not to oversimplify an extremely complex discipline but if i had to pick one tip to give people on how to have more productive interactions with children, especially in an instructive sense, its that teaching a kid well is a lot more like improv than it is like error correction and you should always work on minimizing the amount of ‘no, wrong’ and maximizing the amount of ‘yes, and?’
for example: we have a species of fish at the aquarium that looks a lot like a tiny pufferfish. children are constantly either asking us if that’s what they are, or confidently telling us that’s what they are. if you rush to correct them, you risk completely severing their interest in the situation, because 1. kids don’t like to engage with adults who make them feel bad and 2. they were excited because pufferfish are interesting, and you have not given them any reason to be invested in non-pufferfish. Instead, if you say something like “It looks a LOT like a tiny pufferfish, you’re right. But these guys are even funnier. Wanna know what they’re called?” you have primed them perfectly for the delightful truth of the Pacific Spiny Lumpsucker
a student just analyzed a quotation from the novel we read in semester 2 by applying a quotation from a speech we read in semester 1 to interpret it and this, truly, is the stuff of english teacher dreams
This coming spring, I am scheduled to teach an upper-level class called “The Literary Experience of Nature.” I hate this title and take issue with every significant word in it, but I’m excited about the class.
A little while back, during one of those Twitter writer events I’m so fond of, the question was posed: “What does your main character fear most?” The responses were, well, a little disappointing, because so many people’s answers boiled down to “the bad guy.” Well, yeah. Presumably anyone would be afraid of some big scary monster or determined psychopath, but that doesn’t tell us anything about a character. A person’s worst fear is going to be something deeper.
The Book of Life tells the story of a bet between two gods of the underworld, centered on Manolo Sanchez, the pacifist young matador who’s never finished off a bull. When Manolo discovers that Xibalba cheated, he gets the dark god to agree to restore him to life if he can face one last challenge. And the task?
XIBALBA: Now, tell me, boy, what keeps you up at night? What eats at you from the inside? What, do tell, is your worst fear?
Then they’re all transported to a stadium where Manolo must defeat every bull who’s ever been killed by a Sanchez. The thousands of bulls merge into one giant motherfucker:
But Manolo does not fear the bull.
Manolo fears becoming the man who would kill a helpless creature. He fears his father’s disapproval and censure for not being a true bullfighter. But his biggest fear, the one that Xibalba sees in his heart, is that the two can never be reconciled, that he’ll be forced to choose between his family’s honor and his own, that he’ll lose something of himself no matter the outcome.
A titanic, flaming bull would be scary to anyone, but for Manolo, it holds a particular terror, one that is deep-seated, complex, and–above all–personal.
That’s why it’s not enough for him to merely slay the beast; he has to resolve that impossible choice. He takes a third option and sings the bull into submission, finding a way to defeat the monster while remaining true to himself, and earning the respect of his family in the process.
Monsters are not scary merely because of the physical threat they represent. They are scary because they reflect the darker parts of ourselves, the things we bury that we’re not willing to confront until they manifest in a form that can bite our tits off. The strongest and most effective external conflicts are the ones that mirror some internal conflict, where resolving one can help resolve the other.
So, with all this in mind, let’s ask it again: What does your main character truly fear? And do you make them face it?
In this film, Native American Tribal Leaders speak out for the first time about their secret knowledge of The Star People, knowledge that has been passed down for thousands of years. It was revealed in a dream among Tribal Elders that now was the time for the Tribes to break their silence and share their hidden knowledge of The Star People: the visitors from other worlds. In this film you will meet people with first-hand experience with ETs, and hear amazing stories of the unknown, and witness for yourself, a mysterious event which occurred in the skies: for some, a visible sign from the Star People that we are not alone.
