all this education, but they never actually practiced. They never go through the script.

That reminded me of one of my former students who did some research on hate speech and found that hate speech leads to hate crimes and she wanted to interrupt hate speech. She created this hate speech photo booth where you could practice what you would say if you heard somebody use a racial slur or say something homophobic.

So, you might write on your speech bubble, “Hey, that’s not okay,” because in the moment when you hear hate speech it can be hard to know what to say. In a way, you were practicing courage by writing your script. Does that makes sense?

So, it made me wonder, how do we give students an opportunity to practice courage to stand up?

It made me think of Anna Nicholson, students going before the select board to advocate for a plastic bag ban, which is something they believed in strongly and they’ve collected petitions. They’ve done all this research about plastic bags and they had to practice courage to stand up to a bunch of adults and say, “We think the town should ban plastic bags.” The town did not play banned plastic bags, but they were really impressed with what the students had to say.

So, how do we help kids practice moral courage, intellectual courage? I don’t have a good answer to that either, but it’s a question that really intrigues me.

Rachel:  It interests me too. My fear is that we don’t do enough of it, because of possible controversy. I think that we’re afraid to do things that will make people uncomfortable and kids uncomfortable.

It reminds me of a professional experience that I had this year listening to a woman who’s an expert in childhood anxiety disorders and talking about how do we help anxious children in school. There are skyrocketing numbers of anxious children in school.

She talked about what essentially the Heath brothers identify on page 185, which is exposure therapy. We don’t reduce the anxiety by removing the anxiety-producing experience.

We reduce the anxiety by sort of slowly encountering and learning how to manage that experience.

I’m afraid we don’t do that enough.

Jeanie:  It reminds me of Christie Nold students and how they did that work with adults of helping them explore their identities. I can’t help but think that had to have been a moment of pride for her students. They got to get up and teach the adults in their building about different identity groups and how they could think more deeply about their own identities and what that means for how they are in the school.

Rachel:  Yeah. If I’m looking back at this page about courage, and it says on page 185,

Managing fear, the goal of exposure therapy is a critical part of courage.

It goes on to say,

But courage isn’t just suppressed fear. It’s also the knowledge of how to act in that moment.

That’s an area of growth for us.

How to expose students to moments that require courage and develop the knowledge of how to act in that moment.

Jeanie:  Listeners, you can’t see us, but Rachel and I are both smiling at this opportunity for new growth and I hope you are too. The last way that the Heath brothers define powerful moments is talking about connection. This just made a lot of sense to me. Do you want to talk a little bit about what they mean by connection?

Connection

Rachel:  Yeah. I think connection is possibly easier for our readers to understand. So, they say as you know, there are moments of elevation, insight and pride, but they’re also social moments. They’re most memorable, because others are present, and that moments of connection deepen our relationship with others. So, not only are these defining moments, but these are social moments that provide a peak moment of connection.

I wanted to push back a little bit on this and start to wonder if it had to be, and we do know that the authors of the book say the powerful moments don’t have to have all these ingredients. So I thought, let’s just be clear that there is the possibility that a moment could be a powerful, impactful moment and not a social moment.

The type of moments they’re describing in these are, when these moments create shared meaning and connect us together.

So, personally I’m really cognizant of how important social connection is in my own life, and how meaningful that is to my own learning. So, this wasn’t surprising to me. It was affirming. But something that did surprise me was some research that they describe about creating moments of connection.

It’s from the research of this person, Morten Hansen from UC Berkeley. It’s work-related, it’s kind of business related. He has a book coming out called Great at Work: How Top Performers Work Less and Achieve More. They described his research on pages 216 to 219, but essentially, he explores the distinction between purpose and passion.

Purpose is the sense you’re contributing to others, that your work has brought or meeting. Passion is the feeling of excitement or enthusiasm you have about your work. This researcher was curious, which would have a greater effect on job performance.

Essentially, his research finds that purpose trumps passion.

So, it goes against some of what we’ve heard is as a cultural message. The authors say essentially we should not be saying pursue your passion but pursue your purpose. Of course, it’s great to combine both, but when you can find meaning for your work, you cultivate that purpose.

Jeanie:  It makes me think about relevance, about making learning more relevant either to the real world or to kids’ lives. That it feels more purposeful or if you’re doing something like on the engagement hierarchy, if you’re doing something for the good of others, that’s like the highest level of engagement.

That makes me think about that purpose, that sense of purpose and connection to others and the good of our culture, or the good of your community.

I’m also thinking back to when you talked about how school is really flat, and I’m thinking about my own son who could occasionally be a class clown.  I think when school got too flat, and he didn’t feel connected, he used humor to create his own peaks and to connect with his peers, because he was like, if nothing’s happening in here and I don’t want to feel connected, I’m going to make my own fun.

So, it just made me think about, it might cost him greatly. He might get in trouble, his grade might go down, but it was worth the payoff to him to have that connection with a classmate.

Rachel:  That’s interesting. Certainly, we can when we talk about kids who are demonstrating a behavior like that, we often think that it’s about seeking attention. I had never thought about being a moment of connection. I have a tendency to be that kid sometimes. And I think for me it is about connection. That, I’m breaking the protocol or breaking the rules to seek connection with other people.

Jeanie:  That ties us back to the last section about like we want to be seen and heard. We want to be noticed, right?

Rachel:  Yeah.

Students should feel like if they don’t show up at school, the place can’t run without them

Jeanie:  All of us. I have been thinking about Cabot Leads and service learning and thinking about, I’m not sure who said the quote, but this idea that students should feel like if they don’t show up at school, the place can’t run without them. Wouldn’t that be awesome?

At Cabot Leads where students get jobs, they create these connections, whether it’s with other people that work in the cafeteria or with a specific teacher or with the student, the younger student that they’re mentoring or a reading buddy, right? They create these really meaningful connections that increase their motivation and makes the school day more memorable for them.

Rachel:  Well, and there’s such an inherent purpose in that. When they have those jobs, they feel like they have a meaning. They have a contribution that they need to make.

Jeanie:  This makes me think of personalized learning plans too, and when those feel like they don’t have purpose, they can fall flat for students.

How could we help kids build purpose into them for what they’re learning?

I feel like there’s a lot of opportunity there if we can let go the soul-sucking reasonableness of the daily school day to make them really powerful, motivating tools for learning.

Rachel:  Well, this book inspired me a great deal to push for these moments. One of the things I’m working on right now is designing an experience for the eighth graders in three of our schools where they have this kind of elevated experience. I’m not going to be the person following this through all the way, but I’m pretty invested in seeing this happen because I want this experience for our young people. In this case, it’s eighth graders. I think there is that sense of connection built in there that this is, I will find something that matters to me through this experience.

I hope I can only hope.

Jeanie:  Listeners, we strongly recommend you take a gander at this book, The Power of Moments. There’s so much in here that is relevant to education and that can be used to build really meaningful moments for your students. Rachel, thanks so much for talking to me about this book.

Jeanie: I’m Jeanie Phillips, and this has been an episode of #vted Reads, talking about what Vermont’s educators and students are reading. Thank you to Rachel Mark for appearing on the show and talking with me about The Power of Moments. If you’re looking for a copy of The Power of Moments, check your local library. That’s where I got mine. To find out more about #vted Reads, including past episodes, upcoming guests and reads, and a whole lot more you can visit vtedreads.tarrantinstitute.org. Follow us on Twitter and Instagram @vtedreads. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont. Special thanks to the Manchester Public Library for hosting us today.

#vted Reads: Hey, Kiddo with Mike Hill

Welcome back to #vted Reads!

#vted Reads logoIn this episode, we’re talking about the comic memoir Hey, Kiddo. As we discuss Jarrett Krosoczka’s real-life story, we find empathy for young people living with the impacts of addiction and mental illness. And we explore other themes: how to really see kids, the importance of representation in books, and the power of flexible pathways.

Thanks for joining us. Let’s chat.

Jeanie: I’m Jeanie Phillips and welcome to #vted Reads. We are here to talk about for educators, by educators, and with educators.

Today, I’m with Mike Hill and we’ll be talking about Hey, Kiddo by Jarrett Krosoczka.

 

Guest Mike Hill, left, and host Jeanie Phillips, right, with the book Hey, Kiddo.

Thanks for joining me, Mike. Tell us a little bit about who you are and what you do.

Mike: Hi, Jeanie. My name is Mike Hill and I am the Student Assistance Program Counselor at Burlington High School. I’m honored to be such. My role definitely doesn’t describe what I do. As the Student Assistance Program Counselor, I provide intervention, prevention, and education support to faculty, staff, as well as the students and young adults at Burlington High School.

The supports I provide are around substance use issues and emotional mental health supports, and some academic supports.

Academic supports are usually around post-secondary navigation because I have some skills sets around that.

Jeanie: Excellent. You’ve got your hands full here.

Mike Hill: Yes. I’m a support staff person so I like to work very collaboratively with the school counselor department, the guidance counselor department, as well as the admin team, the student support staff team, anybody who needs support in the realm of substance use issues or education, emotional mental health supports.

I’m also a referral stream for the multiple mental health counselors and therapists that we have on campus internally. So we partner with special needs and family services, Riverstone Counseling, Centerpoint, Counseling Connections, and Howard Center School Clinicians. Yeah, I am just a collaborative support staff.

Jeanie: Just. Well, I’m really delighted to have you to help me talk about this book.

Hey, Kiddo has a subtitle that I think gives us a lot of clues about what it’s about: How I Lost My Mother, Found My Father, And Dealt With Family Addiction. 

I wondered if you would introduce us to Jarrett because our writer and illustrator of this graphic novel, I’m going to backtrack on that.

My friend, Peter Langella at Champlain Valley Union High School, says we shouldn’t be calling them graphic novels, and it’s true for this one. It’s really a comic memoir. This is Jarrett talking about his own life.

Would you introduce us to Jarrett and tell us a little bit about how this book begins?

Mike: Sure. And I really like that actually comic memoir. It really is a comic memoir because Jarrett is a kid who turns into a youth and turns into a young adult. You get to see Jarrett grow up all the way through those stages of life. And like Jeanie speaks to, really that subtitle under Hey, Kiddo is illustrated beautifully through those stages of his development and his life.

So Jarrett is the kid who is taken from his mom because his mother deals with addiction via heroin, one of the most addicting substances that we come across as a society.

He is adopted by his grandparents, specifically by his grandfather. With that love, with that adoption, he’s raised by his grandparents.

His father has never been in his life. Long down in his life, he actually gets to meet his father but it’s not until his teenage years. Also in his life, he grows up with his grandparents and this is a different structured family unit. So, a lot of people we see on TV, we see mother/father, and that’s is a very heteronormative family unit. In reality in our society, we’re transitioning.

We need to start opening our minds a lot wider because that heteronormative family unit is not the “norm” anymore.

It is what Jarrett depicts in his graphic memoir.

Jeanie: I love that you bring that up Mike because really, one of the things that resonated for me in this book is that I’ve taught kids like Jarrett, kids who aren’t being raised by their parents. I’ve taught so many kids who are being raised by their grandparents and we make assumptions about what their life is like and it’s totally different.

I wonder if you could speak about the empathy that Jarrett provides for us in showing his life being raised not by the traditional or the -– I don’t love that word traditional, but the societal norm of a mother and a father.

Mike: Yeah. I think the empathy that’s shown or that we can grab from this graphic memoir is that we see it now more on documents when we see parents/guardians. We start to see that more on school documents, on official documents, on federal documents because we as a society are starting to realize that the societal norm is no longer the “societal norm.”

We’re starting to be more empathetic and be more aware that more youth and young adults are growing up with their grandparents and more youth and young adults are growing up in less heteronormative households.

We’re starting to gain a wider understanding around what a family unit can actually look like, not what it should “look like.”

I think Jarrett in his graphic memoir really increases that empathy. There was one section in the graphic memoir where his graduation dinner was happening and his grandparents asked, “Hey, so all the parents are going to that, right?” And he was slightly embarrassed because he was in middle school and he’s like, “Oh yeah, but you don’t have to go to it. It’s not a big deal.” And long story short, his grandparents’ feelings were hurt. And he went and spoke to, I think it was his aunt, and he was like, “I messed up big time, didn’t I?” She’s like, “Yeah, you did.”

Jeanie: She’s a good foil to him in that! She calls him on it, right?

Mike: Yeah, totally.

Jeanie: I was struck by that same passage. The thing I thought about is he’s ashamed that his mom isn’t in his life. He’s ashamed of his grandparents. They’re older. They’re not as cool or hip as his friend’s parents, right? Like they’re not going to fit in.

So he’s got that shame. And then he alienates them and he feels shame for that as well.

Mike: Yeah. Then what is awesome and amazing is that right after that passage, he makes amends, he makes repairs, and he invites them to the dinner. And lo and behold, he’s at the dinner, he’s at the dance and he’s looking across towards all the other parents and he writes and he says, “Everybody’s parents were older, younger, single, together, divorced,” and he even speaks to how the parental guardian units are different in themselves as well.

It was really amazing to see that depicted. Just going back to what Jeanie was talking about, it really does raise your empathy in regards to becoming more aware and getting more comfortable around not getting used to what the family unit should be like or the societal norm should be like in regards to a parent or family unit.

Jeanie: Yeah. One of the really interesting things about this book and his relationship with his grandparents to me is that these are not perfect people, right?

Mike: No.

Jeanie: His grandmother smokes all the time and swears.

There’s all this dysfunction in his house and yet he’s so loved.

His talents, his artistic talents, his interest in art is really nurtured. And so there’s something about the full humanity with which he writes about his grandparents, they’re not idealized. And yet even in their dysfunction, you really feel the love for him and their belief in his potential.

Mike: Yeah. I think that is one of the most amazing things about the book because it really touches upon just depicting a realistic family structure. When I was reading this book, I was imaging myself as a middle schooler or high schooler reading this graphic memoir and not thinking to myself, “Oh, this is not real. Oh, this just can’t be me,” because the grandmother was like, cursing up a storm or drinking heavily. Or that when they went to dinner, Jarrett knew their drink — like he knew their drink order by heart. That’s nothing to laugh at and at the same time that was really realistic.

I think another thing was the fact that they nurtured his talent and it focused on the fact that, hey, this little boy we love, he has all of these things that are around him that are quote-unquote “negative influences” and we’re going to help him focus on the positive.

We’re going to do everything in our power to pour into him what he loves, and let him know that we believe in that passion that he has.

I think that was extremely potent and powerful as an illustration in this graphic memoir because so many of our youth and young adults really feel that way sometimes.

Jeanie: Yeah. The scene in the book where his grandparents send him off to that special art class at the community college, to me I was like, oh:

We didn’t call it that then? But that’s a flexible pathway.

Mike: Yes, exactly. Yes.

Jeanie: His grandparents find this flexible pathway to help him grow his art even further.

Mike: That’s exactly what it was. That’s exactly what they did because they didn’t have that art at his school, and so his grandparents thought outside of the box and they used the resources that they had at their disposal. And he recognized that, too. He illustrated that like, oh, my grandparents, they did whatever they could to just drive me there, and my aunt drove me or my uncle drove me. And so he drew the connection of like: whoever could do it, my family supported me in bringing me to this flex path.

Jeanie: Yeah. Now, I love as a grown man, a successful author/illustrator, he’s written so many of the Lunch Lady books that are popular with younger readers, grades three to six or three to seven, and some picture books. He’s created a scholarship at that same school for kids who need support to reach their goals. I love that about him.

A big arc of this story is Jarrett’s going from:

  • not knowing why he’s not with his mother,
  • then finding out that his mother is addicted to heroin in his middle years,
  • and then dealing with his own anger in his adolescent years.

Do you want to talk a little bit about his experience as the child of an addict?

Mike: Yeah. It’s not easy to talk about it because it could go either way. I think Jarrett depicted it in a way where it can be very real and very truthful.

Some young adults, they respond in a different way where they want to help their parents or their guardian and be that support and feel that they can be the change for their parent or guardian.

Or it can go the way that Jarrett depicted it and be like, they could be very angry and be very hurt, and that, hey, I’ve done well without you.

I think the reality that Jarrett depicted in the graphic memoir was another aspect of growing that empathy, not just for adult readers but also for youth readers. Again, as a middle school reader or even a high school reader, if I’m reading this and I’m going through this or I have a friend who’s going through this… wow! I have someone who’s experiencing this like me. Or who had experienced this like me, or I can understand where my friend is now. That’s a feeling that is indescribable.

Jeanie: That’s so important, right?

We don’t want kids to feel erased by the stories they read.

If you have a family member who’s addicted to drugs or who’s in prison because of substance use, this book is really like, I see you. You belong here, you’re not alone in this. It feels like Jarrett’s like, opening up his story as a way to say: this is an experience people have. This is life for some people. And by sharing his vulnerability and sharing this story including many of the images or drawings from his own sketchbooks, photographs of him and his mom, these really personal things.

And by sharing them, he’s letting kids know: your story isn’t shameful. It’s worthy of being in a book. It’s something you can share.

Mike: Yeah. It’s something that we can talk about. It’s something that we can process together.

I think that word ‘shame’ is so important to bring into the conversation because of the stigma around substance use, the stigma around how it impacts our families, how it impacts society.

One of the most important aspects of my role as an SAP is before even talking to a young adult is establishing that this is a safe environment, that this is an environment where you’re not going to be judged, that this is an environment that you can talk to me and it’s confidential, until there’s a safety concern.

So, things need to be put in place in order for you to feel safe to talk about these things that in our society are viewed as stigmatizing and as shameful. But in this book, when you open it, when you’re reading it, this graphic memoir is right there. It’s out there. I think Jarrett does an amazing job in letting readers know that you’re not the only one. It’s not just happening to you.

Jeanie: And also that it doesn’t mean your parent doesn’t love you. Jarrett’s mom loves him intensely. At the beginning of the book, he longs for her as a young child. They have this sweet relationship and she writes to him and she continues to write to him.

Her love for him is huge even though she can’t show up for him the way he needs her to show up. Both things can be true.

Mike: Yeah.

Jeanie: I think our students need to know that, too, that a parent’s substance abuse isn’t about them. It doesn’t mean they don’t love them, right? Even if it means they’re not always an acceptable parent.

Mike: Yeah. I think that’s such an extremely important message that Jarrett gets to write and gets to depict. He depicts that message so eloquently but delicately in this graphic memoir. It was like a tightrope walk? And it was done so wonderfully in this graphic memoir because those two things can co-exist.

At the same time, he was able to illustrate his frustration and anger and his love for his mom.

As well as for his father. As well as for his grandparents.

Jeanie: You’re so right about that tightrope image. I love that. Because I think that he really does walk this really fine line about like: I love my mom and I’m furious with her. And by the end of the book, he gets to this what I call radical acceptance where he’s like, she couldn’t be there the way I wanted her to be there and I still love here.

Mike: Yes.

Jeanie: He gets there, I think in part by becoming a parent himself, right?

Mike: Yeah.

Jeanie: The end note of the book, his mom does get to meet his child, at least one of them. I think that’s part of his journey.

Mike: Yeah.

That goes back to the empathy-building.

One of the other layers around empathy-building for this graphic memoir, is for the youth and the young adults reading it. Because there’s a significant section in it where Jarrett, he does a strike for Mother’s Day. And so he doesn’t buy his mom a Mother’s Day gift or a Mother Day card. It’s juxtaposed so he does that and then like there is at the end, he speaks to what you just spoke to in regards to that acceptance.

You have that layer of empathy that youth and young adults are reading about where they’re like, wow. You might have a youth or  a young adult reading this book who’s right there with Jarrett where they’re extremely frustrated and mad at their parent who’s going through exactly what his mom went through with addiction. And the light bulb might go off and they might actually get it then, and… in that moment… they might get it.

Jeanie: Yeah. His feelings are valid, too, right?

Mike: Yes, very valid. Extremely valid.

Jeanie: It’s okay. He gets to be angry.

I think this book just does such a superb job of letting people be their full human self and no matter how messy it gets.

I love that you’re having students read it here at Burlington High School, that it’s in your library. And I know kids are reading this book. I also think it’s a great faculty read because it gives us a sense of what some of our students are experiencing in their daily lives, when their parents are addicted to substances, or they’re living with grandparents because their parents are in prison and/or any of those things. Have you had kids read it?

Mike: I haven’t had the young adults who I engage with read it, but like you said, it’s in the Burlington High School library and so, I’m pretty sure some young adults have taken it out of the library and read it.

Jeanie: One final thing about addiction, then, I just keep thinking about what this book is:

Addiction is a central theme but Jarrett never says, “Don’t do drugs, kids, they’re bad for you,” right?

Mike: Yes.

Jeanie: It’s not preachy or didactic.

Mike: Exactly, yeah.

Jeanie: He shows the realities of his mom’s life on heroin, but there’s never a point at which you feel talked down to as a reader.

Mike: I think that’s a very important piece, too. Yeah. I think another piece is that Jarrett’s family unit, the familial unit that Jarrett is surrounded around, his immediate family unit, so like his grandparents, his father who he gets to meet later, and his mother, every individual is or had suffered from addiction. So when he meets his father, his father makes a reference like, “I was in the bottom.” His mom, off and on with heroin, and his grandmother was an alcoholic. And his mother made reference to that.

I think what was so powerful was the fact that Jarrett never touched or never seemed to be influenced by substances. I think a powerful aspect of the graphic memoir was the fact that I think the distinct possibility for that was the fact that he had so many positive influences like his grandparents, his older aunts and uncle. And his passion at art and how that was just poured into.

He had the opportunity to focus on his passion and then he had so many examples of like, okay, if I do go down that road, what could happen?

I think that was extremely powerful to see in the graphic memoir as well.

Jeanie: He talks in the book about how art is the one place he feels in control. The rest of his life is sort of out of control — out of his control anyway. Then I saw an interview with him, with Jarrett Krosoczka, where he talks about looking at his – he kept all his sketchbooks from when he was a child and he looks back at them, and in perusing them, he sees all the anger that he had as a child.

I feel like I have seen anger and also control/lack of control show up in students. And so I’m wondering what Jarrett’s story and his focus on art, and how that gave him some sense of control has to inform us about working with students when they show up with that.

Mike: I think it’s important to recognize what the underlying message is with what Jarrett was speaking to and what art was for Jarrett. Every aspect of Jarrett’s life was out of his control, like he didn’t grow up with his biological parents, he didn’t get to meet his father, he grew up with his grandparents.

There’s an aspect that he wanted to go to a different high school and his grandparents said no, he couldn’t go to that high school because they thought it was unsafe. But he really felt like a lot of other youth, middle schoolers and even high schoolers like young adults, really feel like they don’t really have any power.

They can have power over certain things.

For Jarrett, it was his art. Other youth and young adults, it’s what they wear or it’s how they style themselves. Or their hair, their music.

And so, youth and young adults, culturally speaking, they find what they have control and power over and then make it their own.

So we, as a society and as educators, we should recognize how amazing that is and how through a strength-based lens how great that is.

Because if you are – just remember how it was and what we always used to say when we were young, “I can’t’ wait to be 18. I can’t wait to be a grown-up.” And then we had an adult tell us, be careful what you wish for. Be careful because they’re thinking about bills and now we’re older, we know about bills. *laughs*

But remembering as a young adult, we didn’t really have control of our bodies. Biologically and physiologically, we were going through an identity crisis and it was literally showing up on our faces like pimples, growth spurts, our voices were changing, hormones. We didn’t have control of our bodies when we’re in middle school and high school.

And so, to have control over something feels monumentally powerful.

And through, like I said this strength-based lens, just add on to the layer of what Jarrett went through. Art was what he had control over. That’s resiliency. That is, “I can do this. I want to do this. I need to hold on to this.”

Jeanie: And there’s that powerful moment in the story where his comic gets published in the local newspaper and he feels so – there’s so much pride in that, right? That really spurs him forward, too. And so what you’re talking about about strength-based approaches makes me think about personalized learning.

How do we build in opportunities for students to have these powerful moments of success or affirmation?

Mike: Yes, definitely.

Jeanie: And public recognition and an authentic audience. Those things feel really important and they show up in his book in these quiet ways. His teacher is like, “You should submit that. The newspaper’s got a contest going.” And he ends up in the paper.

Mike: Yeah. That was such an amazing moment. When you spoke to how it felt for faculty or staff to read this graphic memoir, that’s exactly what I was thinking about. When a teacher stopped him – because he drew a picture in class and he passed it to another student and the teacher called his name and he’s like, “Oh my god, I’ve never been called out into the hallway before. What am I going to tell my grandfather?” Then the teacher was like, “Let me see it.” He opened it up and he looked at it and he’s like, “You drew this?” Jarrett was like, “Yeah.” He’s like, “This is really good.”

That was the exact moment I was thinking of when you said faculty and staff should read it because there are so many awesome teachers at Burlington High School who I could totally imagine doing that.

