Scientific Fundamentalism

As we work toward my first-year students’ first essay submission in their first-year writing seminar, I invite them to reconsider essay forms, specifically reimagining the standard one-paragraph academic introduction as a much more engaging and purposeful multi-paragraph opening.

My beginnings activity is grounded in the openings of essay collections by Barbara Kingsolver—High Tide in Tucson and Small Wonder. The latter volume includes a number of essays prompted by 9/11, and during the fall semester, this activity often coincides with the anniversary of the tragedy.

In “And Our Flag Was Still There” (originally published as a different version here), I focus on the opening, which creates tension for the reader and incorporates dialogue to create that tension. Kingsolver uses the interaction between her daughter and her to dramatize the tension that Kingsolver feels about the US response to the 9/11 attacks.

When her daughter explains that their school is asking children to wear red, white, and blue to acknowledge the attacks, Kingsolver replies: “I said quietly, ‘Why not wear black, then? Why the colors of the flag, what does that mean?'”

Later in the revised essay from the collection, Kingsolver confronts the issues around 9/11 that I think remain inadequately examined in the US:

In one stunning statement uttered by a fundamentalist religious leader, this brand of patriotism specifically blamed homosexuals, feminists, and the American Civil Liberties Union for the horrors of September 11. In other words, these hoodlum-Americans were asking me to believe that their flag stood for intimidation, censorship, violence, bigotry, sexism, homophobia, and shoving the Constitution through a paper shredder?”

Small Wonder


More than two decades after Kingsolver wrote those words, as we once again faced September 11, I noticed that our fervor for the anniversary has both waned and remained mostly deeply inadequate.

In the wake of the attacks, the US retreated into a patriotism, a nationalism, that we have failed to examine because we committed to a self-righteous quest for retribution.

Although we are more apt now than then to name it, Kingsolver was confronting the paradoxical Christian nationalist response to an attack by Fundamentalists Muslims. And as a result, too many Americans, then and now, have failed to recognize that the core problem is fundamentalism.

From fiction, such as The Handmaid’s Tale, to a current reality, such as the documentary Shiny Happy People, there is ample evidence to warn us of the dangers of those people trapped in fundamentalism, people who believe they know the Mind of God and thus feel righteous in their behavior to fulfill God’s Will.

I share Kingsolver’s anger at the Christian fundamentalist response to 9/11, but I also regret that so few in the US—again trapped in a state of nationalism—are able to see that the fundamentalist response to a fundamentalist act of terror is self-defeating: An eye for and eye makes the whole world blind.

The core failure of fundamentalism is a combination of over-simplification and authoritarianism.

In religious fundamentalism, God’s Will is a veneer for the interests of a few in power, almost always entirely men, to control the rest.

While the US continues to drift further and further from our founding ideals of a secular democracy, a people committed to life, liberty, and the pursuit of happiness shielded by a solid wall between church and state, I think we would be making another mistake by simply waving a fist at the religious part of “religious fundamentalism.”

We are equally susceptible to the dangers of scientific fundamentalism as well.

One of the most powerful and harmful examples of scientific fundamentalism is scientific racism, the long history of using science to entrench racial stereotypes in the US (primarily in terms of measuring intelligence, such as IQ).

Similar to the US response to 9/11, the public and political responses to Covid—during the pandemic and since—expose the dangers of fundamentalism. Too often the promises of science (medicine) have been and are squandered because scientific fundamentalism creates unhealthy and equally overly simplistic resistance (such as the Joe Rogan phenomenon).

Overstating and misrepresenting, for example, masking or cleaning surfaces during the pandemic created a platform for anti-scientific beliefs.

“Science proves” and “research shows” are often misused clauses that are followed by a fundamentalist reduction, not the nuanced and complex reality that science tends to offer.

In education the pursuit of science to inform practice has a long history, but increasingly, the use of “science” over the last forty years of reform has drifted toward scientific fundamentalism—represented by the National Reading Panel (NRP) as central to NCLB and then the current “science of reading” (SOR) movement.

