Science and the Scientific Method

“The most beautiful experience we can have is the mysterious — the fundamental emotion which stands at the cradle of true art and true science.”
— Physicist Albert Einstein

I’m moving this year to fifth grade. My assignment(s) will be one group of kids for reading and writing and three groups for science.

With the change in grade level, I have been exploring the Next Generation Science Standards (there’s a good free app through Mastery Connect) and also how people are thinking about teaching science these days. I discovered a website (Understanding Science) developed at the University of California, Berkeley. Among other things, I loved their flowchart of how science works.

The UC-B authors push back against the idea of a linear scientific method like those represented by the poster below. You can find these posters everywhere on line.

Traditional view of scientific method.

Traditional view of scientific method.

They offer this non-linear flowchart instead.

Science flowchart from UC-Berkeley Dept of Paleontology.

Science flowchart from UC-Berkeley Dept of Paleontology.

The UC-B authors liken the scientific method to the path the pinball takes through a pinball machine. Each node on the flowchart is a bumper. Sometimes the scientist bounces back and forth between Exploration and Discovery and Testing Ideas. Sometimes she bounces right on over to Community Analysis and Feedback before doing any testing, or even before developing a concrete question.

There are several things to like about this flowchart. For instance, I like the big space collaboration takes up. Science isn’t a lonely, singular activity. While Gregor Mendel might have done his genetics experiments on his own, most scientists do their thing with a bunch of other really geeky people.

I also liked the prolonged stage of exploration and discovery in this model. Too often, I think, we don’t give enough time for just living with a problem or an observation. I wrote about how fruitful it was to live with ambiguity in reading class for an uncomfortably long time. This is true in literacy as well as science. Maybe that slowing down is part of what learning is about?

I was intrigued by the many ways scientists “enter” the flowchart, through the door of their own curiosity, through surprising observations, practical problem-solving, and, really, by pure chance. Turns out that just being there with eyes and heart wide open is really important for science. Probably also for life.

To close: my eyes have been open around the home place. In my part of the world the sulfur shell mushrooms are appearing near the base of the oak trees. I know to look because I’ve been paying attention for years. July is when I start seeing them come. The other night I made a delicious snow pea/mushroom pasta in cream sauce with fresh garlic. The mushrooms came from just up the hill. There are many advantages to keeping my eyes open.

fungi-mushroom |Description=Laetiporus sulphureus-chicken of the woods |Source=Own work |Date=2006-08-13 |Author= Lee collins }}

fungi-mushroom |Description=Laetiporus sulphureus-chicken of the woods |Source=Own work |Date=2006-08-13 |Author= Lee collins }}

Next Year Begins with Playfulness

Last year I noticed that we seemed to improve our thinking about literature after I had introduced the children to the idea of figurative language, in particular, the idea of metaphor. After some practice, we began to see how authors used metaphors or other comparative devices of one sort or the other — symbols, similes, analogies, personification — to convey meaning. I wrote about our exploration of a particular image in the graphic novel, The Arrival, and our playing with metaphor in Valerie Worth’s poem, fence.

In the past, I’ve introduced figurative language later in the year as we gear up for a unit or two on poetry. When I start fifth grade this year I plan to introduce the idea of metaphor (or, more generally, comparison) earlier, maybe even in the first week, so we can use these idea to talk and think about texts over the course of the year. At its root I believe figurative language is about playfulness. And that’s the point I really want to make from the get-go next year.

Dark emperorLast year we enjoyed Joyce Sidman’s poetry, in particular her book Dark Emperor. Her poetry offers a playfulness with language, a delightful use of personification, and a serious number of wonderful metaphors to feel, study, and talk about. I wanted more.

Earlier this summer I ordered a whole bunch more of Sidman’s poetry books. They just arrived.

IMG_0443One new book would be perfect for an early-in-the-year introduction to figurative language (and playfulness in general.) That book is Red Sings from Treetops: a year in colors. Gorgeously illustrated by Pamela Zagarenski, Sidman’s poetry explores how colors, even the meaning of colors, changes over the course of the year.

 

Using the language of colors (green, red, purple, white…) Sidman’s writing invites the reader to see these ordinary words in new ways, as creatures with their own lives. A rich emotional landscape emerges from her play.

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A book of poems like that would be good enough. But in Red Sings perspective is also important. Can you imagine introducing the concept of perspective by exploring how the meaning of colors change depending on the season they are experienced? How does green look or feel in the fall?

