Category Archives: High School Teaching

Drive Time

retirement-age-pension-fund-savings-886939Every day, almost every hour, I imagine being a sought-after editor, a teacher’s teacher, a designer for Crate and Barrel pillows and tablecloths, a podcaster, a muralist, an educational theorist and consultant, a freelance writer specializing in personal essays, a highly-paid fine artist. I could add masters athlete, but my body says, “no.”

My circumstances fuel these fantasies. When you reach a certain age, people ask, “When will you retire?” Then they ask, “What will you do then?”

I don’t know and blame our society’s new understanding of the word “retirement.” The dictionary says retirement is “leaving one’s job and ceasing to work,” but we’ve revised the concept. Where it used to entail traveling, gardening, doing crosswords, and just bemusedly (and charmingly) puttering about, now it means “second acts,” “rewiring,” and “side hustles.”

The impulse to stay vital makes sense. “The best way to stay on a bicycle,” a friend reminds me over and over, “is to keep peddling.” And I like completing tasks, helping out, creating what did not exist before I conceived it. I love being productive. What seems different now, however, is the vision of a post-work life I’ve absorbed, that, if I’m ready to cease teaching, I need to find something essential to my being and remunerative, preferably something I always dreamed of doing yet never did. I so easily confuse what I might do and what I should have done before now.

Like that other life-redefining moment—college—retirement isn’t cheap, but, unlike college, you can’t borrow for it, which may be what motivates people to remain in their jobs as long as they can. The pension era has passed. In 2002, the average age at which Americans expected to retire was 63. Now it’s 66. If Medicare fades away, we may end up working until we can work no longer, but, even now, if you haven’t saved for idleness, you can’t afford it.

If you have saved, you might still feel compelled to work. Books and articles claim savings justify bold ventures and alternative identities you’ve had to abandon. Like a professional athlete whose playing days are over, your situation is a golden opportunity to remake yourself. You can go back to school or start working in another industry or throw yourself into entrepreneurship… never mind that few places want to admit or to hire or to finance someone of your “experience.”

The “tired” part of “retired” no longer carries much weight. I confess, sometimes every fantasy appears more interesting than continuing down the same road, yet the prospect of starting over terrifies me enough to keep me on the job. My own father received his last paycheck the day after he died. Part of me hungers for an old-fashioned, more traditional retirement, the one where I see a lot of movies and feed the ducks in the park. What if I relearn the sidestroke or take up painting bad watercolors that don’t yield a dime? I’m not talking about idleness, I promise. Can’t my post-work life be busy without being stressful? Is that acceptable?

My school contracts with a service providing substitutes on short notice, and we see a parade of retired teachers pass through. A few don’t have laptops, don’t know how to attach or un-attach documents, and absent-mindedly forget to collect what we ask, but many are vibrant and capable, enjoying students as much as they ever did but going home without papers or parent phone calls to return. They earn nearly nothing—I’ve looked into it—except the satisfaction of putting in a decent day’s work.

There’s plenty of productivity left in me, and I could be someone’s new model employee, but is it so terrible to rest my drive and contribute what I can?

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My Silly Lament (in 15 Parts)

3DIt’s been so long that who knows who still tunes in. I felt I had to write this lyric essay. Here it is… for whomever.

1.

When no real or virtual stack of grading awaits me, when no other deadline looms, when I have time to read carefully, annotate thoroughly, and plan thoughtfully and creatively, I love class.

Question and response and further question and further response come to resemble an intricate, entirely improvised dance. There’s inference and implication and irony and laughter. There’s progress toward answers we didn’t know we wanted, and the slightest signal drops discussion into another, more consequential dimension. Even un-staged epiphanies seem meant to be.

Many teachers must feel as I do. Class time is the pounding heart of teaching that sustains the rest. For me, even after 35 years in classrooms, it’s the only part of the job that makes me feel competent. The rest is ash.

2.

My school has a curious custom. At the end of each period, after students gather up their papers, re-zip their laptop covers, and file everything away in overstuffed backpacks, they—almost all of them—stop to tell their teacher “Thank you.”

