
I have a good connection with a few of my comrades at I.S. 666. Most people who stumble into a teaching job at any inner-city middle school 1) quit, 2) pretend that they're okay with all the suffering and injustice, or 3) suddenly become experts, claiming they know what the fix should be, though they stay afloat in a very flawed system (that they could definitely repair if given the chance, mind you). My comrades and I fit none of these typical descriptions. We're the smartasses. We are truly smart and can teach, but we don't often get to. We've adjusted to an environment drastically different from all we have previously known. We care, but our sense of humor is really the shield that deflects the bullets. Until...? Until we move on.
I recently read Brief Intervals Of Horrible Sanity: One Season In A Progressive School by Elizabeth Gold and I can't applaud enough how hysterically funny and true she tells it. Gold worked in a charter school in Queens and dealt with the violence, apathy, and ineffective administration that I call my day job. In a critique, author William Finnegan asked, "How many books about public education are lyrical, painful, deeply discouraging, and very, very funny?" Not enough!
It's not that I'm complacent, but like Gold writes, I know there aren't easy solutions. If my school suddenly acquired an office for teachers to send troublemakers to, how would it make up for the fact that it's not as safe for students to be suspended from school as it is to have them in school? Sure, they terrorize the school, but they also live in dangerous neighborhoods. Just because we might someday have an administrator who calls parents when students get in trouble, doesn't mean that suddenly parents will have phones at home...or speak English...or even care.
Sigh. Gold doesn't call for action or make herself look like a hero for setting foot inside a classroom. Instead, she taught for her season and never went back. She didn't feel she was effective and I don't think she did all she could have done, but I relate to her. Like my comrades and me, she laughed to keep from crying.
Here are some of my favorite parts of the book:
"When Sammy Morales gets his book, he starts flipping through it, looking for something pornographic, and once he discovers that The Story of O was left out early in the selection process, he realizes that if you hold up your book and point to pictures, and laugh lewdly as if they were pornographic, they become pornographic. 'Heh heh heh,' he laughs, pointing to an alligator, and at the sight of an author, looking sensitive, he is almost on the floor. Most of the other boys join him."
[At professional development] "Inhibitions are meant to be broken down, like jalopies. And here we have a member of Theatre of the Oppressed to help us do it... Does anyone else see the comedy in this? Or am I so barnacled over in cynicism I am the only one? As far as I'm concerned, every day in Room 313 is the Theatre of the Oppressed, and I don't need any experts to show me the way."
"'You know,' I say, 'I've been offered a job somewhere else, and I'm thinking of taking it' Tom's face changes, and I suddenly understand the obvious: they do not want me to leave. Yes, they know it's chaos in there. There's screaming and crying and hitting and God knows what all, and some of that screaming and crying emanantes from me, but it is March, and I am the fourth teacher in there, and frankly, I could smear my body with excrement and start speaking in tongues and at least until June, anyway, they would do anything to keep me."
"When I stumble out that afternoon, Alex, the music teacher, is sitting outside the school in a folding chair, sunning himself. He would be attractive enough if he didn't spend half his time looking as if he were posing for Edvard Munch's The Scream. But today he seems strangely relaxed. Could it be drugs, and where did he get them? 'Burnt out already?' he says. 'When I can't cope, I show a movie. Sometimes I show a few movies a week. Hell, I'd show movies five days a week if I could.' Okay, why not? I'll become the kind of teacher I used to mock who sits there in the dark, taking deep breaths - could she be sleeping? - while the movie rolls."
On bad apples: "I suppose it is undemocratic to just wish these guys would go away, but I am not the only one wishing it. In the week they are gone, the students who formerly did nothing find themselves working, participating, being nice."
"'Oh,' says Cindy, 'we're going to tear this school down.' She nods, sagely. 'I'm going to call The New York Times. I know people there. They'll be very interested in what's going on here.' Yes. I can see it now. Banner headlines: Seventeen-Year-Old Ninth-Grader, Does Nothing and Fails Class, Unhappy With Bad Grades."
"As Leon suggested, I am barraging my students with work - puzzles, vocabulary exercises, open-book exams so easy you'd have to be dead to get them wrong:
Mrs. Maloney takes deep breaths because
a. she is anxious
b. she is nervous
c. she has lungs
d. all of the above"
This excerpt is not so much about teaching as it is Gold's identity crisis when she begins teaching, and it's nothing like she thought it would be. Amen, sister!:
"...There's this girl I keep running into. I can't get away from her, as a matter of fact. She is myself, of course. Who else? Far more real to me, at least here, than the adult self who replaced her. Any second now, it seems to me, my mother will be calling me to supper, and at my height of adolescent ungraciousness, I'll be snapping, All right. I'm coming... There she is: plump, ungainly, prickly, secretly terrified, and even more secretly romantic. Oh, I should take her in hand, tell her to go to the gym and study harder for the math test, win friends and influence people, present her to my hairdresser, Monica the Hair Goddess, why don't you do something with yourself for a change, stand up straight, stop moping? But she's not interested in listening. She pushes her long hair, her pride and joy, out of her eyes, before it flops back again. This is not what she planned. That she should run into me here, when I should so obviously be sitting in a cafe in Paris having witty repartee with a witty handsome French person, or snowshoeing up to the North Pole, hasn't she penciled in her agenda, Tuesday, in the Year Whatever: Adventure. Glory. Art. Romance? "What," she gasps, "are you doing here?"