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Of course, often my favorite color-explorations are those that lie in the shadows. Chiaroscuro describes my perspective on life.

The darkness.

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And the light.

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Red Sings is packed with poems that not only invite the reader to think about color in new ways, but to see how color (green, for instance) has different meanings when seen from different perspectives. Awesome.

All this fits with some other reading I’ve been doing on how we learn. Work by Daniel Willingham, Daniel Kahneman, Peter Brown, et al, and a book I’m reading now (A More Beautiful Question) all connect learning to the  learner’s active manipulation of new information. To learn well, a learner has to engage her mind in a quest of some sort, often to answer a question or explain something puzzling or incongruous. This quest requires the learner to pick up and examine the new information with an open and searching mind; to have both the time and the inclination to play and to experiment; to connect and compare new information with other things she has learned or thought she knew; to ask the big questions that emerge from curiosity and interest: Why?/What If?/How?

I can’t think of a better way to begin that process of playful questioning than to experience how writers play with language, how they pick up and examine common words (like colors) and ideas like the seasons we have all experienced in order to arrive at fresh ideas about things that we thought were so familiar.

On Openness — Some Stories from the Atacama Desert

I’ve been enjoying education writer Annie Murphy Paul’s Brilliant Report, a weekly dose of learning theory and research that arrives in my inbox. In the last few months she has written two posts (here and here) on travel. One post made the case that travel can help generate a sense of humility, an outlook that recognizes that there are many, many ways of doing things in this big ol’ world:

Exposure to other cultures (whether through travel or through encounters in everyday life) is one way we can keep ourselves cognitively humble; such experiences invariably remind us that our own perspective on the world is limited, and only one among many.

Travel helps us “to consider alternative scenarios or outcomes. Often we are so sure that things will work out the way we expect that we fail to account for other possibilities.”

I’m just now back from a two week trip to Chile with my partner, Beth, (an ecologist) and a friend, Anita, who is a Chilean anthropologist. We spent some time scoping out a location for a college class the two of them are going to teach about mining, tourism, people, and the environment in the Atacama desert of northern Chile.

For me, though, this trip to Chile (a place I had never been before) was a perfect opportunity to adopt a stance of openness, to see not just what lies on the surface, but to try, as best I could, to seek out what lies buried underneath. Or, as Annie Murphy Paul noted: “When in Rome…Learn Why the Romans Do What They Do.”

Valparaiso — One Kind of Beauty

One side trip took us to Valparaiso, a seaport city near Santiago that is filled with public art. My eyes feasted on the color. You don’t find this kind of exuberance very often in the staid Midwest, leaving me to wonder what kind of artistic ethos must pervade Valparaiso to account for this?

Buildings and doorways were painted with some of my favorite colors, and in combinations that were very exciting to my eyes!

And around each corner, vibrant public art was spray painted on the sides of houses, businesses, even on the many retaining walls that seem to prop up the hills.

But the majority of the time was spent in northern Chile getting to know the desert and its people.

Beneath the Surface of the Atacama Desert — Another Kind of Beauty

The Atacama is a fragile environment. Some parts have not seen rain in several hundred years. As tenacious as life is, even soil bacteria cannot grow in some places for lack of water.

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Atacama Desert. Photo: Steve Peterson

Over the centuries, sand has blown off the level spots of the desert leaving a hard pan of rock and pebbles. The sand, like snow, is carried by the winds to form drifts around any surface irregularity it encounters such as these uplifted sedimentary hills in the Valle de la Luna.

Valle de la Luna.

Valle de la Luna at sunset. Photo: Steve Peterson

Valle de la Luna

Valle de la Luna, the white is salt from groundwater evaporation. Photo: Steve Peterson

More rain falls in the highlands, which brings grasses, and the vicuña that graze on the grasses. The grasses shone brilliant yellow against the crystal-blue sky. Behind, volcanoes loom.

Grasses near a laguna in the altiplano. Photo: Steve Peterson

Grasses near a laguna in the altiplano. Photo: Steve Peterson

The desert is filled with salt flats several thousand meters thick that are formed by ancient water from prior glacial events that slowly oozes up through mineral bearing rock back to the surface. With no outlet, the flats dry like an immense evaporation dish, creating a crucial habitat for three species of flamingos that eat shrimp from the briny waters and for many other birds, too. Some of the sandpipers that I see in Iowa winter in the Salar de Atacama. (We are more closely connected than I realized, this place and me.)

