Category Archives: science fiction

Eugene V. Debs, George Orwell, Handmaid's Tale, Margaret Atwood, politics, privilege, science fiction, Trumplandia

Beware the Bastards: On Freedom and Choice

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Your Honor, years ago I recognized my kinship with all living beings, and I made up my mind that I was not one bit better than the meanest on earth. I said then, and I say now, that while there is a lower class, I am in it, and while there is a criminal element I am of it, and while there is a soul in prison, I am not free.

Eugene V. Debs: Statement September 18, 1918

 

Based on “Eight O’Clock in the Morning” by Ray Nelson, the cult science fiction film They Live focuses on the main character, Nada (Roddy Piper), who discovers a pair of sunglasses that reveal to him that aliens are controlling the human race.

In the real world, the trick is not finding a pair of enlightening sunglasses to expose the alien overlords but to recognize the bastards we have chosen to rule over us—because the bastards controlling the U.S. are really easy to see.

Here’s one.

And here’s a whole room full.

The masking, you see, is not taking on human form to hide alien bodies, but the use of words that appear to say one thing while actually meaning something entirely different.

The trick in the real world is not visual, but verbal.

So we have Ryan on Twitter:

And Vice President Pence:

O, happy freedom! And glorious individual responsibility!

Let us, of course, step back and note that our federal political leaders are overwhelmingly white and wealthy men who have healthcare, retirement/pension, and daycare all provided for them at tax payers’ expense—although every one of them due to their wealth are free to take the individual responsibility to choose to pay for those luxuries that they are denying everyone else.

*

In Margaret Atwood’s The Handmaid’s Tale, Offred (June), the eponymous handmaid of the tale, reveals that “[t]he circumstances have been reduced” (p. 8) for the younger women of Gilead, a post-apocalyptic theocracy of sorts. These seemingly fertile women have become extremely precious for the survival of the white race and paradoxically the embodiment of a perverse slavery for procreation.

Atwood has written at length about being indebted to George Orwell—those who control language control everything and everyone—and that her speculative novel includes a quilting of human actions drawn directly from history, not fabricated by Atwood.

How have humans kept other humans in literal and economic bondage? Often by exploiting token members of the group being exploited.

Thus, in The Handmaid’s Tale, a few women are manipulated to control other women. The handmaid’s are trained by Aunts, who instill the propaganda:

There is more than one kind of freedom, said Aunt Lydia. Freedom to and freedom from. in the days of anarchy, it was freedom to. Now you are being given freedom from. Don’t underrate it….

We were a society dying, said Aunt Lydia, of too much choice. (pp. 24, 25)

Throughout the novel, readers must navigate how Offred (June) weaves the overlap of her own original ideas and vocabulary as that intersects with the propaganda of Gilead:

Will I ever be in a hotel room again? How I wasted them, those rooms, that freedom from being seen.

Rented license. (p. 50)

“Freedom” and “license” are exposed as bound words, the meanings contextual.

As Offred (June) continues to investigate rooms, she discovers a powerful but foreign phrase:

I knelt to examine the floor, and there it was, in tiny writing, quite fresh it seemed, scratched with a pin or maybe just a fingernail, in the corner where the darkest shadow fell: Nolite te bastardes carborundorum.

I didn’t know what it meant, or even what language it was in. I thought it might be Latin, but I didn’t know any Latin. Still it was a message, and it was in writing, forbidden by that very fact, and it hadn’t been discovered. Except by me, for whom it was intended. It was intended for whoever came next. (p. 52)

The power to control language includes defining words, but also denying access to language—forbidding reading and writing, literacy, to those in bondage.

And then, Offred (June) explains about her life before Gilead:

We lived, as usual, by ignoring. Ignoring isn’t the same as ignorance, you have to work at it.

Nothing changes instantaneously: in a gradually heating bathtub you’d be boiled to death before you knew it….The newspaper stories were like dreams to us, bad dreams dreamt by others. How awful, we would say, and they were, but they were awful without being believable. They were too melodramatic, they had a dimension that was not the dimension of our lives.

We were the people who were not in the papers. We lived in the blank white spaces at the edges of the print. It gave us more freedom.

We lived in the gaps between the stories. (pp. 56-57)

And from that previous life of “ignoring” the other since it wasn’t about them, Offred (June) finds herself the procreation slave of a Commander, in “reduced circumstances” where she realizes: “There wasn’t a lot of choice but there was some, and this is what I chose” (p. 94).

Her previous life of “ignoring” has been replaced by something seemingly more awful, but nearly exactly the same as she explains about the Ceremony: “One detaches oneself” (p. 95).

Even in Gilead, Offred (June) again becomes the other woman, lured into an infidelity characterized by playing Scrabble with the Commander, who reveals to her that Nolite te bastardes carborundorum is slang Latin for “Don’t let the bastards grind you down” (p. 187).

Adolescent language as rebellion has become a life-or-death slogan for Offred (June).

As her relationship with the Commander becomes increasingly trite and complex, Offred (June) declares, “Freedom, like everything else, is relative” (p. 231).

*

It is 2017, and many are living lives by ignoring because it just doesn’t seem to be about them.

Detached, unwilling to look or listen carefully—skipping along to the hollow mantras of “freedom,” “choice,” and “individual responsibility.”

As with Offred (June), this is no longer an adolescent joke; it is the only real option we have.

Nolite te bastardes carborundorum: Don’t let the bastards grind you down.

Capitalism, Disaster capitalism, science fiction

8 January 2016: “Quite an experience to live in fear isn’t it? That’s what it is to be a slave”

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Blade Runner is a film adaptation of Philip K. Dick’s Do Androids Dream of Electric Sheep?

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The film is my favorite film, although the adaptation is quite distinct from the novel—also a wonderful work itself.

Today, 8 January 2016, marks the birth of replicant Roy:

Roy

Roy’s final monologue is a powerful and currently relevant statement, notably— “Quite an experience to live in fear isn’t it? That’s what it is to be a slave”:

The use of androids-as-slaves as a metaphor for the human condition is also in the science fiction section of Cloud Atlas by David Mitchell.

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wage slaves

(from Academia and the American Worker: Right to Work in an Era of Disaster Capitalism?)

Another brilliant, but ignored, science fiction examination of our slavery to time is Andrew Niccol’s In Time (2011), a powerful confrontation of how capitalism turns most people frantic so that a few can live in luxury.

When science fiction is set in the future relative to the publication or release of the original work, rarely is the work intended to be predictive—but often, the work is intended to tell us important things about the human condition and any now by taking us to places that seem unlike our now.

Roy as an enlightened android—more enlightened than the humans who created him to be a slave—ends his haunting monologue with “Time to die.”

I think this is intended so that we seek ways to live better, freer.

Enjoy the four-disc collector’s edition of Blade Runner.

