Showing posts with label narrative. Show all posts
Showing posts with label narrative. Show all posts

Friday, December 18, 2015

#SOL15: Order Like a Net

Stopped (M.A. Reilly, Leonia, NJ, 2012)

“The order that our mind imagines is like a net, or like a ladder, built to attain something. But afterward you must throw the ladder away, because you discover that, even if it was useful, it was meaningless.” ― Umberto EcoThe Name of the Rose
I.

Lately, I have taken to moving furniture and vacuuming, cleaning countertops and bathrooms with strong chemicals, making my son's bed, stripping and cleaning linens, washing, washing, washing and opening wide windows--even here in December. Especially now the cold air filters in and it brings with it an odd hope.

Each day I set our unsettled house back to an orderliness few here seem to appreciate, perhaps even see. But it is not the aftermath of temporary order I seek or even their appreciation, but rather the slim accomplishment I feel that comes from doing.

Doing, not being.

Here is something I do daily, repeatedly that has a known end.


II.

My life these days is slippery, cracked, broken, lacking an order one might name. (And I want to call forth the right words, for is not naming a truth in itself?)

(Dis)Order.
Clean.
(Dis)Order.
Clean.


Tuesday, February 3, 2015

Spilled Paint Story

Night Falling in the Woods
In a few days I will be introducing fourth graders and their teachers to a storytelling technique that uses spilled paint, conversation, and story making. The slide share below chronicles the process I used to create a Spilled Paint Story. It is always fascinating to see what happens when children spill paint, fold paper and unfold stories.







Saturday, November 15, 2014

Sea Stories as a Form of Learning


Morning Over the Irish Sea (M.A. Reilly, 2009)

“It wasn’t, of course, the beginning, for who can say where a voyage begins—not the actual passage but the dream of a journey and its urge to find a way” (William Least Heath-Moon, River Horse: The Logbook of a Boat Across America, 2001. p. 4)

I.

I don't know what my reaction was when I first saw the sea.  Nor can I know with any certainty where that first sighting happened. Perhaps that is why I have such a fondness for stories. They open spaces and allow for untold possibility.  Being human and incomplete, I know that such gifts are hard to turn away.

And so I'm telling you here that the first sighting may or may not have been the Irish Sea. Born less than a mile from it and then next residing in Dublin for a few years--the chances are high, yes?  Or perhaps I first spied the sea when the plane lifted, banked towards the west, away from what had been home, lifted that November day from the Dublin airport. I like to imagine that below the wing, the sea green sea spread like a Walter Kuhlman painting, you know that murky dark painting of his,  Sunset on the Irish Sea, 1976 . That lovely work with just the hint of soft impossible light.

II.

We are all soft impossible light some days. And it is the impossible I often seek as I know that no one can tell me the truth of that day, of that leaving.

III.

What I do recall is that the first time I felt the sea was some years later when I now lived in the United States. I'm with my family and some friends of my parents and we are at the Shore, the Jersey shore. Lavallette, I suspect. I'm playing, lying in the sand, when a wave washes over me.

A baptism of sorts, my da would say. Perhaps the best sort.

This recollection too is a construction of parts: recall of what I have been told.  A picture I found. A juxtaposition of truths.

For stories can be true, especially when we know so little.
Stories are always true, even when they are filled with lies.


IV.

Not knowing allows for possibility. I return to the sea each year, a journey in which I feel so transient. A passport forgotten.

I am rarely home when I am far from the sea.




Tuesday, August 13, 2013

Thinking About Story, the CCSS, and Rhizomes

Finger painting by grade 1 children


“Childhood memories are sometimes covered and obscured beneath the things that come later, like childhood toys forgotten at the bottom of a crammed adult closet. But they are never lost for good.” - Neil Gaiman, The Ocean at the End of the Lane


I.

I overhear my son say to his grandmother, "The difficulty isn't making the game, the challenge is in developing the idea, the story upon which the game rests. The first is easy, just technical. The story is not."

II.

On a car trip south, we listen to David Sedaris's Let's Explore Diabetes with Owls and Neil Gaiman's The Ocean at the End of the Lane.

Listening to each, I think about the primacy of story and the current emphasis in schools governed by the CCSS on informational types of text--as well as reading literature as information. I wonder if these rather arbitrary percentages of text types to be read by age deserve our attention. Is the way to a more a literate public truly achieved by portioning texts in equal amounts for millions of children by grade level?  Does that even make sense?

III.

A rhizome finds its way. So do readers who become life-long ones, not compliant ones.  Perhaps we might be better off ensuring (As best we can) that children learn why and how to read texts rhizomatically.