Flamingos in the Salar de Atacama. Photo: Steve Peterson

Flamingos in the Salar de Atacama. Photo: Steve Peterson

Life is tenuous in the desert. Flamingos compete for water with the lithium mines. It turns out that the Salar de Atacama contains more than 25% of the world’s lithium supply. Large quantities of lithium rich ground water is pumped to the surface and evaporated in large pools that you can see in the center of this Google Earth screen capture. (For some reason, Google Earth thinks this is the Salar del Carmen.) The batteries for my computer probably contain lithium mined in the Atacama. The flamingos live in small salt ponds north of the mines. The water the mines take from the ground isn’t being replenished.

Lithium mine evaporation ponds as seen from Google Earth.

Lithium mine evaporation ponds as seen from Google Earth.

And desert life is hard for people, too. Growers in the small town of Tocanao grew fruit on the fertile floodplain in a small slot canyon along a sweet water river that came from the mountains. Until, that is, a freak rain in the mountains four years ago created floods that swept away not just the fruit trees, but also all of the topsoil, leaving bare rock behind. Desert life is life on the edge. And living on the edge gets even more difficult with extreme weather caused by climate change.

A few years ago fruit trees grew along the river. Photo: Steve Peterson

A few years ago fruit trees grew along the river. Photo: Steve Peterson

People become ingenious in order to survive. They settle in small towns along small streams and use terracing techniques to capture and hold water. It is amazing to think of the accumulated knowledge these growers have about seeds, watering cycles, and farming in nutrient poor soils, not to mention the political skill it takes to manage systems like this in such an extreme environment and under such scarcity.

Terracing in Toconce. Each family group gets a certain section of the terrace to work. Irrigation flooding happens on a set schedule worked out cooperatively. Photo: Steve Peterson

Terracing in Toconce. Each family group gets a certain section of the terrace to work. Irrigation flooding happens on a set schedule and is worked out cooperatively. Photo: Steve Peterson

A house with windows made of tires. The glass appeared to be a washing machine door. Bars are sticks embedded in adobe. Beautiful and practical! Photo: Steve Peterson

A house with window frames made of tires. The glass appeared to be a washing machine door. Bars are sticks embedded in adobe. Beautiful and practical! Photo: Steve Peterson

But this way of life is also changing. Minerals, especially copper, have been mined in the geologically active mountains throughout the Atacama region for many years. The Chuquicamata mine is one of the biggest open pit mines in the world. All it takes is a quick look out the airplane window to see how dominated the landscape is by mining and the insatiable need our world has for more and more.

The Chuquicamata copper mine as seen on Google Earth. 5Km long, 3Km wide, and 1Km deep.

The Chuquicamata copper mine as seen on Google Earth. 5Km long, 3Km wide, and 1Km deep.

All that mining uses a lot of water, which is in short supply in the desert. The mining caused the water in some towns to dry up, which caused the food supply to be tight, which caused some of the Atacameños who lived in those towns to move to the city of Calama, a dingy mining town on the Loa River.

And it was in Calama, that I saw some more inspiring sites and, through Anita, met some very interesting people indeed.

Making Likantatay — Still Another Kind of Beauty

Unfortunately, I don’t have many photos of Likantatay. I’ll have to describe it with words.

Likantatay is Lila’s home turf. Lila is an Atacameña from one of the villages who now lives in Calama and works at a local school. Anita met Lila when she did some of her anthropological research in the desert communities.

We drove to the outskirts of Calama to meet Lila early one morning. She had agreed to show us her home community of Caspana, a two hour drive northeast from Calama, and to introduce us to some of the people there. The sun was just coming up as we left the paved roads of Calama and entered a section of town that contained rutted, dirt streets. Fences made of wooden pallets and rusted corrugated metal siding lined both sides of the road. Gaps in the fences revealed patches of desert with what appeared to my eyes to be random piles of debris — rock, concrete from road destruction, wire, and metal. It looked like a dumping ground for city residents. I thought we were lost.

Our meeting place turned out to be an intersection of two dirt streets. We parked near a low cinder block structure. An old man rode slowly past on a squeaky bicycle in the chill desert air.

After some time, Lila appeared and lead us through a metal door and into the courtyard of her family’s compound.

Finally, I began to see beneath the surface. As we talked (with Anita translating) I began to realize that what had at first appeared to be a garbage dump was actually a long-standing community that represented the hope and dreams of many people.

