Whitewashing ‪Muhammad Ali‬: Our Racist Past, Present, and Future

Throughout my ‪social media connections, in the wake of Muhammad Ali‬’s death, a warning and a prediction were common: do not allow Muhammad Ali‬ to be whitewashed and watch as people whitewash Muhammad Ali‬.

On ESPN radio, during a show soliciting people to call in about Muhammad Ali‬, I listened as George Foreman shared an anecdote about Muhammad Ali‬ and Foreman discussing God, reaching the conclusion that Muhammad Ali‬ transcended race.

Muhammad Ali‬ did not transcend race. A black man, he was race. He punched racism in its cowardly face.

This whitewashing of Muhammad Ali‬ has a long history, in fact. It is what we do in the U.S. to mask our racist past, to deny our racist present, and to insure our racist future.

In 2012, Michael Ezra explained: “[Muhammad Ali’s] emergence as boxing’s eminence grise, one of the country’s most beloved figures, tells us much about how Americans construct the past to make sense of the present.”

After outlining Muhammad Ali’s tumultuous fame and infamy, Ezra concluded about the resurrected and recreated Muhammad Ali: “But Ali’s return to glory has come at a price; it is predicated on the whitewashing of his past and the silencing of his voice.”

Under the weight of disease and now shrouded in death, Muhammad Ali has been subsumed by the very demon of the U.S. that he chose to fight with dire consequences to himself and his career as a boxer.

Muhammad Ali has been reduced to a caricature to suit white America in the same way Martin Luther King Jr. has been trivialized as a passive radical.

“Transcending race,” “post-racial,” and “I don’t see race” are codes that blind of progressive racism, of what Ta-Nehisi Coates calls “elegant racism.”

The most vile examples came when Muhammad Ali died and mostly, but not exclusively, right-wing political leaders—who are racists, who court racists, who are xenophobes, who court xenophobes, who are Islamophobic, and who court Islamophobes—offered effusive praise for Muhammad Ali as the Greatest of All Times, quoting his butterfly and bees line in the same shallow way white America embraces King’s “I have a dream.”

Muhammad Ali was far from perfect—but being flawed matters only about people with minority statuses in the U.S.—but Muhammad Ali was never Michael Jordan or Tiger Woods, apolitical (as in, the safe sort of whitewashed market “political”) Nike pitchmen.

Ask Richard Sherman or Marshawn Lynch about being a political black athlete today.

Muhammad Ali has to be whitewashed because he did not gain his historical importance from “speaking his mind” (all sorts of blowhards and moral vermin “speak their minds”), but from being on the right side of morality about racism and militarism in the U.S. 

If you are uncertain about race and racism in the U.S. right now, and want a peek into how racism will endure into our future, read the comments here.

Also right now you can witness the most insidious forms of whitewashing through the political and media manipulation of inexcusable hate and violence, which Clint Smith confronts:

Last week, the U.S. Department of Justice announced that it would seek the death penalty in the case of Dylann Roof, the twenty-two-year-old accused of walking into the Emanuel A.M.E. Church in Charleston, South Carolina, last year and murdering nine black members of its congregation after spending the preceding hour praying alongside them.

Smith challenges the call for the death penalty, highlighting the support from the political Left and concluding:

Those who support the death penalty are accepting a practice that is both ineffective and fundamentally flawed. It means supporting a system that not infrequently kills those with serious mental illness. It means supporting a system in which an execution is far more likely to take place when the convicted murder is black and the victim is white, than it is when the victim is black and the killer is white. It means supporting a system that has sentenced, and continues to sentence, innocent people to death. In our impulse to rid the world of those we find reprehensible, we forget that we are also ridding the world of those who have done nothing wrong.

Instead, Smith acknowledges:

Roof is not a historical anomaly as much as a representation of a past that America prefers to sweep under its rug rather than commit to cleaning up….Killing Roof does nothing other than soothe the moral conscience of a country that would rather not reckon with the forces that created and cultivated his ideology.

The real and complicated Muhammad Ali offered the U.S. who we could be, but we are dedicated to whitewashing instead.

We remain unable to see that Donald Trump and Dylan Roof are who we have been, who we are, and who we are likely to be—as long as we refuse to see, we refuse to act with the sort of moral conscience that a black Muslim chose instead of playing the game demanded of him.

