On Literature and Teaching

  The inexplicable power of Gertrude Stein In her ‘ What is remembered’ (1963), Gertrude Stein’s long-standing partner Alice B. Toklas writes that ‘ Richard Wright was another of the American writers who visited Gertrude Stein after the war. He had long been an admirer of ‘Melanchta’, the second story in ‘Three lives’, which he considered one of the most important influences on his own career’ . Later, Susan Sontag, in her ‘ Diaries’ , will write about ‘Melanchta’ being her favourite short-story – not her favourite by Gertrude Stein, but her favourite tout-court. (‘ Three lives ’ was published by Stein in 1909). And then you have T.S. Eliot telling three successive correspondents (‘ Letters’ volume 2), in 1924: 1.        ‘Miss Heap sent me two manuscripts of Gertrude Stein; they are quite meaningless to me. It seems to me to be nonsense’. 2.        [a month later] ‘I have read [Stein’s manuscripts] through severa...

  For a few months now, I have been re-reading novels in order to find out which ones I want to use in class next year. It’s for a Master’s module on contemporary literature, and the texts I’ve been using over the last few were: ·        Barry Unsworth: Morality play ·        Magnus Mills: The forensic records society ·        Samuel Beckett: Endgame ·        Jamaica Kincaid: The autobiography of my mother ·        Charles Yu: How to live safely in a science-fiction universe But I want to change, and it’s not easy: first because it’s hard to kill your darlings, and that’s what you do each time you change the list. But second – and more importantly – because texts are tools as much as they are themselves: it’s about what they give us as novels, and what we can do with them as tools in class. And that distinction is really c...

 A few months ago, I was talking to secondary school teachers about the literature line at their school. By ‘literature line’, I mean the way literature teaching is organized over one year and also over the years, how it is (or not) seen as a line of continuous development, and how texts are selected and on which criteria. One of them told us – and this happened so many times in the past that this example will have to stand for many – that she intended to put a book on the reading list of her upper-form kids (havo 5 in the Netherlands, which prepares for Professional universities but not full-blown academic universities). Which book? Paul Lynch’s Prophet Song . Even the other teachers around us were…shall we say surprised? Now, don’t get me wrong: everyone who has read that novel praised it, thought it superb and profound and all those things. But everyone who has read that novel knows about its idiosyncrasies as well: run-on sentences, absence of clear dialogue marks, missin...

  Occasional readers, or reluctant ones, or those dealing most regularly with texts without enormous literary value, are often stumped when it comes to novels where little happens, where characters are not – in E.M. Forster’s formulation – ‘round’, and where the plot is little more than a vehicle for exploring an idea. Such texts are then described as ‘being about nothing’, or ‘boring’, and the final gesture will be either one of dismissal – ‘I don’t like it, it’s crap’ – or incomprehension tinged with bewilderment: ‘I don’t get it, what is it about?’. Those reactions are pretty common when it comes to Magnus Mills, author of some fifteen novels so far as well as several works of short-stories. But such reactions also remind us of what most people expect from ‘Literature’: it’s got to be well-written ( Oh, it’s so beautiful! ), preferably with epigrammatic pronouncements on Life and Human Nature, with characters that evolve and learn, it’s got to be a lesson in living-your-life, ...

  In 1881, a Brazilian writer named Machado de Assis published in book form what had been serialized in a Brazilian newspaper: The posthumous memoirs of Bras Cubas ( originally published in Portuguese as Memorias posthumas de Braz Cubas) . It was published in French in 1911 (the first translation of that novel), and only reached the English-reading world in 1953 (even today, the English-reading world is notoriously reluctant to publish translation of foreign works). In English it first appeared in an American translation under the name ‘ Epitaph of a small winner ’, a terrible title in many ways and a great one in others, but it seems that this first English translation was not up to scratch and so a new one appeared in 1997, and then two more in 2020, all under the new title ‘ The Posthumous Memoirs of Bras Cubas ’. Translating it was obviously difficult since so far there have been three different French translations, two Germans etc. – but the title The Posthumous Memoirs of ...

  Fiction as a safe place When it comes to citizenship education, a great many approaches can be taken, depending on which aspect of it you want to emphasise, or work on: you may be interested in the ‘Norms and values’ aspects, and want to come to grips with the workings of the democratic system, say. Or you may want to concentrate on the skills needed, for example communication skills; or you may focus on global citizenship, aspects of culture and inter-cultural communication and multi-cultural societies. Or you may be more interested in attending to critical thinking and its development in your learners. One issue any such approach will have, however, is that of loyalty. Loyalty to a family, loyalty to traditions, loyalty to a belief (system), loyalty to a culture. The bond that loyalty creates is strong, and will often override such notions as objectivity, multi-perspectival approach and willingness to consider different viewpoints. Thus when discussing, say, Dutch democracy...

  Short, even very short…but powerful One constant problem for teachers of literature at secondary schools is to do with preparation: that of the learners as much as that of themselves. Learners, when asked to read a text in advance, will usually turn up not having done so; or if they have, it was probably just a glance, or a quick read-through, maybe a few minutes only before the lesson started. (To be fair, I’ve know the opposite albeit only rarely, when a student would read the texts so much in advance that they’d sort of forgotten everything about them when lesson-time came round). We all know the consequences of that non-reading-in-advance problem: what to do in class if no-one’s read the text? Some solutions spring to mind of course, like handling the text then and there when class starts for example. But that often leads to more problems because those texts will usually be too long to be read in class, or will at least take up so much time of said class that there will...