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Showing posts with label culturally relevant curriculum (CRP). Show all posts
Showing posts with label culturally relevant curriculum (CRP). Show all posts

Wednesday, January 05, 2022

Aurelio Montemayor – December 1968 Testimony before the U.S. Civil Rights Commission

 Friends:

Check out this wonderful feature story of beloved friend, colleague and civil rights activist leader, Aurelio Montemayor, written by Chuy Ramirez in the September, 2021 issue of Iberoaztlan. Read his testimony below before the U.S. Commission on Civil Rights in 1968 to get a snapshot—through the story of San Felipe ISD in Del Rio, Texas—of the condition of education for Mexican American students, generally, in our state. 

One can't help but wonder about the extent to which the concerns that nagged him as a teacher back then, mostly particularly, the lack of culturally relevant curriculum in the schools, have really changed. There have definitely been improvements in the aggregate, but progress is stubbornly met with backlash as evidenced by the needlessly divisive anti-Critical Race Theory struggle we're witnessing today. 

Expressed differently, the extent to which either an Ethnic Studies curriculum or culturally relevant pedagogy and instruction is happening in our schools, the Republicans seek to squelch the little that is there. This despite the amply-document, harmful effects to our community of an assimilationist curriculum that leaves us without the resources we need to be full human beings, strong in our own cultures, languages, and identities that have long enriched Texas, the American Southwest, and our nation, as a whole.

Thank you, Aurelio, for inspiring many generations of civil rights warriors, myself included. Aurelio works as Family Engagement Coordinator at the Intercultural Development Research Association in San Antonio, Texas. Your undying optimism for a better Texas and world is infectious and evergreen.

Muchísimas gracias y felicidades!

-Angela Valenzuela



by: Chuy Ramirez

Posted: September 10, 2021


In mid-December, 1968,  while the future of the 172 boycotting high school students at Edcouch Elsa, Texas remained in limbo, the U.S. Civil Rights Commission was holding hearings in San Antonio. Ostensibly, the objective of the hearings was to report to Congress regarding the condition of Mexican Americans in the Southwest.  Three of the witnesses invited to address matters involving Mexican American public education in Texas were Aurelio Montemayor (Del Rio), Edgar Lozano  (San Antonio) and Lupe Chavez (Edcouch Elsa).   Montemayor had been a high school English teacher at Del Rio ISD during 1965-1967 and at the time of his testimony was a Project Director for the Volunteers in Service to America (VISTA).   Termination of the VISTA program would lead to the Del Rio March in the Spring of 1969. Governor Preston Smith would remove the program from Val Valde [sic] County upon the request of local politicos. As a junior, Lozano had been one of the student leaders of the Lanier High School Mexican American students grievances the prior  Spring.  Chavez was the father of several students who had participated in the Edcouch Elsa walkout.  Mr. Chavez’ testimony was in Spanish.

 

U.S. Civil Rights Commission Hearings held in San Antonio, Texas, December 9-14, 1968

Testimony of Aurelio Montemayor

Whereupon, Mr. Aurelio Montemayor was sworn by Commissioner Hesburgh and testified as follows:

TESTIMONY OF MR. AURELIO MONTEMAYOR, DEL RIO.

TEXAS COMMISSIONER HESBURGH: Mr. Rubin, proceed, please.