On the Deaths of Prince and Ali: Even More Anxiety Chronicles

Gilbert Gottfried had a joke that included the land of the one-name people—there was also the pretentious first initial people, I think, like F. Scott Fitzgerald—and there was a time I thought the joke was brilliant, especially in the context of Gottfried’s delivery.

But not today.

I have been planning to write about Prince’s death, and the role of chronic pain in that far-too-early passing.

I was sidetracked by nerd-panic over Captain America, and then Ali died as well.

I cannot claim to have been a fan of Prince. What I can say is that I was, from the very first moment I heard and saw Prince, in awe of Prince—the enormity of his gifts, the size of his presence.

Ali was a completely different story because he was an iconic target of the racism within which I was raised. I was brought up to scorn Ali.

From young adulthood until today, I have worked diligently to make amends for those facts of my life that were not my decision, but for which I still feel responsible.

Today, now, as the world has lost both Prince and Ali, I can say without hesitation that I live in awe of both men—I am driven to cold chills and tears because of the grandeur of their lives, their living.

But that Prince fell victim to chronic pain and Ali lived a deteriorated man for years hurt me to the core in a way that I understand in ways I wish I did not.

Along with my lifelong battle with anxiety, I suffer under the weight of chronic pain—and I have no real way to separate the two since I think the anxiety and chronic pain are working in tandem, a brutal cycle.

How does someone of Prince’s talent and fame end up dead and alone, fallen by his battle with chronic pain?

I don’t know the facts of Prince’s life, but I do know that anxiety and chronic pain are the twin cousins of a much more powerful and dangerous force: embarrassment.

As a tremendously privileged white male, I am not writing a pity party here, but even my privileges work to create an even greater bubble of embarrassment.

My anxiety and chronic pain make me feel weak, inadequate, and hopeless—less of a man, less human because I cannot enjoy my mortal shell.

Even on the best days and during the most wonderful moments—moments public and intimate—anxiety and chronic pain tag along, hover there, tap me on the shoulder.

In Scarcity, Sendhil Mullainathan and Eldar Shafir argue that the ultimate tragedy of poverty is that people living in scarcity cannot take a vacation from poverty.

That is the anchor of anxiety and chronic pain—there are no vacations, even when we stoop to proper and self-medication.

If we find ways to numb the chronic pain, we still know it is there, that it will return. Chronic pain is chronic, it isn’t a wound or affliction that will heal.

Along while Prince’s pain, I am petrified of the natural deterioration of aging, held before us by Ali’s struggle with disease.

When the mighty fall, we all must be more aware of our shared humanity, a frailty that cannot be ignored forever.

Ali was vilified for his bravado, that scorn a base code for rejecting the nerve of a black man to demand with words his own and other’s dignity.

I live in the shroud of embarrassment created by anxiety and chronic pain, but my heart is drawn to Prince and Ali as they lived, as they celebrated themselves as evidence that we humans can be glorious if we so choose.

Their public selves were the antithesis, the antidote to embarrassment for simply being ourselves.

Today, I am sad, yes, but I also feel fortunate to have been gifted these possibilities of living life freely and proudly—as Ali demanded: “You must listen to me.”

O Captain America! Our Captain America!

Every woman adores a Fascist,
The boot in the face, the brute
Brute heart of a brute like you.

“Daddy,” Sylvia Plath

Camille Paglia has confronted her own prescience about the direct line from Arnold Schwarzenegger being elected governor of California to Donald Trump now being a serious candidate for president: “This is how fascism is born.”

And while these political realities—possibly catastrophic to a people clinging to life, liberty, and the pursuit of happiness—will likely not receive very much attention by the mainstream public, please don’t **** with an iconic comic book superhero:

The goal, of course, is to shock readers into buying the next issue, and presumably that’s what comics scribe Nick Spencer and his colleagues at Marvel Comics hoped to do when they executed a final-page revelation in last Wednesday’s Captain America: Steve Rogers No. 1: We learned that Cap is actually … evil? The Star-Spangled Avenger uttered the words, “Hail Hydra,” the fascistic slogan of longtime villain collective Hydra. Say it ain’t so!

Comic books (and more recently graphic novels and the film adaptation of superhero comic books) have always been both a reflection of and fuel for pop culture in the U.S.

