Quarter Semester Reflection

My students are about a quarter through their coursework now. They’ve finished one of four projects. So I decided now would be a good time to assess how I’m doing in serving them as teacher.

Mood board of different cat expressions, numbered 1-9.
The moodboard I’m using for my check-in. I did not design it, nor am I sure who did. I offered descriptive words too, because these are a bit ambiguous. But, even with cats, I don’t want to be filling out one of these for every class every week or, heaven forbid, every day.

I’ve seen a number of instructors suggesting weekly (or even more frequent) check-ins with students. I like that idea, but I think it works better if you are working at a level where students only have one or two teachers at a time (such as elementary school or graduate school). I imagine as a student I would have seen a weekly “How are you feeling?” poll as patronizing busywork, or, at best, just another thing I have to do, especially if all of my teachers were doing it. I’d get tired of the question. I don’t enjoy being asked “how are you?” more than maybe once a day; if I had to do four or five check-ins or wellness activities regularly for four or five courses, I’d resent it a lot.

But it’s important to check in occasionally, and on that I absolutely agree. So I decided to do it now, when I’m planning out the second half of the semester and when they’ve had a chance to experience the policies for a whole unit.

I don’t have all the data yet (only about 1/3 of students have completed the survey at the time I did this preliminary analysis), but I have enough to make some early conclusions.

The good news is that my class apparently is not their main stress point in their academic My students report that, in general, they’re ok, not great, but that school in general is stressing them out. Considering that my institution has, of late, become the literal image of journalism covering universities (mis)handling the virus, I’m not surprised. That can’t feel good, to see a headline about virus outbreaks and see a photo of our own bell tower under it.

However, they report more positive feelings about my class specifically than about either school in general or their overall feelings at the moment. What this tells me is that my policies are doing their job of not adding extra stress to students. I know that my class isn’t exactly something anyone wants to take, but rather it’s merely required for the programs they want, so I try to design it humbly to not be too much of a stumbling block while still achieving curricular goals.

Chart showing survey responses.
How my students are feeling, according to the survey so far.

The other good news is that, in general, none of the interactions types I had them assess are being considered “harmful.” I had them rate the reading quizzes, the weekly exercises, and the weekly emails I send out on a scale from “very helpful” to “very harmful,” and in general all of the weekly tasks are ranking somewhere in “somewhat helpful”. That’s fine by me.

But what’s interesting to me is the contrast between how they ranked video lectures and what my YouTube views are saying. I use YouTube to host my video lectures because it’s easily embedded and has good captioning options. My YouTube views suggest about 1/3 of students are using the videos, at most. However, my survey data so far has no students at all marking the video lectures as unhelpful or harmful in any way. I can see a few different explanations for this.

One possibility is that the students who are using the video lectures are also the ones who complete their weekly tasks earlier in the week, so the survey responses so far are also the students viewing the lectures. I have about 1/3 of survey responses and I know about 1/3 of students are using the video option, so that’s possible.

It’s equally likely that the 1/3 of students who have responded are the ones who are active, engaged, and doing ok, so it may be premature to draw any real conclusions here, since so far it’s effectively self-selected data.

Another possibility is that it’s not consistently the same 1/3 of students viewing the video lectures and, in fact, I’m finding that most students use them at some point, even if they don’t use them all the time, resulting in a different 1/3 of students using them each week. This seems less likely to me, as students seem likely to get into a routine in a course, but it’s still quite possible. I have nearly 100 students total, so variation will happen.

A final possibility, which I take very seriously, is that they are saying what they think I want to hear, at least to some degree, either because they know that I’m going to see the data or because they aren’t really reflecting on their own learning processes enough yet to be critical.

Chart showing survey responses
How my students feel about their weekly tasks, according to survey data so far.

That final possibility seems very likely because I used a Canvas quiz to generate the survey; that means that they’re interacting with it the same way that they’re interacting with their graded reading quizzes, which, despite being open-book and generous in retakes, are nevertheless assignments that reflect in their final grade in some way. I’m not sure that the students are aware that the responses, for this survey, are anonymous, because the interface doesn’t reinforce the anonymity, despite the anonymity being stressed in the instructions (no one reads instructions, and we have to design with that awareness).

In retrospect, I should have used a different platform for the survey. Canvas quizzes have an anonymous survey option, but it kind of sucks, and a different platform would have seemed safer to the students, since it wouldn’t be directly attached to Canvas where they do all their assessed work.

However, my take-away is that at least some of my policies seem to be having their intended effect. The students are stressed, but I think they’re going to be ok overall, and I’m reasonably assured that I’m not a major contributing factor to their stress.

Three Levels of Learning

I’m preparing a lesson on reflection for my students right now, which has me of course reflecting on learning itself.

Image of a teacup and saucer in front of a stack of books
Image via StockSnap, as usual

There is, of course, Bloom’s taxonomy and its variations, which work very well and have bee the foundations of a lot of good pedagogy, and I won’t try to mess with a good thing in that regard.

