Webb Chap. 4 (Youth Violence / Racism / Multicultural Studies)

Coming from a small town in northern Michigan--Gaylord to be specific--where often times the largest youth crime issue that appears on the local news or the "Police Blotter" section of the newspaper is retail fraud or M.I.P., it is easy for me to forget how many teens are actually involved in violence on a regular basis. Fortunately for me I wasn't personally subjected to much violence, but I definitely saw things via the media which let me know it was out there. I am reminded quickly, however, of the violence crisis right here in Kalamazoo when I recall a fellow peer in my pre-internship classes, who was doing her pre-internship at Loy Norrix, frequently spoke of the gang activity that was present there. She noted that students who were suspected to be in rival gangs, needed to be separated from contact in the classroom. Is this the correct way to handle a situation like this (I'm clueless here)?? I noticed that aside from the testimonial from Teysha (p. 68),Webb didn't mention much about violence that actually took place inside the schools. I guess this could fall more so under bullying, but it is a very intriguing condition nonetheless. I feel as though introducing a unit on teen violence by highlighting in-school violence can draw more students in, especially those students like me who were not subjected to violence on a regular basis. Then it may be easier for the class to transition into more severe issues such as gangs, weapons, or even homicide. Films that directly address this which could be used include Dangerous Minds or Lean on Me...


Youth violence and racism is definitely something that is worth closely examining, and I feel as though I'm obliged to read Native Son. On the other hand, each time I found myself saying Webb was neglecting some important fact, he immediately addressed my concerns. For example, in the beginning portion of the chapter he seemed to be focusing on inner-city violence and African Americans, which could possibly increase apparent "racial tension" among that obviously exists within our schools and the U.S., but surely enough he states "it is also important to recognize that violence is by no means confined to ghettos and that youth gangs are formed by all racial groups in many different parts of the country" (p. 62). These issues obviously hit home for students from all walks of life, and it is imperative that they are brought to the forefront of our literature teaching at some point during a given year. It seems that these issues of gangs, racism, youth violence, assault, etc. are all interrelated and could easily be examined for an entire year, if not longer. Furthermore, I agree that reader-response and multicultural studies are the best mediums for students to explore all of these issues, and can enable them to more easily put on the shoes of others in order to truly make sense of these social inequalities which inherently exist. These ideas seem to be the most powerful issues today's students can examine, in my opinion, and this chapter does a wonderful job at suggesting multiple points of entry (song lyrics, film, literature, etc.) to address them.

Appleman Chap. 8

"Pieces of literature may convey several different meanings. Most works do, but finding the meaning can be very difficult with nowhere to start. Critical lenses give this start" (p. 140).

"Literary theory functioned in my education as a prism, which I could turn to refract different spectral patterns of language use in a text, as one does daylight. Turn the prism this way, and one pattern emerges; turn it that way, and another pattern configures" (p. 141).

This final chapter basically speaks to one fundamental concept: Literary theories should enable students to understand different, multiple perspectives, not only in literary works but in their lives outside of the classroom as well. There isn't really much to discuss in this chapter, seeming how it affirms critical theory's rightful place in literature instruction, something I have consistently mentioned I am in full agreement with (perhaps with the exception of the theory beginning with the letter D!). Other than the final case Appleman makes for literary theory, she mentions two activities that I feel are really worth using in the classroom.

She begins the chapter by describing Martha's fifth-hour class in which the students are rotating about "literary stations." I like the selections of texts; however, if I were to implement this activity, I may put a single work in each of the stations to further reinforce the idea that a work can be subject to multiple interpretations. The learning stations not only get students moving about the room on a day when students are usually anxious anyway (have to love Fridays), but it is a sort of review of the theories they have been learning about throughout the year.

Speaking of review, the second activity mentioned (Activity 16 in the Appendix) asks students to recall what they have been learning about in a informal sort of way, considering it to be a group task. This was especially valuable because students can see how everyday artifacts can be subject to critical theories, extending the texts they have been reading. I am a firm believer that if students can see a direct link between the real-world context and what they are learning, it will be more meaningful and effective; this activity does this quite well. Additionally, the students' responses seem to all say the same, very important thing: Literary theory can be applied to any situation, not just the texts that we read. Finally, as the final student comment suggests, students probably have been using these theories (as perspectives) all along, but now they can lable them.