Do Androids Dream of Electric Sheep? also is available as a graphic novel series.

canon, CCSS, comic books, Democracy, Education, education reform, George Carlin, literacy, privilege, science fiction, Standards, Teaching

Students, Not Standards: Calling for Solidarity in 2016

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Many years ago, I was sitting in the last class session of the capstone secondary ELA methods course as part of my M.Ed. The guest speaker that day was my high school English teacher, the man responsible for my primary career path, Lynn Harrill.

Lynn was friends with the professor, who was then working at the state department of education, I believe.

Toward the end of the class, the professor asked what we wanted our students to know when they left our classes. That question was followed by lingering silence.

Ever the eager student, I said, “I want them to know themselves,” and I caught a glimpse of Lynn smiling widely.

Of course, that is what Lynn had taught me, although most people probably assumed it was reading and writing Lynn had so expertly given his students (which, by the way, was also true).

This moment—one of a very idealistic and naive young teacher, me—comes back to me often, and despite my many failures as a teacher, that grounding goal has always guided me. Not to be simplistic, but I teach students—that’s why I teach.

While reading Four Stories That Homework Tells Children About School, Learning, & Life, I was struck by “STORY #3: School Is More Important Than Other Pursuits/Interests/Activities.”

And now I have to investigate that memory again.

Yes, Lynn Harrill changed my life by being my sophomore and junior English teacher in high school. He was gracious, kind, and encouraging to a deeply insecure and anxious teen (me) who had decided he was a math and science person—because that is what school had told me.

Junior high English classes had been mostly draconian English teachers, grammar book exercises, and diagramming sentences. The “English” content of those classes was easy (I made As), but I loathed it all, even the texts we were assigned to read (much of which we did not read).

Now, before I launch into whining, let me be clear that my story is about how school failed me—but that because of my tremendous privilege (white, male and—according to traditional schooling and standardized tests—high verbal and mathematical intelligence), the consequences of those failures were miniscule. I attended college and continued to make As (easily), leading to an MEd and EdD.

I share this, then, not to bemoan poor pitiful me (or to brag), but to highlight that schools often fail students in ways we do not acknowledge and that the consequences for those students who need schooling most are monumental.

While I was begrudgingly playing school and succeeding, at home I was engaged in a rich array of hobbies and interests that school not only ignored, but also indirectly refuted (even Lynn told me as a 10th grader I needed to stop reading science fiction [SF] and start reading real literature such as Fitzgerald).

I was collecting, reading, and drawing from thousands of Marvel comic books. I was voraciously listening to popular music and studying the lyrics. And I was doing the same with comedy albums, mostly George Carlin and Richard Pryor.

My reading life, as I noted above, was Larry Niven and Jerry Pournelle, Arthur C. Clarke, and whatever works were prompted by my mother’s SF film fascination. I fell in love with The Andromeda Strain because of the film, and much of my formative life was driven by the five Planet of the Apes films and TV’s Star Trek.

My response to the real literature endorsed by Lynn was tepid (but always the mama’s boy, I did as teachers told me to do), but my life was irrevocably changed when he also recommended writers I would never be assigned in the rural South of the 1970s—notably D.H. Lawrence.

Well, damn, I thought. This is literature?

My journey from student to teacher began in my sophomore year of high school as I began to untangle the false narratives school had taught me and came to embrace the authentic narratives of my real life, my real Self, outside of school.

More than a decade into my teaching career (in the position Lynn left at my high school) and in the same doctoral program Lynn had completed, I finally discovered critical pedagogy as the complete vision of student-centered teaching and learning I had been haphazardly practicing.

Regretfully, my entire career as an educator (18 years as a high school ELA teacher and then 14 more years, and counting, as an English educator and first-year writing professor) has occurred under the antithesis of student-centered critical education—the high-stakes accountability movement.

All of which, ironically, I have been prepared for by the very reading material school marginalized, science fiction and dystopian fiction.

Standards, high-stakes tests, and accountability fail students, fail teachers. They conspire to do exactly what homework accomplishes in story #3 above.

I cannot step away form this: I must teach those students placed in my care, and that duty requires me to find out who they are, what they know, and what they want so that we can work together so that they find who they are and who they want to be.

So, I wonder with the new year, and the allure of resolutions—who is with me in 2016? Can we make this about students and not standards, not tests?

—

See Also

Doubling Down (Again) by Reverting, Not Changing: The Exponential Failures of Education Legislation

Teacher Quality, Wiggins and Hattie: More Doing the Wrong Things the Right Ways

More on Evidence-Based Practice: The Tyranny of Technocrats

Beware the Technocrats: More on the Reading Wars

I Don’t Need Standards To Teach, I Need Students

Are Common Core and Testing Debates “Two Different Matters”?

Childhood, Poverty, race, racism, science fiction

UPDATED: The Martian: Allegory of Whose Lives Matter

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[Spoiler Alert: This post begins at the end of Andy Weir’s The Martian. Those who have not read the novel or watched the film are duly warned. Also, profanity.]

UPDATE: In the wake of the Brock Turner rape case and verdict—in which the judge and Turner’s father are more concerned about Turner than his victim—I am moved to suggest that the examination of The Martian below serves as a powerful allegory for rape culture in the U.S. as a subset of how white male lives matter above everyone else’s. As well, this novel speaks to the Baylor University scandal.

See also: Wealthy Teen Nearly Experiences Consequence and College Basketball Star Heroically Overcomes Tragic Rape He Committed (when parody is true and thus less funny).

As I was reading Andy Weir’s The Martian, I had an increasingly uneasy feeling—but not the one I assume Weir intended.

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Weir’s novel gained popularity when made into a film starring Matt Damon.

The uneasiness came in part from my realization that I did not like the main character marooned on Mars, Mark Watney, growing to complete dislike when near the end as Watney is nerd-whining, he hopes that if he survives, his notoriety will finally snare him plenty of women.

But the greater part of the uneasiness came from not worrying about Watney’s suvival—or moving methodically from each intricately detailed disaster and then to the miraculous Watney solution (science!)—but from stepping back from the novel’s premise into the real world to ask, How much money do we spend to make clear whose lives matter in the U.S.?

And then the novel ends with a final log entry from Watney, an entry that confirms my uneasiness:

The cost of my survival must have been hundreds of millions of dollars. All to save one dorky botanist. Why bother?

Well, okay. I know the answer to that. Part of it might be what I represent: progress, science, and the interplanetary future we’ve dreamed of for century. But really, they did it because every human being has a basic instinct to help each other out. It might not seem that way sometimes, but it’s true. (pp. 368-369)

This motif of how much a society will spend to save a life has also been applied to Matt Damon, star of the film; it costs $200 billion to save him in The Martian and $1 trillion in all his movies. Appears in Hollywood, this is a bit of a joke.