  1. RUBIN: Mr. Montemayor, could you give us your full name and your address and your occupation, please?
  2. MONTEMAYOR: My name is Aurelio Manuel Montemayor. I reside at 601 Water Street in Del Rio, Texas, and presently I am a supervisor for a special VISTA project in Del Rio, Texas.
  3. RUBIN: Did you teach at the San Felipe High School at any time?
  4. MONTEMAYOR: Yes, sir. I taught from 1964, September of 1964 and the year, the scholastic year after that and then I left for a year and went back another year, so I taught 3 years in San Felipe High School.
  5. RUBIN: That is within the San Felipe Independent School District?
  6. MONTEMAYOR: Yes, sir, the same school that was shown on the slides.
  7. RUBIN: What is your view of the cultural orientation of the teacher training program and of the courses prescribed by TEA for teacher accreditation here in Texas ?
  8. MONTEMAYOR: Well, first I might preface that by saying I did my undergraduate work at St. Edward’s University in Austin, which is also almost a sister school to Notre Dame. And I audited some courses in education, but I did not take them because I did not feel they were adequate for what I wanted to do. At the same time I wanted to be—I wanted to get my degree in English. I taught for 2 years and then returned to the University of Texas in Austin to see if I could find some courses that I would find adequate to help me teach the Chicano child because I did not have a single Anglo student in my 3 years of teaching, I looked at the curriculum in the education department of the University of Texas at Austin and I audited some courses. I took some in the English department. But outside of an NDEA institute which I was not part of, I could not find a course that was suitable and adequate for what I needed to teach those students.
  9. RUBIN: Well, what was your own experience during your first year of teaching?
  10. MONTEMAYOR: Frustration.
  11. RUBIN: Could you explain that?
  12. MONTEMAYOR: Yes, sir, in detail. First of all, I brought with me the textbook that I used 3 years and I will quote something from the center of the textbook. This is the literature textbook which is still being used. I think they have had it for about 7 or 8 years, it is a state-approved textbook, the part that starts a chronological study of American literature. It says America is an open society in a number of ways and it goes on. Then it says, the first comers to America were mainly Anglo-Saxons but soon came Dutchmen, Swedes, Germans, Frenchmen, Africans. Then the great 19th century period of immigration added to our already bubbling melting pot. Then later on, it said the Spaniards came.

So, my students had no idea of where they came from according to this textbook if they were part of American society.

  1. RUBIN: What is the. name of the textbook, please?
  2. MONTEMAYOR: The textbook is Adventures in American Literature, published by Harcourt, Brace and Company.
  3. RUBIN: What courses, Mr. Montemayor, did you teach?
  4. MONTEMAYOR: The course that I taught, except for one for one class I had of freshman English, was third year English in high school, juniors in high school.
  5. RUBIN: What effect does the cultural orientation in the school have on the students?
  6. MONTEMAYOR: Well, I think I can best describe that by the last semester I did of teaching, which was second semester last year, ended in May. I was thoroughly frustrated with the textbook because no matter how much I loved the literature in it, the students could not relate to it. And one of the primary rules I find in teaching, even though my experience is brief, I have plenty of reading done to back me up, that you have to reach the student at his level and bring him up from there. Even though the works in here are adequate from a literature point of view, they are totally inadequate from the point of view of these students. And so, the second semester I said—.” I had them read that carefully and think about it and they said, “They left us out, sir.” And I said, “Right.” So, let’s see if we can write our own textbook.

By this time I was sneaking in as much Spanish as I could into the classroom because I didn’t know whether it was allowed or not, and trying to see if I could get them to write and read and understand the English language which they need to deal in this society.

Since my background was quite cushioned, I didn’t realize that so many people that had my same cultural ancestry, my father is still a Mexican citizen, were so cut off. And so, I started with a paper called “Who Am I?” and with some essay questions: What is culture? What are my culture roots? What do my culture roots have to do with what I am today? They started writing their own textbook. They told me in their own words that they were inferior to the standards of this country. That no matter how much they tried they could never be blonde and blue-eyed. And some of them almost cried when they said it, but I wasn’t putting anything in their minds, I said, “Okay, work it out. What are your standards? What are the standards of this country?” And what they told me, and they wrote down, I had them sitting in a circle facing each other. I was on the outside. And on the paper, they all—well, not all, but 97.2 percent of those students told me, “The five most important things in my life are money, education to get money, security, based on money.” And one girl out of the whole 120-odd students told me human dignity, and things like that. They could not understand those concepts. And that is when it completely hit me in the face that they were somehow or other warped, distorted and I as a teacher was responsible for this.

I had them make wall-size montages covering the classroom, they were calling me a hippie teacher for that, where they told me in their own words and pictures from magazines what American culture was to them. It was violence, it was rejection of many things in our culture. But they had very little positive to tell me. Very few positive things.

And even though I don’t have an expertise in psychology, that is very bad sign. To top it all off, they couldn’t find any pictures in magazines of Mexican Americans to put on these montages, and we had about 6,000 magazines that they brought to the classroom, and I let them cut into them, use them, communicate. I said, “If you can’t write a story like Hemingway, at least communicate in some way.”