The settlement of Likantatay was started by Lila’s mother and other Atacameños as a squatter community just outside the Calama city limits. After they moved from the villages (Toconce, Rio Grande, Caspana, Chui Chui, among others) the transplanted villagers felt a desire to keep some of the former ways of life in their new life in the city. They settled in communal groups, built homes from scavenged materials (the piles that I first saw as junk were actually raw materials for construction), and they developed fields to grow produce and grains (the patches of desert that I saw through the fences were actually fields that had no crops because it was winter in the Southern hemisphere.)

For several years, the Likantatay residents “stole” water from the sewage pipe that left Calama. They would open up the pipe at night when no one could see in order to water their fields. They raised corn and carrots and squash and potatoes, as well as livestock. (Lila’s family had several goats, sheep, pigs, llamas, and chickens in pens behind their compound.) They relied on their centuries old skills to share the water equitably among farmers.

Later, after much strife (including some sit-ins at government offices) the residents of Likantatay gained some legitimacy. And along with that legitimacy came services like electricity, sewer, and water (a canal was dug mostly by hand by Atacemeños, but through land that the city needed to free up.) Likantatay had become a part of the city.

It was also an important place for the Atacemeño diaspora to gather to support each other. The day we visited Lila’s home was already busy with food preparation. A large party was scheduled for later that day. One of the Atacameñas, now living in Santiago, had developed cancer. In response, the community had her travel back to Likantatay for a Mass for healing to take place around a homemade altar. They put on a feast to raise money for treatments. It matters to have a place to carry on these traditions. It matters that people wrested a home from the government and from the desert. Sometimes people need to come home.

So, my experience in Likantatay really did help me gain another level of humility, to realize that there were stories behind the fences and the piles of concrete and metal, that beauty takes many forms. The experience in the desert helped me see that stories of survival, tragedy, and triumph are layered around us like drifts of sand sifted and dropped by the winds that blow through our lives.

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After a long day in the villages in the foothills of the Andes, we returned to Likantatay. The large communal kitchen in the compound was filled with women and girls cleaning up after the party. Jaime, a girl of about ten, asked if Beth, Anita, and I would go to the back and watch her show off some soccer moves she had been practicing. One thing lead to another and she challenged Beth and me to a soccer match, which got videotaped as it became increasingly hilarious. Somewhere making the rounds of Likantatay is a short video of Jaime kicking my butt, passing the ball to herself between my slow feet, juking, feinting, and making this old gringo jerk around like a marionette on a string. And that’s just one more small story to drift on top of the others.

On Seeing Slowly — What the Children’s Poetry Taught Me This Year

The year ended. I packed up my room for a move to fifth grade and am just now back from a trip to Chile (more about that later). Finally, after all of that I have a bit of time to think back on the end of the school year and to celebrate some awesome poetry that the kids wrote this year.

I was impressed with the level of observation that the children brought to their poetry writing. For instance, these poems came from a photo prompt (taken from the National Geographic photo archive) that captured a lightning strike on the prairie.

G’s:

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And J’s:

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What impressed me about these poems was not just the way the children tried to capture the dramatic image of the lightning, but the way they tried to work that image into something larger (a mood or feeling) that the image helped to generate. G’s poem became a meditation, using repetition and a really cool comparative device that I don’t have a name for (“Vikings say…”, “Greeks say…”, “But I say…”) I was struck by how contemplative and quiet G’s poem was.

J’s poem, on the other hand, dropped the reader right into the drama of the photograph through superb word choice and the use of personification. (I really do love her imagination. Wow. She’s a good poet already at just ten years old.)

Other poems emerged from a couple of trips we took to the creek that runs behind our school. Sure the creek is controlled and channeled (as is too much of school, frankly), but we practiced watching and waiting and noticing all of the small creatures that seem to disrupt even the most controlled environment — spiders and ants, violets and bladder campion, minnows, scuds, and water striders. Heck, some kids even found the rolling, roiling movement of the sediment carried by the current, and the play of the sun off the water’s surface sufficiently inspiring to write about!

There’s a poem here, even in the darkness of that culvert.

L’s poems lingered, floating on the current…

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…to places far beyond our backyard. (Did knowing that the Japanese poet Issa wrote over 250 poems about frogs — and about 150 about dragonflies — help L. write at least two about the creek’s current?)

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E.’s imaginary encounter — deer and wolf — happened during a moment of reverie near the creek.