And so, yeah…

Jeanie: It makes me think about – I’m thinking about the contrast between Jarrett’s anger and his talent, and both need to be seen. Anger isn’t welcome in schools, right? And yet kids who are angry often have really legitimate reasons for being angry. How do we help them be seen? How do we help them express that in more positive ways?

Then the other thing we need to see is their distinct talents and abilities and how to help them see that in themselves.

I’m just thinking about that idea of being seen. For your worst side, your anger and your frustration and also for your best side, your talent and your passion and the things you worked really hard to get good at.

It sounds like Burlington High School does a good job of seeing those shiny things that kids have worked really hard to get good at.

Mike: Yeah. For the most part, yes, it does. I think what you just spoke to about the anger piece is also important because I think the shiny moments and the anger piece are equal.

When a youth or young adult shows us their anger, they’re communicating just as much as showing us their shiny piece.

When they show us their anger, they’re communicating.

They’re just doing it in a different way or they’re doing it in a way that is not socially “acceptable.”

Jeanie: It’s inconvenient.

Mike Hill: Yeah, it’s inconvenient. Yeah. I have a four-year-old and we were driving home the other night and I was like, okay — I call him Buggy or Buggaloo — and I was like, “Buggy, when we get home you’re going to clean up your play area,” and he’s like, “No.” I was like, excuse me? But I didn’t say it in a forced way. I said it just like I said it, I said excuse me? I was like, “What’s up, Buggy?” Then he’s like, “No.”

I was like, “Okay Buggy, so what’s up? Why don’t you want to clean up your play area?” He’s like, “I just need help.” I was like, “Oh, okay. So how can you ask in a respectful way?” He said no again. I was like, “Oh, okay. So Buggy, is it – you’re just having a hard time asking Daddy to help you clean up your play area?” He actually said yes.

It’s just, you know, normally – and I’m trying to work what I hear no from a four-year-old. Am I hearing no in this lens of defiance or am I hearing no through a lens of like, he’s four and he’s just trying to communicate to me in his best way?

Jeanie: It’s like getting underneath the emotion or getting underneath the words and finding out what’s really going on.

I feel like the grandmother is no good at that in this book.

Mike: No, not at all. No. And the grandfather is amazing at it.

Jeanie: Yeah, he really–

Mike: He’s amazing at it.

Jeanie: –has this patience and this ability to sort of see that there’s something else going on underneath.

Mike: He is such a positive force for Jarrett.

Jarrett depicts how well and how loving and caring and supportive his grandfather is to him on so many different levels in the graphic memoir.

So, there was a moment in the graphic memoir where he’s talking about his grandfather and how his grandfather started working his way up and then it transitions to him working in the factory. And they transition to lunch and then his grandfather was like, “Okay, I’m going to take you off the line. I actually want you to start drawing blueprints.” I was just like, wow, is it just me or does his grandfather just like find a way for Jarrett to do his passion anytime he can? Anytime you can pick up a pencil or pick up an artistic medium, here you go.

Jeanie: Yeah, it’s like so often in literature and even in movies, it’s like, “No son, you will follow in my footsteps.”

Mike: Yes.

Jeanie: And his grandfather’s like,

All right, I’d love it if you took on my business but you’re interested in this so let’s find a way to bring you in in a way that honors you and your skills and still allows us to have this connection.

Mike: Yes.

Jeanie: I just also need to call back to the grandfather’s start; he buys ties and then he walks around with his corny suit on and sells them. I think it’s during the Depression. Anyway, it’s got this sweet like how the grandparents met at the beginning of the story that I’d just forgotten about until you brought up. The grandfather’s roots and, I don’t know, it’s just really sweet how he was this hardworking guy who also got a little lucky and made a good life for his family. He’s a really good person.

There’s something about this book that’s really brutal or sad even though it’s hopeful, and it ends hopeful. I’m also a mother, a parent. As I was reading it, I just was like, oh, my heart hurt for Jarrett and his experience even though he’s really fortunate and these experiences made him this really successful author/illustrator. And he’s got this great life and this great family now. I’m still heartbroken for the adolescent Jarrett and the child Jarrett.

It made me think about another book that came out a couple of years ago called The Seventh Wish by Kate Messner. Have you heard of that book?

Mike: Yeah, I’ve heard of that book. Yes.

Jeanie: It’s about a girl in Vermont whose sister gets addicted to heroin. When it came out, it caused a little bit of controversy in some schools. It was designed for like fourth through eighth graders. It was written for the middle grades. And some K-6 schools didn’t want it in their collection, they thought it was too much for kids.

Kate Messner came out with this statement that I still think of which is that:

we don’t teach the kids we wish we had, we teach the kids we’ve got, and that she doesn’t write for the kids we wish.

We wish every kid had a happy home life with sane and healthy, well parents, right? But we teach kids whose family members are addicted with substances or struggle with mental illness or have some trauma in their lives. There’s something about the heartbreak of this book that also felt hopeful or necessary. Does that make sense?

Mike: That makes a lot of sense, actually.

I don’t know if I want to use hopeful, but I definitely would say I would use necessary.

It makes me feel like if you watch a movie nowadays and the movie has this happy ending and you’re like, I feel cheated.

Jeanie: *laughing* Yes.

Mike: And so I got to the end of Hey, Kiddo and he had graduated from high school and everything and I was like, oh, okay. And I thought that was the end and then I started reading the thank you’s and I was just like, oh. Oh… whoa, okay, wow, there it is, okay. I felt like that was necessary. I felt like, wow, the rest of the story ended the way it should have ended and at the same time, it didn’t have the “happy ending.”

It had the ending it should’ve had.

I think that’s life.

I think you hit the nail on the head with the Kate Messner quote. This graphic memoir really didn’t hold its punches, and it was necessary for that. I think one of the most visceral depictions in the graphic novel were the descriptions and the illustrations of his night terrors.

Jeanie: Oh, my gosh, that was so powerful. Could you say more about that?

Mike: When you were speaking to faculty and staff reading this book and raising empathy around how youth and young adults are dealing with parents regarding this. Who might be incarcerated or parents regarding this who are going through addiction, I was also thinking about parents like youth and young adults dealing with any form of trauma and coming into school. And so it goes back to that quote,

It’s really hard to concentrate on Math when you got the wolves at the door.

His night terrors continued on until middle school. They didn’t stop until middle school. He spoke about having that dream where those monsters would come at him and he would look at them and he would stop. And he would look at another one and then it continued until middle school and he couldn’t get any sleep.

That was such a visceral, spine-chilling depiction and illustration, because that was trauma.

Jeanie: Well, and he had to have experienced trauma — we’re not sure what — during those first years of life when he’s living with his mom.

Mike: His mom, yes.

Jeanie: And while she didn’t, fortunately, use while she was pregnant, she started using again when he was an infant.

Mike: Those images of her with people coming in and out of the house and everything. And him as an infant and a toddler, that was all imprinted on him. And so he had early-onset trauma and it wasn’t put in words but the images were there. Those are very visceral, impactful images. This graphic memoir definitely didn’t hold its punches. And so if you are, like you said, faculty, staff, educator… Yeah…

Jeanie: As a librarian, I believe really strongly that we, all of us, deserve to see ourselves in some way represented in literature. Not all the time. I read lots of books about people unlike me.

But especially for young readers, it’s really powerful to see part of yourself represented in a story.

This book feels really important to me for that reason that you could see yourself, as a sufferer of trauma, or as somebody dealing with abuse or mental illness… in this story. Or even as an artist, in this story, right?

Mike: Mm hm.

Jeanie: So I promise to make a list of other books that kids who have family experience of substance abuse might want to look at if they need more stories like that. Do you have any to suggest to add to my list?

Mike: I think Seven Wishes, Hey Kiddo. I honestly am still working on a list myself, to be honest with you. I am actually in the process of working on that list. I’m working on a little library right now. It’s not just going to be for substance uses, going to be for mental health and other identities. Thank you for asking me that because I am doing that right now.

More books about family addiction with a link to a Goodreads list.

Jeanie: Yeah, I can’t thank you enough for lending your expertise and having this conversation with me about Hey, Kiddo. I really enjoyed it.

Mike: Thank you.

Jeanie: I’m Jeanie Phillips and this has been an episode of #vted Reads talking about what Vermont’s educators and students are reading. Thank you to Mike Hill for appearing on the show and talking with me about Hey, Kiddo. If you’re looking for a copy of Hey, Kiddo, check your local library. Special thanks to our amazing audio engineer, Audrey Homan. To find out more about #vted Reads including past episodes, upcoming guests and reads and a whole lot more, you can visit vtedreads.tarraninstitute.org. Follow us on Twitter and Instagram @vtedreads and @vtedreads.This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

#vted Reads: Protocols in the Classroom, with Terra Lynch

#vted Reads logoWelcome back to #vted Reads! Now, I recorded this episode back in September out in San Antonio, at the School Reform Initiative’s Fall 2018 meeting. Author Terra Lynch was kind enough to chat with me about her book for the podcast between sessions. Recording spaces were kind of hard to come by at the conference, so we did our best to find a place without ceilings that were too high, or too echoey, or filled with other participants. We did our best, and hope you enjoy this powerful conversation about protocols, and how you can use them with students in creating democratic classroom situations. Sidenote: Emily Hoyler has written an amazing introduction to protocols, if you’d like a refresher.

Now, on with the show.

Jeanie: I’m Jeanie Phillips and welcome to #vted Reads! We’re here to talk books for educators, by educators, and with educators. Today, I’m in San Antonio for the School Reform Initiative’s Fall Meeting. This annual conference is focused on creating brave spaces to surface inequity and examine our biases and assumptions so that we can ensure our teaching practices help all students learn.  I’m here with Terra Lynch. We’ll be talking about her book, Protocols in the Classroom. She’s written this book with co-authors; David Allen, Tina Blythe and Alan Dichter. Terra is not just an author, she’s also an educator who has a wealth of experience in using protocols with students. 

Thanks for joining me, Terra. Tell us a little bit about who you are and what you do.

Author Terra Lynch (left) and host Jeanie Phillips (right) hold up a copy of the book Protocols in the Classroom

 

Terra: Hi. Thanks for having me. My name is Terra Lynch. I am a learning specialist. I’m a teacher and I’m a dyslexic advocate. And I’m also an author now.

Jeanie: Congratulations on your book. It just came out a month or so ago?    

Terra: It came out at the end of the summer, yes.

Jeanie: Excellent. It was perfect timing for me because I teach Collaborative Practices. I teach people how to use protocols.

We often encourage people to use protocols with students. This book is really a roadmap for that.      

Terra: That’s good to hear. Another hat that I wear is working with teachers and coaching, so often what comes up when I’m working with adults is “that sounds like I can use in the classroom.” Over time, during the debrief, I add a step and do uses. What are some uses with adults? What are some uses with children? That led to, why don’t we have a book about using protocols in the classroom?                 

Jeanie: Excellent. I’m really glad that it exists. I’ve pointed a lot of people to it.

I want to start the conversation by just asking why?  Why bother with protocols with students?

Terra: Okay, great question. I was thinking: is it the same answer as using protocols with adults? And to a certain extent it is. It’s a way to focus the conversation. It’s a way to frame ideas to be using time efficiently. To help children with expressive of language. I find that having the ordered steps and the clarity of the formatting even, can help students who might otherwise struggle to know what the expectations are for time, for their role. What’s coming next? How long might this take? I find it sort of provides a scaffold for kids in the classroom. It also builds a lot of habits that they can use in other areas of life. That’s a nice part about using protocols with kids.          

Jeanie: Let’s just back up for a minute. For people who aren’t familiar with protocols, when we say protocol, what do you mean, specifically?     

A snapshot from the School Reform Initiative's website with a link to Protocols.

 

Terra: Not a straitjacket. *laughs* I think there’s a real misunderstanding that a protocol is a series of steps that you must do for the sake of the protocol. For me, it’s really not so much about the steps as much as the group that you’re working with. How might this particular protocol — or way of talking about an idea, or discussing an idea, or delving into different ideas — how might this series of steps provide support for a class, and for individuals of the class to not only improve their own learning and understanding of something, but be part of the group and push the group’s thinking as well?                  

Jeanie: What I’m hearing is that protocols are structures that support learning, but also that protocols are their own learning.

Terra: Yes.

Protocols and student agency

A snapshot from the School Reform Initiative's website with tools for Protocols for Youth Engagement.

Jeanie: That learning to do the protocol also teaches you these other skills around communication and collaboration that you wouldn’t get at without that structure.      

Terra: Yes. Actually, as you say that, it also makes me think about the importance of the debrief, and ways that protocols are learning structures and they’re flexible. I think that the debrief is a key piece of that. The individual who speaks in the debrief and those who listen to each other are able to then change next time how things went [based on] the particular needs of that group. I think that’s really the beauty of using protocols with kids. It gives them agency to make decisions about how things are going to run in the classroom.             

Jeanie: I love that. We’re going to talk more about the debrief later. I know you teach in Texas (where we are now), but the audience for this podcast is Vermont educators. A lot of Vermont educators are familiar with using protocols for staff meetings or in professional learning communities.

You’re giving us some good reasons to use them with students. One of the connections I see is with Vermont’s transferable skills? Which is our version of 21st century skills. I wonder if you want to talk a little bit about those kinds of skills like communication, clear and effective communication we call it, or collaboration or problem solving. How you think protocols connect with what we used to think of as “soft skills”.         

          

Building transferable skills using protocols

Terra: Yes, I’d love to. That actually reminds me of some research that I did for a children’s museum and the focus on STEAM. The idea of STEAM being Science, Technology, Engineering, Art, and Math and how important 21st-century skills are to pull them together. You can be a great engineer, but without the ability to be a flexible thinker, to be open to new ideas, to be open to feedback, to give feedback to others, to work within a group to get a process done, you can’t really be a successful engineer. And that’s true of all those different silos within the STEAM term.

What’s great about protocols is that the process itself does allow students to practice all of those different skills.

It can be pretty explicit. In elementary school for sure, but even in middle and high school, I’ve used sentence starters to help students begin to use feedback phrases or to ask for further clarification because that doesn’t always come naturally. Then, you can get stuck if you’re not able to ask for what you need or ask for more information to further understand the problem.               

Jeanie: For me, thinking about the context in which I work, a lot of times we feel really confident in the content areas that we teach. We don’t feel as confident in how do we teach these 21st-century skills or transferable skills.

And this feels like a great toolbox through which you can teach these portable, transportable skills that cross disciplines and cross out into the real world.             

Terra:

Sometimes framed as “the four C’s” — collaboration, communication, critical thinking and creativity —  these skills are increasingly recognized as essential for success in school, college, the workplace, and society. Such skills are the stock-in-trade of protocols, which push students to articulate their thinking, listen carefully to the ideas of others, and work collaboratively to address key questions and challenges.

They foster students understanding the key aspects of collaborations such as presenting their work to peers, asking thoughtful questions of others, providing feedback to one another, etcetera.

Yes, that quote is similar to what we are talking about. I really love the quote at the end by Emily Rossi:

Once students are familiar with the protocol, they feel confident about how to run the discussion, what frees them up to be bold in what they choose to contribute.

That idea of students running the classroom, owning the classroom, is so powerful.

It is something that protocols really help with. And the idea of being bold. I just think that’s what I wanted my students to be bold, whether it’s in their content, in their thinking, or in advocacy for themselves or for the people around them.  

Jeanie: I love that. I also think about how the best artists are creative within constraints. Protocols are a really great construction that allow you to do deep thinking because of the constraints.     

https://twitter.com/JPhillipsVT/status/852251181531496448

Terra: Yes, I agree that having constraints can be liberating because you don’t have to worry, think, or spend energy about what might be coming next. I keep talking about the debrief, but the debrief too can help with equilibrium where sometimes we do need to loosen the constraints a little bit because of the topic or experience with the group or a lot of other reasons.

Choosing a protocol

Jeanie: Yes. The second part of the book, the second section I think, you get into the section called, “Getting Going.” You start with choosing a protocol which is, as somebody who works with adults, a really challenging process. You organize your protocols around these two categories that I found really useful and thoughtful. One is purposes and one is habits. I wonder if you wanted to talk us through your thinking in terms of organizing protocols that way.

Purposes            

Terra: Sure. The idea of purpose is probably something familiar to the people who are listening. Since anything you do in the classroom, the more clear your purpose, the more clearly you articulate to your students the why, the more buy-in I think you tend to get. Then, I know that for me as a planner, I tend to over-plan. I can go in 500 directions, but to have that clear purpose stated helps provide the constraints that I need to stay focused and get what I need done.                    

Jeanie: What are some of the purposes that these protocols address?  

Terra: My favorite one is to build community, which to me is one of the most important pieces of being in the classroom with students. How to be a good listener is another purpose. Not just in a sense of listening and repeating but listening to understand the perspectives of others. Again, to me, to be an individual in this group classroom is sort of an organic family kind of situation. It’s really important to understand the perspectives of others, to know they exist and then to move deeper into appreciation or to move to a point of trust that you can disagree. Or push back. That’s another one of the important purposes.

Then going back to the idea of self-advocacy and agency in students too, protocols, you may choose to help students speak up, use their voice in different ways, develop expressive language. Those are all really important for the classroom and beyond.                        

As a teacher, when I’m thinking about content, I’m also thinking about the group dynamics or the group needs. When I’m thinking about how I’m going to bring some content in and have students process it, I will also have a lens of looking at it in terms of:

“What does this particular class need to practice, or even to show off about? What can they show that they’ve learned in terms of somebody’s habits as well?”          

Jeanie: You’ve addressed purposes. You’ve unpacked that for us. Now, unpack that word habits.  

…and Habits 

Terra: Yes, habits. We went back and forth about whether we should call them habits or skills or what were they? But habits are the idea of something that you practice to get better at. To become less forced and more routine, more natural. Those habits are baked into the protocols not necessarily explicitly. We wanted to pull them out, thinking of teachers in classrooms in mind, just for the very reason that they are transferable. They can be used across classrooms.

I guess in my dreamy world of dreams, students are using protocols in various classrooms so that they can also instinctively see, this works in science and in English.

Maybe they’ll find themselves in another situation during the school day where they might use some of the habits like,

“Could you tell me more about what you mean by that saying?“

Yes, habits are certainly throughout adult life, too, we’re just always using them, so we are always fine-tuning them.

Jeanie: Nice. Could you name some of those habits more specifically?

Terra: Yes, I can. I think I talked earlier for one of the purposes of understanding other’s perspectives. That’s one of the habits that comes up in Compass Points and Fears and Hopes. Let’s see. Listening, we also talked about. There are a couple of protocol-like activities I love for that one, too, involving using names. Even just having kids call on each other when there are multiple answers and calling them by name. I think it’s just such a wonderful way to acknowledge and listen to others. You have to pay attention who said what, who hasn’t. Listening is one.

https://twitter.com/MonomoyHoff/status/1042789478983774208

Making connections

One thing that I think of when planning is, how much is lower order thinking? How much is higher order thinking and how do we get students to move from that factual receive information, give information back? How do we move them up to comparing, contrasting, analyzing? Those are some habits also that are part of protocols and also certainly transferable.

Bloom's Taxonomy diagram.

Moving to complex understandings.

One protocol that didn’t make it in here, that I love, is Atlas Looking at Data, which maybe some of your teachers will be familiar with. It’s one of my personal favorites. What I like about is it helps people move from factual to more complex understanding.

I was able to use it after we have put in the draft with some of my Spanish students. It’s just so cool to see them analyze. They asked each other questions about likes and dislikes of sports in Spanish. Then, to see them do their analysis of those “si’s and no’s” was pretty cool. Hear their various interpretations.                                                  

Jeanie: Yes, that’s really where the learning is, right? When you can take it up to those steps. Just having a tool that helps you do that, right? Because that’s hard work.  

Terra: It is. Yes, I think it’s hard to break down just conceptually for a teacher. To relay that information and help students grasp it can be hard too, so having it laid out sure does help.       

Jeanie: Choosing a protocol is part of the battle, but for a lot for us, especially when we’re new to facilitating protocols, that‘s tricky business.

It can feel really risky as a teacher to step into a space where you’re making space for students.

You have a section in here that I really appreciate for that. It outlines some clear steps and tips for facilitation.

I just want to hear from your own perspective with running protocols with students, some good suggestions for people who are new to facilitating protocols with students.                   

Terra: Sure. I think we have numbers in our favor in classrooms, where we’ve got 180 days with students. When we’re working with teachers, we don’t usually get that much time. So I think in some way, students can be more forgiving because we have more chances to work with them. Keeping in mind that, there’s not usually just one protocol that will fit the situation, but there’s a variety that will give you feedback or information that’s useful.

You may find at the end that something else could have worked better perhaps, but for the most part, I try to stay away from just choosing the one protocol. I know that many of them will work. Going back to that purpose, which one of these fits most with the purpose. It doesn’t have to be a perfect fit.

Tips for facilitating protocols

Terra: One mistake that I made with a gallery walk with sixth graders was that I wasn’t specific enough in how I requested they provide feedback. There was a round of very vague and sixth grade-ish terminology on the posters that students had made. That was a learning experience for and me and the students. I need to be more clear which in teaching I can always be more clear. I tried to frame the questions at the end so the students could see the value of giving more specific feedback rather than generic kind of goofy feedback.

The tip is to be really clear. When it doesn’t work, think about the questions that you can ask that might help the students understand why you would do it differently next time.                                  

Jeanie: What I’m hearing is that it’s okay to be transparent in your facilitation and say,

“Oh, I didn’t really do a good job of that. What might I do differently next time?”

Solicit their feedback.  

Soliciting student feedback

Terra: I think that’s great. One that I use a lot, again, because I think giving clear directions is tricky especially at the end a day of teaching. There are a couple of students in particular who are great at clarifying questions. Then I’ll say,

“I think I’m being clear with this, but can you ask me some clarifying questions so I make sure… so that I can make it even clearer.”

Or, if it starts going in a wonky direction, I can say,

“Okay, wait a minute. I don’t think I was clear enough. Who can help me articulate this?”

I love asking the students for help. Yes, and being transparent… I mean, why not?       

"That first time you do a protocol, it's like a brand new pair of hiking boots. It's uncomfortable. You have to really do a protocol a couple of times before you start to see the value."            

 

Jeanie: That reminds me that, I think this is true for adults, and I know it’s true for students as well, that first time you do a protocol, you hate it. It’s like a brand new pair of hiking boots. It chafes, it’s uncomfortable.

You have to really do a protocol or do protocols a couple of times before you start to see the value.

One of the things that I do when I facilitate with people who are new to protocols, is just to own that at the beginning. This is going to feel uncomfortable. You’re going to notice that it’s uncomfortable sometimes. I want you to notice that and think about how did the discomfort or the structure that felt uncomfortable serve our learning?                     

Terra: Right, I agree. We were keep coming back to the debrief and the importance of the debrief. Setting expectations at the beginning to why we’re doing this and why it might feel uncomfortable, but then coming to the end and seeing how uncomfortable were they or were they not. That process of setting up and finishing is a super important one for sure. And definitely helps with kids adapting to protocols.

Sometimes… I’m trying to think… I think sometimes I get more pushback from adults than from kids using protocols. Sometimes I will use different names to warm them up and then explain what the protocol is. So there’s another little tip or trick. *laughs*                       

Jeanie: Don’t call it a protocol. I really appreciate that you keep coming back to the debrief. I think it’s the easiest part to skip. Yet, it’s really the richest space for learning. For learning how the structures supported you or didn’t support you and how you might do it differently, but also for like, what helps us learn.

It’s a great way to be metacognitive.             

Terra: Yeah. I totally agree. That timing piece is something that I think teachers feel more constrained by in a classroom than in professional development because we really have just that set number of minutes. Sometimes in PD you can go over by five minutes. But yes, I think there’s a certain mathematical quality also to doing protocols in the classroom. Which also comes with practice, where you think about how much time you actually have. Think about changing the timing based on what you have. And then, knowing which parts need to be a little bit longer than the others. Rather than just dividing them equally into three minutes segments, that kind of thing.

Also, in the midst, if being transparent with the students, to say,

“Our time is up for this section, but I hear so much deep conversation that I’d like to extend this and pull back on the next step”

but I really try not to take it from the debrief. However, I do have a couple of tricks for time there. I’ll use the individual whiteboards and have kids write their debrief? Then, I just take a picture of everybody’s on their way out and share it that way, rather than doing a go-round. That can be a quicker way. Or, they can email me. So doing a written debrief can save some time when you’re really squeezed, but you know you can’t sacrifice the debrief. But the beauty of that is then you have the words for the students to look at next time you meet and do some analysis of, or use as a segue-way to the next part.                    

Jeanie: That’s great. I was going to ask you, do you circle back to those the next day or the next time you have kids. It sounds like you do.    

Terra: Yes. The other reason that I use the debrief in sort of circling back and tracking it is that: not every protocol is everyone going to like to the same degree. And that’s okay. The purpose is not everyone is going to love it each time of time.

Everybody brings different strength and weaknesses to it.