I’ve never experienced such widespread and ready thanks in any other school I’ve taught. I’ve asked students new to our school whether that was the convention where they were before, and they say no. We’re an independent school—read: a private school—and admissions people sometimes tout this thanking habit as proof of the special teacher-student relationship here. Everyone, it seems, marvels at this ritual. Most of my colleagues espouse gratitude for this gratitude. They love being thanked.

For some reason, I hate it. I’m reluctant to tell students, but I wish they wouldn’t thank me.

3.

The expression “thank you” looks outward. It includes only one second person singular pronoun “you” and thus appears selfless. It says, “you deserve thanks,” which suggests it’s all about that offering, all about approval, all about appreciation. Yet, if you listen too closely, you hear the understood “I” at the head of the clause “I thank you.” A gift can begin to sound like a contract—not clear payment for services exactly, but a transaction nonetheless. Heard from that corner, “Thank you” says, “You’ve been paid. I have paid you.”

4.

The Princess Bride begins with the backstory of Buttercup and Westley’s love. She relishes bossing the farm boy around, and he always replies “As you wish.” However, we soon learn his answer is code. The tasks grow simpler and simpler until she asks him to retrieve a pitcher well within her reach. Westley fulfills her desire with “As you wish.” “That day,” the narration reports, “she was amazed to discover when he was saying ‘as you wish,’ what he meant was, ‘I love you’.”

The moment’s indirection is beautiful because it relies on Buttercup hearing Westley say he loves her and not on his saying it. Love is in the reception and not the transmission.

5.

I wonder what I might think if my students didn’t thank me.

People who grow up as I did with the maxim, “If you can’t say anything nice, don’t say anything at all” are prone to hear silence as censure.

6.

My emotional memory is deep enough to recall how torturous high school can be. The details of that time might have fled, but the romantic rejections, the relentless assaults on any belief in my academic, athletic, and artistic worth are still with me.

My senior year, I barely dammed tears when I received less than I expected—the score that should have been mine or indifference that, in light of my earnestness, felt like cruelty. Classmates more insulated by ego weren’t so sensitive, but we all rode waves of confirmation and doubt. I remember that.

Do my students ride the same waves? I’m not sure, but my interactions with them assume so. If their high school years are like mine, what they need is for their emotions to be noticed and, whether accurately or inaccurately, valued. I want them to feel seen.

7.

Occasionally, I try to tell my classes that I don’t like being thanked, but there’s no proper way to say so.

If I say, “Don’t thank me, it’s my job,” it sounds like I’m saying teaching is only my job.

If I say “Don’t thank me, it’s unnecessary,” it’s sounds like I’m diminishing their gratitude, that I don’t appreciate their appreciation enough.

If I say “Don’t thank me, it’s embarrassing,” I risk unprofessional confession I hate.

If I say, “Don’t thank me, I don’t deserve it,” which often comes too close to the truth, they think I’m asking them to dispute it.

8.

My latest deflection is to string together of all the forms of “You’re welcome” I know. The more people thank me, the more ridiculous it sounds.

“You’re welcome, any time, my pleasure, it’s nothing, thank you, think nothing of it, a trifle.”

9.

We’ve been studying vignettes in my senior writing elective, and, after a longer reading of six vignettes, I asked them to pretend they were determining “The Vignies,” an imaginary award for vignettes aligned with the Oscars, Grammys, or Tonys. They were to name winners in categories like “Top Vignette for Creating an Intimate Connection with a Reader” and “Greatest Mystery of What Was NOT Said (and yet WAS said, in a way… sort of).” They needed to write an awards show style speech announcing their selection and how they reached their decision.

It took some coaxing to get them to play along, but they did ultimately buy in, cooperating not just in the over-the-top fiction of those speeches but in the “we was robbed!” responses I insisted they make on behalf of spurned vignettes.

Forty minutes later, the day felt productive. I’d compelled them to scrutinize the reading, to make some thoughtful judgments, and to think about the bigger matter of how vignettes operate. Some of the speeches were funny too.