Weir’s novel is mostly compelling for the quick read and science, but Michael Crichton’s The Andromeda Strain does some of the same techniques, and much better. All in all, Weir’s novel is an interesting idea not fully formed as art—somewhat because of a lack of craft, but mostly because it appears Weir, Watney (and all the characters), and the intended audience suffer from a complete lack of critical awareness—punctuated by Watney’s hokey claim about our “basic human instinct to help each other out.”

The big problem with The Martian is what Robin James calls the “white interpretive horizon”; in the novel/film, that means Watney embodies all that is glorious about the Great White Male. What Watney represents is the vapid Ayn Rand rugged individual myth that is as thin a veil of white privilege as the rigged tarp ripped free when Watney launches away from Mars. And with a significant edit, we must confront that our “basic human instinct” is to help those who look like us—but not other people’s children.

The “white interpretive horizon” is so entrenched in popular culture that films such as Gravity contort the female lead into, well, the Great White Male. And of course, Hollywood can turn anyone into a hero (as long as he is white).

James builds to this conclusion, highlighting, I think, the essential failure of The Martian:

Both Trump’s conservativism and “Hello”’s liberalism expect everyone in the universe, and the universe itself, to reflect their interpretive horizon back to them because this horizon is “natural”; other horizons are disgusting or hilariously awful. This is no mere naturalistic fallacy, which assumes that natural means good. Shaped by the lived experience of white people and whiteness, these horizons are themselves white. Both fandoms treat whiteness as the natural foundation of their respective communities, and this common white supremacy is what makes liberal “Hello” fandom as dangerous as reactionary Trump fandom. We need to disrupt neoliberal white supremacist interpretive horizons in the same way #BlackLivesMatter interrupt Trump rallies.

Writing a year ago about the fatal shooting of Tamir Rice by a police officer, Charles Blow admits:

An extended video released last week of the shooting death of Tamir Rice in Cleveland appears to show an unconscionable level of human depravity on the part of the officer who shot him, a stunning disregard for the value of his life and a callousness toward the people who loved him.

And thus: “His black life didn’t seem to matter. But it does.”

As I finished The Martian, the Tamir Rice narrative continued, darker but just as predictable as the Watney story. Kirtsen West Savali reported:

Today, a grand jury in Cleveland, Ohio does what this system does. They put an exclamation point on the statement that black lives don’t matter. That black children do not matter. That being young, black and free is a crime punishable immediately by death.

For over a year, there has been a chorus of people demanding some semblance of justice for 12-year-old Tamir Rice’s family, without daring to acknowledge that impossible hope that flickers each time another black person falls victim to state-sanctioned terror.

Let’s set aside the thought experiment of a Great White Male marooned on Mars for a moment. I simply do not doubt we’d spend billions to save that astronaut as it plays out in the fictional world.

Instead, let’s try another thought experiment.

How much money are we willing to commit to saving one black male in any city across the U.S.?

But this isn’t even a thought experiment. We have already spoken.

The U.S. spends billions and billions to wage war, drop bombs from drones killing men, women, and children who are simply victims of geographical proximity (and are overwhelmingly brown and “not Christian”).

All the while the political and public will resists increasing minimum wage, welfare, or any use of funds that would prove that black and brown lives matter right here on our own fertile soil.

Blow ended his piece with: “The world must be made to acknowledge that Tamir Rice’s life mattered.”

And more, I’d argue—to prove lives matter by preventing the seemingly inevitable lives cut down literally by bullets but figuratively because Watney’s claim about our basic instinct is the stuff of the “white interpretive horizon”; in other words, bullshit.

—

See Also

What to do when you’re not the hero any more, Laurie Penny

The people who are upset that the faces of fiction are changing are right to worry. It’s a fundamental challenge to a worldview that’s been too comfortable for too long. The part of our cultural imagination that places white Western men at the centre of every story is the same part that legitimises racism and sexism. The part of our collective mythos that encourages every girl and brown boy to identify and empathise with white male heroes is the same part that reacts with rage when white boys are asked to imagine themselves in anyone else’s shoes.

Education, education reform, Lou LaBrant, NCTE, Neil Gaiman, reading, science fiction

NCTE 2014: “Why do we need the things in books?”: The Enduring Power of Libraries and Literature

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[At the 2014 National Council of Teachers of English Annual convention—themed Story As the Landscape of Knowing and held November 20-23, 2014, in Washington DC—Renita Schmidt (University of Iowa), Sean Connors (University of Arkansas), and I will be presenting as detailed below; I offer our proposal as a preview and hope you can join us as we need to raise our voices for both libraries and literature.]

“Why do we need the things in books?”: The Enduring Power of Libraries and Literature

Panel presentation, 75 mins

2014 NCTE Annual Convention - Participant Announcement copy

Teaching Reading and Children: Reading Programs as “Costume Parties”*

P. L. Thomas, Furman University

“[L]anguage behavior can not be reduced to formula,” Lou LaBrant (1947) argued (p. 20)—emphasizing that literacy growth was complicated but flourished when it was child-centered and practical (for example, in the ways many privileged children experience in their homes because one or more of the parents are afforded the conditions within which to foster their children’s literacy). Also, LaBrant (1949) identified the central failure of teaching reading: “Our language programs have been set up as costume parties and not anything more basic than that” (p. 16). This opening talk of the panel will focus on the importance of access to books and libraries as an antidote to “costume parties”—highlighting the work of LaBrant and Stephen Krashen as well as the speeches and writings of Neil Gaiman and Ray Bradbury as life-long proponents of libraries.

The More Books the Better!: Library Books as Boundary Objects To Build Strong Girls

Nita Schmidt, University of Iowa

Libraries provide stories for helping us understand who we are and who we might become. Sometimes, those stories take us to places we cannot imagine and we need more stories to resolve the tension. Libraries provide the books that become boundary objects or, as Akkerman and Baker (2011) describe, artifacts that work as mediators during times of discontinuity. Drawing on sociocultural theories of learning (Gee, 1996; Wenger, 1998; Vygotsky, 1978), this paper will discuss the ways an after school book club works with 4th – 6th grade girls to consider new perspectives. Book club members visit the library every month, read books with strong female protagonists, discuss topics in the books that relate to the real lives of the girls, and help the girls start their own personal libraries to encourage girls to begin to see themselves as successful young women in a complex global world. A bibliography will be provided.

