Toward a New Story for Schooling

Saul O. Sidore Distinguished Lecture
University of New Hampshire

My topic is “Toward a New Story for Schooling,” but I’m really telling an old story: we can’t separate education from community and we can’t understand communities without understanding them as a web of stories. To improve our schools, we need to pay attention to the stories our communities tell themselves about what they face, what is worth wanting, and where to go next. A new story can suddenly change us–as individuals, communities, or nations.

In 1849 Kit Carson set off in pursuit of a band of Apaches who had captured a white woman. The anecdote, related by Carson himself, sounds like the beginning of a movie. However, Carson had to ride his sweating horse not through the West of some scriptwriter’s imagination, but through a world more like the one we experience every day. A world where we lose the trail, move too slowly, lose our nerve, take the wrong turn, arrive too late or in the wrong place. By the time Carson caught up with the Indians, the woman was dead.

In the abandoned Apache camp he found something else though. A book about a largely fictional character named “Kit Carson” who was a great Indian-slaying hero. It was a shock to him. According to historian Richard White, “Carson’s reaction to finding the book . . . was to lament his failure to live up to his fictional reputation.” The actual Kit Carson was something less than god-like. He couldn’t tuck his pants into a pair of colorful boots, swoop into the scene amid a glittering whirl of rhinestones and leather fringe to perform six-gun magic against the doomed forces of evil. Compared to pulp fiction, real life seemed a bit dismal. And so “the fictional Carson became the standard for the real Carson.”

His life began trying to imitate the story. And who can blame him? We all have within us the heroic impulse. We want lives of meaning, of purpose, of significance and so do our students. If our schools don’t allow young people to feel themselves heroically engaged in something that matters, if we don’t organize them into stories that capture their imagination, filling them with visions of how they want to be, they will fall easy prey to other storytellers, which are all around us.

It has always been that way. There are stories and images loose in the world that capture us and drive our destiny. Such stories rival geography and economics as forces that shape the history both of individuals and nations.

The trouble in schools today can best be understood as a crisis in the narrative environment.

Full Text PDF: “A New Story for Schooling”

Comparing V for Vendetta to 1984

Several students have told me that the film V for Vendetta is “just like” 1984. Since I’m always interested in resources that might make Orwell’s important warning clear to younger people, growing up as they are in a world that is so shaped by Newspeak and Doublethink–now referred to as “political correctness”–that his message is hard for them to hear, I watched the film.

It was similar, in the sense that in both stories humanity is being oppressed by a totalitarian regime. Still, it was the differences that mattered most.

For one thing, Orwell understood the political threats that would most matter in this age. He accurately identified the main source of modern totalitarianism as socialism, characterized by an ontology of materialism and an ethical philosophy of utilitarianism. This film, I thought, could have been produced by the Party in 1984. There is no God, and humanity’s fate is determined by economics; there is no moral law–the “rational” guide to ethics is to focus on the collective–doing the most good for the most people. Inevitably, “good” will be defined by the leader. We’ve been down that road several times. What is good is what is good for the Revolution. Who opposes the party opposes humanity.

So it’s quite ironic–though very politically correct at this moment early in the twenty-first century–for director James McTeigue to cater to socialist fears that the totalitarian threat comes from Christians. His film portrays a Christian fascist party at the helm of a negative utopia. Like Orwell, he uses an authentic verse memorized by British school children to evoke a distant, ominous memory from a Christian past. Orwell used lines from “Oranges and Lemons”:

Here comes a candle to light you to bed,
And here comes a chopper to chop off your head.

McTeigue reaches back to the Gunpowder Plot–one of the seventeenth century religious battles between Protestants and Catholics, immortalized in a rhyme popular among British school children:

Remember, remember the fifth of November.
Gunpowder, Treason and Plot.
I see no reason why Gunpowder Treason
Should ever be forgot.

This linkage of terrorism and violence to Christianity flatters the sensibility of moderns, still believing they are achieving some sort of liberation from religion, while they continue pressing forward in a world where individual liberty erodes in a morass of political correctness, and the dominant power in Europe is a European Union intent on eroding national sovereignty through all the accouterments of a propaganda state and rationalized regulation, while churches all over Europe remain empty and quiet each Sunday.

The main danger to freedom in Europe now is the same as it was when Orwell wrote: the progressive fulfillment of socialism’s managerial fantasy, the depth and breadth of its control increasing. The main obstacle to this dream has always been the churches–think of Catholicism in Poland–which provide both a rival center of power and an incommensurable reality forever beyond the reach of the state, for those who believe. McTeigue’s vision of a state-run Christian fascism will distract many in the audience from a more credible danger.

In some ways, V for Vendetta resembles the French Revolution more than it resembles Oceania in 1984.  In Enlightenment France, a utopian naivete fed the passionate belief that if the horrible French aristocracy (and the Christian clergy) could be destroyed, that then. . .then. . .then, somehow, liberty and fraternity and equality would, um, burst forth–or something.

But. It was not to be. As Edmund Burke noted at the time, when long-established institutions are suddenly destroyed, what follows is not utopia but a mad scramble after power wildly careening into the streets–a mad scramble for which the most brutal and Machiavellian are best equipped. Terrorism did destroy the aristocracy, establishing itself as a principle of power. The Reign of Terror was enacted to the tune of noble platitudes and motivated by an unscrupulous will to power, in time, of a single man: Maximilian Robespierre.