Appleman Chap. 7

The transformation of Martha as documented by Appleman in this chapter is quite astounding. When I firt read this discription, I immediately thought of my high school English teacher who is responsible for me wanting to become a teacher: "She taught literary terms, interpreted texts for symbol and themes, assigned study guides for novels, tested for vocabulary, and was especially adept at teacher her students to write academic papers...her approach was text centered" (p. 118). This New Critical approach to teaching literature was one I was very good at. I could pick apart texts for symbols and search for indirect characterizations for days, and in doing so I felt good about myself. After being in this class and being introduced to several critical theories, I realize the importance of putting on someone else's shoes to interpret a given situation. If I would have never taken this class or read these books, I may have attempted to teach literature strictly from the New Critical perspective because that is how I learned to interpret the canonical texts. Although I taught basic writing here at WMU last fall, employing a very student-centered model of instruction, I hadn't taught literature, and am I glad that I didn't! Luckily for me I am currently being educated with the latest educational theories. But being aware of Martha's changes, I realize that I may need to do the same ten years from now when today's theories are succeeded by more efficient ones.

There are a few major reasons why I am excited to integrate literary theory into my English language arts instruction. First, it allows students to become their own interpreters of the texts instead of relying on the teacher for a sole, correct interpretation; thus literary theory inherently seeks to "shift the balance of power" from teacher to student. Second, it enables students to connect with texts in ways that may be unattainable in the absencse of critical theory. Third, and probably most importanly, it enables students to consider multiple perspectives in regards to situations outside of the classroom, hence causing them to make better decisions, decisions they may not have otherwise made. In other words, multiple perspectives transcend the classroom, and any device that does so is worth using in the classroom.

I'm pleased to see that Appleman included an excerpt from Martha that describes how some students will naturally latch-on to particular literary theories, while some will totally resist many of them. It is my belief that no matter your content area, some students will be resistant toward learning certain concepts; literary theories are no different. Since I plan to teach math, maybe some kid will hit me with the phrase "when am I ever going to use derivatives in my lifetime?" Students' own personalities are constantly waging war with the material they learn, and this is completely normal. What I am getting at is that even though there may be some resistance toward certain theories or concepts, that should not deter us as teachers from implementing them. If we can somehow get the students to not totally give up on learning a difficult or abstract concept (the hardest part!) and shift these students' views, it can be a very powerful learning experience for those students.

Appleman, Chap. 6

First, let me apologize for the deconstructive treatment of "The Spur." Until Engl. 4800, I have never even heard of this literary theory, and like many of the students in this chapter, I can see how this lens is very difficult to peer through. With no assumed meaning, there seems to be a lack of a foundation for which things can progress. We as humans must find meaning in somethings, especially our language, to garner a sense of accomplishment. For these reasons, and considering how difficult it was for me to "deconstruct" this small poem (I realize that the size, or lack thereof, of the poem may have created some additional difficulties), I am not sure I would even go as far as mentioning this literary theory in my classroom. If it is confusing to me, won't it be even more confusing and demeaning to students?

Beyond a very loose, rough analysis of a poem, let me try and sort out what it is that I actually know about deconstruction. First, it seems very difficult to define. There are obviously many interpretations of what deconstruction looks like in regards to literary theory. As Barnet (1996) states, "deconstructionists 'interrogate a text and they reveal what the authors were unaware of or though they had kept safely out of sight'" (p. 101). Further, it seems that these binary oppositions come into play, no interpretation of a word or a phrase is safe, and contradictions in authors' words are regularly sought out. Other than this, I am clueless as to what deconstruction looks like...

Although presently I don't see any use for this theory, Appleman claims that "it teaches them to examine the very structure of the systems that oppress them..." (p. 106). This may be the only possible benefit I see. But if the goal of literary instruction is to examine a situation from another perspective, I feel like many other literary theories complete this task very well. Appleman also mentioned that the students gained a general sense of what deconstruction was, but that they hated it. Well, then, why teach something they hate? I don't understand why if the text should have no meaning, then why are we studying literature in the first place. Considering 1) that so many theorists are opposed to it and 2) so many students react negatively to it, it seems like the entire thing may hinder instruction. As one student put it, I too think this theory is quite cynical...

Deconstructing William Butler Yeats' "The Spur" (1938)

You think it horrible that lust and rage
Should dance attention upon my old age;
They were not such a plague when I was young;
What else have I to spur me into song?

