Cognitive Buckaroo with Non-fiction

As we get closer to the end for our Year 11s, it is so common for us to throw (metaphorically)  everything and the kitchen sink at them. As they leave classrooms, we pile them up with different sheets to help. Each lesson tries to cover large feats such as the whole of a Shakespeare play in an hour. All fifteen poems in two lessons. Whole language papers in an hour. When we treat students like educational versions of Buckaroo, then there’s no wonder some students struggle. We are piling things on top of things. Cognitive overload is generally common sense. If I give too much to students, it isn’t effective. 

The problem in English teaching is that we have this strange relationship with cognitive overload. We see nothing wrong with spending a whole lesson exploring a line in poetry or even seven words in a line from soliloquy, but for non-fiction we treat it like something different. In fact, ‘exploding a quote’ is almost a standard lesson for literature lessons, yet for non-fiction we teach at speed  like there is no tomorrow. 

 

There are two things students need to generally know about non-fiction: 

[1] Writers openly say what they think and feel in non-fiction unlike in most fiction. Therefore, they need to actively work harder to spot the implied thoughts and feelings. 

[2] A writer’s attitude towards a topic will often change in a piece of writing. They might grow to like or dislike something. Or, they may even change their perspective on things. 

[3] Unlike fiction, non-fiction texts often have many narrative threads. 

When reading a piece of fiction, you are generally building up a jigsaw of the story, but this is quite different for non-fiction because you are building up more jigsaws. What the writer thinks/feels? What is the situation the writer is in? What is the topic? These contrasting threads are hard to piece together, because there isn’t a clear narrative to hold them together. You can see how exam boards pick mostly ‘narrative’ style pieces of non-fiction to help students. At least, if there is a narrative of a boat breaking down, then a student can follow a text logically. 

Students have a problem with pinpointing things in non-fiction because of cognitive overload. Fiction usually has some clear things in it that clearly standout. We usually rely quite accurately with students to spot in a poem or a story what is interesting. That’s not so easy with non-fiction. In non-fiction there is a massive amount of cognitive overload because so much is competing for attention. A feeling in the first paragraph is of equal importance to a feeling in the second paragraph. That’s why it is so important to help students to work on reducing cognitive overload of a text. 

I am indebted to the fantastic Laura Webb and her resources for this. I’ve tweaked it a little to help model things to students. I’ve included the worksheet here. We model to students how you can take three sentences from the text to form a good idea of what is going on in the text. This one from Laura is about begging. 

First, we take three lines from the text. One from the beginning. One from the middle. One from the end. 

Source A

I come now to speak of the other class of begging impostors.

I am sure the number has not diminished since then; my impression is, that it has, on the contrary, considerably increased.  

This will give the immense sum of 7,5001. per week, or 350,0001. per year, which these persons levy on a charitable public. 

 

Source B

And we are using a 200-year-old law to lock up homeless addicts for begging, in some cases sending them to already overcrowded prisons.

I met a guy in Brighton who makes about a fiver a day – the most he has ever made is £30.

Luke, a homeless man I met there, a former chef, is now an addict with mental health issues. The sergeant had little sympathy.

We explore the tone. What is the tone of each line? What causes the tone? Why do you think the writer uses that tone? 

From the example, students might pick up the snobbery and disgust of the phrase ‘other class’ or the adverb 'considerably’ reflecting the writer’s fears that this problem is out of hand in the first source. Students might pick up the varying examples of pity towards beggars by making things personal with a name or how little they make in the day. 

From this, students can actually make a reasonable comparison in terms of feelings. Both texts hate something. Source A hates the beggars as he feels they are criminals. Source B hates the attitude to the police and how the judicial system treats them. We could also make a connection about pity too. Source A pities the ‘charitable’ people who give money because it is wasted. Source B pities the beggars for they have some deep seated mental health issues.  

From three lines alone, students can form clear ideas and can develop explanations around language choices. They can look at the rest of the text for ideas and technique,  but they have a starting point with non-fiction. And that is where the rub is. Students cannot tackle a whole text. They don’t do it for poetry or fiction, but yet when it comes to non-fiction they feel they need to. Half their time is spent searching for the bits to write about rather than thinking about the text. All non-fiction is seen as a block of text. We need to help them break it down. If we lighten the load a bit, the horse won’t buck and will get to where he / she needs to go. 