But I find myself having trouble remembering it because it’s actually a pretty complex topic and I like frameworks that come in threes. A while ago, while discussing with a student the design of the curriculum, I provided the student a three-part hierarchy of learning that is sort of a synthesis of what I’ve learned about learning and pedagogy from various sources.

Image of a woman writing in a planner
Via StockSnap

The three parts to this learning process are:

  • Recognizing
  • Doing
  • Analyzing

Recognizing can be characterized as anything from “I have seen this before; this is familiar” to “I can name this thing and associated things.” If we imagine, for instance, teaching someone how to paint with watercolors (my ready example because I’ve watched my mother teach this so often), the recognizing is the stage where the student learns to name the tools they will use: round brushes, flat brushes, canvas versus paper, paint, palette, clean water, rinse water, etc.

Recognizing also includes being able to tell the difference between a watercolor painting and other kinds of painting. (This recognition process is also what happens when I take my mom to an art museum: she scours the museum counting the ratio of watercolor to oil paintings and grumbling about how watercolor is a very fine art indeed and there’s a good deal too much focus on oil painting in the art world. It’s really a hoot).

Recognition, of course, never stops. But it’s definitely the first thing necessary to learn. This is where the student builds up the necessary categories, vocabulary, patterns, etc to be able to make meaning in the other steps. It’s foundational. You can’t learn to do or use what you can’t recognize as even existing.

Doing, then, is characterized when the learner says “I have not only seen this before, but I can imitate it.” This requires recognizing the processes involved, but also then being able to implement them. There are a lot of things I can look at and say “I know how that was done” but cannot imitate (I know, for instance, how knitting works, and can knit some stitches, but I cannot produce a sweater because I’m only at the recognizing level of learning for all but the most basic knitting skills). Doing builds directly on recognition. It’s translating the recognition into action.

Our painting student, having learned her brushes and other tools and having learned to recognize the difference between a wet-on-wet wash and a wet-on-dry stroke now practices making washes. She can reliably make a wash that fills a delineated space. She can make creative variations on her washes by changing colors. She can do this.

But what our painting student can’t do yet is understand exactly what happened when something goes wrong for her. She can’t analyze a problem and respond to it yet. She also can’t really teach someone else how to do a wash yet either, because she is still processing the concept in the doing. Nor can she fully explain to someone how a wash is different from other techniques she might do, and she probably can’t innovate beyond a few expected variables in the process.

But as she gets better at washes, and solves through some problems when something doesn’t work right, she will reach the analyzing stage.

Analyzing is characterized when the learner says “I know this, I can do this, and I can talk about what I’m doing. I can solve problems in this domain as well.” At this stage, the skill is fully learned (although of course it can always be improved), and the learner is able to solve problems, apply the skill in new situations, and teach others.

Our painting student at this stage knows how to fix her wash without assistance when something goes wrong. She can plan new painting ideas rather than relying on her instructor to suggest uses for the wash technique. She can look at her classmate who is lagging behind and offer assistance, because she’s able to not only do the skill, but explain it clearly in her own words as she does it.

Image of sewing supplies
Image via StockSnap

We all have varying skills at each level of learning. I can recognize when something is wrong with my car by the way it sounds or smells or looks, but I can’t fix it, and I can’t explain it, so I’m at the first level with the mechanics of my car.

I can spin wool in a variety of ways, but I lack the ability to fully explain what I’m doing when I do it, because my level of knowledge of spinning is fairly stuck at the doing phase and has not entered the analyzing phase. Part of what is lacking is some of the recognition foundation, actually; because I started doing so young, I missed some of the vocabulary necessary to move forward with this skill. But even with that vocabulary, I would need to solve more problems with the skill to truly analyze other people’s spinning and be able to apply my doing knowledge into analysis.

Writing, however, I’m very much in the analysis phase. I can not only identify writing when I see it (that is, I can read), as well as do writing, I can also analyze my own and other people’s writing to solve problems, generate patterns, etc.

What are some skills you have at each level?

Apparently It’s Suicide Awareness Month?

***Serious Content Warning: suicide, self harm.

Seriously. This one’s raw.

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Image of a cat on a black background
Ok, I don’t WANT to illustrate this post, so here’s a kitty. You’ve been warned. (photo via StockSnap, as usual)

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So, apparently September is “Suicide Awareness Month.”

Let me just start by saying This Sucks. Seriously. I hate it.

All those blithe “You have so much to live for, I’m always listening, here’s the suicide hotline” shareable posts. If you share one of those, I immediately mark you as “not safe.” Yes, you.