And I put aside a very carefully planned outline for teaching because it was adequate for me, but it wasn’t adequate for them. Then for the last 6 weeks I said we are getting a lot of pressure from a lot of teachers and from colleges to teach research. The standard research taught is kind of a literary research or a pattern that they follow, this machine-type thing where they go to the library and they copy from some encyclopedias and they hand it in, all the form, but nothing up here. Totally lost.

They get to college and they come back frustrated. And some of my own students told me, “You never taught us anything that we could use, no grammar.” You try to teach grammar the way you are taught how to teach it. But it doesn’t work with these kids. These constructs are beyond them. And so, you have to work down at a level that is almost insulting to them and they realize it. So, you are losing out on all ends.

So, I said, “You are going to do research, okay. But I am going to tell you what. Maybe if you do research in your own community here in San Felipe. And I am going to give you a very broad topic and you are going to fight it out from there.” I said, “Study the causes of poverty and of the situation here in San Felipe.”

Each class had to do one paper, and they had 4 weeks to do it, the last 4 weeks of school, which are harried weeks. And I said, “I want you to do—.” I had books all over the place. I was going to teach them sampling, statistics, and things like that.

They went out into San Felipe and I told them that each class is going to decide its own topic. They spent a week just deciding what they were going to talk about, and those were rough weeks, because I was just an antagonist, I was not feeding them any good ideas, they were fighting it out. They came out with the seventh period, which is probably the sharpest class, came out with a title, “Does San Felipe Have an Inferiority Complex?”

They studied the schools, they studied discontent in San Felipe community.

And as a matter of fact, a couple of the classes, since the topic is so common, tried to find out about the Laughlin situation. This caused a lot of stir. I had a lot of repercussions. The school had repercussions for this.

A little girl—well, she is small in size—and a boy were assigned by their classmates to go interview some families on the base. Their questions were: Do you know about the San Felipe schools? Would you let your children attend these schools? Yes or No? Why?

I didn’t know when they were going to do this and one night I was at another place and they came to me very scared and said, “Sir, some MPs just picked us up.” And I was frightened, because I was in some way responsible. And so, they told me that they had gone to about 20 homes on base, and then somebody had complained that they were asking questions, and they were escorted to the gate of the base. They told me it was by the commander. I don’t think so, but anyway they were very frightened. And the next day I was called in and told that these affairs were not for the students to be meddling into.

Well, they had already interviewed about 20 families, and they found favorable answers. Only one lady said that she wouldn’t send her children to those dirty schools They had them there for a semester, the neighborhoods were so dirty and all of that, and the schools were falling down. And of course, the students were finding this out on their own and, of course, as far as morale, it couldn’t have been lower.

But I told them, “Wait, put this on paper. You all write this down, you write your own conclusions and we will make copies.” And each class came out with its own survey.

The first period did one on food and consumer guides and things like that. They are not sophisticated at all, but they are the true work of the students. And it woke a lot of them up to be more concerned about their situation.

  1. RUBIN: Mr. Montemayor, did any of the parents who were interviewed indicate that they had never heard of the San Felipe District?
  2. MONTEMAYOR: Yes, sir. The little girl told me, “Sir, you know what some of those ladies there—they were very nice, but they had never heard of the schools.”
  3. RUBIN: Mr. Chairman, I would just like to introduce—first I might ask, Mr. Montemayor, if this is a typewritten version of the essays that your students wrote?
  4. MONTEMAYOR: Yes, sir. They weren’t some of the best ones.
  5. RUBIN: I would like to introduce this document into the record, Mr. Chairman.

COMMISSIONER HESBURGH: So ordered.

(Whereupon, the document referred to was marked Exhibit No.24 and received in the record.)

  1. RUBIN: I have no further questions COMMISSIONER HESBURGH: Dr. Rankin?

COMMISSIONER RANKIN: No

COMMISSIONER HESBURGH: Mrs. Freeman?

COMMISSIONER FREEMAN: No.

COMMISSIONER HESBURGH: Dr. Garcia?

COMMISSIONER GARCIA: I will ask just one short question, Mr. Montemayor.

Then it is your opinion from that brief interview, really, that no choice was actually given to the parents there whether they really wanted to go to the San Felipe or Del Rio Independent School District? Is this your impression or result?