And, as they exited, several seniors thanked me.

10.

Recently at my school, students have been secretly recording teachers with cameras in their phones then posting the results online. For the faculty, this behavior creates consternation. Some recorders must mean to show how funny or engaging we are, but others are malicious, hoping to show the opposite—how inept or clueless we are.

I’m sure they’ve focused their cameras on me and can only hope that, on balance, I’ve come across well. Made aware of what they’re up to, however, I wonder how many thanked me afterwards.

11.

It occurs to me that, if thanks are transactions, both parties need to believe, the one thanking and the one being thanked.

12.

At this stage of my teaching career, I can’t look for the attention younger colleagues garner. I probably won’t be asked to give another commencement speech. The fellowships and travel grants my school awards will likely land elsewhere, and I can’t fathom what performance might be enough to add my name to the plaque that designates my school’s best teacher each year. Only a grave illness might convince students to dedicate the yearbook to me.

I’m not insensitive to praise—who could be? And sometimes I’m haunted by the last line of James Wright’s poem, “Lying in a Hammock at William Duffy’s Farm in Pine Island, Minnesota.”

“I have wasted my life,” it says.

All these thanks and still… perhaps the problem is me.

13.

Desire, the Buddha says, is suffering, but what of half desires? What about all you want and, at the same time, don’t?

In seventh grade, I was in what I thought love with Nita Stroud. She seemed to care about me when I didn’t care much for myself, and my desperation soared to quite unquiet protests of affection. When she broke up by telling me I was “too intense,” I remember feeling confused. Was I relieved, even happy? I’m still not sure.

Desiring nothing means getting everything. By that standard, a half desire can’t satisfy.

14.

One day one of my students—I’ll call him John—lingered after class. He asked me to write this essay. I was explaining, again, my misgivings about thanks, how I perhaps should (but didn’t) know what students felt when they said “thank you.” I should write something, I told him, to figure out the source of my ambivalence.

“I’d read that essay,” John said.

These close moments with students are rare. Though my colleagues tell me that I’m “respected” and that a student “had a good experience with me,” I don’t know how to read their compliments. What I want is a sure sign I’m reaching someone after all this time. Yet, that’s not something any teacher can expect. I’ve been to many conferences we teachers receive a pen, some papers, and a charge, “Write about a teacher you meant to thank and didn’t.”

I’ve found something to say and someone to say it to. I’ve recognized which teachers have made me. At the time though, the hour passed. Another class demanded I move on.

15.

Many days, I walk to school. It’s no mean distance, two miles or so, but it’s a division between home and work. This time of year, it’s dark, and I barely hear anything other than my steps, barely see anything other than threadbare traffic similarly drawn to starting earlier and better.

Teaching has been my singular devotion. I’d label it “a calling,” if I could be so melodramatic. After 35 years, I want—too much—for the financial and social sacrifice to mean something. I’d like to believe my worth on another scale. “I could have made more,” I want to say, “I could have been more.”

I think of smiles passing between students and teachers, a teacher’s spotlight of kindness illuminating and redeeming all the troubles students face. In that, somewhere, are thanks. I just don’t know where… or how to believe in it.

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A Journey of a Thousand Sentences

3D team standing togetherIn my first decade of teaching I created thousands of sentences. English—it was “Language Arts” then—required a mechanical mind. To stay ahead of students, I needed to deconstruct rules of usage I’d previously only sensed, and each quiz called for advanced mimicry of the battery of sentences in the grammar text.

“Clam digging is a blast,” Don said to Larry, “if you’re an amateur.”

Making sentences was fun, and not just because of the new vocabulary to describe parts of speech, agreement, punctuation, conjugation, and phrases and clauses (relative, subordinate, and independent). Students expected so little of my sentences—the content was so clearly secondary as to be invisible—I devoted myself to writing little stories, evocative, ironic, whimsical, mysterious.

In a moment of particular exhilaration, Veronica threw her hands in the air and cried, “Who would have thought fish sticks had so many other uses?”

