Category Archives: Jeff Sutton

Talking It Out

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     I want to talk about my junior final. Tiz, Jeff and I just concluded a short, three-week unit to finish up the semester. We wanted to end the year with an SEL based unit, so we exposed students to literature loosely based on the theme of self-love. Over the course of the last couple of weeks, students read and analyzed various poems and pieces of literature. They practiced annotating and discussing how these types of shorter works are created, so there was heavy emphasis on writer’s craft/literary devices during class lessons.
     I’m really happy with the writing they produced for the final, and I think that one reason the writing is decent is because of the process they were required to work through. Over the course of the last three weeks, students practiced this process several times. That helped. On the day of the final, students were introduced to two brand-new pieces of literature. Together we read through them; they had pencil in hand. Then, students had to quickly choose which piece of literature they were going to work through for their final writing piece. Once students chose which text they liked, they had about 6 minutes to annotate it by themselves. After that, each student had to find a peer, who chose the same piece of literature, and they discussed each other’s annotations/ideas. I think this is such a valuable step in the process; Tiz and I discussed how our best ideas often come from talking it out. After their talking time, they wrote. Once all the prewriting steps were completed, students had about an hour to write for the final.
      I’m now grading these writing pieces, and they’re not bad. Students are talking about the tone of literature and how that tone was created. I’ve found that students were mostly successful in articulating these in a clear and concise fashion. I’m happy. Really, I feel like I won just getting 16/17 year olds to write for an hour, not on SnapChat.

No More “Fake Reading”: Self-Paced Reading and Assessment in English classes

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This year I have decided to take Michael Schooler’s approach with reading in my classes. After years of frustrations due to “Fake Reading” (not reading at all; Sparknotes and Shmoop; or just reading to meet the deadline and not reading closely), I was intrigued by what Michael did in his classes last year.

However, it didn’t just require me to let go of the reins and control, it also required some new approaches to assessment and classroom culture. So, I made the decision to make classes blended and to minimize whole-class direct instruction as a means to allow students to take control of their learning and to remove myself as the expert they look to for all the answers. I am now a facilitator and focus on encouraging individual growth as students and human beings on their own terms.

The first step was placing a premium on authentic reading in my classes and to encourage, encourage, encourage. I did this on the first day of class as I told all my classes my biggest goal was for all students to authentically engage the texts we read. Sometimes boys have been the hardest to motivate readers in my experience. However, the initial results are highly encouraging as I have seen boys reading in class and making progress in a self-paced approach.

Next, I have done away with the busy work of reading questions and reading quizzes. While this served as a barometer for grades, it did little to encourage authentic readers that engaged themselves in the texts. Rather, reading questions and quizzes actually promote “Fake Reading” in my teaching experience as students play the game of earning just points for a grade.

Finally, I have removed reading deadlines (other then when the entire text needs to be completed by) and allow students to self-pace through the book.

So, now that this is done how do I assess student engagement and progress through texts? The answer is three-fold.

First, students are required to engage a small-group reading community in Schoology discussions that live both in and out of classtime. Students are tasked with showing how they engage texts authentically and I am able to quickly assess that through the discussions. Each student is asked to post authentic responses to what they have read. They begin with an insight about the human condition and/or society, followed by connections in the text (characters, plot, etc.) and quotes from the text to support their assertions before posing questions based on their post to their group mates. Thus, students promote an active conversation outside of class and reply to one another as they work their way through the texts together. Additionally, I purposely didn’t give students a number of posts or responses they must have, instead telling them their task is to show me their authentic engagement in a learning community and throughout the entire text. I assess students reading responses at the midway point of a book (ex. so three weeks in on Glass Castle, which they have six weeks to read) and once again at the end of the book. These grades stand in place of reading quizzes and questions.

Next, I have created space and time in my classes for one-on-one conferences. I check in with students each week for progress and then ask them questions about what they have read (ala an oral quiz) and am able to assess authentic reading in those conversations. I have created google spreadsheets that allow for me to track individual reading progress and I also have a place to take notes about our one-on-one conferences that I can reference in our next check in.

Finally, placing a premium on reading in my classes means I need prove that I value reading. So, I have freed up Friday’s in my classes for reading time for students. I also have cut back on my direct instruction. I use Monday’s for a particular skill (ex. close reading of a section to model indirect characterization through setting). These mini-lessons are mainly from the texts they are reading, but I also use excerpts from other works to model.

I have also freed up Tuesday’s for groups to meet and prepare for small-group Spiderweb discussions and Socratic seminars. I host these small-group discussions on the block days and students are only required to be in class for their group conversation. Again, with an emphasis placed on creating time and space for students to self-pace while promoting time to read and show that authentic engagement to me in autonomous fashion.

