Inquiry II Seminar

Bringing Life and Writing Together: The Merits of Nonfiction in English Classrooms

Robert L. Root defines nonfiction literature as “the written expression of, reflection on, and/or interpretation of observed, perceived, or recollected experience” with “reality [as] its essence,” “bring[ing]… life and… writing together” (290, 294). Defined in this way, nonfiction works of the sort are encountered daily by people. They are found in newspapers, in magazines, on the walls of our classrooms and the newsletters sent home. Students are encouraged to engage with nonfiction types such as these, even required to write nonfiction essays and stories, but rarely are nonfiction story accounts studied in the classroom. Novels like The Perfect Storm by Sabastian Junger, Same Kind of Difference as Me by Ron Hall, or The Immortal life of Henrietta Lacks by Rebecca Skloot are set aside for classic novels like Catcher in the Rye or To Kill a Mockingbird. The argument seems to be that these fictional classics are great novels for teachers to use to teach students empathy, perspective, and well-written and researched literature. While indeed this is true, it is also true that such nonfiction accounts as those listed above, or Into Thin Air or Into the Wild by Jon Krakauer, or many other nonfiction accounts, can teach these same things and more. While learning empathy and reading well-written literature, students also engage with history, learn about historical figures of influence in the world today, and can still relate to a character and form opinions on the choices made by the protagonist. While it may be easy to choose a novel that has been taught for years, that is well read and well researched, it is time for teachers to understand the importance of teaching new novels, novels that still teach students about literature, but also teach students about the reality of life and the influences of history.

Novels have much more potential as tools for learning than to teach metaphor, plot structure, or close reading. In fact, the purpose of a studying literature, especially in high school, should be a focus on the story, the emotions, the themes. So often teachers get caught up in the language and logistics of teaching a novel that they forget there is a story behind the words. It is difficult enough to get many high school students to read and engage with books assigned to them in class, books by Charles Dickens that were written in the 1800s or even books like To Kill a Mockingbird written in the 1960s. As teachers, we can draw connections for our students from these novels to real life, but why would we do this when so many nonfiction novels allow students to engage first hand with real life? We can show how the characters in To Kill a Mockingbird are actually formed from the personalities of the people in Lee’s life, and discuss the effects of racism on humanity in history, or we could look at the story of Henrietta Lacks, an African tobacco farmer whose DNA was stolen from her and used for experiments to develop what we now know as HeLa, to develop the polio vaccine, cloning, in vitro fertilization, and more. Not only is the story of Henrietta Lacks real, and not only is it interesting, but it too teaches students empathy, teaches them the reality of racism unmasked by fiction, which removes us as people from the injustice.

This discussion is not to suggest a removal of fiction from the classroom. The use of fiction is important as well. However, students spend increasing amounts of time in front of a screen, especially watching “common people engaging in uncommon (wilderness survival, international travel) and common (dating, home redecorating) tasks, giving viewers the chance to compare and contrast their own lives with those of the show’s ‘protagonist’” (Rose & Wood 284). With this idea in mind, it seems only reasonable that we use this knowledge of adolescents’ preferences and incorporate them into our classrooms. The number of reality television shows demonstrates a rising in interest of the real-life drama and individual story. To engage students, teachers should use stories that have these real-life characteristics as well. Into the Wild by Jon Krakauer has the potential for this. The story revolves around a single boy’s dream, his story, and his fatal mistake. However, through this story readers are introduced to theorists and authors such as Henry David Thoreau, Leo Tolstoy, and Jack London. They are shown the impacts of society and family on an individual, and taught about life in the wilderness. Moreover, students are given opportunity to debate the choices of the protagonist as those of an ill-prepared adventurer lacking the knowledge to live in the wild, or a courageous man hoping to find the true meaning of life. And they can do it with a story that spanned newspapers, got many other North Americans talking, and is still discussed today. In this way, nonfiction can “eradicate the disconnect between the kind of reading teens to in English and what they experience in other content areas,” and help make teacher’s “lessons richer and their students more engaged” (Cole 466).