Sentence-making still haunts me, but, as an English teacher, I’ve moved on. The hothouse approach to writing instruction is passé. We no longer believe you write well by putting your commas in the right place, and, rather than invent imaginary problems and drill, drill, drill, we teach usage by exploiting students’ own sentences. Meta-language has all but disappeared. The word “appositive” means nothing to most seniors, and if I say, “You need ‘which’ here because the subsequent phrase is nonrestrictive,” their faces sag. Discussing edits requires more resourcefulness. We employ plain speech and organic responses suited to the real world, not dusty Latinate taxonomy.

He began to believe the general outlook—that so many suffered for so few—and decided not to contribute to cruelties designed to appease the elite.

Most of my students haven’t been trained to think about writing as I do. Some recognize the shape and feel of a well-constructed sentence, but most form big pictures and regard smaller components like sentences as necessary… and incidental. Though they seem pleased when I note a deft and elegant expression of an idea, they also seem surprised. Later they may manipulate language more, but, right now, success arises from serendipity more than polish.

At first I overachieved even at overachieving, but then I learned: the more open-ended my expectations, the more liberated I felt.

I’m not judging. Quite the contrary. My devotion to parts isn’t better. Once the lessons of diagramming sentences became muscle memory to me, clarity and impact seemed to spring entirely from syntax. Writing well only required varying structure and rhythm. I began to swing between sentences like Tarzan choosing vines—the next told me where next to go. While my students think of the whole, my habit is to unroll the whole, sentence by sentence.

She took her parents, teachers, and bosses seriously when they said she just had to do her best. Turns out, she had to do what others considered her best.

Knowing where you are now doesn’t always get you somewhere. A new active verb, a turn toward quirky diction, ringing parallelism, surprising inversion, and exhaustive items in a series won’t rescue banality. They may relieve the tedium of reading but rely on accretion adding up. Sometimes, that hope fails. At each gap after a period—one space or two doesn’t matter—you start again. Composition morphs into a one step process, over and over.

You hope abstraction distills truth but may extract poison instead.

A friend who frequently reads my work commented that my sentences take me to the brink of trouble—they reach impossible places—and then find another step. He’s too kind, but he describes perfectly what my writing feels like, which is paving a road one stone at a time. When it doesn’t work, I have no aim besides labor. When it does, I travel by imagining another footfall.

Beneath an open window, computer keys sound like the empty vocalizations of a chattering monkey.

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Greetings From Austenland

388px-Jane_Austen_coloured_versionAs an English teacher and someone who devotes considerable time to writing, I’m always interpreting and positioning words. Every day, I look for (and create) patterns, searching for fresh and resourceful arrangements that communicate thoughts separate from my physical setting. I suspect my world is different from some people’s. At least, I hope they experience life more directly—without so much analysis, commentary, or judgment.

Reading Jane Austen’s Mansfield Park hasn’t been good for me. Austen’s hikes through internal landscapes make mine look like speedboat tours. Ten minutes of Fanny Price’s thinking—roughly four pages—considers seven angles on one aspect of Mr. Crawford’s reaction to her body language after his failed proposal. Sir Thomas says six words before the 500 addressing their meaning to him, the situation, relationships (past, present and future), and the nature of social interaction in general.

I’m barely exaggerating. Austen’s prose evokes thoughts and emotions so subtle I start to feel like a cartoon chameleon crossing plaid. It’s hard to keep up.

Early on in life we’re taught to anticipate, rewarded for guessing, and urged to see beyond this moment. History and current events interpret more than they report, and we assess now by comparing it to our expectations. Partly, that’s what humans do. Our survival relies on seeing some distance. Yet many religious traditions—particularly Buddhism—encourage us to “be here now,” to allow “present” to live up to its name.

Austen would make a lousy Buddhist. After reading Mansfield Park, I step out of the novel as off a treadmill. The world won’t be still. The implications of every moment outrace time, and everything is more (and less) than it seems. Here’s Edmund Bertram telling Fanny about his angsty courtship of Miss Crawford:

I know her disposition as sweet and faultless as your own, but the influence of the former companions makes her seem—gives to her conversation, to her professed opinions, sometimes a tinge of wrong. She does not think evil, but she speaks it, speaks it in playfulness; and though I know it to be playfulness, it grieves me to the soul.