Speaking Back to Power: Teaching YA Literature in an Age of CCSS

Sean Connors, University of Arkansas

If, as the narrator of John Green’s (2009) Paper Towns suggests, imagination is the machine that kills fascists, then literature, as English teachers and librarians know, is the engine that drives it. Despite the current education reform movement’s insistence on reducing the study of literature to a set of narrowly defined, measurable skills, and arguments which associate “close reading” and “textual complexity” with canonical literature, educators who value Young Adult fiction know that, like literature for adults, it is capable of creating a space for readers to examine complex issues related to race, class, gender, etc. This presentation calls on educators to recast arguments for teaching YA fiction in an age of CCSS by foregrounding its ability to encourage critical thinking. The presenter will share examples of (and guidelines for producing) student created digital book trailers that, rather than promoting books, instead “speak back” to oppressive ideologies featured in them.

*Portions adapted from the following blog posts:

Teaching Reading and Children: Reading Programs as “Costume Parties”

Common Core in the Real World: Destroying Literacy through Standardization (Again)

“Fahrenheit 451” 60 Years Later: “Why do we need the things in books?”

Neil Gaiman Should Be U.S. Secretary of Education: “Things can be different”

References

Akkerman, S.F. & Baker, A. (2011). Boundary crossing and boundary objects. Review of Educational Research, 81(2), 132-169.

Bradbury, R.  Fahrenheit 451, 60th anniversary edition.

Fahrenheit 451: 60th Anniversary Edition

Neil Gaiman lecture in full: Reading and obligation — http://readingagency.org.uk/news/blog/neil-gaiman-lecture-in-full.html

Gee, J.P. (1996). Social linguistics and literacies: Ideology in discourse. New York: Routledge.

Green, J. (2009). Paper towns. New York: Speak.

Krashen, S. (2014, January 4). The Spectacular Role of Libraries in Protecting Students from the Effects of Poverty. http://skrashen.blogspot.com/2014/01/the-spectacular-role-of-libraries-in.html?m=1

LaBrant, L. (1949). A genetic approach to language. Unpublished manuscript, Institute of General Semantics, Lakeville, CT.

LaBrant, L. (1947). Um-brel-la has syllables three. The Packet, 2(1), 20-25.

LaBrant, L. (1944, November). The words they know. The English Journal, 33(9), 475-480.

LaBrant, L. (1940, February). Library teacher or classroom teacher? The Phi Delta Kappan, 22(6), pp. 289-291.

LaBrant, L. (1931, March). Masquerading. The English Journal, 20(3), pp. 244-246.

Wenger, E. (1998). Communities of practice, learning, meaning and identity. Cambridge: Cambridge University Press.

Vygotsky, L. (1978). Mind and Society: The development of higher psychological processes. Cambridge, MA: President and Fellows of Harvard College.

Handmaid's Tale, Margaret Atwood, science fiction

Whence Come “The Leftovers”?: Speculative Fiction and the Human Condition

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Nora Durst finds herself at the intersection of something routinely normal for middle-class Americans living in the comfort of suburbia and distinctly otherworldly at the same time in Tom Perrotta’s The Leftovers, his 2011 novel venturing into speculative/ dystopian fiction.*

The Leftovers, Tom Perrotta

Visiting the mall with her sister during the Christmas season, Nora confronts the sudden disappearance of her entire family several years before on October 14, when millions of people also vanished in the Sudden Departure that prompts many to believe the world has finally experienced The Rapture:

Her heart was still racing when she stepped inside, her face hot with pride and embarrassment. She’d just forced herself to make a solo circuit of the big Christmas tree on the main level, where all the parents and kids were waiting to meet Santa Claus. It was another holiday challenge, an attempt to face her fear head-on, to break her shameful habit of avoiding the sight of small children whenever possible. That wasn’t the kind of person she wanted to be—shut down, defensive, giving a wide berth to anything that might remind her of what she’d lost. A similar logic had inspired her to apply for the day-care job last year, but that had been too much, too soon. This was more controlled, a one-time-only, bite-the-bullet sort of thing. (p. 193)

This moment for a fictional woman who has lost her family, has lost everything, is the essence of Perrotta’s mix of dark satire and moving authenticity about the human condition. But it also leads me to move beyond the book and consider what dystopian fiction, what speculative fiction offers readers that proves time and again to be so compelling.

Our Speculative World, “Off-to-the-Side”

Margaret Atwood has provided her readers four brilliant dystopian/speculative works of fiction—which she often uses to ague against simplistic labels such as “science fiction”: The Handmaid’s Tale, Oryx and Crake, The Year of the Flood, and MaddAddam. In “Writing Utopia” (from Writing with Intent), Atwood clarifies her distinction about genre, specifically about science fiction:

I define science fiction as fiction in which things happen that are not possible today—that depend, for instance, on advanced space travel, time travel, the discovery of green monsters on other planets or galaxies, or that contain various technologies we have not yet developed. But in The Handmaid’s Tale, nothing happens that the human race has not already done at some time in the past, or that it is not doing now, perhaps in other countries, or for which it has not yet developed the technology. We’ve done it, we’re doing it, or we could start doing it tomorrow. . . .So I think of The Handmaid’s Tale not as science fiction but as speculative fiction; and, more particularly, as that negative form of Utopian fiction that has come to be known as the Dystopia. (pp. 92-93)

Atwood has also turned to considering science fiction, speculative fiction, and dystopian fiction more fully in her In Other Worlds, where she writes about Kazuo Ishiguro’s Never Let Me Go:

Ishiguro likes to experiment with literary hybrids, and to hijack popular forms for his own ends, and to set his novels against tenebrous historical backdrops….An Ishiguro novel is never about what it pretends to pretend to be about, and Never Let Me Go is true to form. (p. 168)

And Perrotta’s dystopia can be described in much the same way; it isn’t “about what it pretends to pretend to be about”—which may be just that thing that makes the hard-to-explain genres of science fiction, speculative fiction, and dystopian fiction so hard to explain.

“I Can’t Look at Everything Hard Enough”

I found reading the passage about Nora quoted above nearly as overwhelming as the experience appears to be for Nora herself. I began to think about my own daughter, Jessica.

Jessica, the three-year-old, is gone, disappeared, seemingly instantaneously, lost forever.

Jessica, the twelve-year-old, gone.

Jessica, the nineteen-year-old, gone.

My daughter is alive, now twenty-five, married, and expecting her first child, a daughter, but the scene with Nora in Perrotta’s world “off-to-the-side,” as Atwood describes Ishiguro’s dystopia in Never Let Me Go, is not about what might happen, not a speculative work about the possibility of The Rapture.

Perrotta is offering his readers a timeless message, one found in Thornton Wilder’s Our Town. As Perrotta explains about the relationship between Our Town  and his novel:

This was part of the challenge of The Leftovers, as I wrote about characters left behind in the wake of the disappearances. The last moments of the disappeared people became supercharged with significance—even though that was not a special day, even though they disappeared while doing ordinary things. You might say the line from Our Town—“choose the least important day in your life. It will be important enough”—helped inform these histories, because I looked to simple, everyday moments. Nora’s daughter spills some juice, so she goes into the kitchen for some paper towels—when her daughter disappears. Jill is in the room with an old friend of hers watching a YouTube video, and suddenly the friend is gone. So, cleaning a spill or watching a dumb video: It’s the through minutiae of everyday life these moments come alive.