Sometimes, it’s going to be easy peasy, you’re going to love it. Other times, it’s going to be harder, but we’re all as a group moving and working together. We do it in different ways.                   

Jeanie: Learning is often uncomfortable.  

Terra: That’s true.

Jeanie: Protocols are places where learning happen.   

Terra: That’s true. I’m going to read a quote from page 30.

Protocols are thought-demanding exercises, requiring habits of behavior and thinking skills that may pose challenges for students. Some of those habits and skills include:

  • Articulating ideas out loud
  • Speaking within time constraints
  • Staying focused and resisting digressions
  • Following a sequence of steps in a disciplined way
  • Formulating questions
  • Listening attentively
  • Understanding others perspectives.

As I read down the list, I think of the role of learning specialist.

That’s one of the things that I do in working with kids with dyslexia, with ADHD, with other brain-based differences. What I was saying earlier, protocols offer a lot for those students. I was thinking of “speaking within time constraints,” “staying focused and resisting digressions,” “following a sequence of steps.” These are some of the habits and skills that everyone benefits from, but I think it especially supports some of those students. I was thinking of some of my English language learners with the first bullet, “articulating ideas aloud.” Not just English language learners, but it can be intimidating to speak to a group.

That’s where some of the protocol like activities come in handy.

Where first you’re speaking to one person or maybe a triad before speaking to a whole group, but through repetition and practice and habit and scaffolding, the kids become comfortable speaking to the whole group.       

Jeanie: Before we move into that, I just want to say that these habits and skills, the way that protocols demand of us these things, these are not just hard for students. These are really hard for adults as well in schools. I just really appreciate how clearly you all unpacked that.

This whole chapter is about developing buy-in. I would really love for you to walk through some of the exercises that help students practice the skills they need in order to participate well in protocols, but that they’re smaller exercises. These are really great differentiation strategies. And I’d just love to hear you unpack a few of them.            

Terra: Absolutely. I’m going to start with Postcards on page 33. What I love about this is, it’s very flexible. It can be used at the start of the class to get kids predicting, it can be used at the end as a sum-up.

"Postcards: Purpose: Generating ideas for and interest in a topic. This activity requires a set of picture postcards; the best ones to use are those that require some interpretation. The facilitator distributes a postcard to each student, asking that students not look until told to do so. The facilitator then poses a prompt designed to get the students talking about some aspect of the upcoming topic; for example, "The card you have has a picture. How does the picture remind you of your favorite book?" "...of a time you were on a school trip?" "...of an experience you had working in groups?" Students are given 30 seconds to think of a response (or more for younger students). Then they share in small groups. The facilitator may then ask a few volunteers to share publicly, or, if the class is small enough and time allows, do a go-round in which everybody shares. The facilitator might also have two students share the same card and talk about what was similar and different about their reactions. (Adapted from Postcards from the Edge from the School Reform Initiative website)."
An excerpt from page 33 of the book describing the Postcards activity. Click or tap to enlarge.

I love having a toolkit that’s flexible.

What I also like about Postcards is the visual element which is such a great way to get buy-in for a response from a student as opposed to text, which sometimes provides buy-in. Postcards can be used with texts as well.           

Jeanie: Can you tell us what it looks like?

Terra: Sure. What it looks like is, you have a set of images. I sometimes have them thematically based, based on what we’re talking about in class. Or sometimes if my purpose is more about figurative language or more about building community, I’ll use this beautiful set of postcards from Magnum Photography. They are large format. There are beautiful colors. They represent people of different ages and different groupings all over the world.

I’ll spread those out on the table or on the desk and have students do a little quiet think time. Which is always helpful, I think, and come up with some kind of, it can be a connection, a question. I actually used them recently for students to practice weather, in my Spanish class.        

An entryway into conversation

They had a chance to think about what they’re going to say. Then they turn to a partner and said, “hace frio” or whatever the particular phrase was. That’s like a really quick and easy use of postcards that gives students something to talk about. Kind of entryway into conversation. It gets them talking to the person next to them, and listening to the person next to them. That’s one way that you can use postcards.      

Jeanie: That’s interesting. I love to use images. I love to use them as metaphors, but I don’t use postcards. I’ve made my own cards from National Geographic magazines. That’s a really cheap way. Rubber cement, National Geographic magazines, and index cards is a really cheap way to make some images that you can use in lots of different contexts.        

Terra: Yes. I’m chuckling because I have a stack of old magazines that my students use for collages, but they’re going a little out of hand, so I went through and pulled out some of the more striking images. And they’re on my desk to cut and put on construction paper to use in the classroom.           

Jeanie: Folks, as a librarian, I will just say, check your libraries. They usually some have some old issues of National Geographic.

Terra: I hope that they’re willing to part with?

Jeanie: They’re often willing to part with. Check your school libraries, your public libraries and look around. See if you can get some of those.       

Terra: Yes. That makes me think of my incredible library in Austin, Texas. My public library, they’ve got a great Spanish language selection of magazines. I will take pictures of them to use in class. I’ve just thought, oh, the next time at postcards, maybe I’ll use something from an advertisement from a magazine. It’s got more text because my students are ready to discuss more text, so… thanks. *laughs*          

Jeanie: Let’s unpack one more exercise that gets people ready for protocols.    

Terra: Okay.

Jeanie: Gets students ready I should say for protocols.  

Terra: I’m debating between Turn and Talk, or Pair Share, and Warm and Cool, but since we’ve already talked about postcards and treated it as a turn and talk. Of course, you can do it as a whole group. It’s super flexible that way, but I think I’m going to go to Warm and Cool.

Warm and Cool

The way that this prepares students for protocols is giving them practice and feedback. In a couple of ways, starting with warm feedback and moving to cool, so that the person is more willing to hear the cool. It as a strategy or a habit that kids can use.                    

Jeanie: Warm feedback meaning things that are positive, things that are good in a piece or in the work. Cool feedback: areas for improvement?      

Terra: Yes, thank you for that, for clarifying. Sometimes I will frame the debrief in terms of warm and cool, the debrief from the class. Not necessarily from a protocol, to have them used to using those terms and framing feedback. Our school does a debrief at the end of every class, across the board. That’s one way to get the students practicing with warm and cool feedback. Sometimes it’s about me and my lesson plans, sometimes it’s about the other students. It can be safer to talk about me versus a peer, but they get to a point where they’re happy to talk about a peer and/or themselves and how well they felt they did in the class.

This is another one of those multi-purpose, short, but meaningful ways to get students used to more complex and more multi-step kinds of protocols.

When giving feedback becomes more part of their day, then we can help them break down some of their questioning about the piece to get to that feedback and have them also use the feedback and then show where their evidence is. Then, that also can become a pre-writing activity. Making a statement using evidence is such an important piece. Just a simple warm and cool feedback, whether it’s to me about the class, to a peer about some of their work, or about their own reflection on work are all great ways to help them get into some of the longer protocols.                         

Protocols and proficiency-based education

Jeanie: This really intrigues me. As we think about transferable skills in Vermont, several of them involve revision and iteration. Self-direction and perseverance ask kids to think about how they might get better over time. Collaboration asks us to give and receive feedback. Thinking about us moving towards a proficiency-based or competency-based system where we’re really asking kids to be able to take feedback from a teacher, for teachers to really think about the feedback for growth that they’re giving to students. As students really think about their learning as a growth process.

Warm and Cool feedback feels like a really great skill for kids as we transform our learning to a proficiency-based system. As we transform our system towards a proficiency or competency-based system.                           

Terra: Yes, absolutely because you have to be specific. You have to point out the specific competencies, so the student knows where they are, where they move from and where they’re heading to. So that there is specific feedback versus, “Hey, great job!”          

https://twitter.com/JPhillipsVT/status/867908788468146176

Jeanie: If you’re able to give really specific feedback, you might be more able to receive it.    

Terra: Yes. Also, there’s an idea that I don’t know that we mentioned earlier, but of flexible thinking. The importance of flexible thinking.    

Jeanie: Say more about that.

Terra: Some of the students I work with really see the world in black and white binary. The world doesn’t usually work out that way. So, helping students think more broadly about the world around them. Some of that comes in with listening to the perspectives of others.

But, being a flexible thinker, like being open to another’s idea in order to change your idea or change what you’re doing, is an important habit and skill. Certainly for work with other people, but even if you’re working on your own, there are some things that happen that you don’t have control over, so you have to change what you’re doing.

Think about students who struggle with executive function. If they’ve made a plan and it doesn’t go as planned, they might just give up or feel overwhelmed. Having that flexible thinking, it’s like,

“Okay, this is what happened, what am I going to do to continue on to my goal.” 

So, it can be again, coming from someone else, “Hey, you forgot to include the poster in this project.” Like, “Oh, class is next period, what am I going to do? How am I going to think this out?” Or even in a planning stage, thinking about different ways to achieve a goal. I think those are all flexible thinking pieces. If someone gives you feedback, valuable feedback, you’ve got to be able to internalize it and then make a change based on it.                                

Jeanie: Yes. The more we can practice that, the better, right? Because we need students taking feedback from teachers but also from each other.    

Terra: Yes, for sure.

Jeanie: And we do that in the world. That’s another transferable skill. You shared some examples — and I just think your examples are so valuable. I really want you just to tell another story about a protocol in action, in a classroom, maybe in the middle grades. A lot of the protocols in this book are really familiar to me, but one that is new to me is the Fears and Hopes protocol. Could you give me just a snapshot of what that looks like in the classroom?       

Fears and Hopes

Terra: Sure. Last year, I started mid-year in a Spanish class. The first thing I did was Fears and Hopes. Anytime you follow another teacher, it can be a little tricky. I wanted to make the way smoother for myself and for the students by allowing them to articulate their fears about me as a teacher and the change. It’s really about change, I think. To tell me some of their hopes so that I can then help to allay their fears and fulfill their hopes.

What came up really is that the students were worried that I was going to be mean, strict, give too much homework. What they hoped is that I would be fun. That I would allow them to keep the sticker system that they had had. Which I really wasn’t interested in keeping, but in seeing their hopes, seeing the patterns around the sticker system, made me realize, this is really important to them. I’m going to maintain it as part of this transition.

I knew I was going to be mean and strict, but to allow them to surface that fear, I could acknowledge where that might be coming from and I could let them know, I probably won’t be mean and strict. It hasn’t really been part of my teaching persona so far. Then, they are able to see it. That also was a really great way to lead to norms.

Based on their hopes for the class, that it would be fun, that we’d have the sticker system. We’d make food. They created the class norms. One of my favorite ones was my boy named Fin, who said,

“Have fun! But be mature.”  

Which for a sixth grader… it’s a bit of a challenge. Each class had their own norms. They’re a little bit different, though there are similar patterns in the classes that I took over about their fears and hopes. This also, I brought in before end of year assessments too. Like, what are they really worried about? Which one’s going to say, “It’s not even going to be on the test. Don’t worry.” Which ones tell me, “All right, we need to spend time focusing.” That’s it. Those are two examples of using Fears and Hopes recently in the classroom.                 

Jeanie: I love those as ways to really surface the unsaid things in the classroom, to make space for kids to say them and feel heard.

I think that feeling “heard” is such a powerful thing.

I’ll give an example. And this protocol is not in the book, but it’s one of my favorites to use with students: affinity mapping. At a time when my students… maybe it was early spring. They were starting to disengage. Instead of clamping down, we took a whole class and we affinity mapped:

“What does engaged learning look like?”

They had their little sticky notes. And we organized them into groups, into clusters. We could think about what could they do to make our learning more engaging and what could I do? One of the things that came up was field trips. Great! Let’s figure out how we can — in a way that is relevant to the work we’re doing together — organize some trips outside of school that would make it more engaging for them. Some of it was on me and some of it was on them, but they co-constructed it. It really made a huge difference.  

Terra: That’s cool. That actually reminds me just in terms of the inquiry process, I had some students affinity mapping. One particular student really had trouble making the categories. She had really broad categories. I saw patterns coming in underneath them and some of the other kids did. It raised the question for me like, “What’s keeping the student from seeing these smaller categories?” And so that became part of my process as a teacher to understanding the student.            

Jeanie: I love that. That leads right to the next thing I want to really discuss. Which is, you’ve got this whole chapter on getting better with protocols. We have talked about the debrief a lot. Which is one great way to get better at protocols, but I love this section. I haven’t really heard people dealing with this before. I feel like this is new thinking for me about how you document the learning when you’re doing a protocol. How protocols can be used as a way to document learning. I’d love to hear what this looks like in practice.        

Documenting learning

Terra: Yes. This is one that I’m working on as well. There’s an educator whose blog I follow. Angela Stockman, who is just incredible about documenting learning.

 

She has a Reggio background and pulls that in.

I’m actually really trying to work on this one because I take a lot of photographs.

Luckily, phones allow us to do that pretty easily. And in my particular school, the kids have access to laptops. We can document a lot through typing and sharing via Google Drive.

This is something I’m trying to figure out how to do more long-term. Certainly, we have posters on the walls that we refer to. I mentioned norms as one of them. At the beginning of this past year, I did Compass Points with my students. I hadn’t met them before, so to understand our different class dynamics. Those are still hung and sometimes we refer to those. There’s the idea of leaving a footprint in the classroom environment, so that you can refer to it, reflect on it, and go back to in that way, but I’m really trying to find out more ways document digitally. Have it be useful and not just stored somewhere in your Google Drive. 

That one, I’m still working on. I think blogging might be part of it, having the students blog as well. 

Jeanie: I love a text rendering protocol. It’s a great protocol that ends up with some charted phrases and words that can be really useful to return to that are important say in a text. I also really love charting questions. A lot of protocols ask us to take around and ask questions. Those can be really meaty things to return to again and again. They are sort of essential questions that we can return to and say, “Have we answered this? Do we have new thinking around this question?” Posting those around the classroom too.                

Terra: Absolutely. But then, I think there’s a point where the documentation, the wall can be overwhelming and over-stimulating. Then, I think that’s part of… I share classrooms. That’s also part of the balance, those are some the constraints of sharing classrooms. Only having some part of the wall. Then, also when to retire things and how? Do we do to with a celebration? Do I just put it in the recycling? Does it go into portfolios? Those are some of the questions too, in terms of learning.      

Protocols and Personalized Learning Plans (PLPs)

Jeanie: That raises for me, this idea of whole class documentation and individual documentation. In Vermont, we’re really focused on personalized learning plans or portfolios for students. It seems to me like, some of the debrief material and some of the images that kids might want to take pictures of — either their postcards or the phrases from a text rendering as evidence — and then, reflect on that in the debrief online.   

Terra: Yes, I agree and adding to that, going back to the norms! I think during the debrief, having students reflect on the norms and look at key points over time because they do grow so much over the year. It’s really important to acknowledge that growth and that hard work in the building of habits.              

Jeanie: Or how you’ve become a better listener. Or how you’ve become better at giving warm and cool feedback. Or the ways in which you are more analytical because of your experience with the steps of the protocol.    

Terra: Absolutely. Even volume of response. There are so many ways to look at growth and that digital tools allow us to go back and keep learning.        

Jeanie: That makes me think that doing a protocol multiple times with a group is a really rich place too, to notice, how do we get better at it? Doing that, Save the Last Word for Me, say, with different texts over time. Part of the debrief is,

“How are we better at this than we used to be?”         

Terra: Yes, I love that idea. I do love, Save the Last Word for Me. I just love that idea of building, taking a text and building upon it. And I guess what I appreciate is not just, “I’m reading this and I’m interpreting it and I’m good to go”, but the value add of others reflecting back, the value of others thought about it.

Again, it goes back to that idea of protocols. They help the individual learner but also help the group. Anything about repetition or any multiple ways to look at a text, I always appreciate. Especially for my struggling readers.                             

Jeanie: That leads me to this next section in your book. Where you talk about the relationships between protocols and other structures. In Vermont, we have these wonderful students at Harwood Union High School who teach other students how to engage in Harkness or Socratic seminars, which I just so admire.

https://twitter.com/YoungManMo/status/936648397301473280

I saw them present recently at the Rowland Conference and I was so impressed with their skill at teaching teachers and students to use those structures. I wonder if you wanted to say anything about how protocols are complementary to these other student voice structures that we see in schools.        

Terra: Yes. I think that section came up as part of our ongoing discussion, what is and isn’t a protocol?

Some of the schools that I work with in New York City are using restorative practices. Part of the discussion, while there are some similarities in terms of the group, in terms of voice, in terms of expectations for the purpose of coming together, but that’s part of a much bigger program.

I think that most of my experience is really with protocols themselves. I don’t have that much to add, but I certainly learned with the other authors more about different things kids are doing.                       

Jeanie: These structures, it seems to me are really like… it’s not an either/or. The way we use protocols can completely help kids get better at Harkness discussions or Socratic seminars. Kids who are engaging in Harkness discussions and Socratic seminars are going to find a real affinity with protocols.  

Terra: Yes. I think that question of what is and what isn’t,  that kind of definition… it’s not that one is better than the other, just they’re different ways to approach. The more we can allow the students to reflect on that and see the different ways that they can move a group.  I want to see these students teaching teachers. I love it.               

Students as facilitators

Jeanie: I have deep appreciation in this book for the way that you structure how you can move students to the facilitator role in protocols. We’re not going to talk further about that, but I love that it’s in here. That as you gain experience as a class, moving students to the center of that process. 

Terra: Yes. I’m a big Harry Wong fan, and that whole idea of the students doing the work is where the learning is, and the students should be tired not the teacher. I think that idea of decentralizing the work, the learning, to the students is what it supposed to be about.

What an empowering feeling it is to be a twelve-year-old or an eight-year-old or a sixteen-year-old running a 45-minute class, and hearing in that debrief the growth that you are a part of.

That’s pretty powerful.                

Jeanie: That’s a great way to end. Before we close, I was thinking about other books I might suggest for people besides this wonderful book Protocols in the Classroom: Tools to Help Students Read, Write, Think and Collaborate. Some titles that came to mind is, other places people might turn to for growth are The Facilitator’s Book of Questions which has been a really invaluable tool in my toolbox.    

Terra: I love those concrete suggestions for when time goes, or when someone goes off topic. They’re very useful for children.   

Jeanie: Right, yes.

Terra: That‘s a good one.  

Jeanie: The whole like, “What do I do if somebody won’t follow the structure of a protocol?” Those are very concrete.     

Terra: They go off topic. They run out of time, yes.

Jeanie: Then, The Power of Protocols is also a really powerful text.   

Terra: Absolutely. 

Jeanie: Terra, thank you so much for taking the time in this busy conference to talk to me about this fabulous book. To talk to our listeners about what it looks like to use protocols in the classroom with students. Thank you.            

Terra: Thank you for having me. Thanks for the opportunity to talk about books.  

I’m Jeanie Phillips, and this has been an episode of #vted Reads, talking about what Vermont’s educators and students are reading. Thank you to Terra Lynch for appearing on the show and talking with me about Protocols in the Classroom. If you’re looking for a copy of Protocols in the Classroom, check your local library. To find out more about #vted Reads, including past episodes, upcoming guests and reads, and a whole lot more, you can visit vtedreads.tarrantinstitute.org. Follow us on Twitter and Instagram at @vtedreads. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

Please note: neither I nor the Tarrant Institute received compensation monetary or otherwise from the author for her appearance on this show.

#vted Reads: The 57 Bus with Caitlin Classen

#vted Reads logoIn this episode of #vted Reads, we talk about the 57 Bus by Dashka Slater. Based on a real-life incident, this book chronicles the experiences of two young people before and after an act of violence.  We explore both perspectives of a specific crime: the victims and the perpetrators.  Along the way, we learn more about gender non-conformity, the challenging reality of living with neighborhood violence, the problems with the juvenile justice system, and how to construct an amazing non-fiction story.

So glad you are joining us for this episode of #vted Reads. Let’s get to the conversation.

Jeanie: I’m Jeanie Phillips and welcome to Vermont Ed Reads. We’re here to talk books for educators, by educators, and with educators.

Today, I’m with Caitlin Classen, and we’ll be talking about The 57 Bus by Dashka Slater.

Thanks for joining me, Caitlin.

Caitlin: I’m thrilled to be joining you.

Host, Jeanie Phillips, left with Caitlin Classen, right and two copies of the book The 57 Bus.

Jeanie: Tell us a little bit about who you are and what you do.

Caitlin: My name is Caitlin Classen. I am the librarian here at Albert D. Lawton Intermediate School in Essex Junction, meaning I work with about 365 sixth, seventh, and eighth-graders on a daily basis.

Jeanie: I just want to say we’re in a back room in Caitlin’s library, and it is one of the most charming middle-school libraries, or libraries in general, that I’ve ever been in. It’s really lovely here.

Caitlin: Thank you so much. It’s all kid artwork and kid-driven.

Jeanie: Yeah, it feels fantastic.

Caitlin: Thank you.

Jeanie: So The 57 Bus; we were just talking before we got started about how much we both adored this book. Usually, when I am doing a book, especially one written for young adolescents, I start with a summary. But this book is a little bit different, and so I’m going to ask you to just introduce us to the characters.

Would you start by introducing us to Sasha?

https://twitter.com/lincolnabesread/status/1090655907061555201

Caitlin: Yes. Both characters are super interesting and super compelling just as individual people. Sasha is very interesting to me as an educator because I learned a lot from this character.

Sasha is agender.

Basically, what that means is that Sasha does not identify as either male or female. They had originally started by identifying as genderqueer because they weren’t sure how they wanted to live their life. Sasha prefers the pronouns they or them.

It was a really interesting read because this kid is super smart and clever, and goes to these interesting schools for kids who are independent thinkers, and has these really supportive parents. I believe the dad’s a kindergarten teacher and the mom also works in education. It said as a bookkeeper at a private school. An only child.

What’s so cool about Sasha is that they dress in an interesting manner even for a big city like Oakland.

While Sasha wears a lot of bow ties and top hats and newsboy caps, they said at first it was a lot of steampunk influence. Sasha then adds the layer of putting on a skirt. The parents mentioned that they saw their child go from pretty reserved. They could blend in, pretty good at being invisible, and then made this decision, I want to say at like 15 or 16, to start dressing differently. The parents start worrying like, “What’s going to happen to our kid?” It’s a pretty progressive city, but there’s still that worry about how are people going to receive my child. I think that’s a big catalyst obviously of how we learn about the 57 Bus and the incident that occurred that afternoon.

Jeanie: You bring up so many interesting things for me, and I want to make sure our readers or our listeners know that this book is nonfiction which means even though I said the word “character,” Sasha is a real person.

Caitlin: Correct.

Jeanie: And Sasha’s parents are real people.

The introduction to Sasha in this book is such an empathy-building experience because you get to see Sasha’s journey as they figure out that they’re agender.

As they explore like, “Who am I really and what do labels mean?” Page 33 in this book, in particular, is just such a primer on the language of gender.

Caitlin: Correct it’s a whole different world. I think if you’re someone who is… I don’t want to say lucky enough to be born knowing how you identify, but in a way, it is a sense of luck that you don’t have to go through that battle of like, “Who am I, and what does this mean? How come there’s not a label for me? It’s not easy for me to fill out a census that says male, female, other.” I think that page 33 is just helpful for educators and adults everywhere, but especially if you’re working in a school because you never know what kind of kid is coming through your door.

Jeanie: I’m going to read a little bit of page 33. The title of the chapter is called, “Gender, Sex, Sexuality, Romance: Some Terms.”

Because language is evolving rapidly, and because different people have different preferences, always adopt the language individuals use about themselves even if it differs from what’s here.

That’s powerful.

Caitlin: I agree.

Jeanie: To me, that speaks of self-determination.

That as humans, we have the right to decide how we want to be referred, what we want to be called.

https://twitter.com/JPhillipsVT/status/1088128777497071616

Caitlin: I agree. I think as educators, even though we work with children, people know who they are and how they want to be identified. It’s a very powerful page to read.

Jeanie: It continues on with terms for gender and sex, which is almost a full page. Agender is defined as:

doesn’t identify as any gender

and that’s how Sasha identifies. It continues on with terms for sexuality and terms for romantic inclination.

I really appreciate how it breaks these down to terms for gender, terms for sexuality which is different, and then terms around romantic inclination, which is also different.

It breaks them apart in ways that we don’t often do as a culture.

When we had… a couple years back, we had some transgendered students at my former school, Green Mountain Middle and High School, and it was a confusing time for faculty.

I feel like reading Sasha’s experience would have been really helpful.

The resource that was super helpful to us was Outright Vermont.

Caitlin: Yes, we love, we had Outright come last year and do a training with us. We love Outright Vermont.

Jeanie: Would you talk a little bit about what that looks like?

Caitlin: Sure. I’m sorry I can’t remember who it was, but it was a wonderful woman who came and did this presentation for our faculty last year. We also have students who are transgender and who are questioning and we want to be as supportive as possible for our kids. They basically broke this down, right.

