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Thursday 17 September 2015

Burn the books! Burn the books! Burn the books and save our children! A (sort of) letter to Ted Dawe

Dear Ted,

Hi, Ted Dawe.  High school teacher of many, many years.  Writer.  Father.  Husband.  Human being. Oh Ted, we have a lot in common.  Obviously I'll never be a husband, but I've been teaching teenagers for 6 years now.  And I'm the parent of a nearly-16 year old.  I like to write a little bit (in fact, truth be known, I would like to write a lot more)and I'm pretty sure we are both human beings.  LOL!  

But seriously, Ted, being human is what it's all about,don't ya think?  Don't you think that teaching and writing is about helping others to try and find their humanity in some way? I think it's about story, identity, meaning and finding ways to communicate those things (so does the English curriculum, by the way.  But I'm sure you know that already, Ted.  You've been teaching teenagers English for a gazillion years). We all have a need to find who we are and to connect with others.  That's what makes us human.  

I'm pretty stoked that there are people like you out there, writing books, hanging out with teenagers, trying to teach them (for, let's be honest, Ted.  From one teacher to another, sometimes try is all we can do), tackling the big issues and refusing to mutter 'damn youth of today.  In my day ...' (continue the ellipsis; fill in the gap). Teenagers need mentors, and sometimes parents just don't cut it.  Teachers offer mentorship that may work for some.  And isn't that what we're trying to do, Ted? Save one starfish at a time, if we can? Throw it back in the ocean? Send a ripple out on the pond? Make a diffference?

I'm in awe of anyone who can get anything else done whilst maintaining a solid teaching practice.  My heroes are people like you, Ted.  Writers who teach.  Writers who get up at 4 am to get down their creative ideas before heading to school to teach. Art teachers who paint/photograph/print-make/etch etcetera before heading to school and attempting to direct the tsunami of 120 teenagers asking 'what are we doing today, sir/miss?' (even when it's been made clear for days on end - from one teacher to another, one must laugh). YOU are my hero.

I have a little story for you, Ted.  I'll call it an anecdote - it's not very long, and it's point not that strong, but it's relevant.  In my first year of teaching, 2010, I gained employment at a small, rural Area school on the east coast of the North Island.  About 45 kilometres north of Gisborne, Ted.  I was the sole English teacher.  God knows how I thought I was going to survive (a first year teacher? The only one at the school in my subject area? Let's just say, I'm a dreamer, and I hope I'm not the only one).  It was a sink-or-swim situation, with the last English teacher leaving with the words trailing in her wake: 'Good luck.  You'll need it.' LOL again, indeed, Ted!  It certainly was a cliched trial by fire, that's for sure. 85% of my students were Maori - mostly Ngati Porou.  Most were living below the poverty line.  And a lot didn't know that marijuana was illegal (especially the younger ones that I didn't teach - it was an Area school). Most were heading for the sad destiny of unemployment in a small place called home, and many girls were pregnant at 16.  'Sweet - set for life!' said one to me.  A sad thing, indeed.  Anyway, when I arrived at this school, I went through the resources (as you do.  For that question never goes away - 'what are we doing today, miss?').  Neatly stacked was 'No Fear Shakespeare', 'The Whalerider' and a perfect set of 'Thunder Road'.  I hadn't read it, but I did, and I liked it.  I wasn't enlightened enough to teach using the text in the year I was up there, but I did find out that it was a previous teacher (only there for one year) who had bought the set for the students.  If I could have my time again, Ted, I would be teaching that first up.  But retrospect is a fine thing, I suppose. That was the first time I heard of you. I didn't know you were a teacher yourself, and had possibly experienced what I was experiencing that year.  I didn't know that's probably why you wrote the book.