In Wilder’s play, Emily grows from childhood to falling in love to marriage and to her own too-early death. By the final act, Emily views her life in replay from beyond and exclaims: “I can’t look at everything hard enough.”

She then turns to the Stage Manager and asks, distraught: “Do any human beings ever realize life while they live it—every, every minute?” And the Stage Manager replies, “No—Saints and poets maybe—they do some.”

And this is the very real and starkly True center of Perrotta’s pervasive dark satire and insightful authenticity as a novelist staring at and then breathing life into the human condition, masked as fantastic events that are unimaginable, except for those who look at everything hard enough and pause to realize life every, every minute.

—

* Reposted from Daily Kos 20 October 2011, Whence Come “The Leftovers”?: Speculative Fiction and the Human Condition, slightly revised. See The Leftovers series adaptation from HBO.

CCSS, Daily Kos, Education, education reform, Gates, Kurt Vonnegut, Living in Dialogue, science fiction, Teacher Evaluation, Teaching, Testing, VAM

Debating the Gates Moratorium, Or Life among the Roadbuilders

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As a lifelong fan of science fiction (SF), I want to start by invoking a SF convention that never gets old: time travel (but I’ll spare you the whirlwind prestidigitation mastered by Kurt Vonnegut, who married time travel and non-linear narrative in Slaughterhouse-Five).

Once upon a time (well, I must confess, I enjoy a bit of genre-splicing also), Bill Gates, billionaire and burgeoning education hobbyist, began tossing his considerable expertise (read: money) at small schools projects. Low and behold, Gates eventually looked at the research his own foundation gathered, declared the project a failure, and scuttled away—only to decide that the greatest scourge on the planet was the enormous number of “bad” teachers failing our children everyday!

Since we are now back in time (and you may notice a pattern here about history repeating itself, and such), let’s look at that Gates/small school dynamic as I blogged about this in April and May 2011:

And, Gates’s small schools experiment? While Gates himself declared the experiment a failure, Marshak explains that Gates’ small school experiment actually exposes Gates’ own inability to understand the education dynamics he claims to reform. But ample evidence reveals both that Gates is inexpert and remains unsuccessful as an education reformer. See here, here and here — including his failure to understand statistics and the charts he enjoys using to make his points here. (Accountability? Start at the Top, OpEdNews 11 April 2011)

Let’s do some truly basic math.

First, consider that Bill Gates, a billionaire whose wealth and success have been built on computer innovation and entrepreneurship, has been an education reformer for many years now–stretching back to a small schools focus:

“Bill Gates used to believe that one of the solutions to failing schools was to create smaller ones with 500 students or fewer. His foundation spent $1 billion toward this; seeing the opportunity to bring in private dollars, districts started shifting to smaller schools. Small schools became the big new trend. But then the foundation conducted a study that found that, by itself, school size had little if any effect on achievement. The foundation dropped the project and moved on to teacher reform, but by then some urban districts throughout the nation had changed to small–and more expensive to operate–schools.”

So the first formula is:

Gates initiative + Gates funding = abandoned schools in the wake of failure (with no consequences for Gates)

As the Los Angeles Times reports above, Gates is now focusing on teacher quality–including calls for teacher evaluations tied to test scores measuring student achievement against the common core standards.

This suggests a new formula:

Gates money + common core standards + testing industry = profit for Gates and testing industry at the expense of students, learning, and public education. (If There Remains Any Question, Daily Kos 1 May 2011)

Let’s return now to the present where the Gates machine has called for a moratorium on all that Common Core and VAM stuff because his own people’s research appears to refute what Gates has been pontificating about in the compliant media gaze that only Gates seems worthy of receiving (I hate to beat this to death, but do any of you see a pattern here?).

I want to offer now that this call for a moratorium is another teachable moment—those who fail to learn from history are doomed to repeat it, and all that—and therein we have at least two important lessons:

First, Gates/small schools, Gates/VAM, and Gates/Common Core are all the same flawed dynamic in which political leaders, the media, and the public confuse wealth with expertise. Remove Gates’s billions and he would have zero credibility in any of these ventures—and I still maintain that the small school debacle is the most telling part of this story [1] because Gates misread his own research, declared erroneously the commitment a failure, and simply walked away leaving others to hold the bag (roadbuilder he has always been, roadbuilder he will always be).

And this leads to the debate and discussion that has blossomed from the Gates moratorium announcement.

So our second lesson is somewhat positive: If we could ever set aside confusing wealth with expertise, we may come to recognize that among educators, scholars, and researchers we already have a wealth of expertise that could better serve our goals of education reform.

And thus, I maintain my stance that the Gates moratorium is a sham, but I want to highlight here that within the credible responses to that moratorium call, we see how education reform should be debated by those who know the field:

And while I enjoy coming back to and finding new SF again and again, in education reform I am eager to step off the “Déjà vu all over again” merry-go-round.

Bill Gates, about that moratorium? No thanks. And while we are at it, no thanks to all the rest either.

If you’d stopped building your roads we never asked for right through the middle of our villages, we would have time to take care of business here, instead of constantly staying one step behind underneath the rubble of the disasters you create.

—

[1] Please read carefully Good Doubt and Bad Doubt from 2007 and Why Did the Gates Small-High-Schools Program Fail?: Well, Actually It Didn’t from 2010 for some really powerful time travel. And this is just must-read: Bill Gates should hire a statistical advisor.

Capitalism, Childhood, Commons, communism, consumerism, Education, education reform, Equity, George Orwell, Grit, Margaret Atwood, Meritocracy, Neil Gaiman, Poverty, science fiction, social justice, socialism

George Saunders’s Allegory of Scarcity and Slack

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The stories themselves, literally, are powerful and engaging or George Orwell’s 1984 and Arthur Miller’s The Crucible would not have endured as they have as literature people read again and again—and possibly should read again and again.

However, ultimately, 1984 is not about the future (especially since we have long since passed the future Orwell may have envisioned), and The Crucible is not about the past (although Miller built his play on the very real and troubling history of Puritan witchcraft hysteria). These works are about the complicated present of both authors’ worlds as that speaks to the enduring realities of the human condition.

All of that may seem weighty stuff to step into a look at what appears to be a children’s book, but the paragraphs above should be more than a hint that looks can be deceiving—and enlightening.

The Very Persistent Gappers of Frip, written by George Saunders and wonderfully illustrated by Lane Smith (whose It’s a Book I cannot recommend highly enough), is a fanciful and satirical tale that proves in the end to be an allegory of scarcity and slack—a perfect companion read to Ursula K. Le Guin’s allegory of privilege, “The One’s Who Walk Away from Omelas.”