I attempted suicide in 6th grade. I didn’t even know that’s what I was doing, for sure, until I was in therapy in grad school. Why? Well, because no one talks about “I don’t care if I live or die as a result of this action” as a kind of suicidal ideation, but apparently it is. I was chopping a carrot and my hand slipped and I made a small quarter-inch cut between two veins on my wrist, just barely missing both of them. My brother expressed worry about how close it was to the veins and told me people can die by slicing open veins. Shortly after, I started sharpening my pencil to a needle point by coloring on my paper in class at a specific angle, and then scraping at the vein on the back of my hand. I wanted to know if I really could die by cutting open a vein, I was angry at school in particular, and thought “If it works, that’ll show them how awful school is.” I had the wrong vein, of course, so it never would have worked, and let me tell you that it is a helluva looooong way to cut open a vein, so I never finished the experiment. And that’s what I saw it as: an experiment. I thought it had to be something more, I don’t know, dramatic to count as an actual suicide attempt. But, after describing it to mental health professionals when I sought treatment for debilitating depression in grad school, I came out with a shiny label for it: suicide attempt.

I’ve been depressed and had passive suicidal ideations as long as I can remember. In 4th or so I declared that, if I could have a genie-style wish, I wanted to die every way possible just to know what it felt like. I got really despondent when I realized that even if I had infinite lives, I could never do it, because humans are always coming up with new ways to die. I cheered up when I realized that there’s really only two ways to die: stop the heart or stop the brain, and one always leads to the other, so I’ll get my wish someday.

My point is, I’m always aware of suicide. And I’m honestly not afraid to talk about it with basically anyone who wants to. I don’t need a stupid “awareness month” and I’m not sure anyone else like me does either.

I’ve been through a lot of therapy in the last ten years, since I started grad school. I’ve learned to manage my symptoms. I’ve tried medications. I’ve got an emergency plan when things get bad. I’ve had a few relapses into old self-harm behaviors, but for the most part I’m managing without medication right now and focusing on reclaiming my agency rather than the endless spiral of medical appointments that managing mental illness can easily become.

But, things got suddenly a LOT worse when September started. I was already struggling a bit with school having restarted and, well, you know, 2020. But when those cute slacktivism sharables started popping up, replete with all those lovely myths about how suicide works that even I believed as a kid, it got a lot worse.

Not because it made me want to hurt myself. I mean, sure, I involuntarily think “I wanna die” probably 20 times a day, but honestly at this point it’s just background noise for me, like noise from an air conditioner; annoying, sometimes worse, sometimes you just need a break from it, but mostly it’s just there.

No, September has made things so much worse for me because it’s put me back in all those other places I’ve encountered suicide and all the cultural baggage it comes with, both imposed and internalized. And that has filled me with rage, a kind of rage I hate carrying around, like carrying around a backpack filled with molten lead.

For instance, it puts me back in 11th grade, when a student at my school died by suicide. I didn’t know him, but as soon as I heard, I understood. I would have done anything to get out of that school too. When the principal, who was usually a paragon of diplomacy, mentioned it in the morning announcements, he blamed the entire student body for this boy’s death. He told us straight up “You haven’t done what I tell you to do. You haven’t taken care of yourselves, each other, and this place.” And I knew he was right. Suicide isn’t an individual problem in many cases; it’s a socio-economic problem.

But that’s not even the moment that this “suicide awareness” month has put me back into. No, it was later that day, when I walked into my AP US History class, and as soon as I was through the door, I saw my desk: it was plastered with notes, the artifacts of public mourning. My desk was, evidently, the same assigned seat where the boy had sat in a different period. “You don’t have to sit there,” my teacher said kindly, suddenly seeing my dilemma as I paused at the door. “We’ll find you somewhere else.”

“No,” I said firmly. “It’s my desk. I want to.”

To the horror of my classmates, I sat at the desk. I spent that entire period reading all the notes that my fellow students had written to him, memorializing him. It was all “We love you!” “We miss you,” “You were so wonderful,” etc.

And I seethed. The question echoing in my head was constantly “Did you ever tell him that when he was alive? Or are you just trying to make yourself feel better now?

Like I said, I didn’t know him. I don’t know what his life was life at all. My only connection to him was that desk. But I was imagining how much he must have suffered, how unloved and unwelcome he must have felt. And how much it didn’t match at all what was being said on the desk. How my entire desk was slathered in lies to make the people writing them feel better about themselves. And how that was the real problem.

And all these posts, all this blithe sharing of hotlines and acting like it can be solved with just a simple sharable image on social media, it’s taken me back there. Flashbacks. Filled once again with that rage, that sheer anger at how it seems easier to mourn publicly than offer real support.

It takes me back to a year later, when I was on a school trip with a friend, and we went to the bathroom together (buddy system!), and as she was washing her hands, I saw the marks on her arm. I grabbed her wrist and told her we needed to talk. The first thing she said to me was “Don’t tell me I have so much to live for.”

Same, friend. “I won’t,” I answered, knowing full well that’s the last thing that would persuade people like us to take care of ourselves. Knowing full well that we didn’t, really. “I’m going to tell you that the world wants us to die, and it’ll do anything to make sure we do so by our own hands. And the only way we can win is by refusing to give it what it wants.”

