HC English Department

"Poetry 180 is designed to make it easy for students to hear or read a poem on each of the 180 days of the school year. Michael Collins selected these poems with high school students in mind. They are intended to be listened to, and he suggests that all members of the school community be included as readers. A great time for the readings would be following the end of daily announcements over the public address system.

"The Common Core State Standards--has, in some places, contributed to narrowing students' experience of writing inside school. In that contradictory and shifting environment, the NCTE Executive Committee charged a committee to update the Beliefs about the Teaching of Writing, attempting to reflect some of the historically significant changes of recent years. What follow are some of the professional principles that guide effective teaching."

"The one thing that generates the juice - the electricity - that brings everything in a story to life, giving it meaning, conflict and urgency, is this: a clear sense of how what's happening in the plot is affecting the protagonist internally. The story, I realized, is not about the plot. The story is about how the things that happen in the plot force the protagonist to struggle with an unavoidable problem, thus triggering - scene-by-scene - a long needed, incredibly hard internal change. What hooks and holds the reader is internal conflict, not external "drama." Recent advances in brain science and evolutionary biology have born this out. Stories are simulations - think of them as the world's first virtual reality: you are there, viscerally experiencing what the protagonist is going through, from the inside out. A story isn't about what someone does, it's about why they do it. Only by diving deep into what someone is really struggling with as they make a hard, unavoidable decision, can we reap useful intel on what it would actually be like to be in that situation ourselves. You're not reading about Jane Eyre's experiences from the outside in, you are Jane Eyre, experiencing those events yourself."

"Two years ago, at the suggestion of a fellow actor, Kelly decided to take a different tack: Incorporate music, specifically hip-hop, into a typical workshop. He pulled apart one of his traditional presentations featuring Shakespearean speeches from different plays, and revamped it with hip-hop beats and music. They focused on the rhythm and poetry of both art forms, and even designed a rap version of the "To be or not to be" soliloquy from Hamlet, comparing it with the themes of some present-day hip-hop songs. "We will say [to the students], 'Oh, isn't that interesting? 400 years ago this guy was talking about this [suicide, indecision], so really, nothing has changed, has it?" When they brought it to high schools, "Shakespeare Meets Hip-Hop" was an instant success. "The presentation itself, they loved," Kelly said. "They'd go bananas when we would do it, and they loved all the musical stuff we put in there.""

"Students almost universally hate close reading, and they rarely wind up understanding it anyway. Forced to pick out meaning in passages they don't fully grasp to begin with, they begin to get the idea that English class is about simply making things up and constructing increasingly circuitous arguments by way of support. So what would happen if we ditched this sacred teaching technique? For starters, we could help students read more. Speeding things up might make it easier to grasp--and appreciate--the overall arc of a book, while allowing the opportunity for real connection with the characters and plot. You can't do that at the pace of a chapter a week. Furthermore, aiming for fifteen books a year, rather than five, might expose the students to more good literature . If the goal of an English class is to improve students' grasp of language, introduce them to great literature, and--hopefully--get students excited, then there's really no downside to this approach. If a few students really want to do close reading, they can do it as an elective or jump in head first in college. Otherwise, let's chuck the concept. We gain nothing by teaching kids to hate books--and hate them s-l-o-w-l-y. "

"The upshot for schools is clear: honor codes work, Ariely said, provided that students write them out and talk about them. Codes signed at the start of the year and tucked away in an administrator's office will flop, however; the same holds true for one-off lectures on moral behavior. To reduce cheating, the honor codes need to be woven into the school's culture, a recurrent nudge that honesty matters. Now closing in on the end of the school year, Tammi is hopeful that students at Fieldston will grow to see the new academic integrity board as educational rather than disciplinary, and will come to welcome the restorative justice philosophy that serves as its foundation. "Being academically honest helps them," Tammi said. To say nothing of the rest of us. "Every time we cheat, we break a little bit of trust in society," Ariely said."

"The authors all told NPR Ed that their studies are not perfect, with a lot of gaps in the data. But here are some observations we can make."

"At the beginning of the writing process, I have had students write silently. For it to be successful, in my experience, students need plenty of topics handy (self-generated, or a list of topics, questions, and prompts provided). Silent writing is a wonderful, focused activity for the brainstorming and drafting stage of the writing process. I also think it's important that the teacher write during this time, as well (model, model, model). However, when it comes to revising, and later, editing, I think peer interaction is necessary. Students need to, for example, "rehearse" words, phrases, introductions, and thesis statements with each other during the revision stage."

"Students still use computers for writing outside of class, especially essays, but all writing in class happens by hand: notes from the whiteboard, notes from somebody's discussion comment, notes about which shoes to wear to Jim and Julia's party…. I tell them about the research, and, yes, they're skeptical-of course they are. It's like taking all their cuddly toys from the crib and convincing them it's still a place called home. But at least I know they're all present, if only functionally. I don't need to constantly worry about what might be going on in screenland. The classroom feels more like a classroom than an office, the conversations stronger precisely because more students usually otherwise engaged get involved. It comes down to a sense of kids being present together in a unified space, a space that allows for communities and communication to develop. Romantic, yes, as students are rarely present in the ways we aspire for them to be, but at least without technology, they space-out within the confines of their own imaginations. For instance, doodling when distracted instead of resorting to a virtual rabbit warren of visual excitement. As doodlers they are makers."