First, it seems that "lust and rage" (l. 1) are very much components of Yeats' fascination with Ireland's pagan past. What else from this man's past requires him to have such strong feelings? He does not think it is necessarily a bad thing to be consumed with these desires at an "old age." Lust and rage are feelings usually associated with evil, so maybe they are the feelings of good natured people, implying that these feelings are good...He is also aware that these desires became more cumbersome as he aged, but how old is "old age?" "Old age" (l. 2) could quite possibly the same as "young" (l. 3), depending on one's perspective. So, maybe lust and rage were in fact very much a part of what he describes as his youth, implying that he was void of innocence; thus the pagan desires are manifesting themselves once again. When youth is age, Yeats may be contradicting himself since it is quite possible that lust and rage may surface at any time. Surely there are several other desires, both "good" and "bad" that may "spur" (l. 4) him to write poetry, and Yeats may not want to aknowledge this.

Webb Chap. 3

"'Today women can do anything they want,' Jennifer pointed out. 'If women want to go to college or become writers, there is nothing stopping them,' Nathan said" (p. 35). Believe it or not, but before I read this, I was thinking the same thing as these students. It may, in fact, be very difficult for students, both women and men, to connect to women's struggles for equal rights. These students are entirely correct; women today technically do have every opportunity that men are afforded, so issues such as women not being able to college may not seem as important to students. It is clear that the roles of women are perpetually changing. But as I continued to think about it, the real significance lay within the general perceptions of society about women when they are in these positions. Events such as the Miss America Pageant, to the feminist, perpetuate stereotypes that women are strictly concerned with fame or materialism. Similarly, the idea of a woman president has generally evoked negative thoughts that are very much connected to a perception of women (inferiority) that has deep historical roots.

All students should be examining this to understand that how women are perceived or how they "should" act, a.k.a. gender roles, are of real concern to them. That is why I am so impressed with Webb's instruction. He was able to make the seemingly irrelevant relevant by moving away from equal rights to gender roles with the feminist lens. This is not to say that students should not be examining woman's historical struggles for equal rights, but because students may think women are of equal status today, gender roles or norms will make feminist literary theory more applicable to the modern woman. Students are bombarded daily with messages about how they should act, and closely looking at these attempts will hopefully help students become more autonomous.

Additionally, when students examine other controversial issues like homosexuality using gay and lesbian studies, I feel like there will be some apprehensiveness amongst students. To combat this, I think it could be useful to explicitly ask students why they feel awkward discussing their sexuality. Moreover, I really like how Webb suggests scaffolding feminist literary theory with "queer theory" through the examination of identity and gender roles. By connecting gender roles to the identification of someones sexual preference, sexual orientation issues will not seem so taboo or isolated when spoke about in the classroom. I do not think, however, that there are a lot of texts you could use entirely with gay and lesbian studies other than texts primarily concerned with homosexuality. Otherwise it seems you would be fishing for connections to question characters' tendencies...

Appleman, Chap. 5

Overall, I thought the chapter provides some excellent activities to use in the classroom and with feminist literary theory. After discussing with students the nature of feminists and the dimensions of the literary theory (i.e. portrayal of female characters, influence of female writers, gender roles, etc.) an activity such as the one in the appendix would be very suitable. The activity asks students to examine common American objects, people, or events from both a traditional and feminist perspective. Something major that should be taken from this: how our society still remains a very much patriarchal society. As Bonnycastle (1996) states, feminist literary theory "...doesn't need to be revolutionary, but, like Marxism, it does aim at changing the world and the consciousness of people in the world" (p. 76). This consciousness can, however, be particularly difficult for male students to grasp, especially those who have a strong identification with masculinity. Examples of some of the heated debates that took place between male and female students in the classroom exemplifies the true struggle for power between men and women, and I'm not sure I'm completely comfortable with students attacking each other (p. 88). But then again, maybe this is necessary in order for the male students who are hesitant to look through this lens to truly acknowledge the woman and her importance to society...?

In addition to the works that are mentioned, I think, as always, that Alice Walker's The Color Purple can be a great text to apply feminist criticism. It of course pits the protagonist, Celie, in the midst of a loveless relationship with a cynical and degrading man, one that is forced upon her and views her as his property. Mr. ____'s initial behavior and attitude directly reflects the perceived "value" of A.A. women at the time time. This relationship could be the focus of the criticism, but there are some interesting points worth noting. Typical and non-typical gender roles are portrayed (i.e. the domesticated Harpo) and the dynamism of Mr.______ provides the story with some interesting motifs. Moreover, I like a book such as Beloved where a more matriarchal perspective is employed. This can get students to realize that there have been some very powerful women who continue to lay the foundation for the voices of future women.