With self-paced reading, online group discussions, one-on-one conferences, and small-group discussions in class, I believe I have found the answer to eliminating “Fake Reading”. No more busy work or reading quizzes that don’t assess true engagement. Instead, allowing student autonomy and assessing in these three ways forces students to truly engage if they want to succeed in my classes.

I will then survey students at the end of a unit to gage if this approach resulted in authentic reading for students and how it compares to traditional approaches I have used in the past and students have encountered in high school English classes.

If you are interested in learning more about reading conferences, Mitch Ward and Michael shared a great article with me that is posted below:

Reading Conferences

Architect Project – Close Reading and Analysis as Tool to Imitate Writer’s

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Recently I attended the DVC English Articulation Conference with Michael Schooler and Tiz Woo. The first session I attended was very beneficial and thought-provoking and is something I will build into the Writing Seminar and AP Lit curriculum I teach next year.

Essentially, students are asked to unpack difficult quotes they encounter. Students perform a close reading and attempt to determine author’s tone and purpose. Then, students are able to begin to delve deeper into themes and messages about the human condition and society.

Finally, students begin the Architect Project in which they are asked to imitate the author’s style and voice in writing. As in all text forms (written word, music, television, film, etc.) the written and spoken work is a reflection/response to a previous text and taking a previous text/idea and expanding upon it

.

In asking students to imitate writers, the thought is they will continue to develop their style and voice as writers. I look forward to having AP Lit students work with difficult texts (ex. Heart of Darkness) as well as Writing Seminar students (ex. Glass Castle) work on imitating the voice and style of works of literature.

Writing as a Learning Tool in Curriculum

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The entire English Department recently attending a workshop titled “Writing to Learn.” It was a great reminder for myself about how I learn and the importance of being allowed to collect my thoughts through the writing process. It has been quite sometime since I was a student. So, having the opportunity to do so at the workshop was invaluable. 

Essentially, the idea is to promote learning through self-reflection while writing. I was reminded how writing forces one to think instead of just blurting out initial thoughts without thinking. While there is value in spontaneous responses, I was reminded that writing forces students to collect thoughts in a cohesive manner as they have time to think individually and reflection is done with purpose before any small-group conversations, etc.
Overall, I am very excited about the possibility of applying these strategies in the Writing Seminar curriculum and into my other English courses. Creating daily writing practices well help cultivate an environment that uses writing as a tool for reflection and learning about oneself and the world we live in. 

Through using the writing process always before speaking, thus applying writing as part of the critical-thinking process, students are encouraged to develop an awareness of themselves. We all have personal experiences and cultural capital, however writing forces us to reflect on our biases, especially when we read what peers have written or hear their verbal responses to what we have written. 


Some strategies to use writing include:
  • Use in small pair/share – helps generate ideas both in writing to one another and verbally.
  • A Dialectical Notebook – eencourages understanding through reflecting on quotes for overall idea and confusing or frustrating quotes from within texts while asking for partners to respond in writing to one another.
  • Learning through observation – writing down observations about texts and images.
  • Short writing pieces – focused writing with a purpose.
Finally, the workshop reminded me of the importance of putting pen or pencil to paper, rather then sticking only to digital keyboards. I have fallen prey to Schoology and using digital writing mainly. This workshop reminded me that forcing myself to write is a kinesthetic experience that enhances the learning experience.
Below is the Script and a couple of handouts from the workshop:

Promoting Growth Through Uncomfortable Conversations

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Recently Hayley shared a prompt from The English Journal that bas me continuing to reflect on my teaching approach and overall goals as an English teacher.
While I understand the importance of helping students to develop academic skills within the curriculum, I know we do so much more as educators. However, I have always placed emphasis on using texts to promote self discovery and identiy. Furthermore, I encourage students to learn about not only themelves but society and the world at large. 
I have been drawn to voices of the oppressed for as long as I can remember because this lense promotes empathy and compassion. So, when reflecting on the “Exploring Color Hierarchies” prompt, I was excited to continue to exam how I can continue to grow as I try to facilitate and promote genuine humanatarism in my students.
I find myself aligning with Toni Morrision in my approach to literature.
“Of constant fascination for me are the ways in which literature employs skin color to reveal character or drive narrative—especially if the fictional main character is White (which is almost always the case).”
—Toni Morrison, The Origin of Others (2017)