  1. MONTEMAYOR: From the interview—

COMMISSIONER GARCIA: Yes, from the interview.

  1. MONTEMAYOR: Yes, from that interview that the student related to me.

COMMISSIONER GARCIA: That is all, COMMISSIONER HESBURGH. Mr. Glickstein?

  1. GLICKSTEIN: No, Mr. Chairman.

Sunday, January 31, 2021

"Rethinking the Canon" by Asher Price

I am so happy to learn about this Austin teacher, Lorena Germán, who, like many of us in this nationwide movement, is taking up the cause for Ethnic Studies by bringing more culturally relevant texts into the classroom. She says, and I fully agree, that "curriculum is at the root of what’s commonly termed 'difficult schools' — 'you continue to teach a culturally distant curriculum, and, all of a sudden, students are the problem.'”

Spot on. Do read her piece, but also be mindful of an array of resources at your disposal.

My favorite go-to place for learning about children's books is the Cooperative Children's Book Center out of the University of Wisconsin. They have great information on African American, Latina/o/x, and Native American texts.  They also have a great blog on children’s books that you can peruse. You could reach out to them directly with any additional information or questions that you seek or have. I recently corresponded with folks at “CCBC Info ccbcinfo@education.wisc.edu They are hugely influential and authoritative in this arena. 

For bilingual or emergent bilingual children, you will also want to, check out Colorín Colorado: A bilingual site for educators and families of English language learners

Another great resource is the Tomas Rivera Children’s Book Award that is social justice oriented that one of our graduates, Dr. Jesse Gainer has directed over the years.  Here is a link to book activities.

From their website, they list additional Useful Resources related to award-winning books:
·         Tomás Rivera Award Books
·         Pura Belpré Award Books
·         Coretta Scott King Award Book 
·         Jane Addams Award Books
·         Rethinking Schools website
For Native Americans, I just found this great resource: 40 Children's Books Celebrating Native American and Indigenous Mighty Girls.  Here’s a great listing of Aztec children’s books, too.

For African American children’s books, the Coretta Scott King Award mentioned above is excellent.  Please also see the following wonderful websites:

For small children, a place to start might be the National Association for the Education of Young Children. I also think that teachers would do well to learn about the field of multicultural education itself. Rethinking Schools out of Milwaukee has been addressing for some time now anti-racist, inclusive curriculum. For example, this text title, Rethinking Multicultural Education is an excellent resource for getting a sense of what the range of concerns are within the field of multicultural education.  

Enjoy! 

-Angela Valenzuela

#DisruptTexts

Rethinking the Canon

Asher Price Austin American-Statesman | USA TODAY NETWORK

Lorena Germán, an Austin teacher who has worked to revamp the traditional English class reading list, has a saying: “It’s one thing to take candy from a baby. It’s another to take a classic text from an English teacher.” h As a member of the collective #DisruptTexts, Germán is on the vanguard of a national reexamining of classroom book lists, one that presses teachers to set aside the stalwarts of the Western canon in favor of more contemporary, diverse authors.

The struggle over which books are taught in classrooms has raged for generations, part of the broad culture wars that have engulfed the nation. But in the wake of the Black Lives Matter protests, a Trumpist backlash and a general reckoning by institutions about race, the debate has renewed urgency.

#DisruptTexts focuses on “challenging the canon” through posts on social media and through professional organizations, Germán told the American-Statesman.

“We want to talk less about what not to teach and more what to teach, to expose teachers not only to great new voices, but also how do we teach them meaningfully, and how do we teach books in new and refreshing ways,” said Germán, who taught English at Headwaters School, a private school with campuses in South Austin and downtown, for five years — and now, amid the pandemic, looks after her three children at home.

Germán and her collaborators — teachers in Pennsylvania, Massachusetts and Colorado — have faced resistance from educators and others, including death threats.

“For some teachers, the classic texts function as Confederate statues,” she told the Statesman. “There’s a nostalgia attached to them,” she said, partly because the books were so important to their own formation as students and teachers.


With incredulity, she recounts that at one school where she was doing work, she learned that a teacher had been teaching the same book — “The Adventures of Huckleberry Finn,” Mark Twain’s ironic examination of race and slavery told through the eyes of a young runaway teen — for 24 years.