And the primary subgenre of comic books, superhero narratives, has done far more to perpetuate the very worst of our society than to confront or seek to rise above xenophobia, racism, sexism, homophobia, and warmongering.

Marvel Comics claimed the comic book throne in the 1960s—over long-time powerhouse DC—but has since experienced a renaissance through film adaptations.

Iron Man and Captain America, for example, have recaptured the public’s imagination—but only a few have offered that their appeal is strongly grounded in our militarism, our patriotism that is strongly tainted with nationalism and even jingoism.

These film adaptations have carried on a tradition of the comic book industry—one that is primarily market driven: the reboot.

Now, however, pop culture has two competing set of fans, clashing nerdoms—those who worship at the alter of the comic book universe(s) and those who worship at the alter of the film universe(s).

Captain America being outed as a life-long fascist, then, in the pages of the comic book reboot of Steve Rogers as Captain America along side Sam Wilson as the replacement Captain America (see below) has drawn the ire of fans.

However, that anger lacks a grasp of both the history of Captain America and that Captain America has always been our fascist.

The general public in the U.S. suffers under a lazy understanding of terminology—such as “communism,” “socialism,” and “fascism”—and under the weight of an idealized (and misleading) faith in capitalism, one that confuses the “free market” with freedom, liberty.

The horrors of fascism include its embracing totalitarianism and militarism in order to sustain corporatism. It is fascism, in fact, that is perfectly reflected in Captain America.

In a chapter I recently completed and is now in publication, I examine race in superhero comic books, and focus on the ascension of Sam Wilson, black and formerly The Falcon, to being Captain America. In that discussion, I researched and unpacked the history of Captain America.

Here is an excerpt of that unpacking from the section subhead “Comic Book Superheroes: From Gods to White Knights”:

While gaining a much larger cultural status because of the rise of Marvel films, Captain America may best represent how superhero comics represent race and racism—as the ultimate White Knight. “Captain America, an obviously Aryan ideal,” McWilliams (2009) poses, “has always had a curious relationship with racial ideals” (p. 66) [emphasis added]. In fact, Golden Age (from the 1940s), Silver Age (later mid-twentieth century), and contemporary Captain America each represents well the comic book industry (and Marvel Comics specifically) as well as how popular culture reflects/perpetuates and confronts race and racial stereotypes.

As superhero archetype, Captain America embodies the masked duality (Brown, 1999), the white ideal, the masculine norm, and the periodic rebooting of superhero origins as part marketing strategy and part recalibration that helps mend the tear between the official canon of the comic book universe with the changing real world. The rebooted origin stories of Captain America/Steve Rogers are powerful lessons in race and the comic book industry (Hack, 2009; McWilliams, 2009).

The 1940s Captain America arrived in the wake of Superman, Batman, and Wonder Woman from the minds and pencil of Joe Simon and Jack Kirby. Uber-patriotic, these foundational stories, including the original origin of Steve Rogers’ transformation into Captain America, are xenophobic and perversely fueled by eugenics (Hack, 2009). Somehow the medically altered superhuman maneuvers in the U.S. were morally superior to Hitler’s parallel ethnic cleansing [emphasis added]. The 1970s Marvel recasting of Captain America by Kirby and Stan Lee reflected the changing social mood about war (Vietnam)[i], and laid the foundation for coming face-to-face with race and civil rights with the addition of Sam Wilson/The Falcon (to be explored in detail below). Although this new Captain America in the Silver Age incorporated the best and worst of Blaxploitation conventions found in films of the era (McWilliams, 2009; Nama, 2011), this new origin sought to erase traces of eugenics from the Captain America mythos (Hack).

From the 1980s (a hot decade for rebooting origins, highlighted by Frank Miller’s Batman) and into the early 2000s, Captain America’s origin continued to be reshaped. Notable for a consideration of race is Truth: Red, White and Black from 2003, which details a remarkable alternate origin as a medical experiment on black men (echoing Tuskegee), resulting in Isaiah Bradley ascension as the actual first Captain America (Connors, 2013; Hack, 2009; McWilliams, 2009; Nama, 2011). While the Truth/Bradley side-narrative is important in an investigation of race in comic books, Captain America provides an even more important entry point into race and superhero comic books through the 1970s teaming with Sam Wilson/The Falcon, and then the more recent and new origin story in which Wilson becomes the new (and black) Captain America (see below). However, the entire Captain America mythos, as Hack (2009) concludes, “begs the question as to whether comics such as CA [Captain America] knowingly presented a different America from the one that actually existed [and exists], or if the creators of these books believed a version of reality in which eugenics was a boon to civic virtue and in which no American would knowingly profit from Nazism. …Good and evil were [and are] presented in reductionist terms, and offered little of what contemporary conservatives decry as moral relativism; yet these distinctions were no less blurry in pre-war America as they are today: war, as always, is business” (p. 88).

