One Hundred Great Essays

An example of book art. (Artist unknown, or at least unfound through a Google search.)


Choosing an Essay


Carefully note the deadline for this assignment in Google Classroom: You have until the end of the day on Monday, November 28, to choose an essay and submit your reasoning. Making the choice early is strongly encouraged, but not required. You will have time in class on Monday.

In our last post, you were asked to explore One Hundred Great Essays, a collection of writing on a wide range of subjects by a wide range of authors. You must now choose one or more of those essays to read carefully, analyze, and then emulate. You will eventually produce your own essay that emulates your choice in one or both ways:

  1. Composition (details, arrangement, meaning, presentation, approach, grammar, ending, style)
  2. Content (subject, occasion, audience, purpose)

We will use this writing process to learn a universal rubric, bishop composition, and to practice some of the GAP skills you learned about during Q1. For now, you should simply read the essay you’ve chosen, taking notes in whatever way you like. We will refine and focus those notes and your understanding of the text over the next week or so.


Selection Form


Use the following Google Form to make your selection. If your edition of One Hundred Great Essays has an essay not on this list, add it where indicated. Be sure to complete the section asking why you’ve chosen this essay.

If you have any questions about this assignment, ask them in the comment section below.

Quarter 2, Day 5 [Sophomores]

100-essays


One Hundred Great Essays


After you have read these instructions, close your computers and put away your phones. For the rest of the period, you need only three things:

  1. A copy of One Hundred Great Essays, which is on the bookshelf by the door
  2. Notebook or scrap sheet of paper
  3. Pen or pencil

For the next few class periods, you are going to look through One Hundred Great Essays in order to find the essay that you want to read, analyze, and then emulate. In other words, you are going to find the kind of essay you want to write.

To do this, you need to spend some time exploring this collection. Leaf through it. Stop on titles that seem interesting. Then read the introductory information that tells you more about the piece, the author, the context, etc.

For now, you don’t need to do anything but write down the titles and page numbers you are considering. You can read as much or as little of these potential essays as you like; we’ll spend Monday talking about your progress, the assignment itself, and what to do next.

To be clear: You don’t have anything to submit today. Take notes, reflect, be metacognitive, etc, according to your own needs.

Quarter 2, Day 4

Instead of Pavlov's dogs, here's a video about Schrodinger's cat.

Instead of Pavlov’s dogs, here’s a video about Schrodinger’s cat.


Unlearning Lessons


Today is Thursday, November 17. For the last three days, you have taken stock of yourselves through various lessons and assessments. As a result, you have a wealth of evidence to consider. You also have to unlearn two dangerous lessons.

First, consider what you were asked to take home after finishing Tuesday’s diagnostic test:

You weren’t given a deadline for this reading. It’s your responsibility to find the time to read all three documents, because they provide you some context for this class, whether you are a senior challenging yourself in AP or a sophomore still wondering whether this high school thing is worth it.

So these documents will tell you why it matters if you know, for example, what “assiduousness” means. The terms we use give shape to the work we do, and this work is the work of the world — the work valued by the 21st century, including the people who will eventually hand you that college acceptance letter or job offer. When we read literature, it won’t be to ruin it the way it was ruined for Paul Graham; it will be to learn empathy and to develop a better understanding of the world, because those traits lead to a better life. When we write, it won’t be to earn a grade; it will be to clarify our thoughts, because that makes us better human beings.

The second dangerous lesson to unlearn is about “failure” on a test like the one you took on Tuesday. Of course it matters if you couldn’t remember ideas covered repeatedly throughout the first quarter. It matters more, however, that you now improve — and that’s why there is no grade or grade book in this course. That test was a diagnostic. It might spark a revolution in your work ethic or another branch of our main skill tree. It might further validate your hard work from Q1. It might shine a spotlight on the need to strengthen your memory. That’s the point: To individualize what happens next.

You need to let go of the Pavlovian part of yourselves, because that part of you wants a treat when it does well. It expects a shock when it screws up.


Pavlovian Part 1


Most of you have been institutionalized. You have confused clarity with simplicity. When you are given complicated directions, you give up almost immediately and become frustrated. Over the past few days, student have

  1. called the work “stupid” after a cursory read;
  2. argued that an assignment wasn’t given, despite evidence to the contrary;
  3. claimed that Snapchat isn’t distracting during class, despite evidence to the contrary;
  4. given up and fallen asleep.