Furthermore, research shows that boys may be more likely to read and engage with nonfiction accounts more readily than fiction novels, due to a positive link between masculinity and nonfiction text (Smith 10). In a study done by M. Coles and C. Hall (2002), although out of 7867 students only “2.8 percent of the total sample read exclusively non-fiction, 78 percent of those who do are boys” (103, emphasis added). Teachers should use this information to choose novels to study; however, they must also be very careful to avoid an essentialist approach with regards to gender preferences. To categorize boys as the only readers who enjoy nonfiction, and only nonfiction, is an extremely minimalist approach to understanding ones’ students and their reading preferences. Teachers, however, should take into account different reader preferences and use the knowledge to incorporate different types of literature into the classroom. Awareness of these preferences is of utmost importance in such situations, especially since it has been proven that in general boys read less (Coles & Hall 100). Knowing this allows for an open-mindedness toward different genres of literature, which may provide better engagement from students who may not engage as much in a reading of a fiction text.

Nonfiction also does one another thing that fiction cannot. While one can discuss reliable/unreliable narrators in a fiction novel, a nonfiction novel allows discussion of what exactly “reality” and “nonfiction” are. This opens up teachable moments on media production, on perspective, on bias, etc. both in nonfiction novels and reality television. Students can use nonfiction to begin to think critically about an author’s opinion, since nonfiction accounts are most often told by a convicted author with certain beliefs about a situation. Students have the opportunity to disagree, and actually form opinions on historical accounts, realizing there is more than one opinion that other people are discussing. They can research opposing ideas and understand varying points of view, all within the scope of a historical moment that is debated around the world, not simply within a group of literary critics, but within the general public who are aware of the account recalled in a nonfiction text. This critical thinking can then be taken and applied in the home, where adolescents spend increasing amounts of time in front of screens, whether it be television, smart phones, gaming consoles, or YouTube videos. Students can question the “dramatic potential” created by sharing certain parts of a story and not others, by using certain music to create a feeling of intensity or fear or sadness, and how these influence one’s ability to be critical (Rose & Wood 239).

The teaching potential of nonfiction accounts is being recognized more and more by teachers. Such novels as Into Thin Air by Krakauer or Hiroshima by John Hershey, or even more creative nonfiction accounts as The Book of Negroes by Lawrence Hill (potentially a whole other topic for discussion), are being taught more frequently. Whether this is because of the rise of reality television or because of a changing view on literature, the benefits of using such novels are evident. Not only can they teach empathy, as do many fiction novels, but they are placed within a much larger frame of reference than the literary world. They allow readers to stay in the world they live in, to challenge beliefs and actions taken in our society, and to become involved in something much larger than the classroom. All of this is not to debate the importance of fiction, but rather to emphasize the importance of the oft-undervalued genre of nonfiction. The fiction novel clearly has many other potential benefits for study, of which none should be taken away, but it does lack certain elements that a nonfiction account may have, and will be useful for teaching as well. Through its use, teachers can show students as citizens of a changing society exactly how to bring life and writing together.

 

Works Cited

Cole, Pam B. Young Adult Literature in the 21^st Century. New York, NY: McGraw-Hill Co Inc, 2009. Print.

Coles, M., & Hall, C. (2002). Gendered readings: Learning from children’s reading choices. Journal of Research in Reading, 25(1), 96-108.

Hersey, John. Hiroshima. New York, NY: Alfred A. Knopf, Inc. 1946. Print.

Hill, Lawrence. The Book of Negroes. Toronto, ON: Harper Collins, 2007. Print.

Junger, Sabastian. The Perfect Storm. New York, NY: W. W. Norton & Co., 1997. Print.

Root, R. L. Variations on a Theme of Putting Nonfiction in Its Place. Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture, 4(2) (Spring 2004): 289-322. Web.

Rose, Randall L. & Wood, Stacey L. “Paradox and the Consumption of Authenticity through Reality Television.”Journal of Consumer Research, 32(2) (September 2005): 284-296. Web.

Skloot, Rebecca. The Immortal Life of Henrietta Lacks. New York, NY: Crown Publishing Group, 2010. Print.

Smith, S. (2004). The non‐fiction reading habits of young successful boy readers: forming connections between masculinity and reading. Literacy, 38(1), 10-16.

 

Bibliography (Organized by Topic)

McCandless Inspirations:

Green, Martin. “Tolstoy as Believer.” The Wilson Quarterly, 5(2) (Spring 1981): 166-177. Web.

