Professional Documents
Culture Documents
Vincent Mick & Tanijah Moore 1
Vincent Mick & Tanijah Moore 1
Introduction
district within Prince George’s County, MD. 58% of Parkdale’s students identify as
Caucasian; and 70% qualify for FARMS (Maryland State Department of Education, 2020). In
terms of enrollment status, over the last four years 32.4% of Parkdale’s students have been
chronically absent and 18.6% have dropped out (Maryland State Department of Education,
2020). In 2019 only 40% of Parkdale’s students scored proficient in English Language Arts
achievement, there are better texts to include in a lesson than Nathaniel Hawthorne’s “The
Minister’s Black Veil.” And there are better ways to ask these students to demonstrate analytical
skills than a uniform “read this and write an essay about it” approach. The class’s recent poor
performance on an essay about Poe’s “The Black Cat” should have signaled to Ms. Olfky that
writing about traditionally canonical Caucasian authors from the nineteenth century might not set
this particular class up for success. And yet here we are: following Poe with Hawthorne. Here we
are: teaching consecutive stories in which blackness features only symbolically to a class of
learners for whom color is not simply a literary device. It is no wonder the class’s predominant
facial expression was a thousand-yard stare. When they looked to the curriculum, they could not
see themselves looking back. A lesson’s ability to address student diversity directly impacts its
In the lesson, students are asked to summarize, make an inference, and find textual
evidence regarding symbolism in “The Minister’s Black Veil.” The classroom objectives, which
are written on the board, are distinct indicators that this lesson will attempt to implement literacy
strategies. Ms. Olfky provides multiple strategies for demonstrating textual literacy. She attempts
Although Ms. Olfky intends otherwise, we do not see evidence of her students
demonstrating multiliteracy. The lesson’s content simply does not give students the chance. Even
if a teacher had no choice but to teach Hawthorne’s “The Minister’s Black Veil,” there are ways
to teach the story that invite students to draw on their own developing cultural, historical, and
religious literacies. No such invite is forthcoming from Ms. Olfky. When she briefly refers to
religious differences between the nineteenth and twenty-first centuries, she immediately moves
creative thinking.
practice through which “learners can gain necessary personal and theoretical distance from what
they have learned, constructively critique it, account for its cultural location, [and] creatively
extend and apply it” (New London Group, 1996, p. 87). This framing is completely absent in Ms.
Olfky’s approach to “The Minister’s Black Veil.” Without this framing, students lack the
Summarizing
Ms. Olfky activates students’ background knowledge by referring them to the plot charts
they created on the “The Minister’s Black Veil.” She then asks them to pair up and write a 3-4
sentence summary of the story. After she formatively assesses their group work, she intervenes
to provide the class with clarification about the difference between summary and plot.
Summarizing is an important skill that Ms. Olfky addresses; she is clearly making an attempt to
The next strategy that Ms. Olfky attempts to address is making inferences. Ms. Olfky
reads students a selected passage from the short story. Based on what she reads, she asks students
to infer why the minister wears his veil and to ground their reasoning in textual evidence found
directly from the paragraph. Making inferences with textual evidence is a key strategy for textual
literacy. Ms. Olfky attempts to model this strategy through emphasis on a key passage. Modeling
Our Assessment
Ms. Olfky’s lesson reveals that simply combining topics (e.g. summarizing) with the
building blocks of instructional design (e.g. modeling, flexible grouping) is not in itself a
sufficient condition of successful teaching. Ms. Olfky’s lesson has bones but no soul. Attempting
to implement a literacy strategy will not be successful unless a teacher understands whether
students understand. When Ms. Olfky checks for understanding, her checking feels perfunctory
and rhetorical. The nail in the lesson’s formative assessment coffin is its exit ticket, which Ms.
Vincent Mick & Tanijah Moore 4
Olfky describes as “None” with a smiley face. An exit ticket is an opportunity for Ms. Olfky to
assess students’ understanding while simultaneously holding them to high expectations. She does
not do this.