How you identify your gender is not necessarily how you’re going to identify with your sexuality, and that doesn’t necessarily correlate with who your romantic interest will be in, and just gave us the language and the safe space to have those conversations because this is a new language for a lot of educators. 

I work with some people who have been in this building for almost 40 years. Things have changed a lot in the last 40 years.

Teaching yourself how to respect your students is how communities thrive.

I think we expect that respect back from them, but our kids are super open-minded. I think it’s where educators need to do a little more work to make sure that they feel like they are in a safe and inclusive space that understands who they are.

Jeanie: This is one area in particular where I feel like we can really learn from our students.

When I was at Green Mountain, it was Circle, the gay-straight alliance, that was really those kids knew so much more than I did. Having conversations with them was an education for me.

I’m thinking about What’s The Story? a couple of years ago. A group of students there created an incredible video, I think it’s called Breaking Binary, which I’ll put a link to in our transcript because that’s a really powerful student-created piece on gender and gender identity.

The other thing you touched upon that I think is really interesting is Sasha’s parents. This feels to me like a great book for parents of transgender youth or agender youth or genderqueer youth to read because Sasha’s parents really want to do the best thing.

They’re really supportive of Sasha; and yet they worry and they mess up. Later on in the book, when something happens, which we’ll get to, Sasha’s mom reverts to the old pronouns, forgets to use “they.” I just had such empathy for her.

Caitlin: I agree. She’s really trying, and I love that the mom says, “I’m trying and I still make mistakes, but I’m trying to be supportive.” I think that’s just so human. I think we want to say, “This is how you identify. Cool, you have my full support,” and you can and you are gonna make mistakes. I think it’s just owning that and being, like, catch yourself, fix it, acknowledge it, and then move on because that’s how you’re going to learn.

Jeanie: So we have Sasha. Super smart. I think Sasha is also not neurotypical.

Caitlin: Agreed.

Jeanie: I believe they’re on the spectrum.

Caitlin: I agree.

Jeanie: Sasha goes to a charter school across the city of Oakland and has this rich friend group. I mean, reading about those friends and the creative games they play and their like almost cosplay, they’re dressing up, is so fascinating. They’re such a quirky and interesting group of kids. Sasha’s got this really lovely home life and the kind of the kind of thing we want for all of our students.

Let’s now introduce Richard. Tell me a little bit about who Richard is.

Caitlin: Richard is pretty much the opposite of Sasha in most ways. Sasha came from a supportive, financially well-off area of Oakland, and Richard literally lives on the other side of the city. He comes from intense poverty and a lot of violence. This poor kid has had so much trauma in his young life; lost friends, had family members murdered, killed by gun violence in their neighborhood. Your heart breaks for this child.

Richard was born to a very young mom. I want to say she was like 15. The dad left the picture soon after, in and out of jail. This kid grew up in kind of an unstable environment.

When one of his aunts is murdered with the gunfire, the mom ends up taking in the two cousins. While his mom works, she’s working 12 or 14-hour days, they still don’t have a ton of money. This kid just kind of starts to get lost, not even in the system; just starts to get lost in general because Richard starts to skip school a lot.

I think it said Richard, when this event happened, was a junior in high school and had been to three different high schools. That’s already unsettling… and does not seem to be a bad child. I think that’s what we need to keep in mind is that they were both children.

Teenagers may seem big and scary, but they are still children.

Richard was a good kid. He took care of his little siblings and showed up when his mom needed him to show up. He even went to one of the guidance counselors at school and asked to be put in a program that helps with kids who have a lot of absences, like unexcused absences from school. Then– I can’t remember what her name was. I can look it up. It starts with a W. Basically said kids don’t really ask to be put in that program because it’s easier to put freshmen and sophomores back on the path towards being successful in high school, and Richard was already a junior when these events unfolded.

Jeanie: Is it Kaprice?

Caitlin: Yes. Kaprice Wilson? Yes. Kaprice Wilson.

Jeanie: Caprice loves him.

Caitlin: Yes.

Jeanie: Kaprice runs a special program for kids as you mentioned. She really gets these kids and what they’re what they’re up against.

To be fair, Richard’s mom is really trying hard and she adores Richard. He comes from a place of love. He’s well-loved, but resources are thin.

Caitlin: Time is one of those resources that she just doesn’t have that. If you’re working 12 and 14-hour days, you just don’t have that ability to be there with your kid as much as you would like to be.

Jeanie: He has a complicated relationship with his stepdad when she remarries. There’s a lot of children in the house, and the violence that he experienced isn’t just about those around him. He experiences violence from an early age when his aunt is killed, and then a friend is killed, another friend is killed, and he is in the juvenile justice system and has no one to confide in, no one to comfort him when his good friend is killed on the streets from gun violence.

Then there’s this scene where Richard is in a store and he’s robbed.

It says, I’m on page 98,

It was the end of October, two months into Richard’s junior year. He and his cousin Gerald were on their way to Cherie’s house to kick it with her brother and they stopped in at a liquor store to get something to drink. That’s when Richard ran into a boy he knew from around the way.

A few minutes later, two guns to his head.

Gerald was walking in front, so he didn’t see what happened. But suddenly Richard wasn’t wearing his pink Nike Foamposites anymore. Richard’s face was crimson, the way it always got when he was furious.

In Oakland, it’s called getting stripped. The kid took his wallet, money, phone, shoes, coat. Gerald wanted to go back, find the kids who did it, but Richard told him to keep walking.

He’d been caught without his people, that’s all there was to say. But at least he hadn’t been killed. Rumor was that the boy who robbed him had killed people.

Caitlin: Again, still just a kid.

Richard is just a kid. I can’t imagine having gone through something like that. That’s traumatizing enough, let alone having that heaped upon all of the loss and violence he’s already experienced.

I was, in this article that I was reading, The Fire on the 57 Bus in Oakland, which is from the New York Times Magazine; it’s written by Dashka Slater, the author of the book. There was also a line about that. He kept thinking about one of those robbers and Richard knew one and had thought that was a friend of his. So he also had this layer of deep betrayal because you think you’re safe but you’re not safe.

Jeanie: I think that that lack of trust permeates Richard’s life in school as well. He’s not sure who to trust. He gets in trouble at school. He ends up getting arrested at school later on for what happens next.

School doesn’t feel like a safe place, his neighborhood doesn’t feel like a safe place. It’s almost like Richard’s always living on edge.

Caitlin: Yes, because nothing is ever safe, and I can’t imagine how that stress must impact you as you’re growing. To just always be wary and to never feel like you have a place to land that you can trust.

From that same article, Richard is a kid who also was trying to advocate for himself, like he wanted to be in Kaprice’s program. He had said to her he was falling behind in school, which is when he started skipping school because he wasn’t understanding the content that was being taught. He himself wanted to be tested for learning disabilities. It wasn’t an educator saying, “I think we need to help this kid.” It was him saying, “There’s something wrong and I’m struggling, and I need help with that,” and that’s heartbreaking.

You feel for this kid, and he does commit a terrible crime. He hurt someone, but it’s still a child and a child’s way of thinking.

That’s what this book keeps bringing back, and I think this is really beautifully told story about how these were two people in the world and that right and wrong is not black and white. It’s that human condition that we forget when we look at these punishments in our justice system too.

Jeanie: One of the things that’s been coming out in the news a lot that I thought of as I was rereading this book was about the toll that racism takes on bodies, right? Thinking about African-American women are more likely to die or experience trauma when they give birth.

Caitlin: I just read that too.

Jeanie: Similarly, Richard lives in this environment, and you had some statistics earlier about incarceration rates for African-Americans in Oakland.

Caitlin: I do. For children in Oakland.

Jeanie: For children, yes.

Richard lives in this environment where the expectation is you might be shot or put in jail. You’re more likely to be shot or put in jail than probably finish high school.

Caitlin: Which is terrifying. That statistic said,

African-American boys make up less than 30% of Oakland’s underage population but account for nearly 75% of all juvenile arrests, and each year dozens of black men and boys are murdered within the city limits.

Jeanie: Even if he doesn’t know those numbers, that’s the daily fabric of his life, and the toll that must take.

Caitlin: I can’t even begin to imagine.

Being a librarian, I feel like I’m in a unique position also with my students to build empathy and understanding through literature because this is a life that I cannot imagine. But The 57 Bus put me in that position and makes you look at the situation from both Sasha’s point of view and Richard’s point of view and their families because what happens affects so many more people than just the two people on the bus.

Jeanie: Let’s get to what happens because from the beginning of this book, you know what happens. Sasha and Richard live in two very different sections of Oakland. What happens to make their worlds collide?

Caitlin: Sasha and Richard, like you said, come from two different parts of the city, but their paths cross on the 57 Bus. Sasha takes The 57 Bus everyday -it’s part of their commute to and from school – I believe for more than an hour, commutes for more than an hour, and is really comfortable taking the bus and has done it for a long time.

What Sasha is wearing on the bus is a key component of what happens. Sasha’s wearing like a shirt with a bow tie and happens to have a white tulle skirt on.

It’s a look, but Sasha’s never had any problems before and so had been reading a copy of Anna Karenina, which I love, and had fallen asleep on the 57 Bus and was sleeping in their seat.

Then Richard gets on the bus with, I want to say it’s two or three friends, two friends, and one is his cousin, Lloyd. Lloyd had been waiting for him after school also, so when Richard was dismissed, had been kind of egging him on and they were kind of in this heightened state. These three teenage boys get on the bus, and Lloyd’s trying to flirt with this girl in the front, and they’re just being really loud and rowdy, and then they notice Sasha.

They have a lighter, and goading each other on, they’re flicking the lighter, right? Like it’s a joke.

They light the lighter once and the skirt doesn’t catch on fire, so they’re laughing and then they flick it again. Then Richard’s getting egged on to light the lighter again, and I think it’s the fourth or fifth time that it catches.

What Richard expected was that it would be like a little flare up and Sasha would pat the flames out and it would be this funny incident, but what they weren’t expecting was that tulle is a fabric that lights like a candle.

In an instant Sasha, is surrounded by like white-hot flames and wakes up screaming, “I’m on fire I’m on fire,” and the bus stops. Sasha is on fire.

I can’t even imagine the terror you must feel. You were sleeping on the bus and you wake up in pain and… gets off the bus, and two passengers help Sasha put the fire out, knocked them to the ground and put the fire out, which is traumatizing for them as well. In this time, the boys get off the bus and they take off. Sasha is left on the ground in the cold November air with burns from thighs to calves, second and third-degree burns, and is walking on the sidewalk in shock and is calling their dad, Carl, talking to their dad on the phone.

People were just horrified and devastated.

I honestly don’t think that Richard knew what was really going to happen, and that’s that connection to the teenage brain and how teenagers think and how their minds work.

It’s a really horrible incident because the part of me that’s a teacher is like, “You know you’re not supposed to play with a lighter. That’s so ridiculous and so stupid. Why would you even risk it?”  But then when you hear Richard talk about the reasoning behind it, I believe him.

Jeanie: You described Sasha’s point of view really well.

One of the things I think that comes out is that Sasha’s friends are shocked because Oakland is such a queer-friendly place. This kind of thing doesn’t really happen.

Caitlin: In broad daylight. All right, so this is page 117 and it’s a chapter called Watching.

After he jumped off the bus, Richard strode away with his hands in his pockets, trying to look casual. Then he heard Sasha’s screams. He stopped, turned around, went back.

He stared at the bus, mouth open.

The bus had begun to move again. The driver, still unaware of the fire, was continuing along his route.

Richard ran after the bus. Suddenly, it lurched to the curb. Passengers spilled out, yelling and coughing. Another bus, the NL, had pulled up behind it, and after a moment, Richard turned around and climbed on. A few seconds later he got off again and walked back to where Sasha now paced the sidewalk on bare, charred legs.

He ambled past, snaking his head to stare at Sasha, then turned around and walked past Sasha again, still staring. Then Jamal and Lloyd got off the 57 and the three of them half walked, half ran to the other bus. That night, Jasmine noticed that Richard seemed sad.

“What’s wrong?” she asked.

He wouldn’t tell her.

Jeanie: Oh, that’s so powerful.

Richard has made this terrible mistake.

Caitlin: Terrible mistake.

Jeanie: He’s horrified. All the emotion of what happened, like his own guilt and his– he just doesn’t even know what to do.

Caitlin: And because I honestly don’t think he thought what happened was even a remote possibility.

Jeanie: I am a mother and I remember, when my son was young, talking to a mother whose kids were older, and she said, “Oh, you think it– it’s hard now,” like, “Mothering a toddler’s really hands on, but when they get older, it’s even harder because all this stuff is happening in their brain and you can’t access it.”

Right now, you know, “Okay, what you need is food, what you need is sleep,” but later you’re like… and so Richard, I feel for Jasmine, his mother. She can’t get in there to see what’s going on.

Caitlin: She clearly knew that something was bugging her child and he wouldn’t talk about it or didn’t have the language to talk about it.

Jeanie: Yes.

The emotional life of adolescence. We don’t give them enough credit for what they’re dealing with.

Caitlin: The world is big when you’re little.

I think people forget that teenagers are still just children, and the world is a big and scary place and it’s hard to talk about difficult subjects especially when you’re still trying to wrap your head around them.

Jeanie: I think this is a good place to talk about Dashka Slater’s way of writing this book. She’s a journalist and she’s read about this in the newspaper, this event that happened. this fire on the 57 bus, and she dug deeper. The section you were just talking about explaining what happens on the bus with the lighter, the reason that she knows all of that and is able to portray all of that is because she watches the surveillance videos that are on the bus.

Caitlin: Those videos have not only images but also sound, so she could hear what happened and how terrifying it was for not only for Sasha but for the other passengers as well.

Jeanie: Well, because she goes back and interviews passengers.

Her sources are so rich and varied. As librarians, we can totally appreciate this. She uses news reports, she goes to social media, she’s looking on Sasha’s Tumblr page, letters, all these different interviews, and then there are points at which she writes poems. She includes some really interesting perspectives as she’s writing this nonfiction book.

Caitlin: She’s an amazing writer and a beautiful researcher because this book feels complete in that sense. I feel like everyone was well-represented, and she really dives into how difficult a situation like this is because, again, things are not black and white and life is just shades of gray. But this is when, as we get further into the story and learn about the charges that Richard faces/

I think Dashka Slater did an amazing job weaving all of these different components together to give you this full story.

The chapters are so short that I think I got so carried away when I was reading it. All of a sudden, I look up and I’m like, “What time is it?” because the chapter is like, “Oh, I forgot about this person,” or, “Wait, how did this work out for this one?” and then all of a sudden you get these little two or three-page snippets of the story and it’s just fascinating.

Jeanie: Yes, I think this is a good place. We’re only halfway through the book at this point when the 57 bus fire happens because then she spent half her time before the fire really investigating who the two people are, Sasha and Richard. Then the second half of the book is what happens after, and there’s this… I didn’t think of it when I first read it, but when I was rereading, I felt like there was this foreshadowing. It’s on page 121. It feels to me now like such a foreshadowing of what’s to come. It says,

The ambulance took a long time to arrive. The police, on the other hand, came right away.

It feels like, as the story progresses, Sasha’s healing takes a long time, but boy does the justice system act fast.

Caitlin: We’re very quick to blame and assign punishments like that will fix the problem, and that’s not necessarily the case.

Jeanie: I’m not sure, we don’t want to give away the whole story to the reader, but there are some really important themes that happen through the rest of this book that I think are just rich, juicy questions to sort of dig into with teenagers or just ourselves, but especially with young people. Just thinking about a few: what makes something a hate crime? Because this is treated as a hate crime.

Caitlin: Correct, and that hate crime clause on the charges means that Richard doesn’t get to be anonymous, and the case is not kept confidential, and he could end up in an adult prison.

I think it’s so complicated and it’s so vicious in a sense, like the pursuit of justice is so bloodthirsty.

I’m of two minds on that because on the one hand, you hurt someone very severely. You caused someone, an innocent someone who was asleep on the bus, you caused severe harm to that person, but on the other hand, this is still a 16-year-old.

I think because we’re in education, we understand how the teenage mind works, and in a lot of cases, it doesn’t work the way you would hope it would.

Jeanie: It’s still developing.

Caitlin: It’s still developing and how do you–? Yes. Does Richard need to be punished? I agree. Yes, you do, but there are different ways to deal with finding justice for people. I think a key component… I don’t want to give away too much of the book because it’s so good and people should read it because it’s so good, but there’s so many levels to how Richard is treated, and how Sasha treats Richard, and how the families interact. It’s just a complicated situation, but it is a rich discussion book.

Jeanie: Well, it’s so easy.

I think Dashka Slater talks about how in the news reports the way justice is viewed is very binary. Sasha is a victim; Richard’s the perpetrator of the crime. He’s all bad; Sasha’s to be pitied. But Sasha doesn’t want pity, and Richard’s not all bad.

It’s so much more complicated, and Dashka Slater takes the time to, instead of glossing over and making it simple; bad, good, must be punished–

Caitlin: Must be pitied.

Jeanie: –must be pitied, because nobody does anything else for Sasha. Dashka Slater takes the time to really get in the tangle, get in the mess of it, and look at it from all these different lenses.

Caitlin: That’s what makes a good researcher and writer because she chooses to get in the thick of it and is objective, and this book doesn’t take sides, which I think is really so important because she’s looking at it from, “Here is what happened. Here are all the perspectives of what happened.”

Jeanie: I love that you use that word “objective.”

While she is objective, she’s also compassionate.

Caitlin: Absolutely.

Jeanie: She looks at it with this lens of compassion for everyone. Instead of objective like cold, there’s this real warmth of understanding that I think we can learn from.

Caitlin: I agree.

Jeanie: Some other questions that came up are about the juvenile justice system.

Richard has been in the juvenile justice system before, and now because he has that record and because this is called a ‘hate crime’, he’s suddenly charged as an adult even though I think he’s 15.

Caitlin: Yes, 15. I believe he’s 15 when the crime happens, the incident happens. It’s just… it’s horrifying. And the charges are huge. Like you said, the police are the first to arrive and it’s very… the justice system moves fast. He is charged with aggravated mayhem and assault with intent to cause great bodily injury. Both of those are felonies, and each come with a hate crime clause that would add an additional one to three years in state prison to his sentence. If he was convicted, Richard faced a maximum sentence of life in prison at 15 or 16 years old.

Jeanie: The juvenile justice system has already failed him. It’s part of why he’s behind in school, his time there. It’s pulled him out of his family unit and isolated him. Because he ended up in that system with friends, they were separated, so he had no one.

Caitlin: There’s a scene where he finds out where his good friend got shot and killed. He’s in a juvenile hall when that happens. Jasmine, Richard’s mom, had said she called to tell him and that he just started crying and he didn’t even hang up the phone. He just put it down, and she heard him walk away. You can’t hold your child, you can’t be there as they go through this loss. It’s brutal.

Jeanie: The other thing that happens in this story is… and we think about this in the justice system that are often asked,

“Does the perpetrator have remorse?”

Richard has so much remorse for what he’s done.

Caitlin: Oh, heaps of remorse.

Jeanie: Dashka Slater really looks at what would be different, what would happen if it was a restorative justice system. There’s this powerful investigation of how this could be different, and not just for Richard but also for Sasha and Sasha’s family. Do you want to talk about that at all?

Caitlin: I do. I think– personally, I believe in restorative justice and I think that it’s a process that can really work.

When I look at these two kids in this book, this would have been a perfect case for restorative justice process.

Restorative justice is basically acknowledging that harm was done to the community and how do you repair the harm that was done. That can look different case by case because no two situations are the same. So how do how do you repair the harm that you caused?

I think, had these two children been able to communicate, and not necessarily right away because Sasha was in the hospital for a long time, healing. Then months and months of healing after because burns are no joke and they affected everything from how you shower to how hard it is to walk.

I mean there is some anger that comes with that. I think there is a little bit of, “Why me?” But Sasha does a really beautiful job of backing out of that mindset and looking at this as truly a mature individual.

I think restorative justice would have made a big difference.

I mean you can cut this if you need to, but I think the part about the letters that Richard wrote are hugely indicative of who Richard is as a person. Richard, on his own, four days after being arrested, wrote a letter to Sasha and basically was like,

“Dear victim, please know this wasn’t my intention and I cannot believe I harmed you the way I did. It was a mistake and I didn’t intend it,”

in this beautiful letter. Then writes a second letter, and the lawyer chooses to not share those letters. The family, Sasha and Sasha’s family, do not read those letters for 14 months, and I think that is a miscarriage of justice also.

Jeanie: Richard’s already faced so much injustice in his short life.

Caitlin: Correct, and it seems like such a genuine offer, these letters, this heartfelt apology, and that’s what they are. It says, “I did this horrible thing and I accept the punishment that comes along with this. I just need you to know that I’m sorry and that this was never the intention,” and those letters weren’t shared for 14 months. As the families mentioned later in the book too, what would have been different if they had been shared earlier? And the lawyer’s rationale was they have admissions of guilt and we can’t share them. I understand that as well.

I just look at these two people in the world whose paths crossed in this unfortunate way, and what would have been different if we had taken a restorative justice angle on this? Because Richard, at sentencing, is 16. That’s just a child.

Jeanie: Recently, I went with students from The Dorset School, sixth-graders who were doing a cooking class, and they had this series of meetings with the Dismas House. Now, Dismas House has this beautiful mission. Dismas House first came to Dorset School and talked to the sixth-graders about their work, and then the sixth-graders went and cooked and shared a meal with the residents at Dismas House.

https://twitter.com/JPhillipsVT/status/1095764912830365705

This is lodged in my heart, the mission of Dismas House. The meals are about food …but they’re also about reconciliation. Terese, the executive director, said they’re meant to reconcile these former prisoners with society because they’ve done harm, right? And so they need to reconcile. But it’s also meant to reconcile society with former prisoners because society has done harm. A society that allows some people to live in poverty is a harmful society.

I just think about Richard. It’s all focused on the harm he’s done to someone else, and there’s never any point in which society has to reconcile with Richard for the harm it’s done to him.

Caitlin: Which is heartbreaking. It’s such a painful book. It’s such a painful book because I feel helpless? Reading this book. You know, I work with middle schoolers that are 11 to 14 years old.

My 14 -year-olds, they make so many mistakes and they make a lot of bad decisions, but that doesn’t mean that they’re bad people.

I think, “Where will they be in two years and what if one of my kids ends up facing life imprisonment in a federal prison?” I just cannot even comprehend what that would do to someone and the fear you must feel. This is a case where I do not think the punishment fit the crime.

Jeanie: Yes. I feel like there’s a long road we can go down, too, about once you have an offense, once you’ve been charged with something, it’s so much easier for you to get sucked into this system endlessly and end up incarcerated for life. Most, especially young men, when they’re most likely to trip up is until they’re in their early 20s, right? If we’re just slapping on punishments, what learning gets to happen, right?

Caitlin: There you go. That’s during the development of your brain, right?

Jeanie: Yes. Through your early 20s. Yes. Okay. Too bad we’re not in charge of the justice system, Caitlin.

Caitlin: Right, we’d make some changes.

Jeanie: We totally would.

By the way, listeners, readers, just because this book hurts a little doesn’t mean you shouldn’t read it. You really should. It’s so powerful.

Caitlin: I think because of the hurt you should read it. Like we were talking before, it’s that empathy. Being a reader means you get to live so many lives and go through so many situations, and I’m so grateful for The 57 Bus because it put me in a situation that I’m still having trouble coming to terms with, and that’s a good book.

It makes you look at the world differently, and I feel like I learned lessons.

The first time I read The 57 Bus, I talked at people about it for a long time because of just how I had to process it. It’s a rich discussion book.

Jeanie: Great. Let’s talk about that some more. How might you use it with students?

Caitlin: Right now, my kids, I do a lot of word-of-mouth recommendations with them with the readers advisory. We’re always looking for ways to get them engaged in narrative nonfiction because that’s something they tend to kind of push against.

Their assumption is that nonfiction is just information, and it’s boring, and I don’t want to read it. I’ve been promoting this book because of: one, the writing style is so gripping.

You are sucked in from the first page and those short chapters. It just means the story is coming together in these little bits and pieces as you’re reading it, and you cannot stop piecing together the puzzle and what happens. It’s compulsively readable.

For my kids, they’ve been sharing it with word of mouth. So one will finish and come with a friend at the library and say, “I just finished this, but so-and-so would like to check it out.” So we just do that.

It’s not been on the shelf because we’re just passing it from hand to hand, and I think that’s a sign of a great book, fiction or not.

For them to be this invested in nonfiction and to come to me with questions and say things like, “Do you have any other books like this book?” That’s a magical book.

Jeanie: Yeah, and what book’s like this book? Oh, there are so many different questions I could ask right now. What book is like this book? The book that I thought of, and I haven’t read it yet although I read the adult version of it, is Just Mercy by Bryan Stevenson, which is a look at prisoners on death row and really about the injustices that they face. That’s one that I would recommend for a reader of this book is Just Mercy. Do you have any others?

