Even back in the mid-90s, when I was a bristling tadpole in a high school pond, I remember a class discussion that started quiet and then rose to a challenging crescendo. We were reading Came Back to Show You I Could Fly by Robin Klein, a YA novel about an unlikely friendship between an 11 year-old boy and a young drug-addicted pregnant woman. A girl in class took umbrage with the depressing nature of the story and asked the teacher, "Why do we have to do all these books about sad and depressing things?"
Several other students in the class, especially those who typically avoided reading at every opportunity, also piped up at this point, "Yeah, all these books have people die in them!"
As a class, we began to list each of the books we had read (this was the '90s, when English classes read anywhere between 4 to 8 books a year, rather than the more customary 1 that classes now cover just once each year). It transpired that, yes, every single book we had read involved a character dying or something else similarly tragic happening, like child abuse (So Much to Tell You, Goodnight Mr. Tom) or drug addiction (the aforementioned Came Back to Show You I Could Fly).
A recent online discussion led by the always-insightful Clairie Ormiston on the NSW English Teachers Resourcing Sharing Facebook group posed a question that opened up a similar discussion - why are so many of the Prescribed Texts for Year 12 English in NSW focused on issues that could be quite triggering for people? Another valued colleague, Paula Madigan, asked what would work as more uplifting or joyous options for HSC study.
There are obviously lots of great unexplored options out there that would fit this brief, however, the process that leads to selection of Prescribed HSC texts for future syllabuses is well beyond this discussion.
Instead, I've looked closely at the current NSW Prescriptions to ascertain the options that would work best for students and teachers seeking to avoid dark or emotionally distressing subject matter. Whatever one's opinion might be on resilience, development, or the challenges of literary study, it must be acknowledged that there are often specific teaching contexts that preclude the teaching of certain subjects or titles for a whole range of reasons that don't need going into.
So here are the options available if one wants to find a pattern of study for Year 12 that focuses on texts that are more uplifting, joyful, or fun. Before I list them I would like to add one disclaimer - it is admittedly quite slim pickings as a great deal of texts at this level do indeed deal with subject matter that could be seen by some as distressing. The list below is one interpretation that seeks to find a path around this but I am sure there will be contrary opinions of which texts best fit this brief and I am always happy to hear these.
Common Module - Texts and Human Experiences
- Collected Poems by Rosemary Dobson - observational poetry that focuses more on the artistic and aesthetic.
- Billy Elliot, directed by Stephen Daldry - the class-based themes are a little depressing but the message of this film (and its ending) make it ultimately quite uplifting.
Standard Module A - Language, Identity and Culture
- Contemporary Asian Australian Poets, edited by Adam Aitken, Kim Cheng Boey, and Michelle Chahill - some of the poetry touches on the impact of past trauma and present prejudices but, overall, these poems aren't excessively negative or emotionally challenging.
- Pygmalion by Bernard Shaw - there are a few comic elements in this famous play but be warned about some of the now-outdated language that may prompt awkward conversations (such as its use of the word 'slut').
- The Castle, directed by Rob Sitch - easily the most pleasant text within this module. Funny and with a feel-good ending that resonates with a lot of Australians.
- The Curious Incident of the Dog in the Night-Time by Mark Haddon - some aspects of this novel, such as the strained familial relationships and the fate of the dog in the title, might be challenging for some students. That said, this is a fun text in the way that it plays with language, structure, etc., and this may be enough to keep things light if you approach it in a structuralist fashion.
- Coast Road by Robert Gray - focuses on landscape related to coastal Australia.
- A Midsummer Night's Dream by William Shakespeare - I left The Merchant of Venice out of the Common Module above due to its themes of racism and retribution. I do think that Midsummer definitely fits the bill for 'joyous' though in its exploration of love, the fairy realm, and the presence of the ass-like tradesman Bottom.
- The Truman Show, directed by Peter Weir - fun and quirky and ultimately uplifting in the way its protagonist triumphs over his environment.
- 'Popcorn' by Carol Chan - a fun piece of poetry that doesn't ask anything too emotionally-demanding of the reader.
- 'Stopping by Woods on a Snowy Evening' by Robert Frost - the poet's exploration of nature is fairly uncontroversial and shows a certain admiration that's hard to fault.
- 'May Your Pen Grace the Page' by Luka Lesson - a beautiful and engaging piece that explores a writer's love of writing.
- Richard III / Looking for Richard - which admittedly features its fair share of murder but, hopefully, the passage of time dims the negative impact of this.
- The Tempest / Hag-Seed - which features more comedy than any of the other options.
- Emma by Jane Austen - romance and Georgian comedy.
- Under Milk Wood by Dylan Thomas - a quirky and left-field text that, if the teacher is brave in exploring its many eccentricities, can be quite rewarding for students in a range of ways not dependent on emotional challenges.
- Earth Hour by David Malouf - poetry focused on the aesthetics of life. Not particularly controversial.
- Henry IV Part 1 by William Shakespeare - there is the battle near the end that leaves some of the characters dead or sentenced to death but, other than this, Henry IV provides lots of opportunity for laughter with Falstaff. There's also a lot of room for the sort of intellectual discussion that doesn't necessarily plumb the darker corners of Shakespeare's tragedies.
- 'How to Marry Your Daughters' by Helen Garner - a sassy review / discursive piece that would go well alongside a study of Emma.
- 'Eight Days in a Corset' by Siri Hustvedt - an interesting and playful essay that focuses on fashion and gender.
- Burning Rice by Eileen Chong - there's enough within this suite of poetry to allow for some brighter discussion of culture and identity.
- Waiting for Godot by Samuel Beckett - this famously absurdist piece of drama is as close to 'fun' as this elective option gets.
- If on a Winter's Night a Traveller by Italo Calvino - a playful, irreverent, complicated and challenging text that manages to spellbind and engage without delving too much into distressing subject matter.
- The Left Hand of Darkness by Ursula Le Guin - this feminist sci-fi novel is the quintessential example of creating an engaging drama that isn't reliant on traditional modes of conflict or brutality. Le Guin's text operates on several layers.
- Gulliver's Travels by Jonathan Swift - satirical without being particularly savage. The passage of time has perhaps dimmed any controversy that once surrounded this novel.
- Life on Mars by Tracy K. Smith - award-winning sci-fi poetry.
- Clay by Melissa Harrison - a gently descriptive novel that contrasts the wonders of nature with a very British cityscape.
- The Major Works by William Wordsworth - romantic poetry focused on the beauty and wonders of God's earth.
- Island Home by Tim Winton - focused on environmental issues rather than individualistic human ones.
Thanks so much for taking the time to do this, Luke. I sincerely hope it highlights to those in NESA with the power of choosing texts for the courses, that more uplifting texts are required.
ReplyDeleteNo problem, I have a feeling we'll probably see some more uplifting texts after the last couple of years we've just had :)
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