The NRP report was an incomplete overview of research on reading, never peer-reviewed, and essentially a political document, not “science.”

Yet current advocates of a very narrow use of “scientific” in reading instruction and legislation not only cite the NRP report, but misrepresent it and cling to anything that supports their ideology regardless of its scientific validity.

That is scientific fundamentalism; it is reductive and used as a shield from genuine inquiry or, ironically, a scientific approach to how students learn and how to best teach.

In all aspects of society and government, we need healthier aspects of belief and science, not an erasure of either, that recognizes that fundamentalism can exist and be corrosive in any context.

Simplistic uncritical faith in religion or science fails both, in fact.

Education above all else is no place for fundamentalism of any kind.

Centering Students in Novel and Play Study

Student knowledge and beliefs about literacy and literature are necessarily a reflection of their teachers’ knowledge and beliefs about literacy and literature.

I teach first-year writing at the university level; much of my work is helping students unlearn and reconsider that knowledge and those beliefs they brings from K-12 education.

Teacher posts on social media are often windows into the misconceptions those students bring to college. I recently fretted for a few days after seeing Advanced Placement teachers refer to book-length nonfiction as “novels,” which triggered a recurring situation when I ask students what novels they read in high school.

The answers often include The Crucible and Shakespeare as well as more recently Between the World and Me—prompting me to note that none of those are novels. Students have mis-learned to call any book assigned and studied in school a “novel,” the seeds of having weak or even flawed understanding of genre (see also here), medium, and mode in reading and writing.

Before I could spend any time on that social media post, however, I came across this:

I agree with both challenges here, but think Anger’s post is way more than a “bad take.” Here are a couple reasons why before a fuller discussion of how to center students in novel and play study.

First, I have little experience that assigning a single novel/play for all students to study under the guidance of the teacher is somehow mostly absent from high school literature classes.

Second, whole class study of novels and plays centers the teacher’s authority (the teacher guides the students through the work and then assesses students on that teacher’s framing of the work) and acquisition of knowledge about a singular work (essentially trivia).

Dropping the whole-class study of assigned novels/plays is not only a needed shift in literature study with students, but also a better approach to fostering student autonomy and healthier beliefs and deeper knowledge about literacy and literature.

One instructional and assessment shift is fostering students’ skills at text analysis instead of knowledge acquisition about a specific text. Traditionally, we assign The Scarlet Letter, walk students through the novel page-by-page, and then test students on knowledge they have retained about that novel.

Instead, we should be giving students multiple experiences interrogating texts and then putting them in new text situations to assess their ability to analyze texts. For example, we can do whole-class instruction on a short text by Hawthorne as preparation for having students analyze a text by Hawthorne students haven’t read before.

The key is not knowing facts about Hawthorne’s canonical novel, but fostering their ability to analyze a text better because they are familiar with that author and have context for anticipating those new texts.

The assigned whole-class novel/play is appealing, I think, because it allows greater control of instruction and, again, centers authority in the teacher and the work being studied. None of that, however, is fostering the sort of autonomy, knowledge, and beliefs students need, and deserve.

In the late 1990s when I was teaching high school AP Literature, I made the switch from assigning whole class novels and plays to complete student choice in the major works my students studied in preparation for the AP Literature exam.

I documented that first experience in English Journal because I learned some key lessons the hard way.

First, this shift requires purposeful and direct instruction that supports students’ ability to choose novels and plays. My students taught me that over a decade of being assigned what to read had failed them as skilled or even eager consumers of works.

Teachers disproportionately do way too much for students (see also the problem with rubrics and writing prompts) and inculcate compliance over agency and autonomy.

Finally, let’s consider how making the shift away from whole-class assigned novels and plays can be navigated by teachers despite the valid challenges that poses.

Novel/play knowledge and instructional strategies are often the two most pressing concerns for teachers accustomed to traditional novel/play study.

Yes, I have had students choose novels/plays I had not read (but often read eventually because students chose them) but that in no way hindered my ability to offer instruction or assess their work. In fact, when students are allowed to be the authority on a text, they often are more fully engaged in both reading and understanding the work.