The Very Persistent Gappers of Frip

Realizing that the Human Heart Is Capable

“Ever had a burr in your sock?” sets the story in motion—one sentence centered on the page over a giant question mark. It is an opening worthy of a child and all of us who cling to the wonder of childhood.

While Le Guin is often described as a science fiction writer, in her work I recognize the blurring of genres that joins science fiction, speculative fiction, and fantasy; it is that “other world” about which Le Guin and Margaret Atwood appear to argue, and it a stark but rich other world Saunders conjures and Lane pictures.

The story of Frip involves three houses for three families, all with children at the center. The houses are distinguished with primary colors—child-like blue, green, and red—but Lane’s artwork adds the ominous to Saunders’ seemingly simple narrative tinged with more than a bite of satire. The illustrations echo the haunting works about and for children found in Neil Gaiman and Tim Burton.

“Frip was three leaning shacks by the sea.” (p. 6) Artwork by Lane Smith

A child standing precariously close to the end of a slanted cliff over an angry ocean catches the eye on page 7 and then the crux of the story pulls you back to the text on page 6:

Frip was three leaning shacks by the sea. Frip was three tiny goat-yards into which eight times a day the children of the shacks would trudge with gapper-brushes and cloth gapper-sacks that tied at the top. After brushing the gappers off the goats, the children would walk to the cliff at the edge of town and empty their gapper-sacks into the sea. (p. 6)

Gappers, orange burr-like creatures with many eyes and the size of a baseball, come to represent throughout the story the power of the systemic inevitable: The presence of the gappers determines the lot of the families (and their goats), but most of the people in the tale remain unable to see beyond their own fixed and mostly misguided worldviews.

“A gapper’s like that, only bigger, about the size of a baseball, bright orange, with multiple eyes like the eyes of a potato.” (p. 2) Artwork by Lane Smith

When the gappers cling to the goats of all three families, there is an ironic appearance of equality among them. But when the fortune of one family shifts, the gappers fulfill their name by creating the gap:

So that night, instead of splitting into three groups, the gappers moved into one very large and impressive shrieking group directly into Capable’s yard. (p. 12)

Before this shift in how the gappers behave, of course, the three families are not equal because Capable is an only child living with her father and who has lost her mother. Capable works as all the children are expected to work (removing gappers in a daily Sisyphean nightmare of chores) and seeks to serve the needs of her grieving father, who along with his grief is a prisoner of nostalgia:

“I myself was once an exhausted child brushing off gappers. It was lovely! The best years of my life. The way they fell to the sea from our bags! And anyway, what would you do with your time if there were no gappers?” (p. 11)

This nostalgia masking an unnecessarily burdensome childhood, however, is but one ideology weighing on Capable because as soon as the other two families are relieved of gappers on their goats, those families reveal themselves to be very much like the people of Le Guin’s Omelas:

“It’s a miracle!” Mrs. Romo shouted next morning, when she came out and discovered that her yard was free of gappers. “This is wonderful! Capable, dear, you poor thing. The miracle didn’t happen to you, did it? I feel so sorry for you. God has been good to us, by taking our gappers away. Why? I can’t say. God knows what God is doing, I guess! I suppose we must somehow deserve it!” (p. 17)

Capable becomes the sacrificed child, and despite her misfortune, the relieved families read the events as their merit (and of course the ugly implication that Capable and her father deserve the burden of the gappers).

What follows from this shift in fate is the central story of Frip with Capable as our main character. The message becomes clear, and Saunders and Lane make the ride one you’ll want to visit again and again. If you are lucky, the book could become one of those read alouds requested by son or daughter, or by a classroom of children.

And while I will leave the rest of the story to you, I think it is necessary to note here that this allegory is both a cautionary tale about how we view children and childhood as well as a brilliant call to reconsider how we view education and education reform.

George Saunders’s Allegory of Scarcity and Slack

The U.S., like the characters (except for Capable) in Saunders’s story, is tragically blinded by a belief in cultural myths that have little basis in evidence: That we live and work in a meritocracy, that competition creates equity, that children need to be “taught a lesson” about the cold cruel world lest they become soft, and such.

As a result of these beliefs, schools often reflect and perpetuate rather harsh environments for children—or to be more accurate, schools often reflect and perpetuate rather harsh environments for other people’s children, as Capable personifies.

Here, then, I want to make the case that The Very Persistent Gappers of Frip is a powerful allegory of scarcity and slack as examined by Sendhil Mullainathan and Eldar Shafir in their Scarcity: Why Having Too Little Means So Much.

Mullainathan and Shafir detail that the conditions of poverty, scarcity, so overburden people psychologically, mentally, and physically that their behavior is often misread (poor people are lazy, poor people make bad decisions, etc.). In Saunders’s story, scarcity and its burden are portrayed by the gappers, and readers witness how the coincidence of the onslaught of the gappers changes the families involved. In other words, the behavior of people is determined by the environment, and not by the inherent goodness or deficiencies of any individual.

The Very Persistent Gappers of Frip goes further, however, by showing that one person’s scarcity (Capable) allows other person slack: privilege is built on the back of others, and those conditions are mostly arbitrary. While Mullainathan and Shafir argue that the slack enjoyed by those living in relative privilege provides the sort of cognitive space needed to excel, Saunders speaks to more than the slack enjoyed by the two families relieved of gappers and the compounding scarcity suffered by Capable (her lot in life and the addition of the gappers):

“And the men succeeded in lifting the house and moving it very very close to the third and final house in Frip, which belonged to Sid and Carol Ronsen, who stood in their yard with looks of dismay on their nearly identical frowning faces.” (p. 23) Artwork by Lane Smith
  • Capable represents a counter-narrative to claims that impoverished children lack “grit.” As her name suggests, this child is more than capable, but the world appears determined to defeat her.
  • Capable also embodies Lisa Delpit’s confrontation of “other people’s children”—that those with privilege (slack) are willing to allow one set of standards for other people’s children (often living and learning in scarcity), standards they will not tolerate for their own.

As I stated in the opening, allegory seeks to open our eyes by diversion, creating an other world that helps us see both the flaws with our now and the enduring failures of humans to embrace our basic humanity, a failure Capable teeters on the edge of making herself but cannot:

And [Capable] soon found that it was not all that much fun being the sort of person who eats a big dinner in a warm house while others shiver on their roofs in the dark.

That is, it was fun at first, but then got gradually less fun, until it was really no fun at all. (p. 70).

In the end, it is this sort of charity, this sort of recognition of the community of humanity, a call for the kindness found in Kurt Vonnegut’s similar mix of dark humor that Saunders appears to suggest we are all capable.