Webb, Chap. 6

On one hand, I can see how African-American students, their parents and community members may object to Huckleberry Finn's portrayal of Huck's A.A. friend, Jim, and the use of degrading language. But on the other hand, why should students not be allowed to read and discuss this book when the larger issue of racism is still very apparent in today's society. Webb states that "controversial issues are a part of the learning process" (p. 109), and I wholeheartedly agree. Is it not the truth that the portrayls of slavery and white / black relations present in the novel were very much a part of American history? Sure there may be some exaggerations or use of foul language, but won't students be subjected to these same issues outside of the classroom anyway? And I am aware that many believe that Twain depicted Jim from a white, stereotypical point of view, but what about A.A. authors who have done the same with their A.A. characters, i.e. Walker's construction of Celie in The Color Purple? Although Twain's beliefs about A.A. seem contradictory, doesn't it reflect a deeper sentiment present in America at that time? I guess what I am trying to get at is that even if Twain sent mixed messages about race and the nature of the A.A, he too can be subject to criticism while reading the novel.

Although I can see the novel being taught in high schools without using a New Critical perspective, I am still questioning two big issues raised in the chapter, and I'm not sure the author has resolved them for me. 1) How do you address using the racial ephitet that appears 213 times? and 2) how can you ensure that the A.A. students present do not feel uncomfortable or are looked to as an "expert" when talking about race relations?

Webb, Chap. 2

After reading this chapter, it was clear to me that the issue of homelessness could definitely be integrated into a literature course considering the plethora of novels that address the issue. What is more important is the ambiguity of the causes of homelessness, and as Webb's students began questioning these causes, the issue became particularly relevant to me. Rather than just seeing these people as "lazy" or unfortunate, it was worthwhile to consider social and environmental factors that contributed to their statuses. It was also refreshing to see how students became concerned with how homelessness affected their community and school.

When Webb began discussing New Criticism, I did not initially see the connection he was trying to make. The introduction to the literary theory seemed out of place organizationally, until of course he described how this theory led some students to question the relevance of the homelessness issue. Webb states that his students wanted to learn about characters and other literary elements instead of examining historical and cultural perspectives. These students were like me, thinking that close readings of texts and paying close attention to the language was what reading literature was all about. But again, as I am coming to realize, these students need to be reminded to step out of their comfort zones to examine the bigger factors that come to play in these novels, i.e. cultural, social, and political factors.

I want to very briefly mention a concern that was raised during our last class, one about negative or depressing subjects being at the center of cultural studies. Webb states that "Cultural studies does not confine English classes to merely sober or depressing subjects such as the Holocaust or poverty, as important as these issues are" (p. 26). If not, than what are some more inspiring topics...?

Appleman Chap. 4

"This is a particularly appropriate moment in the history of literacy education to introduce Marxist literary theory into our classrooms" (p. 59). Although I haven't even heard of the Marxist lens until about two weeks ago, I feel that examining political and social issues, especially the issue of class or socioeconomic status, is very important. It seems that nearly every novel has some ties to the issue of class struggle, usually the struggle for power during times of affliction or great prosperity. The catalyst of this struggle is clearly competing ideologies, which is also a part of Marxist criticism. One group or class is always seen as superior/inferior to others, and this is no different in American society today and throughout history. Those who have money have power. It is useful to examine this phenomenon because our students inevitably come from various social classes; Appleman seconds this by stating "As we acknowledge the diverse backgrounds and perspectives of the students who will read and discuss literary texts together, we also might acknowledge the need to consider particular issues of race and class deliberately and thoughtfully" (p. 59). Whenever issues of class are discussed, like the students talking about Hamlet, I feel there may be some resistance by students to talk about their own economic statuses. How do we as teachers avoid students becoming afraid to talk about their social classes, or should this issue of "uncomfortabilty" with one's own social class be directly exploited?