Next, allowing students tethered choice in texts can fit into traditional practices.

The primary structure of novel/play study grounded in student choice and agency is that I designed thematic units within which students chose their works (tethered choice).

For example, one unit was Black writers and the lives of Black Americans. Students had to choose and justify a novel within that theme (we focused on works that helped prepare them for the AP exam, for example, but in any class the purpose must be established for studying the work—understanding American literature or preparation for college, etc.).

Next, for each work the student chooses, they had to build a resource folder on that work by doing searches in the library; these resource folders had literary analysis and author material that supported the student’s study but also gave me access to knowledge if I had not read the work.

Now, I think this is the key for teachers concerned about how to conduct instruction.

We still had whole-class discussions around the thematic element, but each student was invited to share their journey through their chosen text. All students, then, were encouraged to connect and contrast as the discussions unfolded.

For example, one student would note the use of flying motifs drawn from African mythology in Toni Morrison’s Song of Solomon, prompting other students to share the use of flying motifs in other works.

These organic connections were much more engaging than when I orchestrated page-by-page analysis of a shared novel or play.

These class discussions were embedded in reading workshop structures that allowed students time in class to read and research as well as conference with me and other students (especially when students chose the same work).

Using these approaches, students read more, were more deeply engaged, and gained much healthier beliefs and richer knowledge.

As teachers, we must constantly interrogate when our commitments are grounded in retaining power and authority versus fostering the autonomy and agency of our students as well as the integrity of our fields of literacy and literature.

Despite social media protestations, I doubt whole-class novel/play study has disappeared from high school literature classes, but I also certain that making the shift away from that and toward student agency would be one of the best developments for those students.

The Zombie Politics of Marketing Phonics: “There Is a Sucker Born Every Minute”

Consider the following claims about reading proficiency in students and the teaching of reading in the US:

  • No one teaches phonics.
  • There is a phonemic awareness crisis.
  • Direct, systematic, and sequential phonics is the only way to go.
  • Decodable texts are important.

I suspect that most people concerned about education and reading who pay even a modicum of attention to mainstream media will find these claims not only applicable to the current state of reading but also true.

However, there is a problem, which prompted this post from Rachael Gabriel:

As Richard Allington details, these claims are simply not scientific, ironically, even as advocates of the “science of reading” repeat claims that have been standard but misleading arguments for decades.

Since at least the 1940s, these phonics-centered claims have been compelling for the media, the public, and more recently political leaders; yet, “there is no indisputable evidence of a national crisis in reading, and even if there were a crisis, there is no evidence that the amount of phonics in classrooms is necessarily the cause or the solution,” as shown by David Reinking, George G. Hruby, and Victoria J. Risko.

At the core of the phonics frenzy is market, and as Allington noted in the late 1990s, “There is a sucker born every minute.”

I recommend reading Allington’s piece in full and the following reader for context and much more complex and accurate understanding of reading proficiency and the teaching of reading:

LNL: The Debate Over Grade-Level Reading

LNL: The Debate Over Grade-Level Reading

See Also

A Critical Examination of Grade Retention as Reading Policy (OEA)

Grade Retention Advocacy Fails by Omission

Gaming the System with Grade Retention: The Politics of Reading Crisis Pt. 3

Grade Retention Harms Children, Corrupts Test Data, But Not a Miracle: Mississippi Edition

Beware Grade-Level Reading and the Cult of Proficiency

What Do We Really Know about Reading Proficiency in the US?

Understanding and Reforming the Reading Proficiency Trap

Paired Texts: Barbie and Wonder Woman Historia: The Amazons

At my core, I remain an English teacher, and in that role, I have always loved inviting students into interrogating paired texts, especially texts that mix and blend various genres and media/forms.

I essentially do not go to the theater any more to see movies, having become pretty content to view films on streaming services. But I splurged and found myself in a nearly empty theater yesterday to watch Barbie.

I have been agnostic about the social buzz around the film, but I must confess that many years ago I accepted that any movie with Ryan Gosling in it is likely worth the time of viewing.