Hedrick, Joan D. Solitary comrade, Jack London and his work. Chapel Hill, NC: U of North Carolina P, 1982. Print.

–       admired by Chris… perhaps the connection comes due to Chris’ late-life obsession with his illegitimate birth, similar to London’s illegitimate birth (xv)

–       “his feeling that… he had no roots… let him to write, in disguised ways, of his desire for belonging” (xvi)

–       seems ironic that Chris admired him due to London’s gang affiliation years (10) and his belief in drinking as the rite of passage from boyhood to manhood (14)

• this clearly contradicts Chris’ beliefs
• however, he did drink mostly to fit in as he felt like a humiliated outsider (19)

–       had a love for books that represented characters and romantic ideals opposite of what he would have known (21)

• transferred into story telling, told to appease a particular audience (22)

–       repressed reality of lower class life when he moved up the social ladder (33)

–       torn between low and middle class ideals – just as Chris was torn between his schooling and his call into the wild

–       London writes often of death (“To Build A Fire,” “In A Far Country,” “The White Silence”

–       having worked for social standing and material wealth, London realizes that “there’s damn little satisfaction to it” (57)

Raskin, Jonah. “Calls of the Wild on the Page and Screen: From Jack London and Gary Snyder to Jon Krakauer and Sean Penn.” American Literary Realism 43 (April 2011): 198-203. Web.

–       similarities between McCandless and London

• both ran away from home, had bad relationships with their fathers, and go on searches for freedom (199-200)
• criticism of film adaptation, which “never frees itself from the written word”  (200)

–       suggests that London wrote more about the wild than he actually experienced it (202)

• ** did McCandless admire London for his person, or for his writing?

–       very negative look at both McCandless and London, and their fanciful ideas of the wild

Read, Adam. Christopher McCandless aka Alex Supertramp. 2001. Web. http://www.christophermccandless.info/intothewildpictures.html. 4 Jan 2013.

–       online pictures/fan page

Robinson, David M. Natural Life: Thoreau’s Worldly Transcendentalism. Ithaca, NY: Cornell U P, 2004. Print.

–       adventure with his brother, John, travelling down a river showed Thoreau his love for nature

–       loss of his brother to tetanus only furthered his need for an experiment in solitude (2)

–       Thoreau did much writing in his solitude

• gave him a new direction

–       *interesting to note the similarities to Chris McCandless à one can see by his last few writings that he was ready to leave the wildneress and solitude (at least for a time, we know not how long), and integrate back into society with a new direction

–       observation of the natural world, especially moonlight walks and an ascent of Mount Ktaadn in Maine, push Thoreau to see the beauty of being immersed in nature

• “the literary life and the new idea of the natural life seemed to be rapidly diverging (6)
  • ?? McCandless writing less and less? or weakness?

–       Thoreau had an “eye for natural detail” and notably demonstrates his “recognition of the vastness of nature’s cycles,” which “teach humility that is essential to knowing nature, and also to living in accord with it” (8)

• Chris perhaps did not understand it’s vastness, or have the humility he needed to successfully live in nature
  • see this in the responses of several Alaskan natives, who see Chris as foolish and ill-prepared, idealistic and

–       ** non-fiction inspired McCandless… how can we use McCandless story to inspire?

–       “insecurities eventually led Thoreau to his famous experiment at Waldon Pond” (10)

• ?? Was this McCandless’ reason for his experiment too? Leaving the things that made him insecure, in search of answers

–       Thoreau had many inspirations, namely the Unitarian minister Orestes Brownson, and also Ralph Waldo Emerson, both Transcendentalist thinkers (transcendentalism = crisis of identity (29)

• * students must find real role models, be guided to think in different ways, and expected to challenge varying perspectives
• only through reading non-fiction, through seeing life stories and understanding through teaching the significance of such stories, will students become actively engaged in critical reading of literature

–       Romantic outlook – nature as beautiful

• * using non-fiction to inspire
• Wordsworth, Goethe (14)

–       “inner development” led Thoreau to abandon his teaching vocation and embark on a natural quest for understanding what inspired him (18)

–       ** environment of the class

• using non-fiction to set it
• Thoreau/transcendentalism – “ We should seek to be fellow students with the pupil, and we should learn of, as well as with him, if we would be most helpful to him” (30)
  • non-fiction can do this!!!!