Every choice you make matters, and you can choose to embrace what we’re doing in here, which is to prepare you for the rest of your life. That’s why you were given those excerpts and essays this week: to show you that we are about more than turgid literary analysis and test-driven busywork. This stuff matters.

But you lack grit, many of you. You lack that particular kind of assiduousness that allows you to cope with difficulty. Until you develop that trait, you will never improve. No one can force you to be patient. No one can make you resilient. If our goal was for you to vomit out an essay that I would then mark up with that red-pen pathology so unique to English teachers, sure, we could force all of you to the goal line. But you’d learn nothing, least of all the grit necessary for success.

That doesn’t mean that you can’t change your future in here, however, and that plasticity may be the most important lesson this week. Since change starts with an inventory of sorts, that’s your assignment: to do an inventory of the evidence you’ve generated this week.

It’s not enough to have completed the work, of course. It’s one thing to be succinct, to think that less is more, but reflective and metacognitive writing benefits from length. More is more, in most cases.

Which means that you need to consider the quality of your work over the last three days, too. What did you learn from Monday’s writing? What did Tuesday’s diagnostic teach you? How do you plan to utilize Wednesday’s insight in the future? Consider, too, the substructural skills and traits of grade abatement. Think about your organization of resources, your reliance on peers and peer feedback, your amenability to explicit and implicit feedback, and so on.


Pavlovian Part 2


Students who earned an 8 or 9 in Q1 are in a slightly different position: You need to teach others how to learn, how to generate evidence, etc. And you cannot be arrogant or condescending, even for a second; being either is evidence of a 4, if you want to look at it through the lens of GAP scores.

Read this older addendum to the grade abatement process:

[pdfjs-viewer url=”http%3A%2F%2Fsisypheanhigh.com%2Fmalachite%2Fwp-content%2Fuploads%2F2016%2F11%2F03-GradeAbatementAmended.pdf” viewer_width=100% viewer_height=400px fullscreen=true download=true print=true]

What you do is all that matters. That idea was clarified in Section X (“Faking It”) of this essay, too. Be collegial and supportive. Share your understanding. Take pride in your accomplishments, of course, but separate that pride from egotism. From that hyperlinked essay:

There is no game to play and no gamesmanship to lean on. This course does not care how naturally gifted you are. It does not care if you play sports and play them well. It does not care what your parents think of you. It does not care what you look like, how charming you are, or how much latitude you have been given throughout your life to do what you want. It cares only about what you do.


Today’s Assignment Again


Since we got sidetracked from today’s assignment for a bit, I’ll clarify what you must do:

Your assignment for Thursday is to spend 30-40 minutes writing about your progress toward a top-tier GAP score in Q2. In just three days, you have created a small body of evidence. What does it look like? More importantly, what do you need to do now?

In the future, you won’t have many formal assignments that require you to be metacognitive and reflective to this degree. Instead, you will need to find time every week or so to think and write like this on your own. We might take a class period here and there to revisit and refine that metacognitive and reflective process, or to talk about the protégé effect and its impact on your learning, but that would be no different from taking a period to talk about organization or timed writing or critical thinking. We’ll deal with skills and traits as necessary.

Quarter 2, Day 3

Image borrowed from this blog post.

Image borrowed from this blog post.


The Stuff of Growth


On Monday, regardless of class and grade level, you were given a checkpoint assignment. Below are three anonymous, exemplary submissions, presented with minimal commentary. Carefully read the exemplar for your class’ assignment. Then type up an actionable analysis. That bolded phrase breaks down like so:

  • actionable | Your analysis must indicate actions you can take in the future. Focus on what you did or didn’t do in comparison to the relevant exemplars, and then use that to discuss what you will do next time.
  • analysis | You need insight into precisely what makes this work exemplary. Talk about specific elements: use of detail, arrangement of ideas, meaningful insight, overall approach, etc.

This is peer ETA work, or an attempt to learn by analyzing and emulating a peer. It bolsters and in some cases supplants individual and group feedback. With that in mind, today’s submission — what you submit to Google Classroom later — should meet certain criteria:

  • It must be significantly developed, which means you can’t write a few sentences and call it a day.
  • It must be significantly detailed, which means you need to cite specifics from the exemplar.
  • It must have some sort of shape, which means you can’t just throw your thoughts on the page haphazardly.