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I was interested to see poems come from books we had read. Another of E’s poems, Dark, came at least in part from our read aloud, The Dark, by Lemony Snickett. Snickett’s personification of Darkness captured E’s imagination. But E. did the rest, building tension by varying his line breaks and choosing words to heighten the drama for the encounter between Darkness and Light.

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Other poems came from objects the children and I brought in to school. A robin’s egg that I found on the path in the woods behind our house became inspiration for J’s haiku, which nailed the “twist” that haiku poets like to put in their poems.

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Still others found in poetry a way to connect with their funny side. A’s dry sense of humor shines through in this pet store poem that uses questions, repetition, and the blank spaces between thoughts to communicate ideas beyond the words on the paper.

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Or J, again, with her love of cats. I love that last line (“fierce master of stripes”) and the first image, too. That “needle in a haystack” image came from her knowing that tiger stripes allow for good sneaking in tall grass.

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So, what worked this year? I haven’t always gotten such good poems.

First, and mostly, the kids seemed open to the task. Maybe that’s because, at fourth grade, they are a bit older than I’m used to teaching. Surely that extra part of a year helped them experience how language has literal and figurative components.

Second, I resisted giving the children “forms” to write from. In the past as the children begin to bog down in their poetry writing, I would offer them mentor texts that have more of a formula for how to write a poem of that kind (for instance, W.C. William’s “This is just to say…”) or I would send them to some websites that offer a chance to write poems in a certain form for the kids to print them out. However, this year the only form I gave them was haiku (and that wasn’t really much of a form since I didn’t insist they follow a 5-7-5 format) and a lot of poems by authors like Valerie Worth, Joyce Sidman, and Laura Purdie Salas. I chose these poems because they looked at common ordinary things in ways that transformed them into the extraordinary.

Third, I spent the better part of March writing poems of my own using Ted Kooser’s Winter Morning Walks and Tom Hennen’s Darkness Sticks to Everything as mentors. My goal was to pick an image a day, describe it, and see where the image brought me. I like Kooser’s and Hennen’s poetry because they are image based. Yet they use that deceivingly simple image as a window into something deeper, perhaps grander. Of course, I read the children selected poems of mine, including ones that I posted on this teacher blog. Some of my courage to resist giving the children formulaic poetry this year came directly from my experience writing from images myself. I knew they could push through to something interesting because, well, I had done that earlier.

Finally, throughout the year I tried to develop an awareness in the children of what the phrase “seeing slowly” might mean. Early in the year we developed a model for how we learn; noticing and thinking were central to that model. When it came time to write poetry, we already had a good sense of what it might look and feel like to slow down a bit and notice the world around us. We had practiced it in our reading, our writing, our talking and our listening. Maybe that attention to paying attention had something to do with the poetry that emerged at the end of the year.

I am happy that summer is here so I have a bit more time to think and write and just be in this big ol’ world. But when school starts up again, I will try to take what I learned about poetry and seeing and slowing down as I begin a new year in fifth grade next year.

Poetry: Natural Selection

Aloe polyphylla Schönland ex Pillans
Photo Credit: brewbooks via Compfight

I’ve been packing my classroom for a move to fifth grade next year. That means a change in buildings and leaving the colleagues that I have worked with for the last 9 years. True, in a small school district like ours, we’ll still see each other, but this will be a change.

And as school has let out, I’ve had some delightful outdoor work to get the home place ready for summer. Weeding, digging, scything, planting, pruning, trimming are all about bringing plants under some kind of control, which they are not inclined to do on their own.

Both moving and my outdoor work made me think about my attempt to control and alter the world around me, to strive for (impose?) my order and my design. Which brought me to this poem.

Natural Selection

What is a weed?
you ask. Which is
a good question to pose
as you sort plants
in the garden. For instance,
this flaxen flower
brimming with beetles
amongst the beans?
Or this oak seedling
whose earnest taproot
has pierced its bronzed shell
to dive deep into the earth.
It would outlast you
by many lifetimes,
would over the years
transform the strawberries
into a forest. Is a weed
simply something you pull now
while you still have a chance?

Steve Peterson, 2014

 

 

Chalk-a-bration — Poems on the Sidewalk

To celebrate the beginning of the end of the year (snow days this winter made the end last a good, long time!), our school had a celebration of poetry (dubbed a chalk-a-bration by teacher Betsy Hubbard). Our building principal contacted business owners who agreed to allow children to write poems on the sidewalk in front of their businesses.

It was a lot of fun!

Several business owners came out to greet us, smile, and take photos of the children at work. The children had a wonderful time, too.