“There’s no other book merits space in your curriculum to address those issues?” Germán said.

She recommends, instead, Kiese Laymon’s memoir “Heavy,” Colson Whitehead’s “The Underground Railroad,” or books by Zadie Smith, Elizabeth Acevedo and Jacqueline Woodson, among others.

Another mainstay she has suggested should occasionally be left off reading lists: “To Kill a Mockingbird.”

Germán herself has taught the classic, she wrote on the #DisruptTexts website.

“I do so because I have a predominantly white group of students who have often already heard of it, some who have read it, and many whose parents have idolized it,” she wrote. “I use it as an entry point to engage them in critical anti-racism dialogue. It’s an entry point because it’s familiar, it doesn’t feel intimidating for them, and it connotes comfort and nostalgia.”

But with Black characters in the classic book “mistreated, misunderstood, underrepresented,” she suggests as an alternative Angie Thomas’ book “The Hate U Give.”

There is no sacred cow, for her, in the English reading list. About Shakespeare, she wrote on Twitter: “Trust me, your kids will be fine if they don’t read him.”

She suggested as alternatives or companions to mainstay Shakespeare plays Amiri Baraka’s “The Dutchman,” Zora Neale Hurston’s “Color Struck,” Ntozake Shange’s “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf,” and Athol Fugard’s “Master Harold and the Boys.”

Part of the challenge with remaking curricula, she said, are the teachers and administrators themselves.

“There aren’t enough teachers of color in the English field,” she said.

That fact is compounded by a gender dynamic within schools, between teachers — who tend to be women — and administrators, who tend to be men, she said, putting up further roadblocks to schools diversifying their curricula.

Embedded in the pushback she faces, she said, “is fear of other, a fear of losing power.”

Citing the work of Ibram X. Kendi, she said schools should “practice antiracism to create balance” in their curriculum, actively looking for ways to remake what they teach.

“One week if all I eat is red meat,” she said by way of analogy, “then maybe I should aim to eat some white meat and some veggies.”

‘Do you have to teach this text — why?’

In 2018, she co-founded #Disrupt-Texts to help “teachers build a community and find alternatives to the white male-dominated literary canon,” said Germán, who chairs the National Council of Teachers of English’s Committee Against Racism and Bias in the Teaching of English.

The foursome behind #DisruptTexts does much of its work over Twitter, asking questions about a selected canon stalwart so that teachers, librarians and writers can weigh in. Books they have focused on include “To Kill a Mockingbird,” “Lord of the Flies,” “The Great Gatsby” and “The Crucible.”

The questions they begin with are open ended: “For what reasons might teachers include this text in their curriculum? What is the value in teaching this text? Do you have to teach this text — why?”

The discussion then moves to how to teach the books in ways that bring in marginalized perspectives — or which alternative texts could be employed instead.

This work sometimes has led to threats.

“Did y’all know that many of the ‘classics’ were written before the 50s?” Germán wrote on Twitter on Nov. 30. “Think of US society before then & the values that shaped this nation afterwards. THAT is what is in those books. That is why we gotta switch it up. It ain’t just about ‘being old’” In response, young adult author Jessica Cluess called Germán an “idiot,” arguing that writers like Nathaniel Hawthorne wrote works criticizing the very societies in which their novels took place.

“This anti-intellectual, anti-curiosity bullshit is poison and I will stand here and scream that it is sheer goddamn evil until my hair falls out,” Cluess wrote. “I do not care.”

A day later, Cluess deleted the tweets and apologized — still, her agent soon dropped her for what he called “condescending and personal attacks” by his former client.

But after a Wall Street Journal columnist picked up the cause last month — arguing that #DisruptTexts was a “sustained effort” to “deny children access to literature” and that “critical-theory ideologues” are “purging and propagandizing against classic texts” — Germán began to receive vile notes.

“We need to bring back the KKK and start eradicating you filthy third world commie cretins,” read the printable part of one she shared with the Statesman. The email went on to threaten her family.

In light of the episode, #DisruptTexts released a statement this month: “We do not believe in censorship and have never supported banning books. To claim otherwise is outright false. It is a mischaracterization of our work made to more easily attack us, serve an agenda, and discredit the need for antiracist education.”