If you have questions, ask them (quickly!) in the comment section at the bottom of this post.


Quick FAQ


Q: Why include all three exemplars in one post?

A: Same answer as last time: The skills and traits of this course are universal. The goal of peer ETA work isn’t to copy the exemplar; the assignment is over, and “corrections” aren’t a thing in here. You can only benefit from today’s writing if you look beneath the specifics and focus on actionable analysis — in this case, what the best kind of metacognitive and reflective writing looks like, regardless of the assignment. A junior can learn a lot by reading the most effective work by a tenth grader, an AP student could benefit from the work done over in Regents, etc.


10R Exemplar


Tenth graders wrote short stories, which is a bit more fun than a traditional essay1. The most important step, however, was their understanding of authorial choice. This exemplar identifies specific language and elements that create everything from character motivation to suspense. It’s quite good.

[pdfjs-viewer url=”http%3A%2F%2Fsisypheanhigh.com%2Fmalachite%2Fwp-content%2Fuploads%2F2016%2F11%2FQ2D1-RE10-EX.pdf” viewer_width=100% viewer_height=400px fullscreen=true download=true print=true]


11R Exemplar


Just like all of these, this brief bit of metacognition was attached to a copy of the central writing response itself, and that response was developed enough to need a bit of analysis moving forward. If you don’t invest in the first part of the writing process, this reflective and metacognitive loop won’t work, and that top GAP tier will stay out of reach.

[pdfjs-viewer url=”http%3A%2F%2Fsisypheanhigh.com%2Fmalachite%2Fwp-content%2Fuploads%2F2016%2F11%2FQ2D1-RE11-EX.pdf” viewer_width=100% viewer_height=400px fullscreen=true download=true print=true]


AP Exemplar


This last one is thoughtful and specific, and it weaves in our reading and writing background authentically. It also references K-pop, which still surprises me by being a thing. Why, I remember when it was just S.E.S. and Drunken Tiger, and everything had to be imported on CDs from YesAsia. Now it’s as ubiquitous as any genre of music. (It’s strange, by the way, to date oneself through Korean pop music.)

[pdfjs-viewer url=”http%3A%2F%2Fsisypheanhigh.com%2Fmalachite%2Fwp-content%2Fuploads%2F2016%2F11%2FQ2D1-AP11-EX.pdf” viewer_width=100% viewer_height=400px fullscreen=true download=true print=true]


  1. Not that we write traditional essays, but the comparison still stands. 

Quarter 2, Day 2

A graph you've seen before.

A graph you’ve seen before.


Doki Doki Panic


It’s 1:50 PM, and school is almost over1. Your homework tonight involves the test you took earlier:

  • List the sixteen skills and traits used for GAP assessments. Put them in the prescribed eight pairs, too.
  • Define interstitial in terms of this course.
  • Define galvanizing in terms of this course.
  • Explain the criteria for a third-tier grade abatement profile.
  • Explain the criteria for a fourth-tier grade abatement profile.
  • Explain the criteria for a GAP score of 9.
  • Briefly describe Joan Didion’s perspective on writing. (Juniors only)
  • Briefly describe Paul Graham’s perspective on writing. (Juniors only)

A test of this sort has been mentioned in the past, but it was written about on this site only in the footnote of this AP post. We can call them DDTs, either for direct diagnostic tests or doki doki tests, depending on how weird we’re feeling. The origins of the stranger version of the acronym are here:

View at Medium.com

Some of your predecessors eventually came up with doki doki as the onomatopoeia. You, too, should take an active role in shaping this sort of assessment. That starts with today’s assignment, which is to write insightfully about your performance, especially what it means for you moving forward.

Before you write, think about some of what today’s DDT performance reveals:

  • your previous close reading of instructional posts and central texts;
  • your internalization and recall, especially of the language of grade abatement;
  • your critical thinking and understanding of how the course works;
  • your integrity and character.

Then write specifically and introspectively. This is a moment captured in writing; it is reflective and metacognitive in equal measure, covering both the wider narrative of your learning and the narrower focus provided by a single day’s lesson. What do you know about this class? How much have you studied its particular requirements? How carefully do you read the central texts?