As you can see, it was a beautiful, sunny day.

We decided that the children could either write poems themselves, or find some in books that I showed them this year. These poems really reflect their varied interests, but all show just a little part of their heart.

Many, many chose to write poems of their own creation.

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What fun.

Seeing Slowly: Class Poems about an Egg

This is a re-blog from our classroom website.

I have more to say about this project, but I haven’t had the time to let stuff sink in enough to write about it. In the meantime, here’s some poems that we’ve been writing. There will be more to come on our classroom website.

We’ve been having some fun with poetry this year. On many Fridays we’ve read great poems by Valerie Worth, Laura Purdie Salas, Joyce Sidman, and many others. I have also shared some poems that I wrote.

This project started with us looking carefully at a simple object: a photo of an egg on a table. As we looked, we tried to see beneath the surface, to find beauty and meaning in where our minds took us. I’m very impressed with the work the children did, with the care and openness and depth they showed in their writing.

You see, I have this sense that there is a difference between looking and seeing. To me, the difference is time and care. Poets (and scientists) try to really see, which means they have to spend some time with their eyes, mind, and hearts wide open. Which makes writing poetry on the last days of school a really great thing to do. It’s good to spend some time at the end of the year with our hearts wide open.

I have really enjoyed reading what the children saw. As Teagen put it so well: “I see/ an egg/ with powers/ powers that/ make you/ feel/ full.” These poems make me feel full. We hope that you enjoy them, too.

There will be more to come!

Poem: A Pebble at Sunset

Summer Time
Creative Commons License Photo Credit: {Zack} via Compfight

I’ve been playing with images, trying to see where they will take me. I have several reasons. First, I’m finding the desire to slow down and notice stuff. The busier I get, the faster I see, the less I notice. I’ve heard teachers talking about the Slow Learner movement in the same way people talk about the Slow Food movement. I’m intrigued. Why not learn slowly and let stuff sink in more deeply? Savor more? I’m a learner, too. Second, I think children might like to write poems that begin as a small, perhaps insignificant, image, to See Slowly and describe richly, to discover where that practice might take them. So these poems are an experiment to see what I can learn so I can teach better. Third, I like the prose poetry of Louis Jenkins, the way, like a loon, he dives deeply into an image, swims underwater for awhile, and then pops up in some unexpected place far from where he entered. I am playing with that form.

Finally, this poem in particular is written for (ahem) a certain teacher who inhabits the same skin I do. Towards the end of the school year, I sometimes have to look up at him on his high horse and read him the serenity prayer.

A Pebble at Sunset

A pebble at sunset stands tall in the road like one of those cowboys on a horse from the old movies, squinting into the sun and facing down the bad guys who have just now ridden into town and will stop by the saloon and swing open the squeaky doors. Its shadow stretches down the road, thin and sharp, like maybe an over-sized Stetson propped atop its head has increased its size, a six-shooter at its side, ready to softly growl, “‘Bout time to be leaving town, pard’ner.”

Daylight dims and shadow edges blur, become indistinct, and the stone settles into a familiar, more pebbly existence. Mostly round. Low to the ground. Pale. A small part of the road that leads over the creek.

Steve Peterson, 2014

Real Talk

A quick post this morning about a short conversation with a child that helped me see how he was thinking about a text he was reading. A conversation like this tells me so much more about what is going on in the mind of a child than does some norm-referenced number on a standardized test.

A boy, a very capable yet reluctant reader, came up to me and said:

Boy: Hey, I just got Gregor the Overlander from Kadin and I’m liking it.

Teach: Cool. He thought you might like it. I’m reading it now and I’m liking it, too. What do you like about it?

Boy: I’m noticing that it’s a lot like Amulet.

Teach: (I hadn’t thought about that before…) Hmm. What do you mean?

Boy: Well, in both the kids go into a basement and end up following a path into another world. Also, in both there’s a parent that’s missing. In Amulet the kids have to go after their mom that’s been taken away by this creature. They have to go try to save her. In Gregor, the kids fall into this hole into another world. I think they are going to find their father down there. Maybe they’ll have to try to save him, too.

Teach: So, I’m seeing the start of a theme here, are you? There’s something about kids being on their own, about the roles being reversed here. Parents usually take care of kids, right? Maybe these are different kinds of stories?

Boy: Yeah! The kids are the ones who do all of the really good stuff in Amulet. They have to save the parents.