You think you’re fighting suicide by having a month of sharable images with a phone number on it. I’m fighting it every day, and I really don’t need the friendly fire.

Genre, Learning, and Why Your Students Are So Tired

It’s a bit of a cliche right now, due to the pandemic, that we have to “relearn” how to do things that were normal. But it’s also, like many cliches, not wrong.

Learning is hard enough without a pandemic

And as teachers struggle to find a mode of instruction that meets ever-changing guidelines and protects themselves and their students but still preserves what they valued in traditional instructional modes, we’re all getting very creative. After all, humans are relentlessly creative in the face of adversity, really. This isn’t a bad thing; education was due for a shaking-up, and these creative solutions might help us rethink fundamentals and radically reform education.

It’s stressful on the teacher end because it’s scary to try new things and difficult to problem solve so many different variables at the same time. However, I think it’s worth considering the effect all this innovation is having on the students themselves, because while the teachers are able to innovate and get creative, the students often have little or no say over the modes of instruction they experience, because one thing the coronavirus hasn’t made us rethink completely, apparently, is power relationships in the classroom. If anything, Zoom class sessions (where the instructor is the “host” and has the ability to literally mute everyone) and face-to-face social distancing measures that put instructors behind a shield with a microphone, rather than being able to float around the room, actually make the power difference more pronounced and more autocratic.

But I’m not here to talk about power in the classroom (today). I’m here to talk about the cumulative effect of all these changes on students as students. To do that, I want to talk about course genres, for lack of a better word, which are sort of the opposite of classroom genres.

Pandemic note-taking

Classroom genres are well defined and understood. They’re all the different rhetorical actions and artifacts we generate in classrooms: syllabi, lectures, student essays, midterm and final exams, essay questions, multiple choice questions, etc. These are easily recognizable.

Course genres, as I’ll call it until I have a better term for it, are the different modes of instruction as they tend to cluster together into recognizable forms. This is the pairing of the lecture led by a professor with the lab session led by a TA; this is the small discussion class with 15-30 students; this is the studio course; this is the seminar; etc. We have names for all these things and know pretty much what it looks like across institutions and subjects.

The thing is, students know how to student. Or, at least, they did up until very recently. They understand both classroom genres in the class and course genres that govern the entire course structure, for the most part. They can’t necessarily name them, but as they move through the system they do learn to identify and classify them on sight. This is partly why teaching college freshmen is so different from teaching upperclassmen. Teaching freshmen means also teaching course genres (and discrete classroom genres, as needed); upperclassmen already recognize the course genres (and most of the classroom genres), so you get to focus more on content and refining.

That is, when we teach a subject in a classroom, we also teach what a classroom is, how it should be interacted with, and what to expect with other classrooms. We teach our course genre alongside everything else we are consciously teaching.

What’s happening to students right now is that they have, in many cases, a completely new and different course genre for each course. If a student has 4 classes in a semester, they might have previously split it between lecture/lab and discussion. Maybe an asynchronous online.

Now, that student probably has syncronous online, hyflex, asynchronous online, and socially distanced discussion or lecture.

It’s just harder now, ok?

One of the reasons that reading academic papers gets easier with time is that we learn the genre of the academic paper, so we can focus on the novel content rather than the form as well. This happens with every genre: interact with it enough, and it just gets easier with each iteration. Someone who has never played an RPG has a much steeper learning curve when encountering a new RPG than someone who has played a dozen RPGs, because the experienced RPG player knows the basic conventions of the genre, so they can focus on what’s new and special about this RPG.

Similarly, an experienced student can focus on the content of the course because they can recognize right away from the syllabus, size, location, and physical arrangement of the classroom space which mode of instruction is happening and how to best interact with the course. They aren’t having to learn how to be a student at the same time as mastering the content.

In this regard, freshmen might actually have an advantage, because they were going to have to learn new course genres anyway, but it’s only a slight advantage, because college students have over a decade of experience being students that helps them master college course genres. Now, freshmen and upperclassmen alike are having to learn new course genres, which come with new classroom genres, as well as new course material.

This is, frankly, exhausting. Learning is hard work, as we well know.

In short, your students are tired for a good reason. They have little say in these new course genres, so they’re suffering from a lack of agency (which makes learning harder) as well as having to master new ideas of what being a student entails. They’re rising to the occasion, by most accounts, and that’s to their credit, because what they’re being asked to do is hard. They must not only learn the content you are teaching, but also the entirety of what it means to be a student in your teaching mode.

As you interact with students and plan your course, please be mindful that they’re not only learning what you think you’re teaching, but also how to student all over again.

Diversity Representation in Children’s Media that Isn’t Working

Today I want to tell a story.

I want to tell this story because, while I’m not a specialist in disability studies of any kind, I’m a disabled person, and following the work of those specialists has lately really helped me understand my own stories.

I’m hard of hearing. My sister has exactly the same hearing loss. Our charts are almost identical. It’s congenital; we never lost our hearing at all. We were born this way. But we didn’t always understand that.