 

Non-Fiction Works: Undervalued

Cushman, Susan. “Apples to Apples, Please: Narrative Nonfiction and Empathy.” Brevity’s Non-fiction Blog. 25 October 2011 <brevity.wordpress.com>. 6 January 2013. Web.

–       recognize the comparison of using narrative fiction vs. expository non-fiction to teach empathy

–       book examples of non-fiction:

• The Immortal Life of Henrietta Lacks
• In the Sanctuary of Outcasts
• Same Kind of Difference as Me
• The Perfect Storm

–       studies done to show building empathy of off fiction novels

• this could EASILY be done with non-fiction
  • easily seen through responses to McCandless’ actions/death
  • why not use real stories to engage students in real life??

–       reality

• seems as though something real might promote a better understanding of real life than would a fiction novel

Hill, Lawrence. The Book of Negroes. Toronto, ON: Harper Collins, 2007. Print.

–       based on history

–       NOT a non-fiction novel, but still based on real-life history

–       teaches about reality of the African slave trade

–       definitely creates empathy, while also teaching history

–       combine history/social studies with reading

• presents students an opportunity to become involved in something REAL and understand their history

Junger, Sabastian. The Perfect Storm. New York, NY: W. W. Norton & Co., 1997. Print.

–       historical based

–       science/nature mixed with reading

–       adventure! students can get involved n the adventure story

Skloot, Rebecca. The Immortal Life of Henrietta Lacks. New York, NY: Crown Publishing Group, 2010. Print.

–       challenges injustices, teaches about the discovery of scientific discovery and experimentation

–       introduction into ethics??

Hersey, John. Hiroshima. New York, NY: Alfred A. Knopf, Inc. 1946. Print.

–       Non-fiction used as a way to tell historical narratives that are otherwise often unheard due to the shame of the actions that have taken place

–       Japanese history

–       accounts of 6 people

–       brings about global topic and discussion on nuclear war weapons

• so many different stories to be told that will inspire different people
• ** Goethe inspires Thoreau, Thoreau inspires many including McCandless, McCandless can inspire students!
• By learning non-fiction, we can study about real inspirational people such as Jack London and Henry David Thoreau, both acclaimed and celebrated artists who lived deeply interesting lives, both critically examined in life and works to this day

 

Use of Non-Fiction in the Classroom- Gender Focus:

Cole, Pam B. Young Adult Literature in the 21^st Century. New York, NY: McGraw-Hill Co Inc, 2009. Print.

–       engaging students: remember what you did NOT like about reading in high school such as “participating in round-robin reading,” “doing too many class activities with the book—that is, plodding through the book, chapter-by-chapter, and completing worksheet after worksheet” (41)

–       “quality young adult literature” demands “memorable characters,” “accurate facts and details” of historical events, “no unlikely coincidences,” and an “original idea,” among other things (61-64).

• Into the Wild, I would argue, fits into all of these quality points

–       Novels that are realistic (98), labelled as “problem novels,” which deal with personal and social issues, are often nominated for “any award that is not genre specific” (103)

• non-fiction novels are often stories of history that are both personal and social (i.e. McCandless personal views clashing with those of his parents, and often with society)
• other stories, such as Salinger’s Catcher in the Rye, a fiction “problem novel” of a character who resembles McCandless in his desire for solitude

–       students have to write non-fiction, even in classrooms in which reading and exploring it is excluded (466)

• reading nonfiction can “eradicate the disconnect between the kind of reading teens do in English and what they experience in other content areas” (466).
• “teachers who set out to make nonfiction an integral part of the curriculum find hteir lessons richer and their students more engaged (466).

–       nonfiction can show students a reality they might not otherwise know existed

• i.e. athletes, movie stars, entertainers, etc. can be explored in more truth (476).

Coles, M., & Hall, C. (2002). Gendered readings: Learning from children’s reading choices. Journal of Research in Reading, 25(1), 96-108.

–       boys underperformance in English and reading (96)

–       boys read less (100)

–       they are “more active and more sporty, more adventurous” (101)

–       In a sample of 7867 students… “Although only 2.8% of the total sample read exclusively non-fiction, 78% of those who do are boys.” (103)

Hopper, R. (2005). What are teenagers reading? Adolescent fiction reading habits and reading choices. Literacy, 39(3), 113-120.