The hero in V for Vendetta is an intellectual. We never see his face, but we hear his voice and we watch the entire nation brought to attention at his single will. It is clear that this will opposes evil. It is far less clear that this will is not evil itself. Still, isn’t there a pleasure in seeing evil overpowered? One could easily mistake this pleasure for the triumph of goodness.

This film differs from 1984 in that Orwell did not offer even any appearance of a solution to the problem of fully realized socialism. Winston Smith’s defeat is total and thorough. He loves that which has destroyed him. Though Orwell supported the desires and intentions of the do-gooders who became socialists, he could never see how those intentions, after consolidating power to do good things, could keep that centralized power from the brutal and devious thugs who would always be attracted to it. Since he didn’t see a solution, he focused on making the threat clear.

McTeigue’s story, by contrast, ends on a triumphant note, as though destroying totalitarianism were as simple a matter as shooting a bank robber in some Hollywood West. The image of triumph is not without horror, of a sort, as a mass of identically masked terrorists grin their porcelain grins–a not overly appealing nod to equality–amid explosions bringing down the architectural symbolism of Western Civ–the fireworks of emancipation, or something–with rousing music.

McTeigue’s story is self-aware enough to play with the nihilism of his avenging hero’s vision, which cannot get beyond destroying evil. The masked hero falls in love, and this brings home, painfully, the essential joylessness of the quest that has consumed his life. He cannot be deterred from his fate by the attractions of love. He knows enough to blow up a bad world, but he knows far too little of how to create a good one. The story’s grace note is that he does know, at an existential level, that it is love that he has missed. But the point of the story, still, is that he does miss it.

But he continues onward in his story, knowing that it can only end as he and his enemy fulfill their destiny in mutual self-destruction. This aspect of the movie’s vision rings true. We are indeed entangled in a titanic struggle with enemies, the end of which is our mutual death.

This dark tale will be quite ironic to one who believes Christianity’s story with its powerfully articulated vision of how a world might grow to be truly ordered by love. Without knowing that story of faith and hope and love intertwined in a workable vision of human happiness, the modern world increasingly constructs meanings centered in willfulness, pessimism and violence–V fits that pattern; it’s a bloody tale in which, as Isaiah prophesied, the wicked are destroyed, again as during the French Revolution, by the wicked.

Goodness is somewhere else doing other things, unimagined by the film.

Robert E. Lee on honesty: a companion text to Machiavelli

When my rhetoric and composition class held a Socratic dialogue on an excerpt from Machiavelli’s The Prince [Machiavellei: The Morals of the Prince], a consensus formed quite quickly that one had to do what one had to do–that is, lie.

I injected a counter argument into the conversation, suggesting that it is possible to approach public life in the spirit of Socrates, using language only to discover and communicate truth–having goals that one is willing to advocate for explicitly and honesty so that one can also adopt truth telling as one’s method.

A stronger approach would have been to be sure that students had read counter arguments by other writers before the dialogue, so that the discussion could focus on understanding and analyzing various points of view, rather than agreeing or disagreeing with what they guess is the teacher’s opinion.

So I’ve been looking for a text that could serve as one of the companion texts for Machiavelli. A letter by Robert E. Lee to his oldest son might serve. Here he argues for being frank in every situation:

You must study to be frank with the world; frankness is the child of honesty and courage. Say just what you mean to do on every occasion, and take it for granted you mean to do right. If a friend ask a favor, you should grant it, if it is reasonable; if not, tell him plainly why you cannot. You will wrong him and wrong yourself by equivocation of any kind. Never do wrong to make a friend or keep one; the man who requires you to do so is dearly purchased at a sacrifice. Deal kindly but firmly with all your classmates; you will find it the policy which wears best. Above all, do not appear to others what you are not. If you have any fault to find with any one, tell him, not others, of what you complain; there is no more dangerous experiment than that of undertaking to be one thing before a man’s face and another behind his back. We should live, act, and say nothing to the injury of any one. It is not only best as a matter of principle, but it is the path to peace and honor.

In regard to duty, let me, in conclusion of this hasty letter, inform you that nearly a hundred years ago there was a day of remarkable gloom and darkness—still known as ‘the dark day,’—a day when the light of the sun was slowly extinguished as if by an eclipse. The Legislature of Connecticut was in session, and its members saw the unexpected and unaccountable darkness coming on. They shared in the general awe and terror. It was supposed by many that the last day had come. Some one, in the consternation of the hour, moved an adjournment. Then there arose an old Puritan legislator, Davenport, of Stamford, and said that if the last day had come, he desired to be found at his place doing his duty, and therefore moved that candles be brought in, so that the House could proceed with its duty. There was quietness in that man’s mind, the quietness of heavenly wisdom and inflexible willingness to obey present duty. Duty, then, is the sublimest word in our language. Do your duty in all things, like the old Puritan, You cannot do more; you should never do less. Never let me and your mother wear one gray hair for any lack of duty on your part.

“Human virtue should be equal to human calamity.” That’s rhetoric worth pondering.