It is in that broader context, I believe, that the Falcon and Wilson’s donning the cowl of Captain America are central pieces of the complex puzzle revealing how comic books address race.

So Captain America has always been a fascist. But we actually didn’t need Marvel’s newest reveal to know that.

Captain America has always been our fascist, and that is all that matters.


See Also

Hydra the Beautiful: The American Roots of Captain America’s Quasi-Nazi Revelation, Noah Berlatsky

Having the good guys turn out to be bad guys is fun as a plot device. But, as Truth shows, the actual implications aren’t fun at all. When Captain America beats up Hitler, it’s a blow against white supremacy. But given the twisted origin and development of the protagonist, it can also be seen as a blow for white supremacy, Jim Crow, segregation, racism and the eugenic fantasies that helped inspire Hitler to begin with. Hate’s a big part of what made Captain America into Captain America, with his blonde hair and perfect muscles. “Hail Hydra” is as American as apple pie, or superheroes.

LGBT Visibility: This Fucking Week, Matt Santori-Griffith

Oyola, O. (2015, November 3). The Captain white America needs [Web log]. The Middle Spaces. Retrieved from https://themiddlespaces.wordpress.com/2015/11/03/the-captain-white-america-needs/

References

Brown, J.A. (1999, Spring). Comic book masculinity and the new black superhero. African American Review, 33(1), 25-42.

Connors, S.P. (2013). “It’s a bird … It’s a plane … It’s … a comic book in the classroom?”: Truth: Red, white, and black as test case for teaching superhero comics. In P.L. Thomas (Ed.), Science fiction and speculative fiction: Challenging genres (pp. 165-184). Boston, Ma: Sense Publishers.

Hack, B.E. (2009). Weakness is a crime: Captain America and the Eugenic ideal in early twentieth-century America. In R.G. Weiner (Ed.), Captain America and the struggle of the superhero: Critical essays (pp. 79-89). Jefferson, NC: McFarland and Company, Inc.

McWilliams, O.C. (2009). Not just another racist honkey: A history of racial representation in Captain America and related publications. In R.G. Weiner (Ed.), Captain America and the struggle of the superhero: Critical essays (pp. 66-78). Jefferson, NC: McFarland and Company, Inc.

Nama, A. (2011). Super black: American pop culture and black superheroes. Austin: University of Texas Press.

[i] Corresponding as well with Dennis O’Neil and Neil Adam’s Green Lantern Co-Starring Green Arrow, DC, 1970-1972, identified by most comic books scholars as a key moment in the cultural awareness of the medium.

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Yet More “Don’t Believe It”: The “Grit” Edition Part One by Paul Thomas

Paul Thomas engages the reader in some of the most profound and controversial topics of our day. Like Kurt Vonnegut — who wrote, “I want to stay as close to the edge as I can without going over. Out on the edge you see all kinds of things you can’t see from the center” — Paul stays close to the edge. He writes in a voice that connects with readers in a way that is reminiscent of David Foster Wallace, while his existential framing of the terrifying truths of the times in which we live reminds us so often of Maxine Greene. Beware the Roadbuilders: Literature as Resistance is a tour de force not to be missed. In the month of June Garn Press celebrates Paul’s book with a series of syndicated posts from his blog, The Becoming Radical, and a special 30% discount on Amazon of his book Beware the Roadbuilders: Literature as Resistance. For Amazon buyers, buy the print book for $17.95, get the Kindle version for an additional $2.99.

paul-thomas-book-coverBeware the Roadbuilders: Literature as Resistance by Paul Thomas

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Education May Never Be “Great Equalizer,” But Must Model Equity

Model and actress, Emily Ratajkowski gained fame from a misogynistic and exploitive music video, but has since emerged as a complicated and important feminist voice confronting the sexualizing of women and body shaming.