To risk cliche myself: fast forward to 2013.  Controversy strikes New Zealand! Some dude has the temerity to write about real experiences of real teenagers in a very real New Zealand! Shock! Horror! Save us! Now! That dude, of course, was you, Ted.  You wrote a very real story about a character who comes into contact with very many very real things.  Well, that's how I saw it (The East Coast was fresh in my mind). Not only did you get up at 5 am to write (that was the picture in my head) before heading to the chalkface, but you self-published to get the story out - so much did you believe in the story and the need for it to be told.  I am certain that money came directly out of your pocket to get this one onto the streets.  I am still in awe, and you are awesome.

And then, the award! Excellent! Bernard Beckett and co. rewarded your excellent writing with accolades and attention! That must've felt amazing, Ted, after bleeding and sweating out the words and paying the printers from your own pocket.  A moment of pure clarity and joy, I imagine: 'THIS has made it worth it'.  But possibly, probably not as much as knowing that teenagers would now be more likely to read the text, and some out there might just discover they are not alone. But, of course, you know that the moment of joy, the moment basking in the sun was to be short-lived. The fun police arrived.

The restriction, the debate, the ridiculous discussions around the 'filth', the 'C-word' and the hazardous effect of 'Into the River' on our young ones. I hadn't yet, so I promptly went out and bought a copy of your book - not only because my interest had been piqued, but also because I wanted to stand in solidarity with you.  I wanted to support you, financially, emotionally; granted, from a very far distance, but still.  You do what you can.  I bought the book.  I read it.  I liked it; I imagined students from that small town on the East Coast of the North Island, 45 kilometres north of Gisborne, possibly reading the book.  I wondered whose life would be changed with the reflection of their lives in your words.  I hoped.

Years passed, Ted.  I received an email from the head of NZATE (I'm sure you know, but that's the New Zealand Association of Teachers of English) asking for submissions from English teachers on 'Into the River'.  She asked, if we had read it, could we put down an educated opinion? The email from the Classifications office looked like this:

The Classification Office is seeking expert assistance from education groups and has contacted you regarding  the reconsideration of the classification of the book Into The River by Ted Dawe. If you know of anyone else who would be able to provide comment please pass on this email.  We would appreciate any comments by the 24th July.

A brief background is provided below.

Into The River  tells the story of a young boy of Maori and Spanish ancestry, Te Arepa Santos. He is born and raised in a fictional East Coast village, but wins a scholarship to a prestigious boarding school in Auckland. The book centres around his experiences in his first two years at the school where he is academically successful, but as a result of a series of poor decisions ends up expelled.

In 2013, we the Classification Office classified this book as Unrestricted: Suitable for mature audiences 16 years of age and over. This meant anyone could read it but it was more suitable for a mature audience.

Part of the reasons for this decision were:  

The book deals with some stronger content.  There are sexual relationships between teenagers, encounters with possible child sexual exploitation, the use of illegal drugs and other criminal activities, violent assault, and a moderate level of highly offensive language.   These are well contextualised within an exciting fast moving narrative that has as its protagonist, a young teenage Maori boy from a rural community who is finding his way through the strange uncomfortable environment of a boys’ boarding school and unfamiliar social mores. 

There are many other novels widely available without restriction in New Zealand with similar sexual descriptions of an equivalent nature, many of them literary classics and coming of age novels, or popular fiction phenomena in their own right.  This would make a restriction on 'Into The River' arbitrary and unfair.  It would create a widespread inconsistency in conditions of access to books of this nature.  Concerns about children or young persons are adequately addressed by a classification indicating the book's suitability for mature audiences and a label that indicates sexual content.


Our decision was appealed by the group Family First. The Film and Literature Board of Review classified the book as R14 meaning it is restricted to persons 14 years and over. The Board stated:

There are scenes in the book that are powerful and disturbing, and in the opinion of the Board run a real risk of shocking and disturbing young readers.  Whilst those aged 14 and above are likely to have a level of maturity that enables them to deal with this, those below the age of 14 may not.