Caitlin: Well, my first question is always,

“What about this book? What aspect of this book?” because this book has so many interesting topics and questions, and themes come up in it.  I have to kind of drill down with them and say, “What in particular? Was it the justice system? Was it the LGBTQ rights aspect of things? Or was it this kind of brutal treatment of this kid?”

Both kids, really. Sasha gets attacked and Richard is basically condemned to this prison sentence.

Based on whatever really piques their interest, you can go all sorts of ways, which is the joy of being a reader because there’s so many good choices out there.

For me, when it comes to nonfiction, it made me think of… we have two books that our kids are really into right now. One is The Borden Murders, just because they’re interested in that system and what happened with Lizzie Borden. Then the other one we’re very invested in right now is Getting Away With Murder, which is the Emmett Till story. And they’ll read them and they’ll come back to me like, “Do you have any other books like this one?”

That’s when you know that you’ve got them on this interesting path, and it’s really good to stoke the fires of their own inquiry and what they’re like drawn to read about.

What makes my job so great is I have to be like, “But what’s going to keep you reading? What about this book?” When it comes to fiction… we did a bunch of book clubs in December. We had like 19 different book clubs with one of our 90-kid teams, and they were obsessed with All American Boys by Jason Reynolds and Brendan Kiely.

Jeanie: It’s a fabulous book.

Caitlin: Amazing book, an amazing book. I think it really correlates nicely with The 57 Bus, so that’s one that I’m like, “If you’re looking more for a story,” because this is nonfiction that reads like a story.

Jeanie: That really gets into the nuances too, Jason Reynolds. I think A Long Way Down.

Caitlin: A Long Way Down. The thing about All American Boys is, again, it’s told from two perspectives, so you have Quinn and you have Rashad, and you’re learning. I feel like that was very much like The 57 Bus.

Jeanie: It’s also two perspectives across difference like this book, where you have a white perspective and an African-American perspective. Yes, I would totally suggest The Hate You Give, Dear Martin, all of those books that are really about violence in a community are great.  

Caitlin: Have you read Ghost Boys?

Jeanie: No, I haven’t yet.

Caitlin: *gasps* It’s Jewel Parker Rhodes, Ghost Boys, and I would say it’s very much like a middle grade The Hate You Give.

Jeanie: Great, that’s a great recommendation.

Caitlin: We have The Hate You Give and All American Boys, but Ghost Boys has really exploded with the kids, and that’s a big… it’s the same, these big ideas, these big topics.

The world can be a scary place, and the more you read about it, the more you’re able to understand your position in the world.

Jeanie: I think there’s also a lot of books about non-gender-conforming students out there that could be another avenue to point kids who are interested in that element. One of my favorites is from the Green Mountain Book Awards from a couple of years ago, Beautiful Music For Ugly Children, which is a fictional account of a transgendered young person. Or If I Was Your Girl, also a fictional account of transgender, and then George.

Caitlin: We love George.

Jeanie: Which is a little bit younger. I think George is fourth grade.

Caitlin: Yes. George, I believe, was 10, 10 years old.

Jeanie: Every Day is a great exploration.

Caitlin: That is a great book.

Jeanie: David Levithan, a great exploration of like… it’s not that the character is gender fluid. I don’t want to go into it too much because you’ll give it away!

Caitlin: But it’s such an interesting book!

Jeanie: It’s such an interesting look at gender through fiction.

Caitlin: It is because you’re a person before you’re a gender. I think that’s something that we have to teach, that comes up a lot when you’re working with kids, is like how someone identifies is not necessarily important. Who you are as a person is what’s important.

Every Day is an interesting look at that situation because if you wake up in a different body every day, which is what A, the main character does…

Jeanie: Ooh! Don’t give it away!

Caitlin: I won’t, but I just think that’s an interesting topic to discuss with kids.

Jeanie: Yes, I really loved that book and my students loved that book. The only book I’ve been able to find written for young people about being agender or sort of gender non-conforming or gender-fluid has been Symptoms of Being Human, and I didn’t love it. I had it on my shelves in my library and I think it was an important book to have. I think one of the reasons I didn’t like it is because it was written by a cisgendered person.

George is powerful in part because it’s written by somebody who’s had that experience.

For that reason, I think there are a lot of great memoirs that might be interesting; Some Assembly Required by Arin Andrews, Rethinking Normal: A Memoir in Transition, or Girl Mans Up. Those are all great books told from the perspective of somebody who’s had that experience.

Caitlin: Yes, you need to be… I think it’s important to come from a place of authority when you are trying to teach a topic like this that is still relatively new in terms of YA and middle-grade books.

Jeanie: It’s sort of reminds me of that #OwnVoices movement.

Caitlin: Yes.

Jeanie: Yes. There’s also a book that I had in my library that I found really useful to have called This Book is Gay. It’s great because it just sort of walks you through like page 33 does about what are the different terms. It’s great primer on semantics and also gay culture, and I think that’s another great book to have on your shelf in a library. Any other books that came up for you?

Caitlin: I mean, not off the top of my head. I think your list is great, and the couple that we talked about like All American Boys, that looks amazing. And The 57 Bus. I just keep coming back to The 57 Bus was just so well done.

Dashka Slater gave us a gift when she published this book. As a middle grade educator, I’m so thankful that a book like this exists. I hope she writes more.

Jeanie: If I were still in a school, I would want to… I used to teach a unit with a colleague about the juvenile justice system, and we would read Monster. I feel like this book would be a great book to dig into with kids to help them better understand the justice system.

Caitlin: I agree. We’ve been talking about this book for like an hour, and I’m like, but I still have things I need to say. I still have themes and topics that I want to dive into, but I also think that people need to read this book.

Jeanie: And then I’m also– I think it could be used with a journalism class, anywhere where you’re doing that nonfiction writing to really explore the different ways you can tell the same story.

https://twitter.com/PeterLangella/status/1044712015774851072

Caitlin: I think what we brought up before is this compassionate, objective viewpoint.

Dashka Slater did a beautiful job writing this book and bringing in all of those components like social media, and watching the footage of the actual incident, and reading the newspaper articles. That’s what learning about a topic is, it’s getting into it and looking at it from all points of view.

Jeanie: Right. Her sources are so varied. We love that as librarians.

Caitlin: I do love it.

Jeanie: I know we could keep talking about this book for days. I so appreciate you sitting down with me and sharing the story of Sasha and Richard and digging in with me.

Caitlin: Oh, thank you for having me. I could talk about this for 10 days.

Jeanie: Thanks for listening, everybody. I’m Jeanie Phillips, and this has been an episode of vted Reads, talking about what Vermont’s educators and students are reading. Thank you to Caitlin Classen for appearing on the show and talking with me about The 57 Bus. If you’re looking for a copy of The 57 Bus, check your local library. To find out more about vted Reads, including past episodes, upcoming guests, and reads and a whole lot more, you can visit vtedreads.tarrantinstitute.org. Follow us on Twitter and Instagram @vtedreads. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

#vted Reads: Troublemakers with Mike Martin

#vted Reads logo

In this episode of #vted Reads,

we talk about Troublemakers, a book by Carla Shalaby. We touch on what we’re really doing when we ask our students to code-switch, Black Lives Matter, and the trouble with classroom norms, and we pose the question: ‘How do school systems bestow unearned privilege on some, and un-earned hardship, on others?’ Oh, and we talk about Harry Potter. Naturally.

Anyway. Welcome back to #vted Reads!

Let’s chat.

 

Jeanie: Tell us a little bit about who you are and what you do.

Mike: Sure. My name is Michael Martin. I work as a Senior Associate for the Rowland Foundation which is a Vermont based non-profit. I’m also the Director of Learning for South Burlington School District.

Jeanie: Excellent. Well we go way back and so I’ve been really looking forward to having this conversation about this book because I know we both loved it.

Introduce us to the structure of Shalaby’s book. How she uses student stories to frame her thinking.

Host Jeanie Phillips (left) and Mike Martin (right) with a copy of Carla Shalaby's book Troublemakers.

Mike:   Well the thing that I love about this book is the thick description as they say that’s provided through the methodology of portraiture that Shalaby is using. It obviously just immediately draws the reader in.

There are just so many passages where you’re incredibly moved.

There are a few that I remember that were really painful, where there is sort of peer exclusion of some of the students in the story.

I had flashbacks to playgrounds, some of the playgrounds of my youth. Thinking of specific students who were kind of the black sheep and were ostracized by their peers. Feeling like a visceral reaction and blushing and just thinking back and wondering why was it okay for this person to be treated so poorly.

It’s a really powerful book. Everyone that I know has been really moved by it. At the same time, it’s really touching, it’s definitely an appeal to empathy. It really brings out compassion, I think.

When we’re thinking of these individual students as people again instead of as numbers. There’s this incredible human dimension and at the same time, there’s a systems lens that’s applied to the book.

The challenge that Shalaby poses to us is to think of troublemakers as our greatest assets in schools and that’s not how we treat them.

Jeanie: To be clear for those of you who haven’t read the book, Carla Shalaby takes four troublemakers, kids who are identified as troublemakers by their teachers, in really high performing schools with really high-quality teachers and she follows them for I think a year. She’s in their classrooms observing and taking notes, sort of like an anthropologist. And she gets to know their families. She talks to their parents, she goes and visits their homes and she gets to know them in their full lives.

Mike:   I love that you drew attention to that because one thing that jumped out at me is how we don’t tend to think of students as having public and private personae. But that comes through here.

Anybody who’s ever coached a sport or been a co-curricular advisor knows that students, that the way students act in the classroom is obviously very different.

And it just makes you realize what a thin slice of human potential of individuals we’re actually encountering on a daily basis in the strict structures of school. So that really comes through.  I really appreciated that her talent as a qualitative researcher to go deep and to actually find out this family dimension that shed so much light on these individual students.

Jeanie: I think the other interesting thing is that they’re all in first or second grade. They’re really young, and yet this book is entirely relevant to middle and high school situations. Having been a K to Six librarian for a number of years, you talked a little bit about how this book made you – reading these accounts made you uncomfortable thinking of yourself on the playground or in school. And I definitely felt that.

I also felt a little discomfort and shame about my own teaching.

There were things I saw that looking through Shalaby’s lens I could see that I was doing harm now. I didn’t think that I was doing harm then, and so this book was really tender for me.

Mike:   I really appreciate that you said that. There’s actually a passage that – if it’s okay for me to bring this up?

Jeanie: Please.

Mike:   On page 12, where one of the teachers is asking students to develop norms in the classroom. And so at first glance, you think this “Oh, this is great, this is like encouraging student voice and they’re going to decide how they’re going to conduct themselves within this classroom space.” But when we look at some of the norms. I’m on the bottom of page 12 in the book,

Keep the classroom green and clean.

Respect other people.

Respect the materials.

Share.

Treat people the way you want to be treated.

They tend to skew towards classroom management needs.

The interesting thing here is at this very young age the students already know what the teacher wants to hear.

So it’s very clear that they’ve been socialized to act a certain way. And there’s actually not room for sort of this human dimension. So when Zora calls out that “comfort somebody” be a norm it’s ignored and doesn’t get taken up.

I totally understand that. From a teacher perspective, we’re thinking about getting through a lesson, we’re thinking about scope and sequence. We may not think that comfort somebody is going to be a norm that’s going to help us really do our jobs. But it really highlights the fact that sometimes when we think we’re incorporating student voice it’s not as authentic as it could be. Also this idea that there are many hidden rules that we enlist students to sort of co-enforce with us.

Jeanie: Yes. There are some powerful passages in the book just about that. And I have to tell you listeners that Mike and I could probably read half of this book to you. It’s so quotable and there’s so much power in this very small concise book. So we’ll try to limit ourselves but it’s going to be hard.

Absolutely, I hear you about how we talk about using student voice. We solicit it but we know what we want to hear.

Are we really allowing students to co-create community and to co-create a sense of space, or are we giving student voice lip service?

Mike:   Right. Well, you mentioned the book Drive, right, by Daniel Pink which has everything to do with intrinsic motivation. I had the great fortune to be at a session with Grant Wiggins and Angela Duckworth. Grant Wiggins was questioning some of her assumptions around grit. One of the provocative questions that he raised was “whose goals are they?” We talk about perseverance towards goals but to what extent are students able to set their own goals or do those goals even have meaning for students.

So this question of motivation or what good behavior means is something that we need to look at with a critical lens.

Jeanie: Absolutely. You read something from the beginning, but I’m going to read something from page 151 from her conclusion. That I think takes this full circle a little bit and allows us to broaden our lens.

If we saw these four children only in school, we might not be able to see them as anything but troublemakers. In school, they are exhausting and tireless, frustrating and challenging. This school identity can seem to be their only identity if we fail to account for who they are in the many other parts of their lives– daughters and sons, martial artists and basketball players, poets and artists, experts and natural learners. The voices of the families in this book– mothers describing their precious and fragile babies in utero, recalling their toddlers’ earliest triumphs and struggles, flipping through photo albums of their most human memories– paint alternate pictures of their children for us to view with reverence and delight.

These alternate images allow us to view children as complex and beautiful human beings rather than caricatures of troublemakers. Their humanness encourages us to try to understand their difficult behavior through a more generous lens– a lens that treats troublemaking as a verb rather than a noun.

I could keep reading because Shalaby’s words are so beautiful and so poignant. But she argues after this section that troublemakers should be signs that we need to stop trying to fix people and to focus on fixing systems. And I want us to put that out there right front and center because I want to be clear that

Shalaby’s intent isn’t to make teachers feel bad for what’s happening in classrooms, but thinking about how we’re all trapped in a system.

What are your thoughts on this as a systemic problem?

Mike:   I really appreciate that. This idea that school is not culturally neutral is not a new one. I’m a pretty big fan of Pierre Bourdieu. He spoke really eloquently to the idea that school does position itself as the neutral arbiter of merit in our society. But it’s not neutral. So it’s really important to see that. And that something comes through really clearly in Shalaby’s book.

To take the example of Zora, there are a different set of values that most people that you would talk to would also think are awesome. Like, stand up for yourself, express yourself. These are things that we claim to encourage in school but it’s hard to do. It’s hard to make that machine run smoothly. The fact that we can see these other sides to students really sheds a light on this systemic problem where school has one set of values that tend to be white and upper middle class.

That immediately puts certain students at a disadvantage depending on their home background.

Jeanie: So Zora, for example, is – her mother is Puerto Rican, her father is African American. Her mom’s an artist, her father wears bowties and loud socks, and they’re really exceptional people. Zora stands out and in fact, she is outstandingly creative and rambunctious. But her teacher is so concerned that she won’t fit in. She says “I don’t want her to stand out as a child of color.” And yet Zora’s whole world is about standing out.

She stands out because she’s a minority in the school which is mostly white. But she also stands out because she’s bright and bubbly and loud and she doesn’t conform to gender norms. So it’s painful for her. School is painful for her.

Mike:   Such a great point.

It’s scary to see how quickly and at what an early age these students are labeled as troublemakers.

Then it becomes a recursive process where they’re going to lean into that role. I love Shalaby’s – the way she puts it is that they’ll tend to sing more – the more that that’s repressed by the systems of school,  the more there’s a tendency to sing more loudly, right?

Jeanie: Yeah.

Mike:   So I really appreciated that. It also reminded me of – there’s this great essay that I think you read at one point by a French philosopher, contemporary, Michel Onfray.

He talks about how our schools look and function like prisons, and how much of school is really about controlling your body.

Not just sort of modes of communication or different norms about how we communicate or even power relationships, but literally controlling your body.

So I’m thinking of like crisscross applesauce. I’m thinking about how long young students are expected to sit on rugs sometimes, and how little opportunity there is for movement breaks sometimes. The first thing that we do when we see people acting out because they probably needed the movement break or mindfulness break is to take away recess.

Jeanie: The thing they need most.

Mike:   Exactly. That comes up a lot.

Jeanie: Even when I’m forced to sit in a high school desk, one that has the desk part attached to the chair, I’m so uncomfortable. I think how do kids do this all day? Following a student for a day is grueling.

Mike:   Right. Everyone that I know who’s –I mean many of them have like graduated from college so in other words, they’ve been able to be successful in traditional academic settings find that grueling.

They find it exhausting to just be subjected to any one of our students’ daily lives and daily routine.

I think that brings us back to this canary in a coal mine idea presented by the author here. Where she’s saying, so the canary in a coal mine, right, is going to show when there is poisonous gas in the mine. It’s going to impact the canary before the miner so they were used by miners as early warning systems for toxicity in the air.

And she’s saying that our troublemakers serve the same function. We should be paying much more attention to them because even if they’re the members of our school community who are suffering the most, that toxicity is still there and impacting other students who are not acting out.

It brings us again back to a question of systems instead of pathologizing. She actually has a great quote if we have time. There’s a quote in the preface. So its Roman Numeral XIX:

Routinely pathologized through testing, labels, and often hastily prescribed medications, these young people are systematically marginalized and excluded through the use of segregated remediation, detentions, suspensions, and expulsions. The patterns of their experiences, especially those of older children, are well documented in what we know about the school-to-prison pipeline. But this pipeline begins disturbingly early. Children as young as two years old are expelled from their pre-schools at an alarming rate– a rate, in fact, that is more than three times higher than the national K-12 expulsion rate, disproportionally impacting children of color to a degree that should sound civil rights alarms. According to the most recent data from the U.S. Department of Education, black preschoolers are 3.8 times more likely to be suspended than their white peers. These little ones are deemed problem people before they even begin kindergarten.

.@cted

I think it juxtaposes really nicely with this other quote from the end of the book. Because I think they’re both about exclusion and belonging, so I’m going to share this in relation to that and then we can open up a dialogue about it.

By excluding trouble, schools hope to erase it. Schools gain their legitimacy from the appearance of goodness, from the willingness of their students to behave well, to work well, to score well. The hope is to eliminate noncompliance, to make misbehavior disappear, and this requires that “problem children” themselves be rendered invisible.

This certainly affects troublemakers or problem children, right, that we exclude from the system. But it also means every other kid knows there’s a possibility that they could be excluded. That that threat is there. And for me, this is about belonging. I’m reminded really strongly of Parker Palmer who says,

People learn best in hospitable spaces.And if you feel like you could be excluded, it’s not really that hospitable.

Mike:   Such a great point. Thinking about our ability to learn, our ability to listen to other people if we’re in fight or flight mode or if we’re in that defensive stance.

Jeanie: Say more about that, because I think that’s really important. You’re talking about brain-based learning. So do you want to just expand on that a little bit about the fight or flight and how that gets in the way?

Mike:   Well, I think that’s been well documented. I mean whether we’re talking about the new brain research, where that’s so clearly a thing, whether we’re thinking about trauma-informed education and triggers. Whether we’re thinking about how physically constraining school is and what we know about the mind-body relationship. I think those are all kind of showing us that our systems aren’t healthy. That’s really the source of some of this – of students reacting against that and acting out.

Jeanie: I was thinking a lot about culturally sustaining pedagogies and culturally responsive pedagogies where you’re really recognizing the cultures of the students that go there. I know that I have told you that I grew up really working class, working poor and I was really good at school. Because I’m really good at following rules. I learned really quickly.

School always asked me to make a choice between my family’s value system and the school’s value system.

Sometimes that was really painful for me, and sometimes it was in these really obvious ways.

One that I really remember was being in third grade and winning a coloring contest and coming home with a lot of anti-smoking paraphernalia. Like posters, t-shirts, all this stuff to a home full of smoke.

And other things. I would have to hide to read. I love to read but I would have to hide to read. So it’s always asking me to choose. I loved my family, I was well loved but I had to always choose.

I always felt like I was betraying my family when I chose school values.

And I think our kids face that, and even more painful than that, when they’re not good at school or when they can’t even make sense of the values. And when their home values which have value, which are important, these kids in this book are well loved and well cared for. Marcus for example really values community and looking out for each other and that value, he’s stymied by that in school.

Mike:   I’m glad that you brought up Marcus, too. He’s a really endearing example in the book and just displays so many positive attributes and has so much potential. It’s so clearly not being recognized by the school. It’s interesting actually from again going back to Shalaby’s work; it’s interesting that that was only student that she was unable to do a home visit with and for. And I think that is a reflection of the mistrust of how African American families have been treated by many institutions.

So when we think about institutional racism, it’s not just about police.

We need to be holding a really critical lens up to the implicit biases that are perpetuated in public school.

Because public schools are supposed to be for everybody, but we can see there are certain values or certain folks’ values that are really emphasized at the expense of others. That lack of trust on the part of the family, which is clearly a protective urge, and I guess you can say it’s a weak spot in Shalaby’s study because she was unable to have that and she speaks really openly about that and is honest, doesn’t try to hide that at all, I think is really telling.

Jeanie: Yeah. It makes me think too about so many of the schools that I have worked with. They have really struggled with family engagement for certain population of kids. And they are always like, “I send emails, and I send home notes, and we have parent night, and we have parent teacher’s conferences, but some families will never come.” And I think there are some hidden blind spots that we can’t see.

This is a multigenerational problem where certain groups of people have felt really alienated from school.

Where returning to school is really painful and brings back bad memories. And it’s not a place where they feel like they have agency, where they feel empowered, where they feel good about themselves. And that trickles down through their kids and their kids’ kids.

Mike:   Totally. When you think about that, that’s also us, so I’m including ourselves in there as educators.

That’s yet another way we let ourselves off the hook in the work regarding equity.

It’s like, well we sent them the memo and they didn’t come to parent night, so it’s their fault. So now they are at fault. And so again this is like how we pathologies families and perpetuate certain ideas about, “Well, these folks don’t value school.” Well, they do but maybe we need to ask them about how they would like to be engaged in the school? Instead of some of these traditional channels where they may not feel at ease or may not feel like they’re being honored.

Even though we think of school as the great social ladder. That’s how we like to think of school. So school is like the key institution in our meritocracy. If you work hard and you’re nice to people and you do a good job at school, then you’ll have a good life. There’s a promise of social mobility, it’s the American dream.

The relationship between public school and the American dream is very strong.

And yet what we see over and over again when PreK students are being expelled or when we see these four portraits from Shalaby, and how much these students have sort of already hardened into these self-concepts, it’s clear that it’s a systemic approach and that it’s not a case by case or a personality thing.

And so in the preface on what is page XXII, there’s this one passage that really stood out to me, where she writes,

Teachers-in-training learn to punish transgressions because it’s not controversial to be castigated if you misbehave. It is your choice and your fault. This logic is deeply embedded in the American psyche– the nation with one of the highest incarceration rates in the world– and it justifies our decision to throw away young lives by making young people think the fault for that exclusion is entirely their own. It seems impossible to blame a caged bird for its own death in a toxic mine, but we nonetheless manage to do so.

Jeanie:  I love that you’re pulling all of these quotes from the preface because all of my quotes come from the conclusion and they’re like bookends. So I’m going to share one from page 153, that bookends what you just said,

School is generally understood to deliver instructional content to children, arming them with the knowledge and competencies required for a future in the job market. Teachers often believe this work is neutral, shaped by objective standards rather than subjective values. But schools make people. In the everyday work of classrooms, social identities are fomented and cemented in the minds and bodies of young people.

I’m just going to pause to say that the idea that a preschooler could think they are bad before they are age five breaks my heart.

Mike:   I love that quote for a bunch of reasons. Something I think about a lot actually. When we’re thinking about school and its formal curriculum and standards and mission statements, a lot of our mission statements really speak to citizen-making. School is not just training or memorization of facts or skill acquisition, it’s something deeper, the Jeffersonian ideal.

So, Shalaby really shows that we’re not doing a good job on that front. We’re doing it with good intentions, I think. She’s really clear that there are no school administrators and teachers, there’s no malevolence. It’s a systemic problem.

The problem is that we don’t have time to be human because we have to get through the scope and sequence.

And yet as soon as you look at our transferable skills or ends policies of different schools or mission statements, they talk about inclusion, they talk about how we treat each other, they talk about individuals finding their place in a democratic society. But that’s not really what schools do at the end of the day. So it’s what we aspire to. But when we look at what we actually do and how things are structured, it doesn’t lead to that.

Jeanie: I love that you brought up the transferable skills because I work in middle schools and I hear again and again and again from teachers that students don’t know how to be self-directed. Middle school students don’t know how to be self-directed. I also hear students don’t know how to collaborate. And I’m often struck dumb by that. What do we do? How well did we get here? What do we need to do? So we need to teach that. How do we teach that?

This book put that in a different light for me and it made me realize if all were asking elementary school students to do is follow the rules, they’ll never learn to be self-directed.

If all we’re asking them to do is conform to behavior expectations, they’re not going to learn to collaborate. They’re not going to learn freedom as Shalaby calls it, they’re not going to learn independent skills. Some of them will because they’re going to learn it from home or on the athletic field, but not all of them will. And they won’t necessarily know how to apply it in school if they’re never asked to do that.

Mike: Such a great point. I think that Shalaby has a really sympathetic view of teachers who are overwhelmed and experience the frustration because of that inherent contradiction that you just described.  I think that’s really important.