My sister is seven years older than I am, and, like many children, she had ear infections when she was very little. The hearing loss was discovered after an ear infection, so it was assumed to have been permanent damage from that. No big deal, it happens all the time, and it’s a very minor hearing loss, correctable with hearing aids. Speech therapy may or may not be needed (it was not).

I never had a childhood ear infection. My hearing loss was discovered when my mother noticed that she could do things with my brother that she couldn’t do with me, and those were the same things she also couldn’t do with my sister. The big thing was that she could speak to my brother through a closed door and he would understand; we would not. So she had me checked out. The doctors were immediately intrigued when they noticed that my chart looked exactly like my sister’s, but I’d never had the infection; their initial assumption must have been wrong. But there’s no family history, so it was even more confusing. I got a lot of tests done with doctors literally saying “It should be interesting” as their main justification.

But still, no big deal. Same as before, correctable with hearing aids. I’d already started speaking at the time, so they didn’t really raise the possibility of speech therapy; I was clearly doing ok without it. I was initially a little scared the kids at school might say something mean, but they didn’t. We were in kindergarten, and they’d never seen hearing aids before, so they asked me if they were earrings, and I explained and, in the way kids do, they said “cool” and moved on.

At some point, I don’t remember what year, but it had to be within two years, we read a book in class called A Button In Her Ear. It was about a girl who needed a hearing aid in one ear, which seemed odd to me, but I understand is actually quite normal. It was one of those books you give a kid to learn about people who are Not Like Them and encourage them to see diversity; all in all, not a bad thing.

I had to track it down because childhood memories are hazy, but this is definitely it: THAT book.

The book described in great detail how she had to wear a box that strapped to her body, which had an earbud-like speaker on a wire that went into her ear. It talked about how she adjusted at school with this hearing aid of hers.

This was a book I was supposed to see myself in. But I didn’t. Her hearing aid didn’t look anything like mine. It was entirely unrecognizable to the beige things tucked behind my ears. There was no way that my classmates would look at the girl in the book and see me, or the other way around.

I was rather annoyed, but not really offended. I would have been bothered, and maybe have even said something to the teacher about it, if I hadn’t already been safely grounded in my own disability history. But as it was, I already understood what I was seeing, and that the problem was simply that the teacher’s sources were out of date.

My current Behind The Ear (BTE) hearing aids: NOT a “button” in my ear.

You see, we spent a lot of time around Walter Reed hospital when I was a kid (yes, that Walter Reed). My brother was born with complicated health needs, and of course my sister and I needed regular audiologist checkups too. It’s some of my most vivid childhood memories. Next to the hospital, there was a medical museum, and every time we went to the hospital, I’d beg mom to take us there as a treat; often she would. Both at the museum, and in displays in the hospital itself, I was able to understand my family’s unique medical situations in terms of broader medical history.

At that museum, I was confronted with all kinds of medical history and curiosities. There was a trichobezoar (hairball) taken from a 7-year-old girl’s stomach after she sucked on her hair too much (I immediately quit sucking on my hair; probably a good move). There were organs and other anatomical displays. There were assistive devices from every period of history.

And it was in that museum that I could ask my mother important questions about my own body, about my brother’s conditions, and about life in general. I remember a conversation in that museum about where dreams and nightmares come from, for instance. It made all the medical things make more sense, and it made them less scary. I could see how much better it was now than it might have been just twenty years before.

And not only was there that museum, but in the waiting room for the audiologist, among the austerity of a military hospital, there was a display case in the same style as the museum. It held hearing assistive devices through time. It had ear trumpets and horns. It had my own behind-the-ear hearing aids and the half-shell and full-shell in-the-ear hearing aids that I recognized from the audiologist’s pamphlets and posters. And it held that black box and button on a wire from the book.

And each was was fixed with a neat plaque explaining what it was, how it was used, and when it was used. I can’t remember, but it may have even mentioned key inventors. At any rate, it was a very well curated exhibit; it fit the space and kept me fascinated while I waited for my appointments, and in the process I learned about my own social context.

And it prepared me for That Book. By the time we read that book in class, I’d practically memorized that little case of hearing assistance devices. I knew exactly which one in the case they were demonstrating in that picture book. I knew exactly what time period that book represented. That book belonged to the 1970s, when my parents were just meeting each other, not to the 90s where I lived. I knew that what that book showed was maybe the lived experience of hard of hearing people who were adults now, the adults who were my parents’ age and older, but I also knew it did not, and never would, represent my experience as a hard of hearing person.

I didn’t complain to the teachers, although I’m sure I mentioned to my friends how the book wasn’t at all what it’s like to have a hearing aid in the present. At some level I knew we were reading it to be taught diversity, but I understood it better as a history lesson.