The book has now been submitted to us for a reconsideration of the R14 classification and we are seeking information from expert groups to help us.  

In particular we are interested in the following questions:


·         Are there books of similar nature/content used in the school curriculum? Or generally available?  

·         What age group would a book like this target?

·         Do you think this book would greatly shock and disturb readers under 14 years of age?

·         Would this book be used in school ? and for what age group?


Thank you for your time, any comments would be of great assistance to the Classification Office. Please do not hesitate to contact me if you have any questions.     


It was signed by Nic McCully, Deputy Chief Censor at the Office of Film and Literature Classification.

I must say, Ted, I was pretty stoked to be able to finally have a say.  So I wrote the following in support of the removal of the restriction on 'Into the River'. You see, Ted, quite apart from the fact that I think your book is excellent writing and important in content, I don't believe in the censorship of books.  That's happened in the past, in other countries in particular, and it never ends well.  So I wrote this (now, when I look at it, I wish I'd written more, but retrospect, and all that):


Are there books of similar nature/content used in the school curriculum? Or generally available? 
Yes!  Perhaps not taught as part of the curriculum, but certainly available as personal reading material, or as part of a personal reading programme.  Other books that come to mind: Go Ask Alice by Anonymous; The Lazy Boys by Carl Shuker; Forever by Judy Blume ...

·         What age group would a book like this target?
13 up, but, of course, there are students who would enjoy it younger and older, depending on individual circumstance.

·         Do you think this book would greatly shock and disturb readers under 14 years of age?
No.  It is a well-written, thoughtful book and all 'challenging' material is contextualised.

·         Would this book be used in school ? and for what age group?
I would be disappointed if students were not allowed access to this as I think it depends on individual circumstances and maturity as to whether it was appreciated.  This should not be restricted. 

Sanity prevailed.  At least momentarily. This statement of freedom was issued in August:


 But, ah, Ted it was a short-lived sanity.  Sense did not prevail.  And here we are now, with your most excellent book banned - the first in 22 years, I hear. We should be ashamed of ourselves. This was the first I heard of the ban, thanks to our school librarian (going off on a tangent here for a moment - what about those librarians, Ted? Aren't they amazing? Those defenders of freedom and expression.  I love them.  My mum is one of them):





It seems to me that this statement is about a million miles from the last statement.  Ted, they went from this:

Having re-examined the book, and considered the submissions and other information received, the Classification Office still finds that a restricted classification would be unreasonable, and therefore inconsistent with the right to freedom of expression. While the book deals with some challenging material, including sex, drug use, and violence, it does not do so in a way that is likely to cause injury to the public good. Given the value of the book as a resource for young New Zealand audiences, particularly boys, a restriction of any sort makes it unnecessarily difficult for the intended audience to access the book. The unrestricted classification reflects the informed advice received from individuals and groups with significant experience and expertise in relevant matters. The Classification Office is confident that the suitability of the book for younger readers can best be determined by libraries, schools and parents.

... to the above.  In 20 DAYS.  

SLANZA (the School Library Association of New Zealand Aotearoa) used evocative words such as 'shocking' and 'draconian' when describing 'what effectively constitutes a total ban'. Bibliotecarios vivas largos! 
 



I hope, Ted, that you feel really supported by librarians. And teachers. And the general public. It's hard to know what to do as a citizen when such a thing happens.  Protest? Discuss? Write? I'm trying all three. I have talked to 14 years olds.  I've talked to 17 year olds.  I've held structured discussions about censorship in class, thanks to this event (a silver lining?) I've yet to find a student who agrees with the ban.  

I also hope that this embarrassing incident (embarrassing for New Zealand, that is) earns you lots of money.  I hope you sell heaps of books.  I hope a new precedent is set - not one where books with sex and the 'c' word and the 'f' word and drug use are banned, but one where teenagers are given the credit they deserve in the selection and consumption of literature. And, Ted, I think I'll leave the last word to a participant of your recent Reddit Q and A - succinct and to the point:

"I remember when I was in elementary school, we all wanted to read Harry Potter.  But these dense f***ers literally didn't allow us to get the books from the library. They were only for kids older than 12.  Talk about missing an opportunity.  You got little kids begging to read and you tell them no. F***ers."