On my end, this allows for a kind of triage. Patterns emerge. What have you internalized? Which ideas are unclear? How many students are in a position to teach others? How many need an intervention? The answers help me adjust for the rest of the calendar year.


Quick FAQ


Q: What do we do about the Pavlovian “cheating” that occurred immediately as students sat down to take this test?

A: I don’t know, but it was alarming to see students cheat out a copy of, e.g., the GAP checklist in order to copy answers. That betrays such a fundamental misunderstanding of the course that even my empathy is staggered. I saw a hundred versions of this:

Maybe I need a stick like Miss Wormwood has there.

Maybe I need a stick like Miss Wormwood has there.

The point of these diagnostics is to diagnose. Cheating on them would be like cheating on a test for strep throat: I guess you didn’t get bad news now, but if you’ve got strep throat, you probably want to know. Treatment seems important. And in here, pretending to know things sets you up to be embarrassed and humiliated later, when you’re called on to demonstrate that expertise or internalized understanding. We care so much about growth that it makes no sense, except as a reflection of a system that batters students into these pathologically frightened creatures, to cheat.

Q: What do we do about students who wrote for nearly 39 minutes in response to a test that should take about ten minutes?

A: I don’t know this answer, either. In a way, that level of panicked overkill is more troubling than the student who drew a picture of a flower instead of doing any work. None of these prompts requires much in the way of writing. They test a student’s understanding and internalization of straightforward concepts and ideas. Here’s a key:

  • The sixteen skills and traits used for GAP assessments, in their respective pairs, as seen in a half-dozen handouts and posts:
    • Collegiality ⇆ Empathy
    • Integrity + Character
    • Close Reading ⟹ Internalization
    • Critical Thinking ⟹ Metacognition
    • Effective Communication ⟹ Writing
    • Amenability ⇆ Self-Awareness
    • Assiduousness ⇆ Self-Efficacy
    • Organization ⟹ Autodidacticism
  • Interstitial, in terms of this course, means to learn and to create in those brief, spare moments we have during our hectic and often overscheduled lives.
  • Galvanizing, in terms of this course, means to teach others what you’ve learned from some expert source. The protégé effect is a significant factor in how we galvanize others.
  • Third-tier grade abatement profiles “reflect varying degrees of incomplete work, disengagement, and misunderstanding.” That’s lifted directly from this guide. The class period matters significantly more than anything else, and we can almost quantify student work at this level.
  • Fourth-tier grade abatement profiles require a little more explanation, but still less than a half-page. Look at the top of page five in that same guide:
Fourth Tier GAP Criteria

That’s only about 250 words.

  • The most important criteria for a GAP score of 9 are “a precocious strength in metacognition” and evidence of being “consistently, insightfully reflective,” both in person and in writing. The other, obvious criteria are to teach others, make the learning environment better, and develop discernible strength in every skill or trait.
  • The juniors read Joan Didion’s “Why I Write” as a preface to this journey essay. Her perspective on writing is nuanced, but I especially like this section of the essay:

[I was] simply a writer, a person whose most absorbed and passionate hours are spent arranging words on pieces of paper. Had my credentials been in order I would never have become a writer. Had I been blessed with even limited access to my own mind there would have been no reason to write. I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means.

  • Paul Graham’s perspective on writing is so important to us that it got its own post and series of assignments. He’s nuanced, too, but we could get away with a list of at least some of what he suggests:
    • Observe carefully, looking for what is most interesting and surprising about a subject.
    • Let the essay take its own course toward what is most interesting, like a river seeking the sea.
    • Clean up your thoughts as you write, keeping an audience provisionally in mind.
    • Ignore all the rote, repetitive, literature-dependent habits you learn in English classes.

Q: Why is this cross-posted to all courses?

A: Because the skills and traits of this course are universal. How we develop and apply them differs from grade to grade and level to level, but it also differs from student to student — hence the focus on individualizing the curriculum. The terms we use help give clarity and direction to the work we do. The only way a makerspace (really, an atelier; more on that later) works is if the participants know the basics, and that goes for everyone.

Q: Why is the post available only at 1:50 PM, not during every class?