No, I was much more bothered by the pamphlets at the audiologist, and the directions that were sent home with my hearing aids. They were slick, full color marketing style pamphlets by the hearing aid brand (I believe that one was Siemens; I’ve had a few brands by now). And every single one of them featured gray-haired elderly people listening to grandchildren or going to church. Nowhere in the pamphlets could I ever find a face that looked like mine, in any sense. Nowhere in the pamphlets could I ever find any mention of congenital hearing losses; it was all implying that this was a new thing to the hearing aid user, and that it would somehow restore something that was lost.

No, I wasn’t angry at the book or my teacher for being outdated, because I’d been given the historical tools to contextualize what I saw. I think without a solid grounding in my disability’s history, provided by those well-curated exhibits and ample time to browse them waiting for appointments, I would have been bothered. I would have felt erased. But, as it was, at least the book tried to acknowledge that people like me, who have their hearing losses from day zero, exist. It was in the face of the pamphlets I was given to understand my own assistive devices, which I understood as the very finest technology the military’s medical insurance could provide, that truly I couldn’t find myself at all. And I thought at the time what a lost opportunity it was, because I thought of all those ads on TV trying to assure elderly people that there’s no shame in having a hearing loss. What if the hearing aid companies had fronted a smiling seven-year-old like myself as the hearing aid user? Wouldn’t that have addressed the “hearing loss = getting old” stigma and offered kids like myself representation at the same time?

Image taken from a marketing company’s templates for hearing aid advertisements. Seriously, this is what they ALL looked like. Because of COURSE I had grandchildren as a seven-year-old. Ugh.

But the frustration at the rhetorical failures of hearing aid marketing is a discussion for another day. As it is for this story, I want to say that I’m very thankful to that medical museum, and especially to that little display case in the audiologist’s waiting room. It taught me my own history. It helped me know what was right.

Asynchronous Accommodations

At the beginning of the semester, it’s routine for me to receive several letters from our office of disability services requesting accommodations for students. These letters are form letters where they just drop in a list of accommodations from a fairly standard list of options, such as time and a half on exams and quizzes, or flexible attendance, or access to outlines or slides for lectures. It’s a decent system because it doesn’t force students to ask directly or to disclose their disabilities if they don’t want to, and I read each one carefully.

Photo of a notebook, laptop, cell phone, and coffee
Multiple points of entry

My favorite feeling is when I read these letters and I can smugly think to myself “That’s already built into my course design.” Because I’m consciously trying to make inclusive, accessible designs in my policies, it always feels like a confirmation that I’m doing something right, and in teaching, those confirmations are few and far between. It also means less labor for myself and the students who need the accommodations, because I don’t have to remember which students get the accommodations and they don’t have to arrange for them for every instance. Accessible design is really a win-win like that.

This semester I’m getting the same letters, of course. And I’m experiencing the same smug satisfaction when I see most of them are either irrelevant to my course or already built in. But, of course, because this semester I’m teaching asynchronously online (something I’ve generally only done over the summer before, with fewer sections), the places it’s built in are different, and the items that get checked off as “already did it” are a little different too.

For instance, flexible attendance? Not really an issue in an asynchronous course. It was an issue for in-person classes, because I also had to accommodate a program-wide attendance standard. That was one of the ones that I didn’t already have built in, but now it is.

Extra time on exams and quizzes? That was a minor issue in in-person classes, although I seldom used in-class exams; it did mean making sure the students had safe places to take the exam if they needed the accommodations, either by arranging it through the disability office (for uninterrupted time) or having them take their work to my office to finish up (depending on the students’ preference, of course). But in an asynchronous class, it’s a pretty easy accommodation to make happen, if it even needs to be accommodated at all. Canvas, my institution’s LMS, allows me to assign time limits to specific students to override the class-wide time limit. However, that’s not a feature I’m worried about, because my dedication to flexibility and not using surveillance strategies in my class this semester means that my reading quizzes aren’t timed to start with and students can retake them.

Access to transcripts, notes, slides, or a note-taker for lectures? Already granted by the design of the course because that’s literally the design of the course. That’s basically their main point of contact for the course content. And, since I make sure all my videos have either captions or transcripts (or both), it’s doubly baked into the course.

There are, of course, some things that are more difficult to accommodate for in asynchronous coursework. Some disabilities might do better with face-to-face office hours, for instance, where they can better read body language or where I can look over their shoulder while they do an exercise and help them through it and provide them a space to work in my office. But overall, I’m finding that it’s a net gain for accessible design.

Photo of three apples
So, what can we take away from this?

So, what are some things to think about while you work on your asynchronous course for accessible design?