Companion Reads for The Very Persistent Gappers of Frip

Scarcity: Why Having Too Little Means So Much, Sendhil Mullainathan and Eldar Shafir

“The Ones Who Walk Away From Omelas,” Ursula K. Le Guin

“The Soul of Man under Socialism,” Oscar Wilde (1891)

“The Silenced Dialogue: Power and Pedagogy in Educating Other People’s Children,” Lisa Delpit

Other People’s Children: Cultural Conflict in the Classroom, Lisa Delpit

“NPR Whitewashes ‘Grit’ Narrative” 

Competition: A Multidisciplinary Analysis, Wade B. Worthen, A. Scott Henderson, Paul R. Rasmussen and T. Lloyd Benson, Eds.

Education, science fiction

Our Dystopia Is Now: The Circle (Eggers) and Feed (Anderson)

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For twenty-first century readers and students, George Orwell’s dystopian novel 1984 poses, I think, a temporal paradox.

1984, George Orwell

Orwell’s “other world” appears simultaneously a horrifying totalitarian future possibility for humanity as well as a technological mutt of what someone in the past speculated about the future (consider the pneumatic tubes).

As I read The Circle by Dave Eggers, I began to imagine that my experience with this novel published and read in 2013 was repeating what readers during the late 1940s and early 1950s (especially British readers) may have felt turning the pages of Orwell’s Big Brother nightmare, a Kafkan dark satire of their lived England.

The Circle, Dave Eggers

My reading experience with The Circle has at least two problematic elements.

First, I read about a third of the novel before I lost interest and picked up Feed by M.T. Anderson, which I read completely before returning to and finishing The Circle.

And second, I never felt fully engaged with The Circle because I couldn’t shake the feeling that the novel details that our dystopia is now.

Both The Circle and Feed provide readers with a genre carnival of sorts—dystopia fiction, young adult fiction, science fiction, and speculative fiction. But I struggled with The Circle in ways that I did not with Feed, despite my usual measured disappointment with many young adult novels.

Since Adam Bessie has explored the importance of Feed, especially as it informs education reform, I want to examine more closely The Circle in the context of Feed as well as my struggles to engage fully with Eggers’s important novel.

Just past the middle of The Circle, I began to see that Eggers’s dystopia is a contemporary 1984. When the main character, Mae, serves the will of the Circle by producing three slogan (Secrets Are Lies, Sharing Is Caring, Privacy Is Theft), Orwell’s “War Is Peace, Freedom Is Slavery, Ignorance Is Strength” echoed in my mind’s ear.

I feel compelled to place The Circle, then, within a dystopian tradition including 1984 and Margaret Atwood’s The Handmaid’s Tale—speculative works that weave contemporary social satire (albeit very dark satire) with imaginative logical extensions of what if that holds up one possible future for humankind. [1]

The Handmaid’s Tale, Margaret Atwood

While The Circle reminds me of 1984 and The Handmaid’s Tale [2]—including the slogans above alluding to 1984 and elements of zealotry along with totalitarianism’s dependency on currency manipulation (Atwood’s prescience about debit cards) shared with The Handmaid’s Tale—Eggers’s other world is not removed nearly as far from the reader as in Orwell’s and Atwood’s novels.

Since I use and know a great deal about google, Twitter, and Facebook, the Circle as a speculative logical extension of our real-world social media feels less speculative than our dystopia is now.

For the privileged in 2013—and those on the edge of privilege wanting in—smartphones, tablets, and computers connected through the Internet have blurred almost every aspect of the human condition—social with professional, entertainment with commerce, etc.

We don’t flinch when google completes our typing as we search the web or when gmail reads our emails in order to push product banners. We reduce our conversations to 140 letters with glee and among hundreds, even thousands of people we have never met in person. We retweet, favorite, and like (verbing all the way) while double posting on Twitter and Facebook—even clicking “like” under a Facebook post about the death of a dog, or a grandmother.

So when Eggers introduces the more fantastical elements of the novel, and there are some, I remained fixated on my lack of compassion for Mae and my inability to shake the feeling that Eggers is simply cataloguing the world the privileged have created, the lived world of the privileged in 2013. (I must add that The Circle and Feed focus on main characters who are compliant “insiders” of the dystopia, and both have sacrificial radical characters. I found Mae in The Circle really hard to embrace, but did feel compelled by Titus in Feed. I had the same bland response to the radical in The Circle, while caring deeply for Feed‘s Violet, my favorite character of the two novels.)

So far, I suspect, my view of The Circle may feel like less than a ringing endorsement; however, I do believe The Circle is a 1984 for our time, an important and insightful work. Let me, then, offer a few reasons why.

At its essence, The Circle is the fictionalizing of concepts explored in Michel Foucault and Gilles Deleuze: surveillance, “infinite examination,” “societies of control.” While Foucault and Deleuze are inaccessible in many ways for the general public, Eggers’s other world, even as close as it is to now, is stark in its clarity. At times, The Circle reads with the same sort of dispassionate camera feel that Ernest Hemingway uses in “Hills Like White Elephants.” In both works, there lies the danger that readers will fail to confront what has been placed before them—that the dispassion will read as endorsement or at least could be embraced by the readers.

While true of any artwork, Eggers allows readers to close The Circle in much the same mindset as Mae (Book III is a mere three-pages long in its twist-style ending).

As with Feed, The Circle also speaks directly to education reform, particularly as that overlaps with our current era of mass incarceration (see Education Reform in the New Jim Crow Era):

  • With fervor, the possibility of the Circle’s role in education is championed—and the discussion sounds eerily close to home:

“That’s the idea,” Jackie said. “…[S]oon we’ll be able to know at any given moment where our sons and daughters stand against the rest of American students, and then against the world’s students.”

“That sounds very helpful,” Mae said. “And would eliminate a lot of doubt and stress out there.”…  “And it’ll be updated how often?”

“Oh, daily. Once we get full participation from all schools and districts, we’ll be able to keep daily rankings, with every test, every pop quiz incorporated instantly. And of course these can be broken up between public and private, regional, and the rankings can be merged, weighted, and analyzed to see trends among various other factors—socioeconomic, race, ethnicity, everything.” (p. 341)

  • In possibly the most disturbing section of the novel, the Circle is characterized as a potential law enforcement tool that can erase crime and racial profiling, by color-coding everyone on the ubiquitous monitors invented by the Circle: “The three men you see in orange and red are repeat offenders” (p. 418). This plan, however, works under the assumption that previous arrests are fair, themselves not the result of race or class bias.