–       allowing students to read non-book texts

• online, etc

–       much non-fiction here!

–       other genres of literature than fiction are being read, and may in fact be “under-recognized aspect of their reading habits” (116)

Into the Wild. Dir. Sean Penn. Perf. Emile Hersch, Vince Vaugh, Catherine Keener. Paramount, 2007. DVD.

Linda Rief. Vision & voice: Extending the literacy spectrum. Portsmouth, NH: Heinemann, 1999. Print.

Mallett, Margaret. Early years non-fiction: A guide to helping young researchers use and enjoy information texts. London, NY: RoutledgeFalmer, 2003. Web.

Moss, G. (2002). Raising boys’ attainment in reading: Some principles for intervention. Reading, 34(3), 101-106.

–       non-fiction = often laid out (font, size, layout, etc) show audience as adult; however, weaker boy readers prefer these types of books because they eschew reader proficiency due to the use of pictures, etc, which allow these readers to seem as experts, boosting self-esteem in peer groups (103)

–       self-esteem seems to be of great importance for lower-reading boys (103); building it may encourage them to read more (103)

–       giving all students of different proficiencies and genders an opportunity to explore different texts, then discuss these texts and write about them = best practice (105)

Ponech, Trevor. What is non-fiction cinema?: On the very idea of motion picture communication. Boulder, Colo: Westview Press, 1999. Print.

Root, R. L. Variations on a Theme of Putting Nonfiction in Its Place. Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture, 4(2) (Spring 2004): 289-322. Web.

–       discussion about what the term “nonfiction” is

–       “the written expression of, reflection on, and/or interpretation of observed, perceived, or recollected experience;” (290)

–       “reality is its essence” (290)

–       “bring[ing]… life and… writing together” (294)

Shaben, C. (2012). Into the Abyss: How a Deadly Plane Crash Changed the Lives of a Pilot, a Politician, a Criminal and a Cop. Random House Canada.

Smith, S. (2004). The non‐fiction reading habits of young successful boy readers: forming connections between masculinity and reading. Literacy, 38(1), 10-16.

–       positively linking masculinity and reading through non-fiction accounts (10)

–       post-structural Feminist discourse breaks down gender roles and allows reading to then be seen as masculine (11)

–       boys like to “find information” (11)

• non-fiction provides this!

–       boys interests and hobbies are important in interesting them in what they are reading (12) à traditionally female activities that are not of interest to many boys will not be selected as reading material for them (12)

–       boys like to be experts on their topics (relating back to self esteem as discussed by Moss) and are more likely to be engaged in the topic if it is something they have gained respect for due to their general knowledge on the topic (14)

Wray, David & Lewis, Maureen. Extending literacy: Children reading and writing non-fiction. London, NY: Routledge, 1997. Web.

 

Reality TV and Non-Fiction Literature:

Rose, Randall L. & Wood, Stacey L. “Paradox and the Consumption of Authenticity through Reality Television.”Journal of Consumer Research, 32(2) (September 2005): 284-296. Web.

–       “majority of reality fare depicts common people engaging in uncommon (wilderness survival, international travel) and common (dating, home redecorating) tasks, giving viewers the chance to compare and contrast their own lives with those of the show’s ‘protagonist.’” (284)

–       drive for authenticity in a post-modern world

–       reality TV consumers “revel in the ironic mixture of the factitious and the spontaneous” (286)

• can be transferred to novels à Into the Wild is a non-fiction, but Krakauer clearly places his own ideas and conclusions about McCandless and his driving forces in the account

–       production cuts parts and keeps others; gives the show/story/book more “dramatic potential” à paradoxical (293)

• we must always ask questions about authenticity; never cease to be critical of non-fiction/reality pieces of work

Reality TV is on the uprise. Is this “reality”? Can we take the account of Chris McCandless as interpreted by Krakauer as “reality”? Can you see any other ways in which Chris may have thought when he was about to die in the wilderness? Did he want to actually go back to his family? Or did he want to go back to Ron Franz? Simply live in society as Alex still? Critically reading accounts in non-fiction.