  • Provide text options that are screen-reader friendly; make sure images have alt-text or are marked as decorative if they are, and offer transcriptions of images that include text (such as memes or PDFs)
  • Caption and/or transcribe videos. This works easier if you write the script first rather than improvise videos, because writing scripts takes less time than transcribing improvised audio
  • Offer multiple points of entry; this can be allowing students to watch a video or read a webpage, or it might simply be making sure that your content is equally accessible on a mobile device as it is on a monitor.
  • If you have accessibility checker tools, as Canvas offers, use them often to check for things you might not notice because of your specific abilities. You might also download the student-version of the app for your LMS and occasionally look at your content from there to make sure it looks right.
  • Consider your use of color. Color has a lot of different ways it can interact with disabilities from the obvious case of color-blindness making it difficult to distinguish certain common color pairs (green-red is the most common, but blue-yellow or red-blue are also common) to the less obvious case of certain learning disabilities making bright, loud color schemes distracting or overwhelming. Here’s a helpful thread of design tips for visual design.

Here is a useful set of guidelines addressing specific needs that can help you with inclusive, accessible design:

Remember that inclusive design benefits everyone. It’s not extra labor; it’s just want it takes to do things right. And if you do inclusive design right, you save yourself the labor elsewhere when you will inevitably get requests to make something more accessible. I’d rather design it right from the ground up and make my course accessible to a than have to remember which five students out of a hundred need specific accommodations.

New Semester’s Resolutions: Fall 2020

I’ve written before about how I like to make resolutions at the new semester, rather than the new year. So let’s do this!

I admit this semester I haven’t given that much thought to what I want to do better. Like most of us, I’ve been in crisis mode over the summer, waiting to see what kind of pandemic plan my university makes and trying to hedge my bets on how much curriculum to develop before it gets scuttled by the next development. I had just finished writing up a detailed mask/social distancing policy when I was informed that my request to teach online was approved. That sort of one step forward, one step back paralysis.

But I do have a few themes for this semester based on what worked really well during the pivot in the spring. What worked well was flexibility, respect, and curricular austerity.

Am I being lazy and reusing images a lot? You bet.

Flexibility

Last semester, I wrote about how I was looking into more flexible ways to do deadlines; deadlines that gave students agency over their own schedules, treating them like the professionals they should be. I had students signing up for deadlines, until the Great Pivot made me abandon any sense of hard deadlines entirely.

This semester I’m trying a slightly different approach to student agency in deadlines: I’m making all deadlines (except the end of the semester, for administrative reasons) soft deadlines. My late policy currently reads as follows:

Deadline are only suggestions! What does this mean, “deadlines are only suggestions”? It means that if you adhere to the deadlines, your work will be fairly evenly spread out over the semester. However, if you miss a deadline, there is no late penalty. Just get it in as soon as you can to get back on track so you don’t get overwhelmed with the work over time. But it really is ok if something doesn’t get done on time. Sometimes life happens, or a project takes a bit more time than you expected. Pace yourself and do what you can. And of course you can always work ahead!

Won’t this result in students just putting it all off until the end? Some might! That’s ok. But experience from the Great Pivot, where this was basically my policy, tells me that undergraduate students see a deadline and take it seriously, even if it has no teeth, and I took a strange pleasure in writing all the “It’s ok to turn it in late! Take the time you need!” emails: I much prefer being the granter of grace over being the enforcer of rigor.

The more likely result, which I will report on later, is that there will be a bell curve centering around the suggested deadline. Most students will turn it in right before or right after the deadline, with a trailing off number of students on either side. This will help stagger grading a bit, which was the goal with the due week concept in the first place, but it also gives students agency over their schedules and the ability to respond to crises that may occur over the semester, which is extra likely during a poorly managed pandemic, but would be useful in so-called normal times as well.

You’ve probably seen this one before too.

Respect

I’m approaching writing my syllabus as a Q&A rather than as a set of formal policies. This is in part to make a more invitational tone in my course, and also to make them easier to access (I’m using a hyperlinked index so students can access things as needed quickly). The goal here is to treat my students first and foremost as adults with a life outside my class.

Too often, especially in first-year-level undergraduate classes, we talk about our students as children, as subjects, as them. I’m trying to push against that this semester; I’m supporting them in the pursuit of their goals, not the other way around.

This shows up in my policies in a couple of ways. The first I’ve already discussed, which is the flexibility. Another way it shows up is in avoiding punitive language. Even in discussing plagiarism (after all, we’re required to have statements addressing academic integrity), notice the way I’m explaining, not threatening:

Academic integrity is very important; much of research and rhetoric relies on trust between author and audience, and underpinning that trust is the assumption that you are representing your work honestly and fairly. Plagiarism and other forms of academic dishonesty are a violation of that trust by representing someone else’s words, ideas, or work as your own. We will discuss what academic honesty means in the course materials in detail. If you ever have a question if an action is ethical, you should ask the instructor before you act…

Respect also shows up in letting them choose their own topics (I think I’m going to take my procedural rhetoric approach again this year, in which students carefully examine policies in communities that they participate in).

But, perhaps most important when most of us have at least some major online components of our courses, respect manifests in my no-pants policy. I’ve seen too many policies being shared by teachers, parents, and students alike as schools start that assume mistrust of students and compensate by enforcing dress codes and camera and microphone use for surveillance.