Teach: And they discover they have something inside them that they didn’t know they had.

Boy: Yeah! Emily has the power of the stone. And Navin can drive all kinds of things. I wonder if Gregor and Boots will have some kind of powers?

Teach: That’s a good question. If the books are similar, maybe he will discover some power he didn’t know he had…When you’re reading keep that question in mind. Does Gregor (or Boots) have a power that makes it really important for them to have fallen down that hole? I’m curious now, too.

Also, you got me thinking about something else. In Amulet they arrive in a world that is in real trouble. They don’t really understand how much trouble it’s in right at first, but they eventually figure out that things aren’t really going well down there. I wonder if the world Gregor and Boots have fallen into is in trouble, too? What do you think?

Boy: It sure seems like it, but I haven’t read very far into it yet.

Teach: Well, maybe that’s another question to keep in mind as you are reading? Is there some trouble in the Underworld that Gregor needs to try to figure out? Let me know what you think as you read more, okay? Let’s talk more after we get farther into the book.

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Several things struck me about this conversation. First, this boy is comparing books; that’s Common Core-y as my friend, Sara, says. Second, these books mean something to him, which is probably why he feels the desire to compare them. [He probably had a question like this in his mind: Why does this book feel like that book?] Third, our conversation was initiated by him and I entered it as a fellow explorer, rather than as a teacher-with-the-answers. True, I have more experience with these texts and so I pushed him to think about some stuff that he might not have come to on his own, but the flavor of the conversation was as a real conversation with give and take and discovery. And my push was tinged with the flavor of a fellow explorer.

Finally, as we talked a small group of other kids gathered to listen in and to add in their thoughts. They became fellow explorers, too. This momentary gathering of people helped this boy see that what he was saying about a book could be interesting to others, that ideas can hold attention. For me, it was another example of how important it is, in my interactions with the children, that I be a human being first and a pusher of curriculum second. It’s nice when these roles coincide. But if I have to choose, I’d choose the real talk, trusting that at its core are the elements necessary to build a better reader and thinking person.

On Gravity and the Regular Orbit of Comets

Tracker CoverA small group of guys and I have been reading Gary Paulsen’s book, Tracker, together.

Together? Well, maybe sometimes. Some of these particular boys orbit through group work like celestial objects through a solar system. Their hearts and attention appear to be tethered to some complex system of invisible forces beyond my ken. Now here, now somewhere else, the gravitational pull that orders their lives does not often include talk about ideas with others.

From experience, I know they don’t do well when I arrive with a specific skill for them to learn or practice; they tend to tune me (and other kids) out, wandering off in their thoughts, perhaps dutifully doing the task I’ve assigned, but sometimes not. Dutiful or not, under those circumstance the “learning” does not appear to go very deep inside.

I chose Tracker because I knew the boys might groove on the topic. Most of them are hunters and have been going hunting with families for several years. Also, they hadn’t been exposed to Gary Paulsen’s work and I hoped to connect them to the deep themes that Paulsen explores through his books.

I kept my main goals simple: Like the skimmer construction project we are completing in science class, I planned to give the boys some good materials to use and a problem to solve. Translated into “reading class”, that meant they’d need a good book, and I would ask them to think BIG about what Gary Paulsen might be trying to tell them through the book. In other words, we’d explore not just WHAT the book means, but WHY the book exists? Why the heck did Paulsen write this book anyway? What might he have wanted us to think or feel when we read it? I asked them to mark places that “seemed important” and we would talk about those together.

We read. We gathered. We lay in a circle on the carpet. Chairs don’t work for these guys. They like to roll and rock, feet and bodies moving. Their talk sometimes sounds like machine-gun fire — short pronouncements delivered in bursts — rather than the kind of searching exploration that I seek to create.

Yet, in this merry band of comets, one conversation this week set me back on my heels. And it caused me to think about what I know about learning and teaching, and to wonder about what school is, exactly?

*  *  *  *  *

We’d read nearly half the book. We knew of John’s grandfather’s cancer; and two boys brought the recurring stories of death to the carpet.

These boys argued that the theme was death, and they cited as evidence Clay’s cancer, the deaths of John’s father and mother, the neighbor, three deer, particularly a line: “I was close enough to see the life leave it’s eyes.” They could relate to that sight.

Something interesting happened next. I asked: “What about death do you think Paulsen wants us to think about? What do you think he’s thinking about? Why might he have written this book for us to read?”