Meaning slips and slides all over the page as Edmund asserts what he knows (but clearly doesn’t, or he wouldn’t need to speak) and then unravels it in repeated reclassification and qualification (her professed opinions, echoed from former companions, to her conversation, sometimes, a tinge, speaking but not thinking, only playfully). What do you grip here?

Before Edmund begins the attempted explanation above, he tells Fanny he “Can’t get the better of ” his thoughts, and, the trouble is, neither can I. What’s actual and imagined switches places constantly. Austen loves characters who build reality from ideas that carry them far away from here-and-now. I go with them.

The 2013 movie Austenland (based on the novel by Shannon Hale) describes Jane Hayes’ (Kerri Russell) visit to a theme park based on Austen’s novels. She spills her savings to go, and (without spoiling too much for you) discovers only the fruition of Austen’s stories satisfy. The rest—murky motives, couched comments, pretense that isn’t really but could be, and notions of yourself and others neither you nor any other person can pin down—all that is a special sort of agony, a ring of hell Austen’s romantic reputation doesn’t advertise.

For me, Samuel Becket has nothing on Jane Austen. He may give a reader little to assemble into meaning, but she gives so much that, at least until the last few chapters, won’t assemble. No surprise, then, when Jane of Austenland decides, “I don’t want to play anymore… I want something real.” That’s my reaction too.

Don’t get me wrong. Austen’s effect does her credit. I admire her artistry. Sometimes, I just wish she weren’t so good, so in sync with the way I perceive, think, feel, and live. She makes me hungry for moments my mind quiets, the positions, angles, and relations of objects become plain, the scene around me solidifies, and the sun discovers a room more real than my mind’s wanderings.

I think, “Hey, it’s pretty nice here. I really should get out of my head more.”

 

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School, The Place

Amanda-Fire-Alarms-768x1024As I’m on sabbatical this year, I’ll be missing the opening day of school for the first time since 1962 when I was three and not yet old enough.

Because I’ve been through 32 school starts as a teacher, I know what will happen. Students will lope down auditorium steps, dressed in new clothes to fit their continually new bodies. They will talk excitedly without being obvious… or at least only to the point of being properly obvious. Some will look left and right for the safety of faces that will beam back recognition, then wave.

Teachers, they’ll largely ignore. Teachers will line up somewhere seen, maybe along the sides, or will shepherd students as they’ve been instructed and pretend to be unbothered by another year of conspicuous invisibility.

The hubbub will resist a few attempts at quiet, but the initial syllable of the initial solitary voice will assert that all these minds and hearts and hands and bodies are actually one school. Every opening day is a new start and reunion. At some point, the gears will catch and the machine will seem to have been in constant operation, but, for a few minutes, possibility reigns.

School is a strange place, a part of the world and also apart from it. Even the most unconventional school follows basic conventions. There are teachers—however overtly or covertly they’re involved in educating students—and classrooms—whether they take recognizable form or not. There are some students who want each teacher’s knowledge and can’t contain or hide the pleasure of learning, and some students who, though at the center of it all, watch the clock, and the whole process, with impotence, confusion, and fear.

Though school starts and ends and is only in session so long, the regular schoolhouse rhythm of hour, day, term, season, and year—no matter how it’s divided—takes over as if it were reality itself.

Doing any job for a long time defines you, but a school’s structure can become a second skeleton. When each year superimposes over the last, you see ghosts as well as human beings in your classroom. Those who once occupied this space are gone—you hear news they’ve grown up to study and work in faraway places—but they’re in the building too, in the hopes and horrors of the ones arriving… who are never so different. It’s easy for a teacher to begin believing school is the world or, at least, a concentrated version of it.