In the end, The Circle is a warning shot about the end of privacy, universal surveillance. If readers feel uncomfortable while reading with their smartphone dinging nearby, it is likely because our dystopia is now, and The Circle is a nearly 500-page pamphlet saying, Welcome to the Machine:

[1] I highly recommend Atwood’s essays—”Writing Utopia” and “George Orwell: Some Personal Connections”—in Writing with Intent and In Other Worlds for Atwood’s brilliant confrontations of science fiction and speculative fiction genre(s). See also Science Fiction and Speculative Fiction: Challenging Genres.

[2] I wonder what the fascination is with red covers and dystopian literature…

Fahrenheit 451, Ray Bradbury
science fiction

“Fahrenheit 451” 60 Years Later: “Why do we need the things in books?”

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“Sometimes writers write about a world that does not yet exist,” Neil Gaiman begins his Introduction to the 60th Anniversary Edition of Ray Bradbury’s Fahrenheit 451:

This is a book of warning. It is a reminder that what we have is valuable, and that sometimes we take what we value for granted….

People think—wrongly—that speculative fiction is about predicting the future, but it isn’t; or if it is, it tends to do a rotten job of it….

What speculative fiction is really good at is not the future but the present—taking an aspect of it that troubles or is dangerous, and extending and extrapolating that aspect into something that allows the people of that time to see what they are doing from a different angle and from a different place. It’s cautionary.

Fahrenheit 451 is speculative fiction. It’s an “If this goes on…” story. Ray Bradbury was writing about his present, which is our past.

Like Margaret Atwood’s In Other Worlds, Gaiman’s clarification about the purposes of science fiction/speculative fiction builds a foundation for reading (or re-reading) Fahrenheit 451 as well as for considering why Bradbury’s novel on book burning endures.

Sixty years ago in October 1953, Fahrenheit 451 was published. In the fall of 2013, the novel reads as an eerie crystal ball—despite Gaiman’s caution: the pervasive Seashells like iPod earbuds, wall-sized monitors and reality TV.

Yet, upon re-reading this anniversary edition, I am less interested in Bradbury’s prescience about technology and its role in isolating humans from each other, and reminded—as Gaiman suggests—of what matters.

Fahrenheit 451: 60th Anniversary Edition

The enduring flame of Fahrenheit 451 is perfectly stoked by Gaiman, in fact:

A young reader finding this book today, or the day after tomorrow, is going to have to imagine first a past, and then a future that belongs to that past.

But still, the heart of the book remains untouched, and the questions Bradbury raises remain as valid and important.

Why do we need the things in books?…Why should we read them? Why should we care?…

Ideas—written ideas—are special….

This is a book about caring for things. It’s a love letter to books, but I think, just as much, it’s a love letter to people….

Yes, Gaiman is a writer’s writer so he is naturally suited to understand Bradbury as well as marvel at the magic of Fahrenheit 451. But there is more.

This anniversary edition includes not only Gaiman’s new Introduction but also a concluding section—History, Context, and Criticism. The opening piece by Jonathan R. Eller explains, “Bradbury virtually lived in the public libraries of his time.” And later in a transcript of an audio-introduction, Bradbury adds:

When I left high school, I began to go to the library every day of my life for five, ten, fifteen years. So the library was my nesting place, it was my birthing place, it was my growing place. And my books are full of libraries and librarians and book people, and booksellers. So my love of books is so intense that I finally have done—what? I have written a book about a man falling in love with books.

Here, I think, another important connection between Gaiman and Bradbury highlights why Fahrenheit 451 endures: Both men are readers, the type of readers who love the idea of books, love specific books, and recognize the human dignity represented by the free access to books.

Like Bradbury, then, Gaiman has a life-long love affair with libraries:

Another way to destroy a child’s love of reading, of course, is to make sure there are no books of any kind around. And to give them nowhere to read those books.

I was lucky. I had an excellent local library growing up. I had the kind of parents who could be persuaded to drop me off in the library on their way to work in summer holidays, and the kind of librarians who did not mind a small, unaccompanied boy heading back into the children’s library every morning and working his way through the card catalogue, looking for books with ghosts or magic or rockets in them, looking for vampires or detectives or witches or wonders. And when I had finished reading the children’s’ library I began on the adult books.

They were good librarians. They liked books and they liked the books being read. They taught me how to order books from other libraries on inter-library loans. They had no snobbery about anything I read. They just seemed to like that there was this wide-eyed little boy who loved to read, and would talk to me about the books I was reading, they would find me other books in a series, they would help. They treated me as another reader – nothing less and more – which meant they treated me with respect. I was not used to being treated with respect as an eight year old.

But libraries are about Freedom. Freedom to read, freedom of ideas, freedom of communication. They are about education (which is not a process that finishes the day we leave school or university), about entertainment, about making safe spaces, and about access to information.

I worry that here in the 21st Century people misunderstand what libraries are and the purpose of them.

For those of us who share this love of books and the “[f]reedom to read, freedom of ideas, freedom of communication,” then, that Fahrenheit 451 endures is both wonderful and chilling.

If the novel had been published October 2013, I suspect it could have just as easily been applauded as a stark mirror of our present disguised as a futuristic dystopia:

“Jesus God,” said Montag….Why doesn’t someone want to talk about it! We’ve started and won two atomic wars since 2022! Is it because we’re having so much fun at home we’ve forgotten the world? Is it because we’re so rich and the rest of the world’s so poor and we just don’t care if they are? I’ve heard rumors; the world is starving, but we’re well fed. Is it true, the world works hard and we play? Is that why we’re hated so much?

And then Montag recalls a brief encounter with an old man:

The old man admitted to being a retired English professor who had been thrown out upon the world forty years ago when the last liberal arts college shut for lack of students and patronage.

Fahrenheit 451 ends with Montag as a criminal on the run who finds himself on the outskirts of the town among refugees, mostly outcast professors.

If a reader picks up Bradbury’s novel today, and then turns to her iPad to read the online blog The Answer Sheet at The Washington Post, she may read this:

The discussion of why the humanities matter has picked up steam since The New York Times published a piece last week suggesting that even some top institutions are increasingly anxious about the proliferation of STEM (science, technology, engineering and math) majors.

Meanwhile, they report a declining interest in topics like French literature.

Only eight percent of students now major in the humanities, according to the American Academy of Arts & Sciences, down from a peak of more than 17 percent in 1967. The trend is worrisome, and plenty of college presidents have come to the defense of the humanities; views of all kinds have since been published….

Tolstoy endured. Will the liberal arts?

From Aldous Huxley to Ray Bradbury to Neil Gaiman—and countless authors and readers alike along the way—Fahrenheit 451 should leave us all with Shakespeare ringing in our ears:

Miranda: O wonder!
How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in’t. (William Shakespeare, The Tempest, Act V, Scene I, ll. 203–206)

Fahrenheit 451 remains a warning we need to heed, but likely won’t—once again: Be careful what brave new world we allow to happen when we aren’t paying attention.

educator, public scholar, poet&writer – academic freedom isn't free