The film not only fulfilled all my expectations from what I have read, but far exceeded what I anticipated. The short response is Barbie is a very smart and purposeful film, filled with excellent writing, filming, and acting. But most of all, Barbie confronts complex topics in simple but not simplistic ways.

And the topics are quite extensive:

  • Gender
  • Social norms
  • Capitalism and materialism
  • Democracy
  • Idealism and reality
  • Patriarchy
  • Family
  • Self-awareness, identity, and the existential crisis of being human

Certainly, the film isn’t exhaustive on these topics, and there are moments that feel shallow. But it works so well at making the viewer able to enter into a consideration of issues that are, frankly, extremely difficult to maneuver because the human condition is complex and these topics are fraught with ideological and political triggers.

I suspect, however, that the people who need the invitation Barbie offers are still not likely to reconsider or even consider what the film graciously offers.

If you don’t feel compassion for the close ups of stereotypical Barbie after she is crying and you can see the tears have created little rivers of no make up on her face, well, I dont’ have much hope for you.

But the people I remain forever hopeful about are students.

So I recommend pairing Barbie with the trilogy Wonder Woman Historia: The Amazons, written by Kelly Sue DeConnick with a variety of wonderful artists and other creators over the three Books in the series.

As sequential art (comic book/graphic novel), this reimagining of Wonder Woman and the Amazons overlaps with Barbie as a feminist text that refuses to be simplistic.

What pairing the texts add is how the works use mythology as an entry point to interrogate gender, norms, and human frailty in ways that are deeply compelling. And of course, at the heart of both works is the insidious influence of power that can be arbitrary and corrosive to human dignity.

The Ken/patriarchy motif of Barbie is brilliant and provides an excellent space for discussing Historia and the Amazons.

The Barbies and the Amazons represent a woman-centered culture, but both are juxtaposed to the real world that is man-centric. And Historia weaves in classic mythology which is a wonderful pairing with the use of Barbies (women) and Kens (men) as types, even as the main Barbie expresses, stereotypes.

The two works also allow discussions of genres and media/forms since the film is primarily satire and has strong fantasy elements that contrast with the darker and more -hyper-realism of Historia.

Both, although in different ways, provide excellent texts for discussing the impact of the visual on engaging with and understanding these texts. Both works are visually stunning.

And finally, the most important aspect of pairing Barbie and Wonder Woman Historia: The Amazons as a unit for students is that the texts are the antithesis of the caricatures conservatives are attacking in the culture war against anything diverse, what they slur as “woke.”

Education is about asking hard and complex questions and coming to know what we don’t know, what we don’t yet fully understand.

Barbie and Wonder Woman Historia: The Amazons never stoop to indoctrination, never slip into unfair or sweeping ideological pandering.

Especially when experienced together, it is hard to be on the other side with more answers than questions. And that might be the most beautiful gifts they offer us as their audience.

Recommended

Just in Time: Wonder Woman Historia: The Amazons

Wonder Woman Historia: The Amazons (Book Two): Women and Children, Goddesses/Gods and Mortals

Wonder Woman Historia: The Amazons (Book Three): “Born to Die”

Thomas, P.L. (2018). Wonder Woman: Reading and teaching feminism with an Amazonian princess in an era of Jessica Jones. In S. Eckard (ed.), Comic connections: Reflecting on women in popular culture (pp. 21-37). New York, NY: Rowman and Littlefield.

Black Widow Series

[Review] WONDER WOMAN HISTORIA: THE AMAZONS #3 (SPOILERS!), Robert Jones, Jr.

ILEC Response: The Right to Read: The greatest civil rights issue of our time.

International Literacy Educators Coalition

ILEC Vision: To promote literacy learning practices that enable all children and youth to realize their full potential as literate, thinking human beings.

Download a PDF of the response.


ILEC Response: The Right to Read: The greatest civil rights issue of our time.

The Right to Read connects reading instruction, civil rights, and full participation in society by asserting that there is only one approach to teaching reading. The film provides few specific details about the research that supports this stance, and there is little to no discussion about other aspects of teaching and learning that impact student achievement.