Ratajkowski’s Instagram account mainly offers personal and professional photographs of Ratajkowski in various states of undress, but she is also prone to using that platform for the occasional political message.

Recently, she posted a grainy photo of crudely taped note challenging dress codes in schools for discriminating against females; as the note states, “INSTEAD OF SHAMING GIRLS FOR THEIR BODIES, TEACH BOYS THAT GIRLS ARE NOT SEXUAL OBJECTS.”

I shared this on social media myself, and encountered a number of not surprising responses—many of which where the typical “but” offered by men when sexism is exposed.

The central message of the note posted by Ratajkowski is both well documented [1] and urgent in terms of the essential inequity found in many traditional school policies such as dress codes and disciplinary guidelines and outcomes: Dress codes are sexist and school discipline (notably suspension and expulsion) is racist—paralleling the same inequities in U.S. society.

School dress codes and discipline policies, then, represent the tragic failure of claiming that formal education in the U.S. is the “great equalizer.”

Not only is that claim untrue, but also the reality of how formal education reflects and perpetuate social inequities is even more damning.

And while a strong case can be made for reforming traditional public education so that school can be the “great equalizer,” I remain skeptical that school reform alone will ever reach this ideal.

In short, we need public policy that directly confronts the cancers of racism, classism, and sexism—the great inequities that thrive in the U.S.

But my skepticism doesn’t justify ignoring the equally great failures of public education. At the very least, we must create a public education system that is a model for the sort of equity we envision in our so-called free nation.

Dress codes that place burdens disproportionately on females are entrenching sexism, body shaming, and rape culture (for an extreme version, consider the lack of institutional care at Baylor University), school discipline practices that initiate and parallel the racially inequitable criminal justice system—these are but two, although significant, examples of how public schooling remains trapped in an accountability paradigm that neither recognizes nor corrects inequity because standards and high-stakes testing are themselves inequitable, teacher assignment is inequitable, tracking and gate-keeping of advanced courses are inequitable, charter schools and school choice are inequitable, and grade-retention is inequitable.

Dress codes may seem to be a somewhat insignificant but necessary part of formal education, but, in fact, dress codes are ugly reminders that we have failed to create schools that model the type of fair and just world to which we aspire.

For Ratajkowski, her own feminism may have ironically begun because of the exact failures of these attitude:

In eighth grade, a vice principal snapped my bra strap in front of an entire room of my classmates and other teachers. She did it because the strap was falling out from my tank top and that broke the school’s dress code.

The institutional shaming of young girls is the seed of misogyny and rape culture just as the disproportionate criminalizing of young black males and females in school discipline codes is the seed of mass incarceration.

If our education system cannot be the “great equalizer,” it must at least be a model of a fair and just way of being.


See Also

Dress Codes in Schools: Spaghetti Straps, Midriffs; Adults’ Need for Control, Steve Nelson

[1] See The Sexism of School Dress Codes, Li Zhou; The Anatomy Of A Dress Code, Juana Summers; How School Dress Codes Shame Girls and Perpetuate Rape Culture, Laura Bates; Girls Fight Back Against Gender Bias in School Dress Codes, Brenda Alvarez. Also, the research:

“Tank Tops Are Ok but I Don’t Want to See Her Thong”: Girls’ Engagements With Secondary School Dress Codes, Rebecca Raby

Cleavage in a Tank Top: Bodily Prohibition and the Discourses of School Dress Codes, Shauna Pomerantz

Polite, Well-dressed and on Time: Secondary School Conduct Codes and the Production of Docile Citizens, Rebecca Raby

Class‐Room Discipline: power, resistance and gender. A look at teacher perspectives, Kerry H. Robinson

Headscarves and Porno-Chic: Disciplining Girls’ Bodies in the European Multicultural Society, Linda Duits

Maintaining the Charter Mirage: Progressive Racism

As a former (and humbled) recipient of the National Council of Teachers of English’s George Orwell Award, and devoted reader of Franz Kafka, I am prone to recognizing when a Twitter debate seems surreal—and yesterday’s pushed me to suspect I was a victim of a parody account (but I wasn’t).

Spurred by my posts confronting the Post and Courier (Charleston, SC) embracing both takeovers of traditional public schools and “miracle” claims from a privatized charter chain, I foolishly waded into a charter debate with a self-professed “libertarian” edujournalist who writes for a publication that advocates for school choice and is a research fellow for The Friedman Foundation for Educational Choice as well as the superintendent of South Carolina’s Charter School District (if charter schools are public schools why do we have a separate school district for them?).