Of course it isn’t. School is also a rare enclave where people still trust unlikely outcomes and bet on personal and intellectual progress. That’s the excitement—a new year and a new day and a new class can really be new. Each year begins with hope. Though sometimes the wider world undermines and discourages teachers—telling them they’re lazy part-timers or cast-offs stupider than those they’re hired to teach or misguided dinosaurs hiding from real life behind yellowed notecards—no teacher without faith lasts long. I still have faith.

My experience tells me the first day will be exhausting. My colleagues will go home feeling as if they’ve survived a prizefight, but they’ll be restless as well, already attending to the next day. I won’t miss the relentless pace of my school, the snow of papers falling from September to December, January to June, or the constant news from outside that teachers aren’t good enough.

Clearly, I need a rest, but I’ll miss the aspirational DNA of school, the ambition that is mortar to the bricks. My uncrowded life will certainly be quieter and less frantic, which is quite okay, but maybe lonely too. I’m over the idea I’m affecting eternity, but I’ll miss students who, amid the hubbub, hope their teachers will have something important to say.

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The Receiver, the Message, and the Messenger (In That Order)

0The technical meaning of the word “feedback” doesn’t exactly the match its colloquial meaning. In acoustics, feedback is sound doubling back, fuzz reverberating in dammed sound waves. Whereas, when teachers or other evaluators use “feedback,” they mean to say something new, something missed or unnoticed. In sound, feedback is a sort of echo. Teaching feedback says, “Here’s what you’re haven’t done… and should.”

Not everyone is good at receiving feedback. A teacher points out a glaring error, and suddenly the student’s competence is being questioned. The student’s face clouds. Maybe tears start. The tone of critique can make a big difference, and many teachers rely on “This work” over “You” because they want to emphasize the process over its author. They wish to make feedback an intellectual process, and, as long as any issue is repairable, it’s no reflection on the person who made the mistake. A student who can always improve his or her work—these teachers believe—receives even brutal critique as a ratification of their ability and capacity for improvement.

Yet how students respond to feedback often rests more with their personalities than how they’re criticized. Someone burned before may not want to go near any stove, and someone with an insecure sense of self might be hypersensitive to even the mildest threat. Teachers often have to guess which category this individual is in and how he or she might respond. In other words, they need to know students. Sometimes that’s impossible, and yet, paradoxically, teaching means focusing not exclusively on work  but on the workers’ feelings and investment.

And as the consequence of the work increases, the gravity of criticism grows. Discuss “the essay” with a student five days before the due date, and he or she might respond positively and hopefully. The day before the due date, some measure of reassurance may be necessary, not just “These repairs are doable” but “YOU can do these repairs.”

Perhaps all work is personal work, inseparable from the person who does it.

Bosses frequently neglect “You can do it” because, after all, employees are compensated for good work. It’s required. What’s more, a boss may think only producing matters. Though studies confirm over and over that output rises when a manager takes interest in developing skills and a worker feels valued and important, concern for employees as people seems too messy, time consuming, and expensive. It’s easier to bypass the worker and stress the work. Many businesses use feedback exclusively to cull people they deem ineffective. In that case, “evaluation” or “adjudication” might be more honest. In a time of labor surplus, employers are much more interested in finding the right person for a job than helping someone learn how to do the job right.

To a lesser extent, the same issue arises in schools when those giving feedback have more concern for assessment than education. From that perspective, feedback justifies a grade instead of improving either the academic work or the capacities of the student. As in many workplaces, some teachers hope to keep the process of “managing” students clean by stressing the product. They wish to avoid entangling themselves in the idiosyncratic.

When the academic work is central, teaching is supposed to result in the best work possible, and any “feedback” that accomplishes that end, including threats, sarcasm, and personal insults, becomes permissible.

The dilemma is that, here too, personality matters in ways challenging to acknowledge. Teachers (and bosses) aren’t immune to insecurity either and, whether consciously or unconsciously, may express those insecurities in petty authority. An impersonal process has the advantage of protecting them from examining their own motives, even if giving particularly cold or harsh feedback fulfills only a need to believe in their own competence and significance.