The statement also reads: “We believe that no curricular or instructional decision is a neutral one. For too long, the traditional ‘canon’ — at all grade levels — has excluded the voices and rich literary legacies of communities of color. This exclusion hurts all students, and especially students of color.”

Gaining ground

The State Board of Education, which gives direction to Texas public schools, last adopted revisions to the standards for Reading-Language Arts in 2017. The standards do not include literary titles or specific required or recommended books, but do require that students recognize and analyze “literary elements within and across increasingly complex traditional, contemporary, classical, and diverse literary texts.”

“To be clear, decisions regarding specific reading lists or texts is under local school district discretion for all grade levels,” agency spokesman Frank Ward said.

The Austin school district does not provide mandatory reading lists to schools, but its teachers are encouraged to make diverse texts available to students.

Teachers often will offer students a half-dozen texts under a theme — say, the hero’s journey — that might range from a classic to a graphic novel, said Jessica Jolliffe, the district’s assistant director of humanities.

“We’re trying to get texts in front of students that provide them with a balance between what they might need” — such as the canon, ahead of college, Jolliffe said — “and more contemporary writers that address the same themes, even if they might not have been in place long to truly be considered a classic.”

Some teachers across the country have taken the #DisruptTexts conversations to heart.

“I stopped teaching To Kill a Mockingbird and now focus on Born a Crime by Trevor Noah and Dear Martin” — a novel by Nic Stone, wrote @nicblagal, based in Illinois, on Twitter. “Swimming in whiteness my whole life made me think ‘core texts’ should be old texts (awful, I know). But now that #disrupttexts helped me know better, I do better.”

A Houston teacher named Sarah Suggs said she first came across #DisruptTexts as an elementary curriculum coach.

“I became much more aware of who was writing the texts I consumed and recommended,” she wrote.

She continued, “Now that I teach (high school), I am working on curating a variety of representative texts to use in my teaching, as well as make available in my classroom library.”

Fort Worth-area teacher Ale Checka wrote: “I had always been a ‘read classics, but read them critically’ person. I also like paired texts. But bc of DT, I begged for and got a class set of The Crossover” — a verse novel about a pair of basketball-loving brothers — “and it has turned so many kids into poetry and books in verse. Also just renewed/refreshed my teaching practice.”

Teaching empathy Germán, who was born in the Dominican Republic, moved at age 4 with her family to an immigrant community north of Boston.

The predominantly white teachers at her public high school were distant from, even hostile to, their students — mocking them, screaming at them — in ways that started with the curriculum, which was “disengaging us,” she said.

She said curriculum is at the root of what’s commonly termed “difficult schools” — “you continue to teach a culturally distant curriculum, and, all of a sudden, students are the problem.”

After college in Boston, she returned to teach at the very same public school — and from the perspective of the teachers’ lounge was further struck by the metaphorical distance between pupils and teachers.

Eventually, with a master’s degree from Middlebury College’s Bread Loaf School of English in hand — one that involved critical thinking about the classics she now wants teachers to set aside — Germán and her husband, a school administrator, moved to Austin, in search of warmer weather and new school opportunities.

They both ended up at Headwaters School.

“In my class, we’re going to talk about social issues, and we’re going to think about this literature in context,” she said. “We won’t have these books on a pedestal, untouched.”

Reading a range of books by diverse authors is key to encouraging students to think empathetically, which, she said, is an important skill in contemporary America, divided, as it is, along racial and other fault lines.

Kyle Rittenhouse, the 17-year-old who stands accused of shooting three Black Lives Matter protesters in Kenosha, Wis., last summer, “was just in someone’s classroom,” she observed in an interview. “How is that curriculum implicated?”

As for the resistance that she meets, she hears a tone of implicitly racist condescension — critics appear to assume, wrongly, that she hasn’t read Shakespeare or Chaucer, for example — as well as a lack of self-awareness.

“How can people say they are well read when they can go through life and not read a black author?” Germán said.

She and her husband also run the Multicultural Classroom, a consulting agency that has done work for companies like Deloitte — helping them design curriculum to encourage equity and support diversity among their staff — and the Ann Richards School for Young Women Leaders.