A: Because you need the occasional period without Chromebooks in front of you, and because you need to see the importance of work done at home. Remember this essay on the chambers of your day? We used that to emphasize the importance of our 39 minutes together, and those 39 minutes do determine your profiles to a significant extent. Your learning should continue at home, however, and today’s writing assignment forces you to do that.


  1. The post is up a little early to give P9, when the siren call of home is strongest, some added support. This is our equivalent of lashing Odysseus to the mast. 

Quarter 2, Day 1

Screenshot of Google Classroom assignment

Screenshot of Google Classroom assignment


WIP into Shape


Except for the number of students on the right, the image above is exactly what was posted to your individual class stream this morning at 6:09 AM, and the text that follows is a transcript of what was said to you at the start of the class period later that day.

Today, you must submit your progress on our current assignment to Google Classroom. This is a record of the work you’ve done before this moment — a snapshot of a work-in-progress. You are not submitting it for feedback; that will happen in class, in small groups and individually, throughout the rest of the week. Your submission simply locks in place a piece of evidence. Among your choices:

  1. Create a copy of your work in Google Docs (File ▸ Make a copy) and attach it to the Google Classroom assignment.
  2. Take a picture of your handwritten work, upload it to Google Drive (New ▸ File upload), and then attach it to the Google Classroom assignment.
  3. Write a metacognitive reflection on your work and attach it to the Google Classroom assignment.

A metacognitive reflection also generates evidence necessary for a fourth tier profile at the end of the quarter. Find the time to write one, regardless of your progress on the central assignment.

Examples:

  • 10th grade students have had enough time to finish this assignment. They should attach a copy of each step: the outline, the short story, and the metacognitive analysis. Additional reflection and metacognition should be written during the class period and for homework.
  • 11th grade students have had enough time to start the essay dictated by this prompt. They should attach any outlines or brainstorming work, plus a copy of the essay in its current state. Additional reflection and metacognition should be written during the class period and for homework.

Ask questions in any of the usual places, and take the time to teach others what to do.

Enigmas and Their Opposites

From "The Enigma of Amigara Fault"

From “The Enigma of Amigara Fault”


Q1 GAP Reports


For all students, the protocol of assigning a GAP score is the same:

[pdfjs-viewer url=”http%3A%2F%2Fsisypheanhigh.com%2Fmalachite%2Fwp-content%2Fuploads%2F2016%2F11%2FGAPProtocolv3.1.pdf” viewer_width=100% viewer_height=1360px fullscreen=true download=true print=true]

The process, however, should be individualized. Grade abatement stresses individual learning, and it would undermine our philosophy to treat the end of each quarter as a high-stakes event. It would turn us back toward the warping pressure of the old model of learning, and none of us — teacher absolutely included — benefits from the wearying push through 140 essays, reports, or conferences.

Instead, you are required only to read the embedded document above (here is the up-to-date Google version), and then to complete this Google Form:

A copy of it has been assigned to you through Google Classroom, which is where you can also submit further evidence, if that helps. Note, however, that how you submit evidence — if you submit evidence — is up to you. The next steps of this process are, to a significant extent, yours to take.

Ask questions in the usual places, and take this opportunity to teach each other what you learn. Fight the predictable, learned helplessness that comes with a difficult task. Focus on the universal feedback in this essay:

View at Medium.com

The end of a quarter should be a validation and a celebration, and then it should pass quickly. If you have struggled, it should be a moment of reflection that spurs greater effort and focus — and then it should pass quickly.

One more note: Included with this assignment is an evidentiary matrix of sorts. Here is an embedded image of it:

gap-evidence-01

I realized far too late that giving students this kind of document immediately overrides everything else. You rush to fill it in, to “complete” it, and neglect the context. But at the bottom of the printed and Google versions of this thing, it tells you how it should be used:

This is not a mathematical chart, which you might guess from the emojis creeping across the top. (I blame/thank former students for that contribution.) It can’t be used to generate a GAP score. Instead, it is designed to help you to think about the quantity, quality, and category of what you’ve done in class. You might mark more than one circle in each row, for instance, depending on the kind of evidence you’ve generated.

The guide is important. The many branching links in that guide are important. What we’ve done for the past quarter is important. This emoji-laden handout is about as ancillary as it gets.