The response back was: “I’m not really sure.” To which I said: “Then what does it feel like he’s trying to say, even if you can’t put your finger on it exactly? We can work with what your heart tells you.”

Guy1: It seems like something is draining out of John as his grandfather is dying, that he’s trying to keep it together.

Guys: (Others agreed that it seemed that something was changing, but there was some general dissatisfaction with the “draining out” idea, too.)

Teach: You mean like he’s losing energy? Or something else?

Guy2: No, he seems to be gaining energy from the beginning. Like, he’s doing his chores and that seems to help him. But I see what you mean about something draining out. There is something happening.

Teach: What could be draining out…what could this idea of death, or the near death of his grandfather be doing to him that makes you feel like he’s losing something?

Guy3: It seems like maybe that what is draining out is maybe John’s connection with his grandfather. He’s been really important to John…John doesn’t have a father or mother and there’s no one around for him except his grandparents. Now his grandfather is going to die and there’s nothing he can do about it. It’s like John and his grandfather are connected, but that connection is draining away. They used to do chores together. They used to hunt together. Now John does all of that stuff by himself.

Guys: [Others chime in with examples of how the relationship has changed, how John doesn’t get to do stuff with his grandfather anymore. There is general agreement that this “death” theme might be not “just” about death, but about John losing some kind of important connection, and when that’s gone things will change for him, something will be broken.]

Teach: (I thought it might be important to explore not just “broken connection” idea, but also the “nothing he can do about it” idea, too.) So, what I hear you saying is that one thing this story might be about is the question: how do you deal with losing connection with important people or things, especially, like many losses, this loss is out of our control…Could that mean anything in our lives, even if we don’t have a grandfather dying…?

And so the conversation went. Worries welled up. Worries about family, worries about divorces, about many, many things that are out of our control. Yet we still have to deal with them, these things that boys don’t talk much about, especially in school. Which eventually brought us back to the book.

Teach: So…maybe Gary Paulsen wrote this book so he could help people like us learn how to live a good life, a meaningful life even when bad things happen, bad things that are out of our control…?

I told you once before that Paulsen ran away from home when he was young ’cause his family life was so bad. Things were so out of his control that he couldn’t take it anymore. How do you live like that? How do you find something good and important in all of that stuff?

Guy3: Maybe he wrote the book to help us figure that out?

Guy2: Maybe he wrote the book to figure out for himself…?

Teach: So, as we read more, maybe we can look for his answer…How do you live when things are out of your control? What do you do? How do you act? What do you hope for? What do you accept?

Which makes me think…Do you remember that odd bit that he wrote about the Japanese poets that his grandfather loved? The ones who wrote haiku? Do you remember that there was a line of Clay’s that struck us: “How did they find beauty in the midst of such ugliness?” Could it be that’s something this book wants to teach us? Maybe there’s some wisdom in the book that’s important for us?

*  *  *  *

So, what to make of this one moment within a larger moment in the lives of some boys who aren’t sure of their place in school? I’m not sure.

I know that this particular book, coupled with these particular boys’ experiences, hit a nerve. I felt it. I could tell that they felt it, too. This description of John Borne’s life — a life of loss in a world out of his control — is also a struggle to find something to hang on to. This description caused them to connect pretty deeply with their own lives, a connection that allowed them to settle their comet-selves down on a carpet under a bank of fluorescent lights contained by four walls long enough to consider the possibility that some made-up character from the mind of someone they don’t even know might have something profound to say to them. Something shifted inside. Permanently? Assuredly not. Shifts show the temporary nature of things, not their permanence. But inertia is inertia and what is in motion has a greater chance to stay in motion…Who knows…?

I also know that it matters that I’m not a computer, and that the kids aren’t reading for AR points. I know them and what they struggle with. Our conversation naturally deflects toward those centers of gravity.

And, so…what’s this school-thing all about anyway? There are no standards that mention the seismology of the soul. There’s no way I could write that goal on the whiteboard: “A student will…what, exactly?” But without the gravitational pull of something meaningful, how do comet-souls find a force strong enough to claim a part of their mass? And without that pull — without the Japanese haiku poets that John Borne’s grandfather reveres, without the Gary Paulsens (or the librarian who gave him some books when he was a fourteen year-old) — how does one find beauty enough, gravity enough to capture a heart?

Finally, I write about this experience not because it is so uncommon, but because every teacher has had these experiences where lives are touched, including our own. We talk about this amongst ourselves. And yet the official version of school isn’t really about this kind of thing. Is it?