The other thing too is, that, it’s kind of the hidden curriculum piece. What these students are experiencing, it’s not like well, that’s an academic thing. It’s life, it’s their peers, it’s whether it’s how they see themselves as humans. It’s whether or not they feel accepted by different groups.

And so we can really see students starting to interiorize some of these forces that are acting on them. And as Shalaby says, when they are kind of acting out, when they’re making trouble, they’re singing loudly. They’re resisting being forced into compliance mode, into conforming in a certain way, into maybe rejecting their own home culture and the values of their own family.

Being forced to give them up. And so when they’re acting out, they’re pushing back against that.

Jeanie: It’s like inhumane. We don’t recognize it as such, but a lot of what she’s saying is that they’re letting us know that this is inhumane. That these are not conditions in which people thrive. And situations where preschoolers are being expelled, those are not conditions where humans can thrive, I would think.

Mike: Right.

Jeanie: She talks a lot about … you brought up earlier classroom management. She talks about how many books she’d read as a teacher in classroom management, which I found completely charming. Because that’s a struggle for most new teachers. And she says,

“Classroom management” seems a neutral and harmless phrase. But the management of classrooms requires the management of children– which means power over people, control over bodies.

This brought up for me two things that I’ve been thinking a lot about in the last year or so. One is consent.

How do we teach consent if we never ask children for consent?

We force their bodies to do things they don’t want to do against their will. And then also about white supremacy and power and the way in which policing people’s bodies is our legacy from white supremacy, from slavery, from our prison culture. And I wondered if you had any thoughts on either of those things?

Mike: That also, that jumped out at me too.

I was reminded of Ta-Nehisi Coates’ insistence on the black body as something that is mistreated.

But also this desire to control the black body, to commodify it. So that really jumped out at me. This sort of physical control. And even like I was talking with a colleague this week about a practice that exists in some schools which is called bubbles and tails.

I don’t know if you’ve ever seen this, but the way it was explained to me, students moving from point A to point B in the school have to put their hands behind their back. So that’s kind of like the tail. And they have to puff out their cheeks as if they were holding their breath, that’s the bubbles. And so obviously if you’re puffing out your cheeks and holding the air in you can’t talk. So it ensures silence. And the hands behind the back means you can’t get in trouble with your hands.

But obviously, it looks a lot as if you were to march people who were handcuffed down the hall. And you talked about the school-to-prison pipeline.  I mean that’s just this one point, an example that reminded me once again of this book

Jeanie: That is astonishing to me. We depend so much on silence in schools. I was recently in a school working on a battle physics project. And the teacher stepped out to saw some wood. And I was in this classroom with these kids and it was a little loud and I was a little frazzled like,

“Is it okay that it’s this loud?”

I made sure the door was closed and it was really loud. And so I was like, “Okay, take a deep breath, look around.”

Every single student was engaged. Every single student was on task and engaged, productive. And I was like, “What’s your problem, Jeanie Phillips, they’re just loud. Who cares?” They were learning, who cares? And I had to really, I’m not a “shush” librarian. But I like a certain volume. Eventually, I did make a joke like, “Hey, you know what guys; if we all lowered our voices, we’d all be better able to hear each other.” And they kind of laughed and went along with it, but it’s really my problem, not their problem.

And that leads me to this idea of, “Do what I say, not what I do.” Because we don’t behave the way we expect our children to behave in schools and also kids are picking up on all this power and control. And Shalaby goes into it a great deal. Like for example, Zora is really good at calling out other kids’ bad behavior. Because she’s learned it so well by having her behavior called out all the time. And of course, we hate when students do that. But Zora is learning it from the source. She’s learning it from the teacher.

And that brings me back to consent and citizenship and how we are in the world. We’re learning to exert our power over each other even as what we really want in society is for us to have power over ourselves and to respect other people’s power that they have over their own bodies.

Mike: And there’s one part where Zora’s teacher, I think its Ms. Beverly is being interviewed by Carla Shalaby. She’s talking about implicit bias in the school environment and in her curriculum. And so she’s responding to questions about that. She’s saying, “Well, it sort of makes sense because we’re preparing students to be successful in a white-dominated marketplace. And these white upper middle-class values are the ones that are dominant in social settings. And in places of power, where people have power gather.”

I thought that was a really interesting dilemma that the teacher raised. And I was wondering if you had any idea or your own reactions to that. This idea that I’m sure maybe the culture skews a certain way. But we’re actually doing students a favor by preparing them to code switch and navigate the way people of power talk and act.

Jeanie: One thing I would say is, I’m not sure we are preparing students well. Like when you listen to people talk about how students are arriving at college or into the workforce, what we’re hearing is that students aren’t prepared for the kind of work that’s out there. We don’t celebrate people who play by the rules and know how to follow rules. Like when we celebrate like the success of a Steve Jobs, it’s because he broke a lot of rules.

What we really value in our society right now, the thing that’s really hot is creativity, and you’ve got to break a lot of rules to be creative. So I’m not sure that we are doing a service to our students by preparing them in this way.

The other thing I thought about was Paris and Alim who’ve done a lot of work on culturally responsive pedagogies. And I was thinking about something I think that they quoted about Barack Obama, that a good deal of his success politically is because he was able to code switch so well. Because he was able to talk to Iowa farmers. He was able to talk to African American city dwellers, say.  He was able to talk in all these different ways.

We don’t actually teach kids to code switch. We really teach them that the way they talk at home is not okay.

And I am a person like that. The way my family talks is not the way I talk. And I can’t code switch. Like I can’t talk like my family talks because I decided I didn’t want to do that anymore. That that didn’t work for me. And I’ve had to unlearn my bias towards incorrect syntax and grammar and see that there is intelligence in the way they talk too.

So I’m not sure that Zora learns to code switch, because she’s in Ms. Beverly’s classroom. I think Zora learns to not like certain parts of herself, to not value certain parts of herself. And Marcus especially learns to not value or like certain parts of himself.

Mike: Just to keep going with that idea. If we were to actually teach students like, “Okay, this is how you navigate Wall Street. Or when you go to college, there’s going to be this dominant culture that’s going to be pervasive. And this is how you deal with that.” I think you’re right. I think it would look very different.

If we were to actually teach students how to code switch or navigate situations culturally, instead of actually punishing them each time that their home culture was at odds with the school culture. That would play out very differently.

Sometimes the rationale for not doing more work around building norms or having strong classroom routines that foster social belonging, that create strong learning communities.  Our excuse sometimes or reasoning for not having time to do that work is that like we’d have to get through the curriculum.

Just to come back to some kind of curriculum things and something that you were asking about earlier with the brain research.

In the proficiency movement, the idea is not to look at what was delivered from curriculum, but what’s being learned. Clearly, if your student is in fight or flight mode, if the student has an oppositional identity to the school that they’re wrestling with that’s going to create enough interference that learning most likely won’t happen.

So, I think more and more we’re seeing teachers who are exasperated given some of our social challenges. Like rising inequality and families where parents are working three jobs, the opioid epidemic. There are these societal challenges that we’re experiencing and they’re finding that they can’t do that traditional approach.

It’s not just one troublemaker that you can kind of write off. Now, you have a significant portion of your class that is not going to be ready to learn. And so do we want to just keep going? I think we’re getting to a place now where we can see that we could never provide enough interventions to address that problem.

And so, kind of the optimistic thing: I’m seeing out of necessity, teachers and schools turning to metacognition, incorporating mindfulness, thinking about resiliency, thinking about trauma-informed practices. And also, thinking about culturally sustaining pedagogy in order to make sure that we’re not disenfranchising our students.

When we think about critical pedagogy, just to go back to our code switching example, if we were to actually say, “What does it look like? What are the norms that—what are our classroom rules?” But to say, “Where do these rules come from and what are the rules in this setting and what culture does that reflect?”

If we were to hold a critical lens up to not just the content in school, but the way we conduct school. Now we’re back to Dewey and “education is life itself.”

And that critical lens is what we always say like, “Kids are bad at critical thinking.” Maybe we should hold the critical lens up to our practices, our content, whose voices are missing from the story. If we were to do that, I think it would greatly strengthen the way our students think and the way they move through the world.

Jeanie: What are we spending our time on? If it’s covering content, they’re not going to be good at critical thinking.

So I know this is going to shock you because you’ve known me for a long. I think it’s going to surprise you because I’m the big collaborative practices person. I’m a big norms person, but I’ve gotten really skeptical of norms. And the reason is that norms often sustain privilege. We make norms. Sometimes a norm will be…we’ll talk about norms as a place to keep everybody safe.

But safety itself is a privilege and some people move through the world never feeling safe.

And so it just serves to make some people continue to have privilege and other people not. And so I’m thinking about classroom norms that way. Who do they privilege?

Gorski asked this question that I sit with all the time: How do systems, how do school systems, bestow unearned privilege on some and unarmed hardship on others? I think it is.

And that’s a powerful question because norms often do that. I was a kid who could sit still and so that rule or that norm in a classroom, being able to sit still, it’s something I could do. My sister, my son could not.

Mike:   So, I love that you brought that up. I’d also gently push back on that because you’re such an expert of collaborative practice, you’re holding a really rigorous criteria or evaluation of how equitable those norms are. I’ll just share that, kind of going the other way with that idea that I found that oftentimes, I think you and I have talked about this, the folks that hate following the protocol the most are white males or folks who are in a position of power or are able to derail meetings with their privilege, et cetera.

Another thing I think with norms if we’re thinking about wait time, sometimes, there’s an inclusiveness there, where we’re giving people who need processing time or code switching time. We’re building that into the system hopefully a little bit.

There are norms that I’ve noticed are, as I’ve gotten a little more into some of the equity literacy work, definitely some norms that are problematic and that do protect the status quo.

Jeanie: Such as?

Mike:   Well, so, “speak your truth” is a great one.  I don’t think that that always honors the difference between intent and impact. So, everybody can just say whatever while paying no attention to the impact, then that’s problematic. That’s just one example.

Jeanie: I think that we could meet in the middle and say norms are important in a classroom but interrogate them and figure out who are they serving? Are they bestowing privilege on some people who maybe haven’t earned it? Are they making trouble for the kids who maybe haven’t earned that trouble either?

Mike:   If I could just say too that, just by making norms transparent, we’re already holding a critical lens up.

So I think that just that in and of itself has value. By saying, “Okay, here are the norms.” And then they’re up there for us to critically examine. So, just that, taking that first step is already important.

Jeanie: Yeah. I absolutely agree because there are so many norms that are invisible to us that we just know to conform to because of our station in life.

Mike:   Right. Going back to the book here, that’s what she shows is really pernicious, is that there are all these assumptions about how things are supposed to work that are never examined and then people are victims of these assumptions.

Jeanie: Yes, absolutely. So, let’s do return to the book because it’s not all bleak folks. Actually, she does not give answers and she’s really clear about that. But she does give… she does ask us to think differently in a way that just really resonated with me.

She asks us to think about how to be love in our classrooms and it reminded me of a book I adore On Being by Krista Tippett. I’m sorry, On Being is the podcast, the book is called Becoming Wise by Krista Tippett and she describes love as  muscular. She’s sort of thinking about love, not a Valentine’s love. We are coming up on Valentine’s Day here, but love the way John Lewis describes it as the heart of the civil rights movement.

Love as a social good.

I think one of the reasons that resonates for me is because truthfully, I showed up to school because I loved my students.  It wasn’t okay to say that out loud. You would never tell somebody I love my students, but I did and they still tug at my heart even though I haven’t been at a school in a couple of years. But I run into students and it warms my heart to see them. I don’t think I’m alone in that. I think most teachers have that experience.

https://twitter.com/KaitPopielarz/status/1071049798772580352

And so, Shalaby asks us really to think about being love and to turn toward a loving way in our classrooms. And it’s not a fix for systems, but she’s saying there are systems in place that make it hard for us to do this, but we can in our classrooms turn toward a loving way.

She asks teachers to “discuss the meaning of freedom and the rights and responsibilities of free people.”

And isn’t that what we want for citizens? And to “present problems of freedom that are common in classroom life, and practice how we might respond” to them. So this is like treating your classroom like a democracy. Taking the time to problem solve together.

And I think that sounds really onerous at first but I think kids can get really good at it. And how will they get good at solving those kinds of problems unless they have that opportunity?

Mike:   That’s really great. I really appreciate the way you just put that.

It sounds like just reconnecting with our mission statements.

Jeanie: Yeah, right. She goes on to talk about identifying “a human need that the behavior may be signaling and decide together on a way you will all try to meet it.” And I think about my own son who was a little bit of a troublemaker and so often, I think he was bored and it was a way to feel something.

Learning is really emotional, learning is social and we learn best, I think when we feel good or we feel outrage and we want to do something. And so I think often he got in trouble as a way to alleviate his boredom and to make connection with somebody. It wasn’t positive connection with the teacher but with his peers. And so thinking about what’s the need behind the class clown behavior. Zora’s also a class clown.

Mike:   Feeling something is better than feeling nothing, right?

Jeanie: Yeah.

Mike:   And so even if it’s confrontational, even if it’s antagonistic, even if it’s going to get you in trouble, that’s still better than just excruciating boredom and flatlining.

Jeanie: Yes. It’s a self-medication of sorts.

So, as somebody who works at a system level, what are you seeing the implications of Shalaby’s research and her idea of teaching kids freedom?

Mike:   It just reminds me, with a number of schools around the state of Vermont raising the Black Lives Matter flag.

Usually, at the behest of their students. Some of the conversations I’ve heard, some of the concerns I’ve heard are, “We have to keep politics out of school.” Or “Well that’s not really the school’s business to talk about matters such as these.” And of course, it is.

Again, let’s go back to our mission statement to talk about contributing members of the democratic society or all students will contribute to their local and global communities.

All of our mission statements speak to the democratic mission of school and yet our curricula all just speak to skill acquisition and covering facts without critical examination of whose facts are they.

Going back to Wiggins’ motivation question of whose goals are they that I’m working so hard towards.

So, I’m optimistic about some of the things that I’m seeing. Some of them are subversive. They’re pushing back against these systems and are very messy. Most often they’re in pockets. So that we see people working really hard to fight the inertia of these school structures in order to bring out student voice and choice and figuring out a way to make sure that we’re not losing rigor, but we’re actually bringing more rigor to the learning. That makes me really optimistic.

But, at the end of the day, again, going back to the Dewey quote, “It’s not preparation for life, it’s life itself.” Our students, our students of color, are hearing this. They’re part of this conversation. They experience microaggressions. They get followed by the store detective when they go into a store. And they are going to see their parents pulled over for driving while black. They are going to get the talk from their parents about how to comport themselves in school, with police, in various situations.

To pretend that school is just like, “Well we don’t do those conversations,” is turning our back not just on the democratic mission but on students.

And I think that comes through really loud and clear in the book.

I’d love to go back to this idea of love and an optimistic note. I would just say that caveat, I think I would put out, is that this book is inspiring. Nobody that I know has read this book and not been uplifted. And at the same time it felt like, wow, okay. I am…

Jeanie: Also challenged.

Mike:   … also definitely challenged. But, I appreciate the fact that you’re saying that this is not a pessimistic view. It’s a hopeful one. This idea that there is something you can do. This idea of the love construct, the love table at the end of the book really speaks to me to teacher agency.

We know from very small micro-interventions and very small exchanges that we can have like a disproportionate effect on our students that we often don’t see for better, and for worse.

And so I think if a teacher were reading this book and say, “Yeah, it’s so depressing” or “Yeah, see, it’s a system. There’s nothing I can do. I’m just a brick in the wall, a cog in the wheel, whatever.” I would say, well, no, talk to anybody about how they went into their major, how they became an English major or a Math major. There was a somebody who encouraged them at some point. There was somebody who said, “You’re good at this.” Regardless of the endeavor, at some point somebody they respected and admired said, “You’re good at this”, or “Let me show you how to do this.”

And as radical an idea as it is to put love into the equation, that’s exactly where teachers derive their power from.

And so we can study curriculum until the cows come home. But kind of like Harry Potter’s super mega magic power, which was love, same thing for teachers.

I think that Shalaby really shows that the systems, the struggles that these systems provoke, chew up teachers as much as they do kids. And so we see teachers really struggling with these troublemakers. And as it relates to engagement, I think so often the idea for teachers when we talk to teachers about this sort of thing, teachers are like, “Well, how can I do 95 different lesson plans to engage every learner and there are many backgrounds?”

Really the simple solution is to ask students what they need, what they’re interested in. When we do that, teachers who have kind of had that breakthrough report a really huge mind shift.

Jeanie: What I hear you saying and what I truly believe is that a more humane system for students is also more humane for educators.

Mike:   Yes. Thank you.

Jeanie: I want to say a sincere thank you, for sitting down and helping me think more deeply about Shalaby’s four students and her proposition that we be love in our schools. And thinking more deeply about Vermont, the landscape of Vermont Education. Thanks so much Mike.

Mike:   Thank you Jeanie.

Jeanie: Such a pleasure.

I’m Jeanie Philips and this has been an episode of #vted Reads, talking about what Vermont’s educators and students are reading. Thank you to Mike Martin for appearing on the show and talking with me about Troublemakers. If you’re looking for a copy of Troublemakers, check your local library. To find out more about #vted Reads, including past episodes, upcoming guests and reads and a whole lot more, you can visit vtedreads.tarraninstitute.org. Follow us on Twitter and Instagram at vtedreads. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

 

#vted Reads: Orbiting Jupiter, with Stacy Raphael

 

First, what is #vted Reads?

#vted Reads logo

Big news, listeners! #vted Reads has spun off from The 21st Century Classroom and is now available as a podcast in its own right! To recap: in each episode, I sit down with a Vermont educator or author and we discuss one book we think is relevant to Vermont learners. Sometimes they’re education books, sometimes they’re from the popular press, and sometimes they’re books written for young adolescents. We hope you’ll find something to learn from in each episode.

Subscribe via iTunes! Or through this fine blog right here.

And if you’re interested in being a guest or want to recommend a book, email me at vtedreads@tarrantinstitute.org.  Plus, don’t forget to follow us on Twitter @vtedreads!

And now onto our episode.

Jeanie: I’m Jeanie Phillips and welcome to #vted Reads. We’re here to talk books for educators, by educators, and with educators. In this episode, I’m with Stacy Raphael, and we’re talking about the book Orbiting Jupiter by Gary D. Schmidt. This is one of my very favorite YA books of all time, and my students loved it too.  Some of the themes we touch upon include students impacted by trauma, unintended bias by teachers in schools, books for reluctant readers, and cows.  (Yes, cows!)

Thanks for joining me, Stacy. Tell us a little bit about who you are and what you do?

Stacy: Hi, Jeanie. I’m a teacher at Champlain Valley Academy. It’s a small therapeutic school in Addison County, Vermont. And it’s my first year here. It’s my first year as a teacher. Prior to this, I actually was director of school programs at the Flynn Center for the Performing Arts. So my background, prior to becoming a middle and high school English teacher, was in arts education, arts integration. That’s a big part of what I bring to my teaching everyday: theater and creative approaches to literacy. I worked with teachers for years beforehand doing professional development in arts literacy. Now, I’m working with six students in my high school and they come from a variety of different high schools. And I love teaching stories like this to my students.

Stacy Raphael, left and host Jeanie Phillips, right with the book Orbiting Jupiter

Jeanie: Let’s talk a little bit about Orbiting Jupiter. Could you give us a brief summary? Who the main characters are, where it’s set?

Stacy: It’s a story about a family who brings in a foster child.

His name is Joseph. The point of view of the story is told from the son of that family, and his name is Jack. They’re middle schoolers. I think Jack is younger than Joseph. It’s the story of integrating Joseph into their lives, into their town. Joseph comes from, as you can imagine, a complicated background.

What is learned pretty early on in the book is that Joseph, even as a middle schooler has already fathered a child.

The child’s name is Jupiter, and that’s where the title of the book comes from. It’s about Joseph trying to figure out where he fits in the world and Jack coming of age trying to understand what these differences between these two boys mean for him.

Jeanie: Right. It’s really powerful, I think, for the reader, you find out early on that Joseph has a daughter. He’s never met this daughter. He’s never had that the opportunity. He doesn’t know what’s happened to the mother, the young women that he’s had this relationship with. Jack has so much empathy and compassion for him even as he can’t imagine his life at all.

Stacy: Yes. It’s modeled really nicely, between Jack’s parents and Jack, this open, courageous, bold, honest way of grappling with all the complexities that Joseph brings to their lives.

You see through Jack a very mature narrator for his age certainly, as he observes Joseph unfurling throughout the story in a positive way. Unfurling, kind of opening, to becoming a member of this family. You see that so much as a ripple and I see a lot of ripples throughout this book in language and in themes, but you see this ripple of how he comes by that honestly, through the kind of relationship that his parents model.

Jeanie: It’s interesting that you see the ripple in the relationship with the parents. When you said that word ripple, I automatically thought about Joseph’s relationship with the cow. Do you want to explain a little bit about the cows?

Stacy: Milking is a big part of their lives, and, actually, I have thought a lot about his relationship with the cow. Her name is Rosie. And Rosie is such an important character in the book because she is a mirror. She intuits Joseph’s gentle soul, and they have this dance and this conversation. Often times Jack realizes he’s coming between the relationship and the love between this cow that Joseph learns how to milk. He learns how to be with her. He learns how to open up so that she can produce her milk. And I think about Rosie so much in juxtaposition to the vice principal in the school.

The ways that she comes with no prejudice, she just senses who he is and where he is as a person, versus the vice principal and so many of the other adults in this story, who bring so much prejudice and bias. She is so wise in that way.

Jeanie: Well, before we move on to the characters who can’t see Joseph for who he really is, I really want to spend a little more time with this cow.

*both laugh*

Jeanie: I think you and I are both mothers, and we know how important touch, healthy, positive, warm touch can be to children.

For Joseph, he’s this middle school kid he’s, obviously, not going to let these parents hug him right away, these foster parents, but the cow becomes the source of that warmth, and that touch, and it settles him.

Stacy: A big theme throughout the book is when Joseph flinches when he feels unsafe, right. When something happens where he doesn’t feel safe in the space, he puts his back up against the wall, which is something you see really commonly with people who have post-traumatic stress disorder (PTSD). People who’ve experienced some sort of traumatic injury. And so it’s very clear he hasn’t just come straight from his home.

Joseph’s come through a system, the juvenile justice system. He’s got all these caseworkers. He comes with all of this back story.

Jeanie: Let’s share a little of that back story. If you could turn to page 2 and read a little bit about what Joseph’s coming from, just to give our listeners a sense of who Joseph is in the world.

Stacy: 

“Two months ago, when Joseph was at Adams Lake Juvenile, a kid gave him something bad in the boys’ bathroom.  He went into a stall and swallowed it.

After a long time, his teacher came looking for him.

When she found him, he screamed.

She said he’d better come out of that stall right now.

He screamed again.

She said he’d better come out of that stall right now unless he wanted more trouble.

So he did.

Then he tried to kill her.

They sent Joseph to Stone Mountain, even though he did what he did because the kid gave him something bad and he swallowed it.  But that didn’t matter. They sent him to Stone Mountain anyway.

He won’t talk about what happened to him there. But since he left Stone Mountain, he won’t wear anything orange.

He won’t let anyone stand behind him.

He won’t let anyone touch him.

He won’t go into rooms that are too small.

And he won’t eat canned peaches.

“He’s not very big on meatloaf either,” said Mrs. Stroud, and she closed the State of Maine Department of Health and Human Services folder.

“He’ll eat my mother’s canned peaches,” I said.

Mrs. Stroud smiled. “We’ll see,” she said.  Then she put her hand on mine. “Jack, your parents know this, and you should too. There’s something else about Joseph.”

“What?” I said.

“He has a daughter.”

Jeanie: I think what I really love about Jack’s family is that Jack knows from the beginning everything there is to know about Joseph, right. That there are no secrets.

There is no sense that Joseph has shame or should be ashamed of himself, but it’s okay to fully know who Joseph is. There is something so warm and receptive about that family so welcoming.

Stacy: Yeah,I really relate to the parents’ no-nonsense style. I really relate to that being a mom and having children who are curious and open and about the world. I remember this one time when my daughter was asking these questions, she must have been four, but she was asking these questions about, “Were women in jail too?” And I explained that, “Of course, men and women both ended up in jail for various reasons,” but we ended up in this conversation where we were close to the Chittenden Correctional Facilities, in the car while we were driving, and she asked if she could go see it. Much of that conversation was just being able to talk to her so matter of fact.

I see his parents doing a lot of that so that Jack doesn’t have to carry the fear of the unknown, but more a clear-eyed sense of being able to see people however they show up.

Jeanie: I think that’s what both you and I love about this book, but also that my students have loved about this book.

Gary Schmidt doesn’t treat Joseph like he is broken, like he is less whole because of the trauma he’s endured.