Essay: Narrative Writing

Art by Angelica Alzona, from the annual "Scary Stories" post on Jezebel. Click to read.

Art by Angelica Alzona, from the annual “Scary Stories” post on Jezebel. Click to read.


The Assignment


Create a complete narrative modeled on the 50-word or half-page ETA texts from last week’s flash-fiction reading. Then analyze the choices you made as the author through a separate, metacognitive essay. Specific instructions are below.

Note: You must write a story at least 50 words long, and it may be best to write a story that is at least a half-page in length. The less you write, the harder the required metacognition will become. If you want to write a six-word story, go ahead, but be sure to write a longer one for this assignment.


Step #1


Create an outline of the story before writing it.

Use this handout to help you focus your thinking. Use this handout, however, to produce the two-part thumbnail sketch of your story and its characters. Then use that sketch to write a short response for each of the following prompts:

  1. Describe the protagonist.
  2. Describe the setting(s).
  3. Describe everything (i.e., the people, places, objects, and concepts) with which the protagonist will interact.
  4. For each item in that list, determine where you will create a conflict, and describe the antagonist.
  5. Describe the nature of the conflict(s) using the language from this handout.
  6. Describe the resolution of your story’s central conflict.
  7. Explain the theme or moral you will explore through this story.

Step #2


Use your outline to write the story.

You should use Google Docs to do this, but you will have class time to write by hand, if you choose. You will also be able to share your work with your peers and teachers in order to get feedback. Here are the steps:

  1. Create a new document in Google Docs.
  2. Share it with any group members (your choice) and your teachers. You can wait for directions in class or read this guide.
  3. Type your story.
  4. When you are done, ask your group to work on the story with you; they will make suggestions by leaving comments on your work. You can wait for directions on leaving comments and having discussions, or you can read this guide.
  5. Edit and revise your work. Be sure to change the title of the document in Google Docs to your title.
  6. Repeat the previous two steps for each other member of the group, unless you are working alone.

Your narrative itself must convey all the elements indicated by the outline. Choose words and images that have strong connotations or that imply considerable detail in a small space.


Step #3


Finally, write a metacognitive response that explains your choices as an author and what each choice implies. 

This metacognition will cover the specifics of your story, what each implies, and how you made your authorial choices. Follow these steps:

  1. Identify several key details in your story. For example, identify a verb, adjective, adverb, noun, or sensory image; you might also identify paragraph breaks, punctuation, or dialogue.
  2. Write a short response in which you explain what element of narrative writing this detail creates and—more importantly—how it implies that element.
  3. Repeat for three or four other specific parts of your story. The more you choose, the better.

For #3, after you’ve isolated a specific detail (e.g., images that appeal to the senses) that creates meaning, be specific about what you did to imply that meaning. Don’t simply summarize your story, and don’t simply repeat what you wrote. Instead, analyze your story as if it was a stranger’s, or one of the ones we studied as a class.

Flash Fiction

Click here for the story behind the six-word short story in this post.

Click here for the story behind the six-word short story in this post.


Telling a Story


In our course, you will write what you read and read what you write. We call the process emulation through analysis, or ETA writing. It means that you pick apart a text because you want to emulate it, not because of a “mean-spirited, picky insistence that every child get every last little scrap of ‘understanding’ that can be dug out of a book.”

That quotation comes from John Holt and his essay, “How Teachers Make Children Hate Reading,” which you’ve now annotated a bit. Keep his ideas in mind as we move forward. Your first writing assignments were descriptive — simple enough not to need an ETA focus. We could focus on simply writing. Now we turn to another mode of discourse:

Narrative writing: A mode of discourse in which a sequence or series of events, real or fictional, is relayed or described. More simply, narrative writing tells a story.

For a piece of writing to be considered a complete narrative, it has to have certain elements. You are given these elements every year in English classrooms, because you primarily study fictional narratives. That’s why you’ll recognize everything in this document:

Now that you’re going to write a narrative, you’ll need those terms. Let’s begin using them by exploring some of the shortest fiction out there.


How to Respond


Below are stories of increasing length. For each story, there are three stages:

Stage 1:

Read the story quietly to yourself, and then read it aloud with a peer. Discuss your reactions for a bit. Then write a short response to the story by referencing specific elements. This is not literary analysis, but you can’t respond to a story’s ideas without a sense of its plot, characterization, etc. You might need to make reference to symbolism to talk about how something moved you, and you’ll certainly have to discuss conflict to talk about how a story is resolved.

