Other voices, other rooms, part 2
Last month I copied the idea and title for this series on teacher observations from Mean Something, who has her own such series going. My goal this year is to observe colleagues in the classroom as I keep figuring out exactly what it means to be a high school teacher. My first observation for the year was a colleague, Mrs. Q, who's teaching the same 9th-grade class I am, and this past week I observed the other teacher, Mr. Z, who's doing the same class, so now I've seen all of us in action.
Mrs. Q and I are very similar in our self-presentation (i.e., we're loud and move around a lot), so I was interested to see the contrast with Mr. Z, who is an incredibly funny guy who is really low-affect; he's all about the hilarious quip muttered under his breath with a straight face. And indeed he is pretty low-affect with the students, sitting quietly in his seat as they sit quietly in theirs, although he hams things up a little more for their benefit. The quietness of his class may mean that really shy students are more likely to speak up, and he does call on students in a really nurturing way -- that is, he puts them on the spot, but with such gentleness that they come out of their shell a little -- although by the end of his class I was going a little crazy about how quiet everything was. I couldn't hear a word that some of the students were saying as they whispered their tiny little comments to the class, and their fellow students couldn't hear them either. So everyone did speak in class, which is great, but I didn't think that they were listening to each other. Certainly my students don't all listen to each other either, but they do often build on one another's comments, and that wasn't happening in this one class that I observed. (Obviously a small sample size, so I take my own conclusions with a grain of salt.) And students clearly have a good relationship with him, which isn't surprising, and they continue to talk fondly of him years later.
He's also a really good, really careful reader of texts, which I admire, and so I love to talk with him about the texts we're teaching, but my own judgment is that this carefulness slows him down a little too much in the classroom. Over the years, I have reconciled myself to the compromise that one must sometimes paint with a broad brush and leave some things untouched in order to move through a text, and my sense is that Mr. Z is still fighting against the need for that compromise. Now, I should say that I had mostly come to this judgment about Mr. Z's class before I observed him, based solely on what I'd heard from him and others about his class. In particular, I will admit that I am dismayed by his decision each spring to teach only the first half of Wuthering Heights to the 9th-graders so that they can go really carefully through the first half, and then he asks them to finish it over the summer; and really, how many of the students do we think do this? He simply can't bear to leave interesting details in the first half unmentioned, but of course the result of that decision is that the vast majority of the students don't know anything at all about the second half; I would far rather students have read the entire novel and think a little less deeply about it, which is what Mrs. Q does and what I will do this spring.
After all, people have been reading Wuthering Heights for fun ever since it was written, outside of English classes and without benefit of an English teacher pointing out every single important detail; our 9th-graders are not likely to pick up the novel entirely on their own, but I want them to enjoy the experience of reading it much as they would if they did pick it up on their own. My own pedagogy for novels and plays -- one that I have been criticized for by some of my colleagues, but I'm sticking with it -- is to prioritize the narrative sweep and characterization, because I think that these are the things that have kept people reading novels and watching plays over the centuries. We certainly talk about things like symbols and explication and all the rest, but I want us to move fast enough so that we stay excited about the story itself. So I'd rather have students read The Tempest quickly enough so that they stay interested in what's going to happen, and then we can slow down and talk about it for another week so that we make sure we've dealt with several major themes and important scenes. And I am perfectly happy with the fact that there will be several other important things that we never did get around to talking about; after all, the project is not to have exhausted the text but rather to have read and enjoyed it and sharpened analytical skills along the way. I probably have that theory in part because I've taught college and am used to having only two or three days on a particular text, so I feel like we're covering oodles of things now that I'm in high school and spending two or three weeks of four classes a week on a text. My colleagues, on the other hand, many of whom used to teach classes that met five times a week, bewail how little time they have on each text.
I have such vivid memories of dreadful English high school classes in which we slogged our way through texts so damned slowly that we lost all sense of story and didn't even care anymore about what happened to Pip anyway. (Great Expectations was ruined for me in 9th grade, when we spent 10 weeks getting through it.) And I never, ever want to be one of those high school teachers who ruin books for their students. Admittedly, I was the kind of high school English student who would one day go on to get a Ph.D. in English, so I maybe wasn't normal, but I think that I can make these texts fun enough so that most of the students are having a good time with them, and I can still expect high-level thinking and analysis in student papers. I'm clearly a little defensive about this, mostly because my fellow junior English teachers are all of the stripe who think that it's important to go very, very slowly, and there's been some tension among us about how quickly I move. Last year I fretted a lot about this difference, and this year I've taken the strategy of just not talking to my colleagues at all about what we were working on, a plan I was able to maintain until we started talking about our trimester exams, when one colleague got snippy with me. But, as I try to remember, they are probably also feeling defensive about their own pedagogies, and indeed I am silentely criticizing them, so maybe it makes sense that we're all a little prickly. So my goal for the winter is to start observing my colleagues for the junior class so that I can appreciate better the good things they're doing. And then in spring I'm going to venture outside of the department and observe folks in other fields.
Okay, I ventured far from my observation of Mr. Z in this blog post, but after all, the whole point for me to observe colleagues is to keep figuring out what is and isn't working in my own pedagogy.