As a term and a concept and a practice, feedback is challenging. In the end, however, its acoustic meaning may reflect most on the way people use the word. If feedback labels the need for evaluators to double back and evaluate themselves and their motives, perhaps it’s the right word.

But if the ultimate purpose is progress, growing productivity and confidence, then maybe the word is wrong. Proper feedback doesn’t feed back at all but reaches receivers through careful sensitivity to who’s listening and what they can hear well. It speaks without echo or distortion.

 

 

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Finnish Envy

a_wteachers_hammond_0225Reading about reforms in US education, you’re bound to run into the term “Finnish Envy.” Until recently, Finland led the world in nearly all the categories of the PISA test designed to measure educational success, and—by any measure and despite any drop—their 30 year program to reform schooling has been remarkably successful.

In contrast, Americans, who dislike being second at anything, rank seventeenth in reading, twentieth in science, and twenty-seventh in mathematics among the thirty-four participating countries, a drop from 2009, when the US placed fourteenth in reading, seventeenth in science, and twenty-fifth in mathematics.

Particularly galling about these results is that Finland does everything the US does not. They reject tracking and elite, charter-style schooling and put their euros into failing schools instead of successful ones. Rather than financially rewarding successful schools as we do in the US, the Finnish system grows alarmed when one school attracts more students than another and seeks to make every school desirable.

What’s more—and perhaps more significant—they create a culture of reverence for teachers. Finland believes not everyone has the talent to be a teacher, so few people get to be teachers in Finland, only the best. On a relative scale, teachers in Finland are paid—on average—less than US teachers, but they’re expected to engage in continual professional development. With no merit pay, they seek long careers in hopes of experiencing the steady and dramatic raises their system promises. In short, teachers are elite, just as lawyers and doctors are in other nations and, as such, receive accolades denied American teachers who—let’s face it—often garner more contempt than admiration. From the average American’s perspective, who couldn’t teach? We know better what good teaching is because we all went to school, and, besides, those who can, do… those who cannot… well, you know the rest.

The US spends a third more than Finland on a child’s K-12 education, but a larger percentage of American funding goes into “administrative costs.”

For Americans, the most baffling aspect of Finnish education is that teacher unions are particularly influential. With 96% of in the union, teachers have much more to say about what schools should do, whereas documentaries like Waiting for Superman villainize unions as the chief cause for American education’s failures. In Finland, administrations regard teachers’ advice as knowing and central, and many of the reforms suggested by teachers—less homework and more play during the day, more cooperative learning and less competition and assessment—contribute significantly to students’ progress. Those who administer and those who teach cooperate through a common purpose without becoming defensive or adversarial.

And the Finnish are uninterested in testing. They give one test, when a student graduates, just to see what’s happened. Americans’ mania for testing seeks constant feedback, constant evidence of progress, but Finnish teachers and administrators regard scores as data to consider, one numerical version of accomplishment.

To Americans, Finnish education seems too relaxed. No one really starts schooling until seven, and high school students take vocational classes and sometimes eschew calculus in favor or cooking, bookkeeping in favor of AP Microeconomics or reading over literature. Of course, you can take those classes if you desire but only if you desire. Desire is paramount, not extrinsic necessity or guessing about future demands on students or craven computation of what stamp will credential graduates.

Critics of Finnish Envy say Finland’s solutions are unsuited to American culture, where the premium is on ambition, getting ahead, not settling into vocational training but seeking excellence over the bottom line. Americans like to believe there’s more room at the top in American education for those who have the desire and drive and aggression to take advantage. Yet, among developing nations, Finland ranks in the top three for the greatest intra-generational boost in income between birth and adult life , despite their extraordinary number of immigrants and refugees.

The US leads the world in perception of individual progress but, in fact, ranks last in actual social mobility.

Still, for a system so lauded for success, Finland seems nonplussed. “Whatever it takes” is their motto. They only desire learning and put the political and ephemeral and ostentatious aside in favor of one end, giving everyone access to an equal education.

Inspiring envy isn’t their aim but effectiveness. Trying smarter beats trying harder.

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