Stage 2:

Ask questions about the stories in the comment section here or over at Google+. Talk to each other about them in that Community, too. Offer your observations, share your thoughts, analyze the story — and then check back regularly for the next week to see what your peers have to say. You will generate the evidence you need for grade abatement this way.

Stage 3:

Find other examples of short stories this length. If the story is six words long, track down more six-word stories; if it is about 50 words long, look for more 50-word flash fiction narratives; if it is a half-page in length, search for stories about that long; and so on. Share these with your peers online and in class.

The transparent goal here is to expose ourselves to as many short narrative as possible, responding to as many of them as possible in thoughtful, specific ways. It’s about sharing good stories with each other and explaining why we respond to them the way we do. Eventually, it will be about about emulating one of them.


ETA: Six-Word Short Story


Author: Ernest Hemingway

For sale: baby shoes, never worn.


ETA: 50-Word Short Story


Author: Michael Lawrie

First Impressions

Beth: Socialist, vegan, Amnesty volunteer, and generally lovely girl. Her band wore the Swastika, SS badge, and the Totenkopf — so she did, too.

Walking home after a gig, she felt the blade slide in, cold then warm.

The police dismissed her as just another dead Nazi. Her killer was happy to have done his bit.

first_impressions (1)

This is the original, unedited version. Click on the image to load Michael Lawrie’s website.


ETA: Short Fiction


Author: Stuart Dybek

Sunday at the Zoo

We decided to stop drinking and spend Sunday at the zoo. It was going nicely until she worked herself up over the observation that it was a horrible thing to cage the animals.

“That’s not very profound,” I said, “everybody who goes to the zoo feels that sometime.”

“Oh, you cruel ********1,” she screamed, “I’m not everybody!”

She bellied over the guardrail and flung herself against the bars of the wolves’ cage.
Three wolves had been circling and as soon as she touched the bars they froze, fur
bristling along their spines.

She had her arms stuck in between the bars up to her shoulders and as much of her face as she could wedge in yelling, “Eat me! Eat me!” to the wolves.

Just that week the newspapers had carried an account of how a small girl had an arm gnawed off – she’d reach in to pet them and one wolf held it while the other ate. It was, in fact, what had led us, along with the crowd, relentlessly to the wolves’ cage.

But the wolves held their ground, snarling, stiff-legged.

An attendant came running down the aisle between the fence and cages and grabbed her by the hair and throat, wrestling her back. She locked her arms around the bars and he kept
slapping her face with a thick, purplish slab of meat he must have been feeding to one of the animals. 

“I’ll give you, ‘Eat me, Eat me,’” he grinned, kicking her down.

At that instant all three wolves rushed against the bars so that they shook, and you could hear their teeth breaking on the metal. Their bloodied snouts jabbed through, snapping at air.

“Stop abusing that woman,” I shouted from the crowd.

Here is a PDF of the original story, with a second bit of flash-fiction attached: “Billy’s Girl,” by Gordon Jackson. Your assignment only corresponds to “Sunday at the Zoo.”


  1. This bit of profanity has been edited out, with sincerest apologies to Mr. Dybek’s original text. We have to tread lightly; this is a high school, which means we inhabit the murky area between childhood and adulthood. C’est la guerre, as they say. 

Habits and Habitats

Pictured: A typical classroom setup.

Pictured: A typical classroom setup.


The Stuff of Growth


Ken Robinson on Education

This video appears elsewhere on this site, which tells you how important it must be to our work:

Every time I come back to this speech, another idea resonates with me. I’d like to know what resonates with you, especially as you continue in our classroom. My explicit goal is to make Robinson’s ideas actionable — to do more than just agree with him. I believe that grade abatement is the key. It helps, though, to consider another luminary:

Dan Pink on Motivation

This is another RSA Animate video:

Again, I find that different ideas in this speech resonate with me each time I watch it. I’m drawn to the idea of autonomy right now, because we’ll be attempting a Genius Hour from Q2 on. I’d like to know what resonates with you, too.

Talk to me in the comments below, and extend your own conversations to your specific course’s Google Classroom.