Stacy: Yes, in fact, he paints him in such an empathetic way. I mean it’s so easy to love Joseph. He’s gentle and resilient. He really does seem like he has come through so much, and he’s so clear in purpose. Which feels so surprising for someone his age that in some way Jupiter has given him that clarity or that ability, to understand exactly where he is in relationship to all the things that have happened to him in his life.

https://twitter.com/JPhillipsVT/status/869503776524206084

Jeanie: Yes, not everybody sees in that way though?

Stacy: No.

Jeanie: When he goes to school is a time where he’s not viewed very kindly.

In fact, on pages 18 and 19 describes Joseph’s trip to school. Would you like to read that, you do that so beautifully?

Stacy: Sure.

At least in the classes he had with me, the teachers were careful around him.  Not like they were afraid of him, exactly– they didn’t hear what he said in his sleep at night, how he’d holler, “Let go, you…” and then words I didn’t even know.  Or how he’d start to cry and then he’d only say a name, and he’d say it like it was someone he’d do anything, anything to find. Maybe if the teachers had heard Joseph late at night, they might have been a little afraid of him.

But they were still careful.  I guess it was enough that once, Joseph tried to kill his teacher.  That would make a teacher wish Joseph wasn’t at Eastham Middle.

I’m really sure that’s what Mrs. Halloway thought whenever she looked at him.

Jeanie: That makes me think about how much our students read into our body language, to our intonation, that maybe we don’t even intend for them to pick up.

The ways in which we, as educators, are sending these really subtle signals to our students, and that students really interpret those whether it’s about them or about their peers.

Stacy: I see so much of my students in this book and any student really, that vulnerability. We’re there to advocate for those students. We’re there to believe that all of them have a full potential that they can aspire too.

Jeanie: What you’re making me think about right now is the principal I work with recently said, “If teachers don’t believe all students can learn, then they don’t belong here.” That idea that, if you don’t believe all students can learn, that shows up. I think I’m not sure these teachers don’t believe Joseph can learn, but there’s something they believe about him that’s showing up in their body language. It’s why what we believe about teaching and learning matters.

Stacy: One of the things I wanted to talk about, a little bit though, was about how often times it feels easy to extend that belief to a student or to a child. Like in this book, it feels so easy to extend for Joseph that he has this whole unwritten part of his life ahead of him, where it feels so hard to do that for his dad.

It feels so hard to do it for the adults who can’t make that leap as well for him. And I wonder about the message in the book about bias. How we also carry bias for the adults in the system who don’t support kids in that way, and what work needs to be done systemically.

Jeanie: We talked a little bit about how the teachers maybe have a slight bias against Joseph showing up.

Mr. Canton, the vice principal at the school, really takes a dislike to him. Do you want to share a passage where Mr. Canton is talking to Jack, Joseph’s foster brother?

Stacy:

Listen, Jackson,” he said. “I respect your parents. I really do. They’re trying to make a difference in the world, bringing kids like Joseph Brook into a normal family. But kids like Joseph Brook aren’t always normal, see? They act the way they do because their brains work differently. They don’t think like you and I think….”

Jeanie: How’s Jack feel about Mr. Canton after he says that?

Stacy: I think Jack sees Mr. Canton in an adversarial light, where he never had to before, right? Mr. Canton was always on his side and had no problems with him. Remember, as a vice principal his job is probably very centered around disciplinary action. Perhaps he’s come to have a really black and white view of the world and of kids who fall into one camp: the kind that comes to his office. And the kind that doesn’t.

It paints for Jack something he’s trying to put his thumb on, what is so different between me and Joseph?

Mr. Canton in some ways helps him down the path of seeing much less than you might think. He wants to drive a wedge between Joseph and Jack. He wants Jack to understand that he comes from different stock, that he comes from people who can do great things. Unlike this other kid, that he would prefer to not have in the school.

Jeanie: Mr. Canton even says to him at some point, “You were never in my office before. But now you are, and why is that?” He wants Jack to say, “Oh, I got in trouble because I’m hanging out with Joseph.”

Stacy: He wants Jack to see the clear path, and instead Jack, much to his credit, sees a more complicated picture about a world he hasn’t been exposed to and injustices that follow kids around in a different way than they have presented themselves to him. I love the way that Mr. Canton’s intended impact, or hoped-for influence he hopes to have on Jackson in some ways backfires. Helping Jack see clearly that not all adults are in your corner and that you really need to trust your own insights, your own wisdom, of who somebody is.

Jeanie: Jack reminds me of so many middle school students I’ve worked with who despise injustice.

Right, like it’s an age when you see life is supposed to be fair. You believe in fairness and equality, and then it’s not there. It really gets their dander up. In a good way.

It’s a powerful emotion for learning. Jack is powerfully motivated by the injustice he sees Joseph have to endure.

Stacy: Yeah. There’s a scene at which point someone’s trying to figure out if they are related, if they are brothers. I won’t give away any of the spoilers around it, but they say, “Oh, you’re not brothers?” He kind of stands up straight and he says, “No, but I’ve got his back.” I love the sense that he understands how you can stand with someone. How he can be an up-stander and how in a way that is family. I love how he understands the importance of that connection with Joseph.

Jeanie: He also doesn’t really take guff from Joseph, right? I mean a little bit.

Like Joseph always calls him Jackie, and he’s like, “Jack.” He’s not a pushover to Joseph. Yet Joseph also teaches him how to throw rocks at the church bell and make it ding, right? Teaches him really how to throw with accuracy. He teaches him, just as he’s helping out Joseph with the skills that he needs to succeed in school, there’s this other side. Or how to succeed with the cows, there’s this other side where Jack is a recipient of Joseph’s knowledge and understanding.

Stacy: Yeah, and I think that’s a theme all throughout. Everyone is growing in the story.

Everyone’s changing and everyone’s influencing each other. I also really love how that idea of being in someone’s orbit comes into play with that title. I love how yes, the reason that they’re all together is because a child was born, right?

The reason they are all here is all of the sequence of events that happened because Joseph became a father. So there’s that piece of the title, but there’s also just the sense that… all sorts of interstellar materials orbit around this thing. They’re all in orbit with each other. There is this gravity and this center and that they are in it together.

Jeanie: If we were to name the plot of this book, how would you summarize the basic plot without giving away the ending?

Stacy: I think Joseph’s in search of his daughter. But it’s also this one true pure thing. The thing that drives him is this idea that comes out of one true pure relationship with Maddie, with the mother of Jupiter. It’s this thing that cuts through all the chaff of everything else in his life that stands in stark contrast with what his father stood for, and what his relationship with his father might’ve looked like. Yes, it’s a planet, but it also feels like a guiding compass, a North Star.

Jeanie: For me that’s about love, and it reminds me that it’s also what we, all of us as humans, are in search of, is love and belonging, right? Our students are in search of that too. Sometimes they don’t know the best way to get that. Sometimes their misbehaviors are hiding what they are really after. Which is a sense of acceptance and belonging, and love.

We all want to be loved.

Stacy: That’s right. I was thinking, I love that this story comes from the point of view of Jack. How do you tell a story about someone who may not be trusting or rushing to tell you their life story? So the story comes in fits and spurts, and allows for a lot of spaciousness in the storytelling.

There’s a scene where the physical embodiment of ice-skating brings about the ability for Joseph to pour out a big piece of his story It’s so indelibly impressed in my mind, that scene. Because you understand that way that something you physically embody like that? When you experience such strong emotion like love or joy, or just pure connection with another person? How that could be reanimated for you when you experience it again in your body.

It’s a reminder that so many things are stored in our body, good and bad.

The trauma and also the love and the joy. That’s one of my favorite parts of the book, is getting out on the ice and the way that Gary Schmidt uses it as a way to do a flashback. Which is sort of a necessary need for the plot, to be able to get some of this kid’s back story when he’s so closed.

Jeanie: I read a lot of Gary Schmidt’s other young adult novels, and I’ve loved them. This one is really different than some of his other books. For example, Okay for Now is also a story about trauma. It’s a beautiful book. And it’s much longer. It’s got much more detail in it, and it’s centered around the work of Audubon, the bird prints, right, and this library. It has these bird prints as sort of this central element in the story. Then The Wednesday Wars, another Gary Schmidt young adult novel, has Shakespeare at the center actually.

This book is much subtler in that it has this love of reading and of books at the center.

Stacy: Oh. Well, one of the things I loved is one of the teachers.

One of the teachers goes through a transformation. She goes from having a bias against Joseph to having him sort of work his way into her heart.

This is the language arts teacher at the middle school. She saw that he was carrying around Thoreau’s Walden and she asked him about it and he explained he was actually reading it for a second time. She recommends another Thoreau book. I’ll start the quote here.

She asked him if he liked it and he said he’d already read it once and he was reading it again.

She asked if he had read her favorite Thoreau book, A Week on the Concorde and Merrimack Rivers?

And he said, ‘A week on the what?’

She took him to the library and they checked it out together.

You know how teachers are. If they get you to take out a book they love too, they are yours for life.

I loved that quote.

Jeanie: We are both smiling with joy at that quote because we do know how we are.

Stacy: We do.

One of my big goals in my English curriculum is to get books in the hands of my kids in their individualized reading that they don’t mind hunkering down to read.

https://twitter.com/JoyKirr/status/1051805983566155777

It’s just so true. This is the part where I also just want to say that our public librarian, that’s where I checked out this book, Orbiting Jupiter, our public librarian here in Middlebury, Kathryn Laliberte is amazing. Our high school librarian, Angela Kugel is amazing.

They are always my first go to people. They’re on my speed dial when a kid finishes a book. Actually, a kid finished a book recently, Jason Reynolds’ Long Way Down, and that had been recommended by Angela. He finished it and he said, “I haven’t finished a book since I was in second grade.” It was such a huge breakthrough, and he’s like, “Is there a sequel?”

Jeanie: We are going to talk more about books for reluctant readers.

I love that you shared that story. I love Jason Reynolds, and especially A Long Way Down. We are going to come back to that. But there are some books that are really important to Joseph in this book, and it starts with, he steals Jack’s copy of M.T. Anderson’s The Astonishing Life of Octavia Nothing.

Stacy: Yeah.

Jeanie: He’s reading it on the bus.

Stacy: He carts it around everywhere.

Jeanie: I think he gets the sequel.

Stacy: Yeah, and they are really complex texts too. Joseph is a voracious reader. That is a piece of it.

You have to wonder if some of his resilience comes from the fact that he is able to escape into all these worlds. That he is not illiterate. He is not apathetic. He is 100% tied into what are the stories that are held in these books. He’s a book lover.

Jeanie: The librarian in me couldn’t help wonder if Jackson’s family, the Hurd family, was named after Clement Hurd, who is the illustrator of Good Night Moon. Partly the name just clued that in for me. He’s a New England illustrator. I read Good Night Moon many times as a mother.

But partly I was reminded of it when Joseph would stand at the window in he and Jack’s shared bedroom every night. When Jack asked, Joseph said he was looking for Jupiter, the planet. There’s this good night ritual that has to do with Joseph standing in the cold, shivering on the hardwood floors in this chilly room before climbing in the bunk.

Stacy: That imagery is really strong too. But I would also say that there is a lyrical quality to Good Night Moon that I see in this book too. I feel like Gary Schmidt also does a lot of motifs or repetitions, or short spare sentences that come over and over again, and it is so calming to read this book. The way that he paces the language, the way that Jack talks is like a bedtime story in that way. It has that effect on me too, just in words. Beyond just the imagery and the looking up into the sky.

Jeanie: We’re doing in Vermont all this work around trauma-informed practice, and this feels like an opportunity to look at what trauma looks like when it shows up in a middle school.

I wonder about this book as a professional development read for teachers.

Stacy: Yeah. I’m taking a graduate level course with Dave Melnick right now on transforming trauma in trauma-informed schools. On the very first day we were together, he shared this slide of a shark fin above the water. Have you ever seen this?

Dave Melnick's goldfish

He says when you see a kid who fits this sort of profile often times this is what people see. This is what those teachers who have this bias might see. The shark fin: danger, different, watch out, contain this kid. In this kind of post-Columbine world where when a kid doesn’t fit into the mold, they’re suspect.

Then the next slide, underneath the water is this goldfish. This like soft and willowy goldfish with a fin above the water. That has been my experience so much, is that these kids… we as a society have this stance about what a kid like Joseph means and where they should belong, and that at the bottom of it they are really just kids.

This book, every kid with trauma presents really differently and they are all individuals, but it certainly does try to tell the story of the whole kid.

Like you said earlier in the interview, Joseph comes with so many dimensions that get to be fleshed out through Jack’s eyes. That’s a gift to a teacher. If a teacher were to read this book and think about what does it look like for me to be there for every kid, and what if some of my kids are like Joseph? It’s even harder when they don’t love Walden. It’s harder when they can’t get engaged in the learning in that same way.

It sure helps to have a more empathetic stance for all of our kids.

Jeanie: Well, and to look below that, the surface of the water in your metaphor, to see what’s behind this pain or this anger.

Stacy: Yeah, and that’s a big piece. Not, “What’s wrong with this kid?” This is the classic trauma-informed, not what’s wrong with them, but I wonder what happened that is making them struggle in this way? It’s such a gift to get to see this story through Jack’s eyes.

Jeanie: I know from experience that reluctant readers — kids who don’t ordinarily read novels — love this book.

It feels alive and real for them.

You’ve mentioned Jason Reynolds’ Long Way Down, which is a brilliant book that is reaching so many young people. Also, about a kid who’s lost his brother to violence, to gun violence, and is making some really hard decisions about that. The whole book takes place, Jason Reynolds’ Long Way Down, the whole thing takes place in an elevator, and yet manages to be this alive, wonderful, powerful narrative.

Stacy: Yeah, it’s magical. It’s magical in its sort of, I don’t know, it’s very Dickensian. It’s very much like the ghosts of Christmas past and future. I mean the way that all these… the story happens to the protagonist in 60 seconds, 90 seconds. I think they have a time lapse for each floor? And so all of the stuff that happens can’t possibly happen in that time. So there’s that magical element that draws you in to how will he be changed on this journey.

It’s such a short journey from the top floor to the lobby. And it’s written in verse. That’s important to say. Not only is each chapter a floor, but it’s written in verse and so a student — my student in particular — gets to page 42 after a couple of days of reading and they are so surprised how fast it can flow.

There are so many novels in verse right now that are coming out for young adults.

It’s a whole kind of sub-genre of books. A lot of my students read the Ellen Hopkins’ books. But what I love about what can happen in verse books for kids is you can get in that figurative language, and the metaphors and the beautiful ideas in that poetic form.

https://twitter.com/jac_quellyn/status/1086484074422779904

I feel like I’m getting them to eat their vegetables and they don’t even know it.

Jeanie: One of my favorite books from last year is a novel in verse called The Poet X. Just a glorious book by a spoken word poet, Elizabeth Acevedo that I would recommend to anyone. But it’s true that verse carries so much layered meaning.

Stacy: There’s a great list that the librarian at Vergennes Union High School, Angela Kugel sent me from BookRiot.com where it has 100 of the best YA novels in verse. It’s just the tip of the iceberg, so many have come out recently, and there have been so many out there, but it’s a gray area. The reason I especially bring it up in the context of Orbiting Jupiter, which is not a book in verse, they share that same spare quality, the moving of the story so quickly. He does use a lot of shorter sentence structure and repetition, so it does have, like I said, about Good Night Moon, that lyrical quality. Book Riot has a great list of YA books if people are interested in diving more in. Poet X is on there.

More books for reluctant readers!

Jeanie: I also was thinking a lot about Jason Reynolds’ All American Boys, which he’s co-written. He’s written one voice, which is the voice of Rashad, who is sort of the victim of some police violence. He’s an African-American kid. Then there’s another voice that’s this white voice who witnessed it, and so that’s another book that’s really compelling for students in this moment right now. The story is told from two perspectives.

Stacy: That book is on my list as well. Another book that a student last year of mine read, and now I have another student reading, is How It Went Down. Have you read that one?

Jeanie: She’s a Vermont author.  Kekla Magoon?

Stacy: Yeah. It was a follow-up to Long Way Down. He was having a hard time picking the next one, and he liked that they both had “down” in the title. Again, he wanted to read a lot more about gang violence and youth conflict, and that was something he was interested. So How It Went Down, again, it shifts perspective over and over among several characters, and so it’s complicated in that way tracking whose point of view you’re getting and how the story shifts over time around a single incident, a single shooting. That I would add to that list.

Jeanie: I’ve had some great luck with Carl Hiaasen’s books, especially with middle school readers who are reluctant readers. Books like Hoot or Flush or Chomp. They are funny. They are also tales about justice, but the justice is mostly about wildlife. Hoot for example, is about some endangered owls, and two kids who are going to do something to save these endangered owls. There’s a little bit of hilarity in them, a lot of adventure. They take place, all of them, in Florida and there’s just something really accessible about those books. Once kids have read one, they tend to go on and read the others.

Stacy: Yeah. I was reflecting that we didn’t have the sort of burgeoning YA books when I was in middle and high school that we have now, because I’m really old. But I was thinking about what drew me in? Because I read all the time from a young age. But I have to admit, I am a huge nonfiction fan. Even as a young kid I was reading biographies under my sheets at night of like US generals.

But when I was thinking to what was my fiction candy when I was in high school, it struck me that what I really loved was the Tom Robbins’ books. I had a certain generation of people who all agree with me, and we flew through all of his book Half Asleep in Frog Pajamas. It reminds me a little bit of when you are talking about Hoot and Flush and Chomp because he’s just so audacious.The plot is so jaw-dropping and it’s fun, and it feels like a romp.

So I had to drop in an old throwback because I was thinking what was my candy when I was in high school to read? So I did want to put in a Tom Robbins and see what came up for people. See if anyone agreed with me at all. All of his books. The people who read them would read through all of them, and you couldn’t get enough. That was my recollection and I wanted to put it in my list.

"I was reflecting that we didn't have the sort of burgeoning YA books when I was in middl and high school that we have now, because I'm really old."

If you were to read this book with students, is there something particular you would do?

Stacy: Yes. First of all, this book is a mirror for maybe some of my kids who end up in my small school, in terms of experiences in life that are complicated and layered. One of the things I love is it gives you the opportunity to have a rich discussion around perspectives. How others’ perspectives can be so different about you. You as the protagonist. I was thinking about The Danger of the Single Story. Chimamanda Ngozi Adichie, and her amazing TED Talk, The Danger of a Single-Story. Now that is really culturally embedded. She talks about growing up with only literature that reflected a white experience, and she’s from Nigeria. But it continues to go on that we experience the world through our own particular lens, and people also experience us that way.

So I would really be pushing my students to think about the fixed stance they have towards certain groups of people or particular individuals and imagine what would happen if we were to upset that system.

Maybe even have them do short writing exercises where they have to be an outsider in that person’s story. What would happen if we change the orbit? It’s so part of adolescence to be at the center of their own orbit, right? That’s what’s so different for Joseph. He’s not at the center. Although at one point in the book someone says,

“It’s different to love somebody for yourself versus love somebody for themselves.”

But still he has the sense of something outside of himself with his daughter, and I think it’s so healthy for our students to figure out ways to get out of their own orbit. This book offers that opportunity to have those conversations and to use creative writing to shift how there are multiple stories for everyone.

Jeanie: I love that. I think about how powerful that could be. Because on the surface Joseph just looks like a bad boy, and then you dig beneath. It reminds me of that quote, how does it go?

It’s hard to hate someone when you know their story.

Stacy: Yes.

Jeanie: Is that how it goes?

Stacy: Yeah. I think that we talk about the power of story to completely humanize us. That we can’t be a symbol for something. That we can’t turn other people into symbols of something that we either eschew or adore once we know their full complexity.

That living with ambiguity is a skill that I want to teach my students and my children, my own children.

One of my goals in parenting and in teaching is to show people all the gray area and let them live in that uncertainty because certainty is such a type of death. Certainty is when my red flags go up and say, “Why am I so certain? This can’t be.” So that going back to wonder, wondering about our students, wondering about the people that are the hardest to work with.

That is my challenge about adults in our work.

How can we stay open to people who have fixed ideas about our kids and how can we extend that wondering and that openness to the people who influence our students’ lives too?

Jeanie: That’s beautiful, thank you.

Stacy: Thank you for having me.

Jeanie: Thank you so much for coming and sharing your passion for Orbiting Jupiter and for students.

Stacy: It was a pleasure to be here. Thank you.

Jeanie: I’m Jeanie Phillips, and this has been an episode of #vted Reads talking about what Vermont’s educators and students are reading. Thank you to Stacy Raphael for appearing on the show and talking with me about Orbiting Jupiter. If you’re looking for a copy of Orbiting Jupiter, check your local library.

To find out more about #vted Reads, including past episodes, upcoming guests and books and a whole lot more, you can visit vtedreads.tarrantinstitute.org. Follow us on Twitter and Instagram at @vtedReads. This podcast is a project of the Tarrant Institute for Innovative Education at the University of Vermont.

Covers of books mentioned in this episode with link to Goodreads.

Check, Please! #Hockey with Peter Langella

Reading and discussing graphic novels

OMG Check Please! Librarian Jeanie Phillips talks graphic novels with Peter Langella, Vermont librarian, educator and former minor league hockey player and coach. First off the bench: “Check Please!” by Ngozi Ukazu, and how a good coming out story still needs all the other bits. Come for the comics, stay for ways to incorporate graphic novels in the curriculum!

 

Jeanie Phillips (l) and Peter Langella, along with "Check Please! Book 1: #Hockey"

 

Jeanie: Hi, I’m Jeanie Philips and welcome to the 21st Century Classroom. We’re here to talk books for educators, by educators and with educators. Today I’m with Peter Langella, and we’ll be talking about Check, Please! a graphic novel by Ngozi Ukazu.

 

Thanks for joining me, Peter! Tell us a little bit about who you are and what you do.

Peter: Thanks for having me, Jeanie. I’m a librarian at Champlain Valley Union High School. And I’m also an English teacher. I’m really lucky here that I get to continue to teach and facilitate English experiences even in my library role. This semester as we’re talking, I’m co-teaching a creative writing workshop class that’s modeled off of graduate-level writing workshops.

My background is in writing. I received an MFA in writing from Vermont College of Fine Arts, focused on children’s and young adult’s literature. I get to play in this balance between the written word and have students read it and see the reactions… And facilitate, and cultivate a love of reading. I really prescribe to the idea that we need to create students who love reading before we can ever get to the point where we create literary analysts and all the other things that we try to make them do.

Jeanie: Am I remembering correctly that you’re a former member of the Green Mountain Book Award Committee?

Peter: Yes, I served on the committee for a few years, and I really enjoyed that experience. There was a lot of reading, but I enjoyed the discussions as we tried to select books that we thought our students would really relate to.

Jeanie: I think I’m also right, that you’re a 2017 Rowland Fellow?

Peter: Yes, thanks for the prompt. I’m part of the 2017 cohort. I’m now in the middle of my second year in the Rowland Fellow experience. My work here at CVU in that capacity revolves around creating more space for interest-based learning, and also investigating how we can change our daily, weekly, and yearly schedules to allow for more student choice.

Jeanie: When I reached out to you with the suggestion that you join me on the podcast, I encouraged you to point me towards any book knowing that you’re someone who steeps yourself in literature for adolescents. You chose Check, Please! Book Number 1 #Hockey. I promptly got a copy and was delighted!

Tell us a little bit about Check, Please!

Peter: Yeah. So before I do that I’ll just say: another little bit about my history which directly relates to why I chose this book and why I love this book so much is that, I spent my whole life growing up playing sports. The sport I concentrated the most on was hockey. I was a college hockey player. I played in the minor pro-leagues in the New York Rangers organization, and then I did some coaching as well. After that finished, I coached at a prep school team in Massachusetts, and I was the Assistant Men’s Coach at Williams College in Williamstown, Massachusetts.

And so, I have this deep love of hockey, but I also have this deep critical life for hockey as well. Because unfortunately in my personal experience, I think a lot of the negative stereotypes that are talked about in a sport like hockey, are in fact true.

Check, Please! by Ngozi Ukazu is about a first year college student named Eric “Bitty” Biddle. Bitty being his nickname that most people call him by. He’s a former junior figure skating champion from Georgia. Bitty is recruited because of his speed and finesse to play on a fictional college hockey team in Massachusetts, at a place called Samwell University. Bitty is small. He’s from the South, and he loves to bake pies. Everything about him means that he is going to immediately clash with his teammates who at first glance seem to be fully entrenched in the so-called “bro culture” that can exist on a team like a college hockey team.

pg. 160, Check, Please! #Hockey

The story really gets started when Bitty starts baking pies. And the reactions from his teammate are not what we might expect. All of the stereotypes and all of the norms that we thought we knew about this cast of characters, starts being flipped. When I first started reading I just couldn’t stop, and I had to know more about all these guys.

It does seem that Bitty is an unlikely hockey hero. 