Also, there are the repeated examples of what Maren Auckerman refers to as “Errors of Insufficient Understanding”or “errors that reflect inadequate grasp of the field.” Auckerman’s examples include:  a weak connection to actual research, misrepresenting research findings and over-relying on a narrow slice of research. The narrators assert: “We know what works” without citing research to back up this claim.  The film repeatedly uses wording that illustrates Auckerman’s points such as: “proven,” “what’s working,” “what’s not working,” “evidence-based”, “all research indicates,” “research”, and “consensus.”[1]

As we watched the film, Rachael Gabriel’s words continue to resonate: “Even as debates roiled about approaches to reading instruction, it was clear that individual teacher decisions were important for optimizing students’ opportunities to learn. If teacher decision-making is of paramount importance, then so is a teacher’s individual knowledge base for teaching” (Chapter 7, p. 173).[2]

Positive Aspects of the film:

  1. The film highlights the racialized achievement gap and asserts that solutions are possible.
  2. It emphasizes all people have the right to learn to read to attain a successful life.
  3. The film stresses the critical roles of research and family members in literacy education.

ILEC Concerns:

  1. There is no mention of culturally responsive, research-based practices or research-based practices for multilingual learners.
  2. The film claims there is one right way to teach reading to all students, excluding all other research-based approaches.
  3. The film includes false claims such as: “The root of the problem is that children are being taught in a way that is not working” and “When you tell me that you are choosing not to follow the research….”
  4. The film endorses an approach that takes away teacher agency and decision making while ignoring the importance of ongoing professional learning and the value of teacher experience. 
  5. Relying on anecdotes, the film focuses on the story of one “rookie” teacher to make sweeping general claims about a specific reading curriculum.
  6. The film ignores many aspects of literacy such as writing instruction, comprehension, or the joy of reading.

[1] Aukerman, M. (2022) The Science of Reading and the Media: Does the Media Draw on High-Quality Reading Research? Literacy Research Association Critical Conversations. CC BY 4.0 license; Aukerman, M. (2022). The Science of Reading and the Media:  How Do Current Reporting Patterns Cause Damage? Literacy Research Association Critical Conversations. CC BY 4.0 license.

[2] How Education Policy Shapes Literacy Instruction: Understanding the Persistent Problems of Policy and Practice Edited by Rachael Gabriel (1st Ed 2022, Palgrave Macmillan).

Fostering Academic Humility in Students

[Header Photo by Jon Tyson on Unsplash]

Throughout my public school teaching career as a high school English teacher from 1984 until 2002, I always centered in my classes a love for popular music. In fact, my poetry unit was grounded in songs by R.E.M. (and a wonderful part of that is that my students drew me into their music in the late 80s and early 90s).

In the 1980s, however, students were well aware that my favorite music then included Dire Straits and Pink Floyd (among others).

Some where in that first decade, I had a student turn in a brief essay that praised lavishly the music of Pink Floyd—except that the student referred to Pink Floyd throughout as an individual performer, not a group.

The essay was equal parts very authoritative misinformation and somewhat impressive sentences that expressed absolutely nothing. This was many decades before ChatGPT; however, this essay was a harbinger of the sort of nonsense AI produces under the guise of human expression.

While this was an extreme example, many if not most students I have taught over the past 40 years are victims of two problems with both thinking and expression (writing)—the grand overstatement as a first sentence in an essay and the Dunning-Kruger Effect (“a lack of self-awareness [that] prevents them from accurately assessing their own skills”).

The impact of the Dunning-Kruger Effect is pervasive and complex:

The Dunning-Kruger effect effect occurs when a person’s lack of knowledge and skills in a certain area cause them to overestimate their own competence. By contrast, this effect also causes those who excel in a given area to think the task is simple for everyone, and underestimate their relative abilities as well.

Why can we not perceive our own abilities?

To the latter point, I have seen in sports many examples of excellent athletes who struggle and even fail as coaches because they misread the simplicity of performing as an athlete. But the primary way this effect impacts students is the danger of expounding on a topic with which someone has little or no experience or expertise (see below for a parallel problem, epistemic trespassing).