Yours sincerely,

Lara Liesbeth




http://www.odt.co.nz/news/dunedin/355310/silent-protest-over-book-ban


http://www.dunedintv.co.nz/news/dozens-protest-temporary-ban-new-zealand-book





Tuesday 15 September 2015

Why I love living in Dunedin

 

There might come a day when I want to move on from this lovely city, but at the moment, my heart belongs to Dunedin.  And it has for 13 years.  I'm from Christchurch, I've lived a year in Tolaga Bay/Uawa (north of Gisborne) and have travelled a wee bit (but not much and certainly not as much as I want to). Dunedin has something special.  It's a city, but it's small.  It has definite seasons (something I found I loved when living in T-Bay, because there weren't really any). 

Dunedin is ace.  Thanks Adrienne for documenting the things I love about this place.



http://dunedinisforlovers.blogspot.co.nz/2015/08/dunedinite-profile-magical-world-of-lara.html



http://dunedinisforlovers.blogspot.co.nz/?view=magazine

When you win an award for teaching ...

 

 

It is a weird thing indeed. Teachers tend to go about their day to day business trying to engage and stimulate the minds of young people (one would hope we have these lofty goals, anyway!) It was very surprising to apply for and receive one of four New Zealand Spelling Bee Awards for Teachers.

I'm very grateful.  I'm looking forward to exploring what other schools do with curriculum; writing in particular.  I really want to visit John Marsden's schools just out of Melbourne, but I have no idea if that's a goer or just a pie-in-the-sky dream; his secondary school doesn't open until next year.  Both Candlebark and the latter have very different structures than most schools - writing for one will be a core subject at the new arts-focused secondary school.

It was interesting reading one perspective on writing as a core subject here.  I can understand how English teachers see themselves as readers over writers - writing is hard!  Reading is (mostly) all pleasure.  I've always tried to keep writing to model this practice for my students as I agree that teachers should be modelling what they want students to be doing themselves.

How exciting it is to think that school could support a life in arts in this way!


http://www.spellingbee.co.nz/teacher-awards

For those who are interested, here's my application. It's been edited a little bit to take out some names and specifics that are unnecessary in this format.



The Spelling and Language initiative

The English document in the New Zealand Curriculum is surprising, to some, in its expectations.  The first paragraph is headed ‘What is English about?’ and the very first sentence states that the subject is about ‘the study, use and enjoyment of the English language and its literature …’ (italics added).  Enjoyment? At school? In English, no less?  Whilst this is an unusual and hefty ask (English is the only curriculum area that lists ‘enjoyment’ as a criteria) it is this statement that has inspired me in the creation of my English courses.  In this explanation, I will focus particularly on the language initiative that I have developed over the five years I have spent in teaching in Dunedin.  In particular, I will explain what is happening in my Year 9 programme to foster a love of words, and spelling, in my new-to-high-school students.

Students, by nature of age and inclination, want to have fun. Most would endorse the use of the word ‘enjoyment’ in the New Zealand Curriculum.  And yet many find that high school, in particular, starts to stifle a sense of fun that is perhaps still present at primary and intermediate schools.  I think that enjoyment comes from freedom and space to create and be creative.  Even as adults, we flourish when creative freedom is endorsed.  Being allowed the time to create and, critically, evaluate is imperative to a student’s growth of skill and enjoyment in both language use and mechanical understandings – including spelling.

Lara Liesbeth’s initiative – what it involves

Year 9 students at our school have four periods of English a week.  One period is a library period, in which reading and book discussions are prioritised and valued.  Whilst this is not in any way my initiative, it adds to the sense of freedom and enjoyment I am trying to nurture in my Year 9 programme.  The support of the school is crucial. 