Thanks for reading, 

Xris 

Symbolism, structure and chat

It is that annual time of year where I teach Question 3, the structure question, to students. The more I teach this question, the more I think we need to work more on symbolism in English. And, to an extent teach them the background knowledge to identify those symbols. Symbolism is what we think we do a lot in lessons. We look at poems and explore the symbols through similes, metaphors and personification in them. Yet, when we take out metaphorical language, students find it really hard to spot and discuss them. 

Every play studied has lots of symbolism embedded in it yet symbolism tends to be isolated to the language. A character giving a soliloquy on stage on their own is a symbol of isolation. A scene set inside can be a symbol of secrecy and a lack of transparency. A scene set at night symbolises something bad, sinister or that something is ending. An Inspector Calls being set at night is symbolic. It is all leading to a new ‘dawn’. There’s a reason it is set at night. The end of the old ideology.   

The problem we have is that students can’t get their head around the idea that symbolism is often not linguistic or figurative. It is structural. I think over the years we have become too focused on identifying techniques to the point that we have missed something powerful within our subject. The meaning around all choices a writer makes.  Over time, we have subconsciously created a hierarchy around choices that sensible choices around structure, positioning or content are neglected for something with a name. Something easily nameable. Something easily tested. Something easily taught. In fairness, something that is easily explained, but not something that is easily explored. 

Symbolism is fuzzy. In one context, an object can symbolise and then in another it can symbolise something completely different. Take the colour red. It can symbolise paradoxically positive and negative things. It can represent love and passion, but also it can symbolise death and danger. Our job is to help students see that duality and how it fits in the context of things at the moment. 

The reason Question 3 is such a difficult question is that you cannot explain it fully, because it is a question about exploring. It is why we see so many people tripping up on it. Let’s teach them about cyclic structures because we can explain that. That generates lots of students explaining a cyclic but not of them explore it.  

Let’s have a look at things in one of the past papers. The following images are from the ‘Labyrinth’ paper. 

The bottle of water is often skipped when students read this paper. However, structurally the bottle symbolises so much about the character. Water is a symbol of life. Here we see that character’s full potential and her hope at the beginning. At the end of the extract, we see how that hope and potential is running and at risk. One last drop represents her one last hope that she has in the situation. Yes, there is a cyclic structure, but in terms of storytelling there is so much going on here. The bottle is a symbol of her hope. The story is structured around her lack of hope or the slow dwindling hope she had. 

We can take that further in looking at other things described. 

Each one connects to the character’s personal journey. Usually students focus on the reader and how the reader feels, when actually they’ve missed the character and forgotten about the reader’s interaction with the character. The images above are all about lots of big things. They symbolise how things are against Alice. She is looking for something small and the odds are stacked against her. The plane is a symbol of her imminent journey home. The mountain is a symbol of the challenge before her. The flowers are a symbol of her but also her hope: small, delicate and time-sensitive. The boulders are a symbol of another obstacle, like the mountain, that is in her way. 

Then, we can see how the whole thing is put together. She starts with optimism, but that is slowly dwindling as the story progresses. 

That exploration is really important, but we aren’t allowing students to do it enough. Here is another example I used with students. This goes alongside the ‘Silk Factory’ paper. Here what is interesting is the use of domestic imagery and symbolism. It is used in the story to convey a sense of safety. We have repeated references to domesticity which provides us with comfort and a level of expectation. That is contrasted with the dangerous elements in the garden. 

I think we need to get exploration back into the classroom. We’ve become too obsessed with explaining that we’ve got ourselves in knots over it. Look at how our analysis has become knotted with paragraph structures. PEEL. PEE. PEETAL. What/How/ Why. Our discussion in the lessons has placed emphasis on the concrete. What technique does the writer use? Why has the writer used it? We’ve moved away from abstract thinking and that’s where symbolism comes in. You can teach explanations, but the student independently explores in English - with a little direction from the teacher. 

Building confidence in exploration starts with talking. Getting students to talk about images amongst themselves and exploring what they could mean is paramount. That talk gives them experience and confidence. The melting pot of ideas. Here’s a little discussion sheet I have created for Year 10 as we explore this question.

It isn’t a writing frame, but a discussion tool for them to articulate what they notice about images, symbolism and storytelling. It isn’t  perfect. It isn’t definitive. But, it is something to latch ideas onto. Let’s take a break from explaining and let’s open our lessons to exploring. 

Thanks for reading, 

Xris