A workbook she has written — “The Anti-Racist Teacher” — has made its way into the hands of English teachers at area high schools, as well as to Stephanie Hawley, the official in charge of diversity strategy at the Austin school district, she said.

(A message left with Hawley was not returned.) “We have to change things if we want to see different results,” Germán said. “If the United States reckons with who we are, we have to figure out how we got here — we have to have this conversation.”

Questions for teachers

When educators are looking to evaluate the relevance of canonical works and their place in today’s classrooms, they can consider these questions, according to the #DisruptTexts group:

• Whom does your curriculum center? What identities or voices are marginalized or erased altogether?

• What are the norms and values of your community? How can you problematize or push back against them to expand the worldview of students and young people in it?

• What new knowledge will teachers and students need to critically examine themselves and your chosen text?

• How will the text you’ve chosen amplify and center the work of living creators so that students can see themselves?

• What will you need to unlearn (what assumptions or understandings can you let go of) to make room for new knowledge?

4 traditional books and alternatives

Here are some books #DisruptTexts has examined — and alternatives or companion texts or films that have emerged through ensuing Twitter discussions or on like-minded discussions such as “Fire the Canon”:

 “To Kill a Mockingbird”: Black characters in Harper Lee’s novel are “mistreated, misunderstood, underrepresented,” Germán writes. Atticus Finch “continues to be problematic and so many white people don’t want to admit it. His advocacy has limits. He’s not willing to question the very system that has allowed Tom to end up in this racist situation. In the face of pure racism and bigotry he doesn’t see the need to publicly disrupt the legal system.” As part of the Twitter dialogue, some educators suggested Angie Thomas’ “The Hate U Give.” Bryan Stevenson’s “Just Mercy: A Story of Justice and Redemption,” Ava DuVernay’s film “13th,” or the 1996 movie “Sling Blade.”

 “Lord of the Flies”: The 1954 novel about a group of schoolboys marooned on an island “is a masterful fictional take on how societies are built and broken—if you happen to look like the people in charge of society already,” website Electric Literature posited as part of its Fire the Canon series. “What would happen if not everyone on that island was a prep-school white boy?” Alternatives include “Damselfly” by Chandra Prasad, “Gorilla, My Love” by Toni Cade Bambara, “The Power” by Naomi Alderman, and “Severance” by Ling Ma.

 “The Great Gatsby”: Often described as the great American novel, but “if the novel represents anything, or anyone, it’s a very small, narrow view of what it means to be American,” Tricia Ebarvia of #DisruptTexts has written. As a historical document, the book gives a skewed sense of the period, one teacher wrote in a #DisruptTexts Twitter chat. “My students come in with this idea that the Roaring 20s was a gas,” social studies teacher Jennifer Phillips wrote. But “what (students) don’t know about the 1920s, more often, is the nativism, the visibility of the Ku Klux Klan, the lynchings, the race riots” or “about the eugenics movement born right here in the United States.” Alternatives or companions include “Their Eyes Were Watching God” by Zora Neale Hurston, “Raisin in the Sun” by Lorraine Hansberry, Ernesto Quiñonez’s “Bodega Dreams,” “Ma Rainey’s Black Bottom” by August Wilson, the film “Get Out” by Jordan Peele, “Passing” by Nella Larson, “Cannery Row” by John Steinbeck, “The Bluest Eye” by Toni Morrison, “You Bring the Distant Near” by Mitali Perkins, and “I Am Not Your Perfect Mexican Daughter” by Erika Sanchez.

• The Arthur Miller play “The Crucible,”

a moral examination of truth and propaganda was criticized by #DisruptTexts member Julia E. Torres as “one of too many pieces of canonical literature that disproportionately center the white, Christian, male perspective. More critical discourse comes through discussing Arthur Miller’s caricature of Blackness with the character Tituba, an enslaved woman accused of witchcraft, and the problematic way in which Indigenous people on whose land the play’s action takes place, are essentially absent from the narrative.” Alternatives or companions include Ntozake Shange’s play “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf,” “What Would Crazy Horse Do” by Larissa FastHorse, and Benjamin Benne’s “Alma (or #nowall).”

“How can people say they are well read when they can go through life and not read a black author?”

Lorena Germán

English teacher and co-founder of Multicultural Classroom