For the three periods a week we have together in the classroom, I start every lesson with free writing or reading.  Thus, choice is immediately offered – a crucial aspect of freedom and enjoyment. Generally, 75% of the class will choose to write.  Those that do not are still engaging in ‘the use and enjoyment of the English language’, as stated in the Curriculum.  These readers are involved in the second phase of the initiative.  Approximately 20 minutes is given to this – 10 silently writing and 10 discussing.  This discussion phase is the critical component of the language initiative. 

After 10 minutes writing, students are given the choice to read their work aloud.  At the start of the year, there is a little shyness about this, but after two or three weeks, students learn, through repetition (because this is happening every lesson, without fail) and modelling from other students (ako) that my room is a safe space and sharing is exciting and – that word again – fun.

As students share their work, all other students are actively listening.  I am constantly impressed with how interested and supportive fellow students are of those who share their writing. At the beginning of the year, I am the main commentator on the shared work.  I will pick one, sometimes two, clear and critical decisions or techniques that are enhancing the work.  This may be a language technique, or a choice of vocabulary.  It may be a plot device, or a narrative strand.  It all depends on the writing that is offered up in that moment, in that class.  The students are exposed to this key literacy technique of ‘thinking aloud’, as articulated in Effective Literacy Strategies in Years 9-13: a teacher’s guide (81).  In this guide, the strategy of shared reading (reading with and talking with students) is examined in the context of unfamiliar texts.  My initiative is all about the close reading of unfamiliar texts; for when students share their work, other students are immediately exposed to an unfamiliar text.  The beautiful thing is that there is a real sense of ownership from the student who is sharing – they produced the unfamiliar text for the class to evaluate.  Effective Literacy Strategies states that ‘… when students enjoy learning and believe in their own … abilities, they are likely to engage with their texts.’ (55).  Note that, again, fun and enjoyment is discussed as a fundamental touchstone of language and language learning.  To model this, I also write book reviews regularly and blog on the experience of teaching (Liesbeth, “Time to change how we educate).

As the year progresses, students become braver, and most will eventually share their work.  Not only this, but students also start to critically evaluate other students work in a safe environment.  Evaluation is a crucial thinking skill in Bloom’s taxonomy of cognitive processes (“Effective Literacy Strategies” 94). When we ‘read between the lines’, we are ‘using information to make judgments or form opinions; (we) justify, assess, decide; (we ask) what is best …? What do you think …?’ (Ibid) Thus, literacy (including spelling mastery, or at the very least, improvement) is enhanced.

The measurement of the effectiveness of this programme is necessarily enigmatic.  Text and meaning are both co-created in the classroom in each specific lesson.  The ‘magic’ of words and literature and language is shared and co-constructed between student and student, and student and teacher.  Anecdotal evidence and formative assessment that suggests learning is most definitely occurring.  When I see my Year 9 students hotly debating why ‘focussing’ should have one or two s’s; why onomatopoeia is the best technique to use in THAT sentence in THAT piece of writing, I can assess that love of language, words and (through whole learning) spelling is happening.  When students are given real situations in which their work matters, learning and, yes, fun, happens.  And I think, as our Curriculum suggests, that’s what it’s all about.

Lara Liesbeth

Works cited 

Liesbeth, Lara. Time to change how we educate. http://timetochangehowweeducate.blogspot.co.nz/. Web. 1 July 2015.

Ministry of Education. Effective Literacy Strategies in Years 9-13: a teacher’s guide. Wellington: Learning Media, 2004. Print.

The New Zealand Curriculum online. Te Kete Ipurangi, http://nzcurriculum.tki.org.nz/The-New-Zealand-Curriculum/Learning-areas/English. Web. 1 July 2015.



Part of the Otago Daily Times article on this prize. There are three other national recipients.