MCTE Fall 2007 Conference Reactions

The fall 2007 conference was my second MCTE conference in three years (attended fall 2005), and each time I attend I walk away with several wonderful, novel teaching strategies and/or ideas to bring into the English language arts classroom. Whether the presentations cover technology in the classroom, peer teaching, writer’s workshop or expanding literacy practices, they all provide teachers and future teachers alike with ways to enrich language arts instruction. Further, and most importantly, these presentations attempt to make reading and writing more meaningful to the students.
The keynote address was given by the incoming president of the NCTE, Kathleen Blake Yancey, and her focus was on “21st Century literacy.” We were asked to define this phrase, and in doing so words such as technology and networking unanimously filled responses. Throughout her address Yancey stressed using a wide-range of technologies, or literacies. Additionally, she emphasized that texts are constantly being enhanced by computers, and we must explicitly show students how to navigate these programs.
Although I garnered many quality ideas from the sessions I attended, her address was the presentation which really hit home for me. Due to computers and the internet, there has never been a time in history where so much information is widely available to the citizenry; thus, students can explore texts in multiple ways. But if they do not know how to access this information, it is useless to them. Any opportunity technology provides to further explore texts or other English language arts topics should be seized by the teacher. Moreover, when students and teachers are networked outside of the classroom (weblogs, myspace, etc) it will inevitably increase performance.
Coinciding directly with the technology theme was the Session B presentation on digital storytelling, given by two Michigan high school teachers from the greater Grand Rapids area. Instead of just writing a story or response, students can have fun (doesn’t this exist anymore!?) using a plethora of multimedia to bring their story to life by incorporating music, narrative and images. The digital story can be as simplistic as a slide show or as advanced as a mini-movie, and it can include the informational, persuasive, or evaluative genres. Usually a project such as the digital story should span approximately a two-week period, where students are given time to learn how to use programs such as Windows Movie Maker or Imovie for the Mac. Not only are the students using technology and other downloadable programs, they are allowed to make critical decisions that enhance their unique story or report. I am a little apprehensive, however, about the copyright issues, but the teachers’ pages on Wikispaces gives several links that discuss what can be taken and what cannot.

Webb Chap. 5

"The way we think about Shakespeare's day has great implications for the way we think about Shakespeare's Plays...developing conceptions of history that connect Shakespeare's time and our own, offer to resuce Shakespeare from an abstract 'greatness'..." (p. 80). It seems that the more and more I read about new historicism--or cultural materialism--the more logical it has become for me as a future teacher to examine the historical, social and cultural contexts in which a literary work either contains or refers to. How could so much of my secondary school literary instruction neglect the historical and cultural lenses? When a historical perspective is broadened or naturally used in conjunction with a cultural studies approach, students simply have more information helping them to make meaning of or attach significance to that particular work. These approaches seem even more logical because many students seem to be intimidated by Shakespeare's use of language. Additionally, since a majority of his plays were written during the 16th Century, it is imperative that students understand what fueled Shakespeare's writings; this can only help clarify students' misconceptions. For example as Webb states, students are often mystified by his "abstract greatness," meaning they often believe Shakespeare is relevant and necessary to study simply because the teacher said so. As the quotation references, much of this 'greatness' comes from Shakespeare's inclusion of his surroundings and references to other significant historical events in his writing; examining them will nevertheless enrich students' explorations of Shakespeare.

Carey-Webb, A. (2001). Literature and Lives: A Response-Based, Cultural Studies Approach to Teaching English. Chap. 1

The genesis of Webb's integration of reader response and cultural studies is the primary focus of chapter 1. He admits he basically stumbled across the idea when he began teaching a unit concerning the Holocaust in his Contemporary World Literature course. Interestingly enough, Webb states that his teaching began to move away from a narrow emphasis on literature to one with broader cultural and historical significances. What I found most helpful, however, from this chapter was the mutualism, per se, that existed between the two literary theories. Webb acknowledges that reader response can be a little ignorant of the text and what literature means when it is the only theory used. Similarly, employing cultural studies alone may tend to lineate student thought. But if cultural studies is used to fuel reader response, I feel as if the benefits could be innumerable for both the teacher and students. Instead of trying to find some character to directly relate to, they are supplemented with a cultural context which extends the text to include film, etc. to base their connections on. When students are asked to examine issues and cultures which are unfamiliar to them, they are inevitably raising their global awareness. Consequently, they are less likely to hold preconceived notions about a particular group of people or things. If we as teachers don't take the time to examine diversity, we are implicitly perpetuating prejudice. For these reasons alone, cultural studies seems like a valid approach.