Journalists, politicians, pundits, and public intellectuals often reinforce these behaviors, a naive arrogance, and students have seen far more evidence of inexpert bombastic pontification than valid and credible expressions of claims and explanations.

As well, a central cultural phenomenon in the US is a disproportionate trust in entrepreneurs and outside-the-box thinkers to the exclusion of people with a depth and breadth of experience and expertise; for example, the billionaire effect on a field such as Bill Gates performing as an expert on education.

Young people (more often than not, young men) routinely are compelled by and drawn to mainstream discourse that is overwhelmingly corrupted by the Dunning-Kruger Effect; Joe Rogan, Jordan Peterson, Christopher Rufo, and others are among the punditry who excels in almost exclusively holding forth with authority and certainty on topics with which they are provably wrong.

Podcasts, interviews, and written expression grounded in the Dunning-Kruger Effect are representations of the power of rhetoric and purposeful expression to supersede credibility and even facts. And there is a symbiotic relationship in that phenomenon because, for example, neither Rogan nor his audience have enough knowledge in the topics to know what they don’t know so Rogan’s bravado and certainty are compelling despite the lack of facts or even evidence.

Further, the political norms in the US allow politicians and political candidates (especially in formal debates) to gain power and influence through how they express and carry themselves even as they distort evidence and even outright lie. During the Trump/Clinton debates, Trump was declared a winner in one event even as most people acknowledged his responses were overwhelmingly false claims.

Here, I think, is an important distinction between the popular and scholarly world (and not to suggest one is somehow superior to the other, but substantially different and different in ways that could benefit humans broadly).

When a person, especially a young person, who hasn’t been formally educated—such as graduate school—in gaining and navigating knowledge (or “Knowledge”) has a “new” thought on a topic, that person often feels that the newness is universal, not just new to them. It is easy, as well, in a burst of excitement with a new idea to believe you now have something wonderful and new to share with others.

In the scholarly world, when a scholar has a new idea to them, the first thought is assuming other people with expertise have explored that idea thoroughly, and the rush of excitement, then, is to find out what knowledge there is on the topic, often as preparation for sharing their exploration of the ideas with others but grounded in an intense examination of other people’s authority on the topic; in academia, there is a culture of standing on the shoulders of giants, the exact opposite of popular trust in out-side-the-box thinkers and billionaire pundits.

I must stress here that even as this approach to knowledge is a norm of academia, scholars are too often victims of both the Dunning-Kruger Effect and epistemic trespassing; however, typically within the scholarly world, those failures are challenged and even shunned.

I have begun calling that norm “academic humility,” and I directly teach that in my first-year writing as part of expectations for student thinking and writing.

A great deal of instruction with first-year students is grounded in unlearning habits about writing and thinking instilled in K-12 schooling. A major concern I address is traditional essay elements, specifically the assertive introduction with a thesis statement.

Directly and indirectly, students are often encouraged to make blunt claims in essay writing, starting with the direct thesis. That expression comes after students are encouraged to draft and have approved an introduction and thesis sentence before they can draft their essays.

Also, students are taught to write conclusions that restate their introductions.

These traditional approaches foster static and narrow thinking and expression (especially writing an entire essay simply to restate what the beginning of the essay has already asserted).

Therefore, as we interrogate and then re-imagine essay writing, I emphasize the value in discovery drafting and raising questions to be considered in an essay instead of the thesis-sentence-as-proclamation.

Academic humility in thinking and writing allows for nuance and, ironically, for working toward ideas and expressions that do in fact bring something new to the conversation.

If we are careful when consuming media, public, and political discourse, we often notice a great deal of dogmatic expression grounded in ideology and not careful consideration or evidence.

Without academic humility we are left victims to not knowing what we don’t know.

Education rightly approached fosters in students ways to navigate the world with the sort of humility that can and will lead to a tentative authority that benefits not only them but all of us.


See Also

Epistemic Trespassing: From Ruby Payne to the “Science of Reading”

Epistemic Trespassing in Real Time: Peter Navarro, Economist