During my masters program, I realized that the “dead white men” continue to rule literature. As such, I created an African-American Literature class that I have brought to Carondelet. I am also excited to bring Voices of the Oppressed to Carondelet next year. 
While there is always a case for the English literary canon and including great works, the texts have been historically one-sided from the white perspective. Over the course of my teaching career, I have continued to try to focus on voices of oppressed cultures. Yet, coming to Carondelet foced me to be even more crtical of the texts I teach. I know make a conscious effort to include more female voices, yet this is an area I am continuing to grow in.
Selecting literature that speaks to a vast audience is difficult. Yet, if we are to meet all of our students and engage them we have to create pathways fior them to met us. Thus creating spaces for them to grow academically and, most importantly, as a human beings. Having a multicultural space in English classes at Carondelet should be celebrated. I encourage students to be experts and to share their experiences. Still, tackling tough topics like racism in 2018 in America or use of The N-Word in Huck Finn, is not always easy. However, it is our obligation as educators. While we are responsible for developing academic competencies in our students, our job is also to help them develop a strong sense of themselves and to prepare them to critically engage with the world around them as contributing members of society.
So, how can we have provacative conversations that are highly uncomfotable for society at large, let alone adolescents. The first step is developing a safe environment rooted in dignity and respect. I believe that sharing our stories as human beings is also vital to creating a sense of trust in the classroom.  I strive to share not only my personality quirks, but also my life history as much as I am comfortable with. I truly believe that by being vulnerable and open to students that I am not only modeling true humanity, but I am also promoting self reflection and growth through anecdotes. Additonally, promoting students as experts and teachers in the classroom encourages them to take ownership of the enivornment and any uncomortable topics they may enounter.
The next step in promoting these conversations is to front load. For instance, in my English 3 class I spend two weeks prepping for a unit that deals with the role of the racism and oppression within Huck Finn. We watch “The Word” episode of Blackish. We watch a CNN video on the history of the N-word. We also watch a video from the Library of Congress that focuses on the use of the N-word during slavery. We then have open and frank conversations about the connotatioins and mixed-messages within society about the N-word. Then we read excertps from slave narratives.

All of this is done to educate about the history of the word and also to diffuse that first uncomfortable moment when I read “nigger” in Huck Finn. The students have been exposed to various attitudes about the word, heard how classmates feel,. and hopefully come to a better understand of how they feel about the word.

I have had successes and failures in the classroom as I try to tackle controversial and uncomfortable topics like racism. Some media has been outdated, while other videos have done a fantastic job of engaging students. I continue to refelct on materials and curriculum within my units in the hopes of continuing to push uncomfortable topics. In turn, my hope is that students will take these ideas into their communities and with them as they grow up. After all, isn’t our role partly to help today’s generation prepare to improve society and improve fix the mistakes of previous generations?

Voices of the Oppressed — Please Share Text Suggestions

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My development of a new course has been one of the tougher challenges I have faced as an educator. Not because I don’t enjoy the work. Rather, because it is forcing me out of my comfort zone that is American Literature.

I am working on creating a year-long, double-block class titled Voices of the Oppressed. My goal is to teach the class in conjunction with a history teacher while bringing in outside speakers, including the Religion Department and possibly a Holocaust survivor among other experts.
While I am well versed in literature of the oppressed in America, this class has forced me to expand my horizons and to continue to improve my networking skills as I have sought help in selecting texts for the course from the rest of the world outside the United States. Luckily, I have a sister that is working on her dissertation with a focus on Haitian Literature dealing with United States philanthropic outreach after the earthy quake and she has introduced me to other PHD students for recommendations on many of the units I’m currently developing.
Even though it has been a challenge to find texts from countries I am not as familiar with, my enthusiasm and passion for literature of the oppressed makes it a rich and rewarding experience (granted, my reading list continues to grow and grow).  I have always been drawn to literature of the oppressed. Whether it’s due to my childhood and the minor oppression I endured, or growing up in the melting pot of San Francisco, I have always been interested in the stories of the “other” despite my white skin and a system put in place to ensure I am at the top of said system.
However, with Charlottesville and racial tensions in this country coming to the forefront once again, I can’t envision any work more important then developing this course. My goal is to emphasize the importance of instilling true humanity in order to begin to heal our fractured country and world. The first step is promoting the necessity of treating one another with respect and dignity while developing empathy for people of all races, creeds, religions, gender or sexual orientation.