My Orwellian/Kafkan moments included the edujournalist calling me an “ideologue” and the superintendent bristling at my questioning the value of one year of data on the “miracle” charter school—seems there is no time for accountability for those knee-deep in the pet projects of the accountability movement.

But it became even more ridiculous (the feeling of a parody account even more intense) when the edujournalist began to Tweet horror stories about public schools, suggesting (“come on” was his refrain) that these cherry pickings somehow justified continuing to support the charter school mirage. (You see, the charter/school choice crowd cannot maintain multiple facts in mind at once—that we can challenge the very real failures of traditional public schools and recognize that the charter school alternative has been an equally negative failure.)

Because charter schools are without a single controversy—students of color walking out due to a lack of diversity and lack of racial sensitivity, children wetting their pants under the intense focus on testing.

Nope. Nothing to see here in the rosy land of the charter mirage.

The charter mirage is a scam, similar to the entire buffet of education policies embraced during the past thirty years of accountability.

This political scam can be traced to two facts: (1) politically and socially in the U.S. we refuse to identify and confront directly the race, class, and gender inequities that scar our nation and all our public and private institutions, and (2) education policy is driven by ideology and not attention to research, which makes even more disturbing that a superintendent would argue that we don’t have time to evaluate data about whether or not any school’s claim of success is real.

If we can address both of these, however, we can recognize the key elements in the charter mirage*:

  • Charter schools are reinforced by a non-critical media enamored by “miracle” school stories that are nearly universally discredited by careful consideration of the claims. Exceptional charter schools are either false claims or outliers that offer absolutely no evidence needed for how to reform all schools.
  • Charter schools are essentially indistinguishable from public or private schools. The evidence base reveals that school types remain insignificant when we consider populations of students. Some school practices have better and worse outcomes—but none of these are somehow linked to school type (what Matthew Di Carlo has labeled, for example, as “charterness”).
  • Charter schools share with traditional public schools a pattern of re-segregating students by race and social class.
  • Charter schools are prone to skimming (choosing preferred students), attrition (sometimes purposeful counseling out), and serving populations of students unlike those traditional public schools must serve (charter schools may include racial minorities and poor students, but ELL and special needs populations are underserved). All of these dynamics shade any effort to claim a charter school is more effective than a traditional public school.
  • Charter schools increase the problem of black/brown and poor students being taught by inexperienced and un-/under-certified teachers—notably by the close association between charter schools and Teach For America.
  • Charter schools tend to embrace racially insensitive “no excuses” policies that exacerbate inequitable discipline policies also common in traditional public schools.
  • Charter schools may appear to serve better poor and minority students, but media and political praise for KIPP and KIPP-like charter schools often ignore that claims of greater “months of learning” attributed to the charter school (and somehow the “charterness”) is directly proportional to simply extending the school day and school year. In other words, if charter schools extend the day and year while not increasing “months of learning” that would be a news-worthy story.
  • Charter schools and all school choice create student, teacher, and funding churn that negatively impact the possibilities of needed and effective reform.

Advocacy for the charter mirage is almost always by people invested in charter schools or school choice regardless of the consequences. Charter mirage advocacy is also driven by the missionary zeal of progressive racism.

The “miracle” school mantra is directly linked to that missionary zeal that comes from thinking “I” know what is best for others and “I” can do what others cannot (because “I” am exceptional).

If New Orleans’s education debacle has taught us anything, we must admit both that the historical and political negligence of poor people of color—their children and their communities—is inexcusable and that disaster capitalism in the form of doing to that same community with charter schools and a TFA teacher force is equally inexcusable.

And this brings me back to the Orwellian nature of all this: the charter “miracle” is a charter mirage—a mirage propped up by those invested politically and personally in the mirage as well as by those edujournalists who are unable to step back and consider evidence over ideology.

To suggest that we have only two choices—the historically negligent traditional public school system or the charter mirage—is a nightmare from which we need to wake.


See Also

Failing The Test Series

Failing the Test: A New Series Examines Charter Schools, Bill Raden

Failing the Test: Measuring Charter School Performance, Julian Vasquez Heilig

*Charters and Access: Here is Evidence, Julian Vasquez Heilig