Jeanie: He’s, like you said, small. He hates physical contact, he does not want to be checked, and he cares about things like interior design. He has a video blog, a vlog, where he talks a lot about fashion, baking and his life. All of this makes him really compelling.

Peter: Yeah, his vlog is almost as if he had his own HDTV or Food Network show or something like that. It really intrigued me because I often felt, as a hockey player who had a more academic side I wasn’t really able to be my true self because of the culture. And so I was so intrigued that here’s this character that was able to do that or at least was trying to. Without giving too much away, we find that most of his teammates are very receptive. To accept him as his full self.

Jeanie: Graphic novels are really interesting, because they combine both text and images in really interesting ways to tell a story. I wonder if you could tell a little bit about this graphic novel and how the images and text work together.

Peter: One of the first things I think about is the expressions of the eyes of all the different characters. For example, one of the main characters who’s the captain of the hockey team is Jack Zimmerman. Jack has these raindrop, tear-drop looking bright blue eyes. Whereas Bitty has these elongated vertical dark eyes. Both of them are very expressive — as are the eyes of many of the other characters.

pg. 170, Check, Please! #Hockey

As soon as you flip the page — before you’ve even taken in the rest of the images or the descriptive bubbles or the speaking bubbles in these graphic novel segments — you see the eyes on the page and you immediately know the emotions of the characters. That’s something that an artist like Ngozi Ukazu has an advantage over just prose. The pictures and the words can play off of each other and help the reader get a fuller picture.

Going even further than that, it allows readers at different readiness or interest levels to access the text in different ways.

So some people may be understanding the words but not quite getting the images.  Maybe they have trouble reading the emotion. Maybe you don’t see that emotion in the eyes like I just described. There’s still something for you to access.

Then once you get into it and you become a fluent reader with graphic novels, I feel like that inference and that interplay between the words and images can be really powerful. In this particular book, the emotion of the eyes is really what I think I would clue in on right away. It’s even visible on the cover. You see the different eyes and the different characters, and the different emotion that those eyes are just really projecting out on us with.

Jeanie: I love that and that I have also noticed the chins on these “hockey bros” as you call them, they all have such strong jawlines. I think it’s not giving anything away, I think we know as a reader from the beginning of the book, that Bitty is also gay.

This is in fact a coming out story as well.

Peter: Right. I didn’t want to have a spoiler alert, but since you’re the host and you did it, that’s fine. We can go there. He is gay, and his teammates and his friends are very accepting of him coming out. In a way, it’s not the reaction that you might expect at all. When I was first reading the coming out scene, I knew because the characters were developed in a way, that they would be accepting. It even goes further than that, they want to all of a sudden facilitate dates for him. They want to find out exactly what type of guys he’s interested in. It just takes anything that you think might happen and it does the opposite and it takes it to a whole new level. 

Jeanie: One of the things I really appreciated about this book is, that the characters were okay when Bitty comes out. Because I have a son that’s Bitty’s age in the book, and I think this book is representative of this current generation. That for whom that is often not a huge issue. It doesn’t mean that homophobia doesn’t sometimes still get in the way for young people? But it’s completely different than we remember it from when we were young.

Peter: I think that’s true. The way that the storyline was flipped in my mind had something to do with remembering people who came out. Especially people who were doing so-called “masculine” activities that maybe felt like it wouldn’t be accepted if they spoke up about their sexual identity. I think that’s absolutely right. I do think that the other thing I like about the coming out thread is that it definitely is the main storyline through the first half of the book. But it’s not the climax.

The book really is about Bitty getting to the place where he can become empowered on the ice, find his place on the ice. And then also find his place at the college.

That has something to do with more than just him coming out. I was like that as well. I’ve had many, many students on the queer spectrum over the past few years talk about: while there are more and more books that do this, they often want a book that is not just about coming out.  A book where that can be seen as something that a gay character may do, but there’s so much more to the storyline.

Jeanie: I love that. And I see in this book that Ngozi Ukazu has really embraced the full humanity of all of the characters. There are diverse characters in lots of different ways, whether it’s racial or ethnic identity, their height, their size, their inclinations and interests. I really love that she sees them as athletes and that she sees them as whole people. With diverse interests and important relationships in their lives.

Peter: Yeah. On that thread, there’s an African-American player on the team. That’s something that you don’t see on many hockey teams. It’s a sport that is mostly played in Northern affluent communities. Places that don’t necessarily lend themselves to racial diversity. And to have an African-American hockey player as part of the core group of athletes and friends for Bitty immediately at the beginning of the story? Was a great touch that the author included.

Jeanie: Maybe in part that’s because the author and illustrator is also not what you would expect from a graphic novelist writing about hockey bros in Massachusetts.

Peter: Right.

Jeanie: Can you talk about who Ngozi Ukazu is?

Peter: Yeah. So, Ngozi Ukazu is an African-American woman. And she went to Yale. She happened to be there at a time when the Yale men’s ice hockey team was very, very good, the best they’ve ever been in their team’s history. And she was really intrigued by the fan support that this team had. She was really intrigued by the relationship that the players had and the rivalries the players had with other sports teams on campus. She was intrigued by the deference paid to these athletes. And she really started this comic as a Web comic online as a way to investigate her own personal thoughts about what all that meant, and what that environment meant, that she found herself immersed in.

She created Bitty as a way to shake up that environment. Almost as a thought experiment of what would happen if this were true: if someone like Bitty actually played on the Yale hockey team on the campus where she was studying.

What’s so cool about it is that, Bitty doesn’t exist on the Yale hockey team and maybe never will, right? We’re imagining a world that isn’t quite there yet. So while we do have things like yes, I do think it’s accurate that today’s teenagers are more accepting of someone coming out, but today’s college hockey players or even high school hockey players probably would not be that accepting of a former figure skater from the South who bakes pies. The author and illustrator created this amazing catalyst to explore how people could react. It sets up a vision for a more inclusive sports-world that I personally would love us to get to. And I know many people would, but I don’t know if we’re quite there yet.

Jeanie: Right. How are your students responding to this book?

Peter: The students who have immediately run to this book and most enjoyed it right from the start, are students who… know about the finer details.

  • They’re students who enjoy books that have queer characters, and they know about Bitty coming out;
  • They’re students who love graphic novels, and really try to read as many of our new graphic novels as possible;
  • Or they’re students who know about the whole story and the mash-up of all these ideas. 

They know about Bitty serving as a catalyst to be almost a lens for a satirical look at the bro culture and the college hockey culture, and everything that we’ve been talking about. The students who have been a little more apprehensive, are some of the students who I would really like to read this book, because I think this book could serve as a gateway for them.

I sometimes refer to books as “gateway books”, because I think that they can take an emerging reader who maybe isn’t ready to leave their comfort zone of the books that they traditionally like, and go to something that might be a little more complex or feature themes that might be a little more complex for them to investigate.

For example, there are some readers who only read sports books. That would be something that they would self-proclaim. And it’s really hard to get them to read anything else other than a sports book, but this is a sports book in a way.

We mentioned the captain Jack Zimmerman earlier that has the bright blue eyes.  He is a hockey superstar. He is someone who is the son of a former Stanley Cup Champion. And he himself might go on to become a National Hockey League star after he finishes college. The descriptions of him and depictions of him scoring amazing goals and having really intense hockey sequences make this is a book that those sports lovers could really latch on to as having amazing hockey scenes.

The reason I call it a gateway book is because then they would also have to investigate all of the themes that are being brought up with the coming out story. With the non-traditional hockey player, with the first glance bros deconstructing their own bro culture and making fun of it as it goes. I would love some more of those students to see this book and be forced through reading it to think about their own views and their own actions. To think about whether or not they too like this future world that that might exist, where this story could actually play out in a real college hockey team and not just on a fictional one.

Jeanie: How do you think your “hockey bro” high school self would have responded to a book like this?

Peter: I actually think I would have loved it, maybe not quite as much as I do now. Because I didn’t even necessarily have the vocabulary to properly know that I was looking for something like this. I definitely was questioning a lot of what was going on. And I knew that there was a problem with the culture of my hockey teams — even if I didn’t know exactly what that problem was. I was looking for something else that no one gave me.

Anything that I was able to find to break holes in that culture? It was it was self-discovery. It was something that I would come across on my own or some realization that I would make my own. Whereas a book like this could have really opened the door for me. And I think it could open doors for a lot of our students.

Jeanie: I love that. I’m also a librarian, and I’m quite certain you’ve heard this next question I’m going to ask you, because I’ve heard a lot from different adults, mostly adults.

What do you say when people say, reading a graphic novel isn’t really reading?

Peter: Yes, I say that they maybe have never read some of these great graphic novels that we’ve read. If they have they would know that that’s not true. I was talking earlier about the interplay between the words and text, and in some ways because of that interplay, graphic novels are actually a more difficult reading experience for students. In order to get the entire story, both with the character development and the plot, you need the words and the pictures. If you’re only accessing one of those, you’re only getting part of the story.

In order for a teenager say, to take in all the words, all the pictures, make the inferences needed to connect those, and also to fill in the gaps between the gutters on the page? (A gutter is the story stops, the frame changes, the chapter changes, some transition). The transitions can be a lot more stark than they are in descriptive writing. And being able to do all that in your mind is a really high level reading skill.

Jeanie: Also the vocabulary in a graphic novel, is almost always much higher than in an equivalent novel or nonfiction text, I found.

Peter: Yes, I have I found that too.

Jeanie: I’m not sure my son would have learned to read if it weren’t for Calvin and Hobbes. I have a great fondness for graphic novels, in that they serve as a tremendous bridge. Especially, I found for boys or for reluctant readers who maybe need a little extra something whethe rit ‘s Calvin and Hobbes, or the Bone Books or some other graphic novel that really appeals to them.

Peter: No, I agree. That’s this door opening that I talked about for hockey players, or any teenager who is looking for a more action-based experience. Graphic novels can really open that door, in a way that is not “easier”.

I think that’s part of the mistake that some educators might make. They think that because these reluctant or emerging readers are willing to try them, that it must be easier?

I think we’re not giving those students enough credit, and that it’s not easier, but it is accessible because you can do half of the work by just looking at the pictures. Then what it does is it helps those students realize that,

“Oh, I need to take in the words to get this whole story.”

I guess the access point might be easier, easier being just that it’s easier to look at a picture than it is to physically read say the first chapter of a novel. But not easier in that in it’s easier to comprehend the whole text.

https://twitter.com/JuddWinick/status/657004549207552000

Jeanie: I think those pictures really give students some intrinsic motivation to decode the text, right?

Peter: I agree, yes, yes.

Jeanie: Have you had any teachers here at CVU use graphic novels with students?

Peter: We have had some teachers use graphic novels.

They’ve mostly though, been in a real analytical way. We haven’t really had teachers use graphic novels in a way that allows students to… investigate their own thoughts about the reading experience. I’ve been trying to institute more choice- and theme-based reading units here. I’ve had a little bit of success, but not as much as I’d like. Where students are able to choose any text; and then the unit or the lesson is designed in a way that all students can bring evidence from the texts they chose to the discussion.

You can do a unit on identity, or race, or culture, or even something completely different, like resilience. Then students are able to read anything and then come and be part of the discussions. But I found that many educators are also still requiring things like: “Include a descriptive passage that has symbolism and imagery.”  And some of the graphic novels only have words when the characters are talking to each other. All of that symbolism and imagery might be there, but they’re in picture form.

Some educators might say, sure you could read a graphic novel, but the lesson and the unit is still not designed in a way that’s completely inclusive of [student] choices.

Jeanie: First, I just want to go back to the class you’re describing that you teach? It’s just sounds so tremendously personalized. Like, where kids get to select the reading that is most relevant or resonant for them, and then pursue whatever themes through that text. That just feels like the far right end of the personalized continuum, so I want to applaud that. I think that’s wonderful.

I hear what you’re saying about how our instruction hasn’t always kept pace with the new formats for books that are out there. Particularly for graphic novels.

Peter: Like for example, and this relates to the question you asked about whether or not graphic novels are easier: that’s some of the only time when they’re brought into a class. So we’re reading Othello, and as a librarian I’ll be asked, “Can you find us 10 copies of the graphic version? So we can give those to our students who are at a lower reading level.” It creates a whole narrative around the comic. Students even feel it a little bit like oh, I’m going to take the easy way out and I’m going to read this.

Jeanie: Well, I just want to contribute to that thinking about Shakespeare in particular. Because I have worked with ninth grade teachers in particular around Shakespeare. Romeo and Juliet, for example. Where the students have read the play, but all students have also read the graphic novel, and the graphic novel is almost like seeing the play. It helped make the play more understandable to them.

Then the students created their own graphic novel versions of scenes from Shakespeare, I found that to be tremendously helpful with texts that are particularly challenging. Not just for teenagers, but for us as adults, too. Shakespeare is not an easy read for most of us.

https://twitter.com/JPhillipsVT/status/811632107328040960

Peter: The two times that I’m immediately thinking of where graphic novels have been used most effectively in class were in tandem with social studies unit. A combined humanities class where you’re reading about a time period and then, you’re learning about a time period and then using the graphic novel to access that time period.

That’s been done really well in a class about conflict and human behavior. They’ve used the famous graphic novel Maus by Art Spiegelman. Some classes here might start using the “March” series by John Lewis and his collaborators to access the civil rights movement. I’m hoping that happens.

I did also see a teacher who used Watchmen by Alan Moore to investigate the way that filmmakers storyboard. It was a literature and film class. As they were learning how to create films and learning about the storyboarding process, they were using the graphic novel version of Watchmen before they were accessing the movie as a lens toward the storyboarding process. I thought that was a good way to use the book.

As far as just being valued as something that can be read to enhance a person’s own development as a reader, we’re not quite there yet.

Jeanie: I wonder about that as adults. Many of us who work in schools were really good at school. When I think of myself,  I’m a reader through and through. For me, graphic novels are not usually my first choice, because they slow me down. They make me read more slowly. I’m kind of an avid reader, and when I can slow myself down, I can really enjoy them. But they’re not what I go for. I wonder how much our bias against them is about our own preference for text?

Peter: I’m going to take this in a teeny different direction, because I think it relates. I read an article where they were basically making the case that we should stop using the term ‘graphic novels’ and we should call these ‘comics’. Because all of them are not novels, per se. There’s nonfiction, there’s biographies, there’s memoirs. They were saying that the reason why people probably don’t is that we’ve invented this term graphic novel to be some somehow equivalent to a novel, right?

People probably felt the term ‘comic’ was too fluffy and not deep enough.

And I think that relates to that question. Because we’re trying to make them equivalent and they aren’t. They’re a different experience. I think when people are accessing them and they have this in their mind that somehow this is supposed to be the same as reading fiction, they’re going to be disappointed. It’s a completely different mental and sensory experience. I’m reminded of that article because it was a false equivalency that was set up by whoever created that term.  That has led to some of these questions that we’re discussing.

Jeanie: That’s really helpful. Thank you for shifting the frame on that. Because I’m thinking now about one of my very favorite memoirs: David Small’s Stitches. It’s such a powerful story of his childhood, and not an easy one. It sticks with me; I think about it on occasion. It ranks right up there with any other memoir without any images as a really powerful and intense and illuminating life story. I appreciate that shift. I’m going to think more about that.

I wonder have you ever worked with an art teacher with graphic novels at all?

Peter: Actually I haven’t, that’s a great idea. I would love to at some point, yes.

Jeanie: There’s so much great art. It’s not just the text or the story, there’s so much great art in this book in particular, and in many of the graphic novels we’ve named already. I wonder what it might look like for classroom teachers or librarians to collaborate with art teachers around the visual literacy required to read the text or to create your own graphic novel.

Peter: I’ve helped students gather resources for independent projects, where they’ve been interested in creating their own. Even if not a full text, they’ve created a few panels or a chapter short story in a graphic medium. That’s been fun to help them access their learning. It would be interesting to develop more of an intentional partnership with the art department.

Jeanie: What are some other favorite graphic novels?

Peter: One of my all-time favorite graphic novelists is Gene Luen Yang.  Gene Yang’s most famous book was American Born Chinese, which came out in the mid-2000s. It’s interesting that I really like that book, because it relates to Check, Please! in a way. It’s really a satirical look at identity and stereotypes. It’s about a young Asian American who is feeling like he’s not really Asian and he’s not really American. He doesn’t really know what that means, and everyone around him seems to have an idea about who he is.

It’s told in these three different storylines: his everyday life, this other storyline that is based in Chinese folklore about a monkey king, and the third is a real overtly satirical look at the way Chinese Americans were, and especially Chinese immigrants have historically been perceived in this country. Then it all leads toward an awakening of him being able to come to his own understanding finally of who he is. I think that directly relates to Bitty being able to navigate this world of hockey culture, and this New England elite college campus and find his own path, and then be able to feel comfortable in his own skin. 

I really love Gene Yang’s work. He has a few others I like. I really, really like a superhero series that’s come over the last few years called the Ms. Marvel series by G. Willa Wilson.

Jeanie: That’s a pretty special series, I love Ms. Marvel too.  Tell us about her.

https://twitter.com/dianascarol/status/1072187864740491265

Peter: The traditional Ms. Marvel in the world of Marvel Comics, is kind of your stereotypical blonde Amazon looking superhero. What happens here is that the story starts with a main character named Kamala Khan.  She is a teenage female Muslim in Jersey City, New Jersey.

She’s kind of not really sure what her path in life is. She wants to break away from her strict family, but she also cares about her family. It’s another one of these identity stories, where she’s not really sure what her path should be. Then, as often happens in superhero stories, the powers from Ms. Marvel, are transformed in a way that Kamala Khan is able to take on the persona of this superhero.

She then not only has to navigate this world but also being a superhero at the same time and fighting the never ending battle for good and evil.

It’s really a fascinating look at all that through the lens of a superhero story. That’s been one of my favorites over the last few years as well, and then many of our students have really loved that.

Jeanie: Yes, my students at Green Mountain really love that. It’s so playful and yet powerful at the same time. I love when she’s trying to figure out what her superhero costume will be, she has to make those tough choices. One of my favorite recent graphic novels is The Prince and The Dressmaker by Jen Wang. Have you read it?

Peter: I have, yes.

Jeanie: it’s such a fairy tale of a graphic novel.

Peter: The thing I loved the most about the Prince and The Dressmaker too is that, it reminds me of some of the more recent fairytale stories that have been created like, The Princess Bride or Stardust by Neil Gaiman, in that they’re not retellings you know.

Many fairytales are retellings. There are several that kind of stand out as being so original,  yet so timeless at the same time. The world building is amazing and it just sets up an entire universe that you can just imagine yourself living in. I think it’s really well done.

Jeanie: The playfulness of the Prince and The Dressmaker reminds me of a graphic novel that was on the Green Mountain Book Awards list a couple years ago called Bandette. It was about a French girl Robin Hood figure almost, right? Do you remember that one?

Peter: I do. The thing that immediately comes to mind is the Oceans series of movies. Often in these Oceans movies they’re thieves and Bandette is a thief, just like Robin Hood. She is kind of a stealing something so that the bad people can’t get it first. Stealing something because it helps the common good, and yeah it’s really playful. Those stories were originally I believe published in Belgium and it’s a from the French speaking part of Belgium,  and so there’s really a different sensibility to the whole story that’s from the European thread of comics.

The closest thing I could think of are some of the earlier American comics.  I’m thinking about the Adam West Batman TV show that almost is making fun of itself.  It’s going on with the really overt onomatopoeia and caricatures.  Bandette does some things like that, but in a much more sophisticated way.

Jeanie: Another thing that was really popular when I was in the library was Anime. Some kids became really hooked on Anime and would take out everything in a series. Do you find that to be true here too?

Peter: Yes.

I actually have a few students who are helping me develop our Anime and Manga collection.

They’re always sending me recommendations, and I always feel behind. We have  purchased quite a few over the last several years, and that’s a growing trend. Students love to devour those books.

Jeanie: That seems like a great recommendation for our educator listeners.

If you want to know what graphic novel you should be reading ask the kids in your class.

Ask young people what they’re reading, and try it out, especially if you haven’t read graphic novels before.

Peter: That’s a great suggestion. That’s how I stay up on it really. Especially with the Anime and the Manga. They are a little harder to find reviews and recommendations for in the kind of the standard publications or places on the internet.

Jeanie: You told me some news as I arrived here at Champlain Valley Union High School.  The Morris Award nominees have just been named, do you want to share that with our listeners?

Peter: Yes, so the Morris Award is an award with YALSA, the Young Adult Library Services Association. It’s for the best books of the year by debut authors.   “Check, Please!” #Hockey in this form, even though it started on the Web, is Ngozi Ukazu’s first printed publication. It was named one of the five best debuts of 2018 by YALSA.

https://twitter.com/PeterLangella/status/1072538729926008832

Jeanie: That’s an enormous honor. Last year, I happened to be at the Morris Award presentation. I got to see Angie Thomas receive her award for The Hate U Give and to see the other nominees. It’s a tremendous honor for her to be a Morris Award finalist.  I wish her well.

Peter: Yes, I’m not completely sure on this, but I think that this is the first comic graphic novel that has ever been a finalist for the Morris Award.  That is quite an accomplishment.

One of the things we haven’t talked about yet is the meta cognitive approach to writing graphic novels.

It appears somewhat in this print version but it definitely appears online. Between the different chapters of the comic there are these interludes where several of the characters talk about hockey terms. They introduce the sport in a really fun way to people who might not be that familiar with the vocabulary.

There’s a Twitter account that belongs to Bitty, the main character. While the webcomic was first coming out, the Twitter account was really active. Many of the tweets are added as kind of an addendum to the print form here.

It’s amazing, because the Twitter account is exactly how a real Twitter account would be. There’s this string of tweets all in a row that are maybe really concentrated on one particular issue or an event that’s happening. Then there might be weeks at a time where there’s no tweets. It’s just the meta aspect of that is just something that really is quite rare in books.

Jeanie: It’s also just wicked fun for their reader, right?

I loved the end of the book where you read Bitty’s Twitter feed! I found it endlessly entertaining and was laughing out loud; it felt just truly authentic.

Peter: The author has just been able to create an entire world for these characters to exist in which people love, right?

You love to be a fan of something that you can fully immerse yourself in, and that’s why people love Harry Potter. Now there’s theme parks and Pottermore where there’s more stories, and the universe just keeps expanding. I don’t think there will ever be a Check, Please! theme park, but if there is I would probably be there the first day.

Jeanie: It’s true. She does build a world much like Tolkien or JK Rowling, that you really want to immerse yourself in.

Peter: Okay. Yes, and one thing that’s important to know is that we mentioned how this started as a webcomic. It still is a webcomic. Interested readers can move on from the story, move forward with the story now online. This first book captures Bitty’s first and second year at Samwell University. Online we’re actually now in the middle of year four.

All of year three is there and now year four has begun and is moving towards some really interesting places. It’s really neat because the story also continues on with some of the characters from this first book who have graduated from Samwell. We actually see them in the non-Samwell environment out in the world, which is really exciting and cool.

Jeanie: I think what appeals to me about that as a librarian, as an educator, is that we get to encourage kids to read in different formats. Sometimes adults, I think we’re behind the curve. We may read on our Kindle, right. A lot of our students are reading Harry Potter fan fiction online.

Peter: Right.

Jeanie: This will not seem as strange to them to go online and continue the series there.

Peter: Yeah, not at all. The webcomic really started for Check, Please! in the world of Tumblr. It  is a world that I really don’t know that well, have waded into only a few times. Check, Please! being one thing made me wade a little deeper. Many of our students spend a lot of time in these various online worlds when they’re not in school and there’s a lot of great work happening there.

Jeanie: Right. It’s great to give them something really meaningful to dig into in that world too.

 Any other recommendations for our listeners?  Where might might find great comics or graphic novels to read?

Peter: Yes, so a really great resource is actually the publisher’s website for the publisher of “Check, Please!” It’s called First Second. First Second also has published all of Gene Yang’s books, the author and illustrator mentioned before. On the First Second website, they have amazing resources from their whole backlist. They also have resources for integrating graphic novels into school curriculums, which I think is really great.

I would recommend YA book blogs.

There’s teenreads, Epic Reads, and Fierce Reads. I think that those often give you a more authentic view than a review journal might. A review journal is often quite static. It’s one person’s perspective on a book. They kind of end with their take and that can make or break that book on whether a school or library wants to buy it and have their students read it.  I think a lot of the websites have teen bloggers, or college students who are interning. There’s more of a back and forth. Those are going to be put out on social media and they’re going to allow for more back and forth with the actual readerbase and fanbase. Goodreads is a great place to go and get recommendations too.

Jeanie: I just want to say thank you so much for taking the time to sit down with me and talk graphic novels. You know so much more than I do about this media. Thanks for sharing your expertise, and for introducing me to Bitty, I just love him.

Peter: Yes, I do too, thank you, Jeanie. This was great.

Jeanie: It’s a pleasure. Thank you.

Click for a link to the full list.