I also recognize the importance of incorporating more then the written word as a text in all of my classes. Whether short films, TV shows, Disney shorts, music, or movies, I will continue to seek out rich texts for students to engage with. 
What follows is a brief outline of the course, including units and texts I have begun to compile. I would appreciate any suggestions for short stories, plays, novels, or film/television to continue to add to the list of texts. Please talk to me in person or send me an email with any texts.
Course Title: Voices of the Oppressed
Class Structure: Double-Block class taught in conjunction with History teacher; guest speakers including the Religion Department, outside experts (possibly Holocaust Survivor). Yearlong course, possibly a hybrid course.
Class Objectives: This class will explore the role of power in society and the effects on the oppressed as well as the oppressors. Steve Biko’s statement that “the most powerful weapon in the hands of the oppressors is the minds of the oppressed” will be the guiding lens for the course. Through looking at the oppressors and the others, students will critically examine how the role of environment in conjunction with class systems creates systematic oppression across many avenues in society, thus ensuring their continuation over generations. This exploration also necessitates a close look at imperialism and colonialism, especially in the practice of raiding third world countries for resources. 
Culminating Assessment: Research paper exploring role of oppression in powerful nation that used colonialism/imperialism to oppress a third world country directly. Required to implement four or more texts from class in conjunction with outside research.
Major Assignments & Projects: 
Each unit will culminate with a Socratic Seminar. Students will then either complete an argumentative essay individually or work in groups to present a specific motif from the unit. 
 Minor Assignments:
Students will be asked to watch supplemental documentaries & films at home. Students will also engage in discussions on Schoology in preparation for small-group and whole-class discussions. Students will also be asked to i
Units
First Semester 
1)    North Africa/Sub-Saharan (7 weeks)
a.      Steve Biko; Nelsen Mandela;
b.      “Hotel Rwanda”/”Cry Freedom”/”Last King of Scotland”/”Blood Diamond”/
c. “Lost Boys” of Sudan 60 Minutes videoe
d. Things Fall Apart, Achebe
e. Homecoming, Yaa Gyasi
f. Radiance of Tomorrow, Ismael Beah

2)      The Caribbean (6 weeks)
a.      Frankentienne –  Ready to Burst
b.      Bob Marley/Peter Tosh
c. Junto Diaz: The Brief Wondrous Life of Oscar Wao (Dominican Republic)
d. Adam Johnson: The Orphan Master’s Son 
e. Edwige Danticat (Haitian-American writer). Her writing is VERY accessible and rich. Novels/short stories?
f. Jamaica Kincaid (Caribbean)
g. The Wine of Astonishment by Earl Lovelace (Trinidad)

3)      United States (8 weeks)
a.      Claudia Rankine – Citizen: An American Lyric
b.      Marcus Gardley? – “Black Odyssey”, “..:And Jesus Moonwalks the Mississippi”
c.      O’Connor – “Everything that Rises Must Converge”
d.      “Long Black Song”; “Going to Meet the Man”
e.      August Wilson play – Fences, Jitney, Joe Turners Come and Gone, Gem of the Ocean; A Raisin in the Sun, Lorraine Hansberry
f.       MLK – “I Have a Dream”
g.      Malcolm X/Slave Narratives – excerpts
h.      “Yellow Wallpaper” – Perkins-Gilman
i.       Sylvia Plath/Emily Dickinson poetry
j.       Alice Walker/Toni Morrison/Maya Angelou/Zora Neale Hurston
k.      Harlem Renaissance – poetry – Langston Hughes/
l.       Dr. Joy DeGuy – Post-Traumatic Slave Syndrome
m.    “13th” Documentary/Michael Che “Black Lives Matter”; “Mississippi Burning”; “I am not your Negro” James Baldwin documentary; Black Panthers 
n.      LGBT???? – “Master of None” Thanksgiving episode
o.     Nikki Giovanni
p.      Sandra Cisneros
q.      Role of Black Music – influence from Slave Spirituals>Blues>Jazz>R&B>Rap>Pop
r. Sherman Alexie; Native American oral tradition?
s.Hillbilly Elegy; Southie – excerpts
t. Just Mercy, Bryan Stevenson
u. Autobiography of Dick Gregory excerpts
v. Oppression and the Body: Roots, Resistance, and Resolutions
w. John Henry Disney short film
Second Semester
4)      Central/South America (4 weeks)
a.       Gabriel Garcia Marquez
5)      Europe (8 weeks)
a.      Ireland – Yeats; Dubliners, James Joyce; 
b.      Scotland – “Braveheart”
c.      England – Virginia Woolf; Shakespeare play – Othello;
d.      Germany, Austria, Hungary, Poland, France – Night, Weisel; Maus l/II; The Pianist; Schlindlers List; The Book Thief,Zuzak; The Boy in Stripped Pajamas; The Dairy of Ann Frank
e.      Spain –
f.       Italy, Malta – 
6)      Australia (4 weeks)
a. My Place, Sally Morgan
b. Oodgeroo Noonuccal (Kath Walker)
c. David Unaipon; Legendary Tales of the Australian Aborigines. Melbourne: Melbourne University Press.
d. Rabbit-Proof Fence (film)
7)      Asia (5 weeks)
a.      Japan
b. Chinese revolution
c. Vietnam/Cambodia – American &   French involvement
8)      Middle East (6 weeks)
a.      Kite Runner/Thousand Splendid Sons
b.   God of Small Things, A. Roy
c. Azar Nafisi: Reading of Lolita in Tehran
d. Ayaan Hirsi Ali: Infidel