The lesson was primarily direct/overt instruction. The New London Group (1996)
describes “overt instruction” as “active interventions on the part of the teacher...that allow the
learner to gain explicit information at times when it can most usefully organize and guide
practice” (p. 86). Ms. Olfky’s clarification of the difference between plot and summary is an
example of such overt instruction. However, the goal of overt instruction is for students to
acquire “conscious awareness and control over what is being learned” (p. 86). Formative
assessment is therefore crucial to tracking the impact of overt instruction. Ms. Olfky’s attempts
to check for understanding were merely rhetorical--and merely rhetorical with staggering
consistency. 57 times Ms. Olfky asked questions like “Ok?” or “Does that make sense?” And 57
of those 57 times she did not wait for any response. Ironically, Ms. Olfky publicly teases one of
her students for excessively using the word “like” in his response (she estimates he uses the word
“27,000 times”). Perhaps after viewing herself on film Ms. Olfky may identify her own
Other instructional strategies include stating lesson objectives (we observe that the
objectives are poorly written in terms of legibility and measurability), stating group norms, using
flexible grouping, scaffolding (though it is unclear how the circle she draws on the
Vincent Mick & Tanijah Moore 5
board relates to summary), and arranging the physical space of the classroom (the slant of the
desks provides some degree of face-to-face interaction). Ms. Olfky provides instances for
1. Revise the lesson to help students work toward a high-quality performance task that is
relevant to their lives. According to their performance on the Poe essay, a Hawthorne
essay is not likely to qualify as such a task. A high quality, relevant performance task can
2. Introduce intertextuality into the classroom (New London Group, 1996). How does “The
Minister’s Black Veil” speak to other texts within its own time and across time?
across contexts.
3. With only two visible computers in the classroom, it seems as though Parkdale’s
allow, incorporate digital technology into the lesson. It is possible that the incorporation
to this story.
4. Center the reader not the text. Where is student voice in this lesson? Where is student
choice in this lesson? It is possible that Ms. Olfky’s students are more accustomed to
digital reading practices in which the reader rather than the text determines meaning (Leu
et al., 2015). Even if technology in the classroom is limited by budgetary constraints (we
observe only two visible computers), Ms. Olfky could harness the power of digital
Vincent Mick & Tanijah Moore 6
reading by engaging “The Minister’s Black Veil” through instructional activities that
center student voice and choice. That is, even if Ms. Olfky could not literally incorporate
digital technologies, she could transfer the skills of digital reading to the context of print
literacy. One way to accomplish this transfer would be to incorporate an activity that asks
students to mimic digital reading’s recursive practice of engaging and evaluating (Turner
et al., 2020). However, Ms. Olfky provides few opportunities for students to assess each
other’s ideas. One could argue that such opportunities are available through peer
feedback in small groups. Yet, elsewhere Ms. Olfky adheres strictly to a pattern of
scaffold for students to learn argument” and “may improve student engagement with
argument” (pp. 537-538). Students need not master argument before progressing to
multimodal argument; rather, multimodal argument can serve as an entry point for
students. Given the poor performance of Ms. Olfky’s students on their Poe essay, a
learning objectives.
1. First and foremost: ensure the curriculum reflects the lifeworlds of your students.
6. Avoid a discourse pattern in which the teacher is the sole assessor of student responses.
7. Smile! Ms. Olfky’s face was mostly dead-eyed; perhaps the thousand-yard stare of her
8. Praise meaningfully. Ms. Olfky often claims victories for the class that do not seem to
exist in reality (e.g. claiming the class accomplishes something with virtually no help
from her; claiming the class has read the story multiple times--which is a version of
assuming knowledge). Or Ms. Olfky’s praise would seem cursory and automatic.
1. Again, first and foremost: ensure the curriculum reflects the lifeworlds of your students.
2. Formatively assess consistently and authentically. For example, do not cancel an exit
3. Incorporate choice and adjustable levels of challenge into authentic performance tasks
References
https://doi.org/10.1002/jaal.716
Leu, D. J., Forzani, E., Rhoads, C., Maykel, C., Kennedy, C., & Timbrell, N. (2015). The
Maryland State Department of Education. (2020). Parkdale High School [Data file].
https://reportcard.msde.maryland.gov/Graphs/#/Demographics/Enrollment/
3/17/6/16/1909Â
New London Group. (1996). A pedagogy of multiliteracies: Designing social futures. Harvard
The IRIS Center. (2010). Differentiated instruction: Maximizing the learning of all students.
https://iris.peabody.vanderbilt.edu/module/di/
Turner, K. H., Hicks, T., & Zucker, L. (2020). Connected reading: A framework for
understanding how adolescents encounter, evaluate, and engage with texts in the digital