Tuesday, February 21, 2012

Death, Certainty, and the Common Core

The Cover to a Child's Personal Narrative
1. First a Story

Last week, a ten-year-old boy stopped me while I was visiting his classroom and asked me how I liked the cover to his composition.  He then handed the piece of yellow construction paper to me. At the time he had not added the RIP or the tears.  As I read the title, I stopped unsure if I was reading correctly and reread. It took me a few seconds to find a voice to ask him about his narrative.

He passed two handwritten pages to me and I read them learning that his favorite uncle had died breaking up a mugging, with a bullet to the center of the forehead. He talked to me about how his uncle was his mother's older brother, her favorite too and how he and his uncle use to watch a special TV show together.  I told him that his narrative made me sad and how reading it reminded me that I needed to reach out to both of my brothers, if for no other reason than to say hello.

That's important to do, he told me as he added the tears and the RIP to the cover.

2. Then Another

Beneath the rhetoric of school reform are children's lives--fragile, resilient, and often tragic.  I think about this child and his powerful need to tell this story--a story I imagine he will tell again and again in different ways throughout his life.  Against this, I also think about those who would have us believe that story has limited place at school.  David Coleman, Common Core author joked about personal and persuasive essay when he discussed the Common Core with an audience of educators. Coleman told the audience that narrative and persuasive writing were the two most often prescribed school texts and why that was wrong.  He said:
The only problem with these two forms of writing is they don't get you very far in college and career readiness. Otherwise they're terrific (laughter).  That is it is rare at a job that the boss says, 'Johnson,  I want a market analysis, but before that I want a compelling narrative about your childhood' (again laughter).
An unintended consequence of the Common Core can be found in the certainty that frames so much of Coleman's utterances. He appears to be so sure that his thinking is right--right for an entire country.  With no actual experience against which to measure his remarks, Coleman continues on--perhaps unaware of what his careless rhetoric will displace--a child's powerful need to make sense of a favorite uncle's death through story.  What concerns me more than David Coleman is the audience of administrators and Department of Education folk who sat there and laughed.  Was there no one in that audience brave enough, bold enough to say to Coleman: Wait, you don't know what you're doing.  Let me tell you a story about a child from...?


3. Even in Business, or is it Especially in Business?


Humans, regardless of age, have a powerful need to tell stories.  Stories matter--not only for ten-year- old boys from the Bronx whose favorite uncles die, but also for those earning their keep in various businesses.  Coleman got it wrong in his contrived scenario about market analysis.

Market analysis is informed by story.  One might say it rests on story.

Consider Seth Godin who writes:

Storywork I was brainstorming with my friend Jay today and he put this picture into my head.
Most of the time we do the work. The work is our initiative and our reactions and our responses and our output. The work is the decisions we make and the people we hire.
The work is what people talk about, because it's what we experience. In other words, the work tells a story.
But what if you haven't figured out a story yet?
Then the work is random. Then the story is confused or bland or indifferent and it doesn't spread.
On the other hand, if you decide what the story is, you can do work that matches the story. Your decisions will match the story. The story will become true because you're living it.
Does Starbucks tell a different story from McDonald's? Of course they do. But look how the work they do matches those stories... from the benefits they offer employees to the decisions they make about packaging or locations.
Same is true for that little consulting firm down the street vs. McKinsey. While the advice may end up being similar, each firm lives a story in who they hire, how they present themselves, etc.
The story creates the work and the work creates the story.

 Muriel Rukeyser expressed our need for story, clearly, artfully--years ago when she wrote:
Time comes into it.
Say it.       Say it.

The universe is made of stories,
not of atoms.

We are the stories we tell.  If we fail to tell and receive stories, we fail to be. Ten-year-old children innately know this.  Perhaps, some among us still need to learn it.            

Thursday, January 19, 2012

Narrative Practices: telling/untelling/(re)telling


John Berger, from  Another Way of Telling

Early Morning on the Hudson (MA Reilly, 2009)


Snow is Falling (M.A. Reilly, 2011)





Night Coming On (M.A. Reilly, 2011)
Cormac McCarthy, The Road

Suburbia (M.A. Reilly, 2011)



Certainty. (M.A. Reilly, 2011)


Night (M.A. Reilly, 2008)

Sudden Rain (M.A. Reilly, 2011)

Friday, April 22, 2011

The Need For Story

“Tell me a story.
In this century, and moment, of mania,
Tell me a story.
Make it a story of great distances, and starlight.
The name of the story will be Time,
But you must not pronounce its name."
Tell me a story of deep delight.

- From “Tell Me a Story” by Robert Penn Warren

Sad is the Man (M.A. Reilly, April, 2011)

Tell Me a Story (M.A. Reilly, April, 2011)

The Problem with Words (M.A. Reilly, April, 2011)

Where No One Speaks English (M.A. Reilly, April, 2011)

Dreaming of Kurt Schwitters (M.A. Reilly, April, 2011)