"If you haven't heard of Genius Hour or 20% time in the classroom, the premise is simple: Give your students 20% of their class time (or an hour each week) to learn what they want. These projects allow students to choose the content and still acquire/master skills and hit academic standards. I've written extensively about Genius Hour and 20% Time, but wanted to share a list of the 10 reasons you should consider Genius Hour in your classroom (for those of you on the fence) and why you will not regret making that choice!"

"To read a text closely one must only rely on the words in the text and their relationships to each other. They don't turn to other sources. Close readers learn to notice metaphors or symbols, interesting juxtapositions of information, ambiguities, and the like (clues authors might have left behind to reveal the text meaning to those who read closely).             The Common Core State Standards require that we teach students to be close readers-to not only grasp the literal and inferential meanings of a text, but to understand how an author's word choices and structures convey higher-level meanings; how to figure out the subtler aspects of a text.             As such, close reading only makes sense is if texts have deeper meanings. If there aren't deeper meanings requiring such text analysis, then close reading would have no value. That means close reading requires certain kinds of text complexity."

"New Jersey has become the second state to require students to pass the PARCC exam in order to graduate from high school. The New Jersey Board of Education voted Wednesday to begin the requirement with the class of 2021. Currently, New Jersey students must pass a test to graduate, but they can choose which one: PARCC, ACT Aspire, the ACT, PSAT or SAT; Accuplacer, or the ASVAB-AFQT (military entrance exam). They can also opt to demonstrate mastery of subject matter through a portfolio presentation. The board's vote means that as of 2021, only two graduation options will be available to New Jersey students: First they must try to score "proficient" on the PARCC exams in 10th grade English/language arts and Algebra I. If they can't, they may submit a portfolio appeal. "

"Great oratory magnifies the lessons of great writing. Written for the ear, memorable speeches tend to use certain rhetorical devices - such as parallelism or emphatic word order - in greater measure than less dramatic forms of communication. The language strategies rise to the surface, so you may not even need a pair of X-ray reading glasses to see them."

"We identified those who were perceived as being the most effective listeners (the top 5%). We then compared the best listeners to the average of all other people in the data set and identified the 20 items showing the largest significant difference.  With those results in hand we identified the differences between great and average listeners and analyzed the data to determine what characteristics their colleagues identified as the behaviors that made them outstanding listeners. We found some surprising conclusions, along with some qualities we expected to hear. We grouped them into four main findings:"

"How can we honor this process and make school writing about discovery? Instead of leading students to feel that school writing must be separate from their lived realities, how can writing allow students to find meaning through a process of creating? At Science Leadership Academy in Philadelphia, where I teach, we adopted common language to help us unify our writing instruction. Throughout the four years of high school, we emphasize thesis statements and the crafting of arguments. While I believe there is much value to this approach, I've also come to believe that we should do more to help young people develop their writing craft."

Springsteen "expects a lot of his listeners. He puts in some pretty subtle references to other creative works. And if the listener gets the reference, it may actually change how they look at the song a little bit, or even how they look at what Springsteen is referring to."

"In a recent New York Times interview, marking the release of his charming picture-book Outlaw Pete (public library), Springsteen shares the books that shaped his music and his mind, from poetry to philosophy to children's books - an eclectic reading list spanning numerous genres and sensibilities, life stages and moods. (Favorite childhood book: The Wonderful Wizard of Oz; last book that made him laugh: Richard Ford's The Lay of the Land; last book that made him cry: Cormac McCarthy's The Road)."

"The balanced move is best exemplified by a famous catchphrase spoken by Muhammad Ali as a young boxer: "Float like a butterfly, sting like a bee." This compound sentence (made up of two equally important main clauses) balances like a seesaw on the pivot of that comma and gains extra strength from its parallel structure, equal syntactical units to express meaning of equal weight. The mirror images go like this: imperative verb, preposition, article, noun. Even with all these, the two halves aren't precisely equal. The difference between butterfly and bee - the first word long and lyrical, the second short and sharp - creates both rhythm and contrast. Ali is both the beauty and the beast. Balance, sentence structure, verb forms, emphatic word order, parallelism, even the history of the English language (Anglo Saxon meets Norman French) are working their magic in this iconic line, coming from a man who was sometimes disparaged as the Louisville Lip."

"Unlike most American high schools, student leadership at Harwood Union High School isn't limited to campaigns for cleaner bathrooms or better cafeteria food. Here, teenagers are deeply involved in shaping the pillars of school life, from the daily class schedule to the styles of teaching and learning that work best for them. Aided by community groups that have trained them in leadership techniques, young people and adults at Harwood have forged an unusually strong and equal partnership over the past eight years. They developed decisionmaking processes that put students at the heart of the biggest school decisions. When new teachers are hired, report cards are redesigned, or honors classes are revamped, students are at the table, debating, sharing research, listening, and voting. That work has made this unassuming school in Vermont's Green Mountains a national model for educators who believe students deserve the right to play a central role in creating their school experience."

"The move from middle to high school is proving to be a critical transition, one in which students must deal with great changes in academics, responsibility and social structure all at the same time. Recent research showing a strong correlation between failing classes in ninth grade and not graduating puts an even stronger emphasis on making sure the eighth-to-ninth-grade transition goes smoothly - and puts added pressure on the 14-year-olds making their way from a more nurturing environment to the "Wild, Wild West." Formal structures for helping students transition smoothly appear to be relatively uncommon, leaving the work to already overburdened counselors and families, or sometimes no one but the students themselves. Yet two particular standout programs - one in Boston, one in St. Paul, Minnesota - are trying to help connect the dots for freshmen, and may serve as a model for other schools and systems to create a strong bridge over the rough waters from middle to high school."