My resolution for this semester is that I will never require students to turn a mic or a camera on themselves without their consent. It’s always a choice; I will always offer an alternative. I’ve been emphasizing that even in Zoom, you can use a text chat if you don’t want to use a video or voice option. I’m comfortable in all three environments (I’ve been using video chat as a primary means to connect with my family for a decade or more, and I’ve been using text chat for about two decades) so it’s nothing to me to give the students a choice. But it may be very important to a student, who may be caring for a minor whose image online they may want to protect, may be in the middle of a move and be embarrassed by the mess, may be working out of their car in a parking lot so they have wifi, or any other circumstances that might dictate what kind of interaction is best or safest for them.

The corollary of this is that I have no need for dress codes. Why should students have to wear professional clothing (which itself is a problematic concept) if they don’t have to show their bodies on screen at any point? The result of that corollary is that students have the right to represent themselves how they choose in my class, and that means that they have autonomy. It also means that I have to accept them as they represent themselves, which is a basic way of expressing respect.

I don’t think I used this one last Thursday, did I?

Curricular Austerity

I didn’t really know what to call this. Most of the time I call it “Stripping the curriculum down to the basics.” If it’s not in the course description or strictly necessary to meet the stated goals as written in the course catalog, get rid of it. Yes, I know you love that ice-breaker that you’ve figured out a clever way to do online; get rid of it.

This requires radical thinking in the most literal sense: going to the roots and at every turn asking yourself “Why this?”

For my part, I originally drafted my class with a couple reading quizzes, two small in-class style writing assignments (a reflective journal and an application exercise), and a piece of a major writing assignment every week. But when I stepped back, I saw that this was simply too much. My class isn’t my students’ only class, and they have other things to do (see respect above). So I’m combining the journal and the exercise into one weekly journal that can alternate between the two, giving them at least one of each per unit. That should be sufficient; they need to reflect on their work, yes, but not all the time. They need to find and apply concepts to material outside class, yes, but not all the time.

There’s really two goals in this curricular austerity: to make it manageable for yourself and to make it manageable for your students.

Do you ever feel overwhelmed with emails, with tiny tasks? Of course you do. So why make more for yourself?

And then remember that your students do, too. Why make more for them?

Pretty sure I’ve overused this one.

Takeaway

I don’t have very clear New Semester’s Resolutions this semester. Honestly, like most of us, I’m just trying to keep my head above water. So really that’s what I’m working toward: how do I make sure my students float with me?

You Don’t Need To Watch Your Students

A lot of us are teaching online for the fall. Not as many of us as should be teaching online in the fall, of course, but a lot of us (and as I’ve mentioned before, if you’re not, plan to teach online anyway, because it’s a definite possibility). And I know I’ve said it before as well, but I want to remind you to be kind to your students. Trust them. Do not spy on them. Do not treat them like they are definitely doing something wrong.

Course planning in 2020
(image via StockSnap)

Many instructors are still trying to figure out how to simulate the classroom experience with online instruction; this is a bit quixotic, because the simple answer is “you really can’t.” We will do better when we remember that online and face-to-face are inherently different experiences, and we spend our energy better simply trying to make them the best of what they are, rather than trying to make one into the other. But there’s another shade of this discussion that’s more troubling: how will we watch our students, to make sure they’re paying attention and that they’re not cheating?

Again, the simple answer is: you don’t. The somewhat more complex answer is: good assignment and curriculum design.

The wrong answer is requiring students to keep their cameras on at all time and grading them on the same. The other wrong answer is to invest in test proctoring software and other surveillance solutions. Testing as we’ve been doing it in standardized scenarios, with high stakes, scantrons, and surveillance by authority figures, is counterproductive to the enterprise of education, and this is a great opportunity to quit it cold turkey, if we’re willing to take that opportunity.

I’m not saying we should do away with testing entirely. Assessment matters, and testing is a tool that we have available for that. Tests can be a learning environment as well as an assessment tool, if they are designed well. When we quiz ourselves, we help cement our learning as usable, recall-able material. I use quizzes, especially in my online courses, as a tool to reinforce readings and other forms of content.

But there’s a difference between a productive quiz and a punitive test. A productive quiz is low-stakes and allows students to quickly identify what they missed, why they missed it, and how to correct it. My reading quizzes have at least three attempts allowed, and are open-book. They’re there to highlight what I want students to take away from the reading, not to punish them for not doing it. A punitive test is one with high stakes and little opportunity for redemption, one that starts with the assumption that students will cheat and therefore must be watched like prisoners.

In addition to testing, we also have to adjust our assumptions about what “paying attention” means. There are a lot of ways to pay attention. As a student, I was the one drawing fanciful things in the margins. I was paying attention. But I was keeping my hands busy and redirecting the side chatter in my brain with those sketches, as well as using the sketches as a way to index my notes for later recollection, since the sketches were often easier to quickly find in my notebook than specific words.

Likewise, a student may find having all their classmates’ faces in front of them distracting in a Zoom session. They may prefer to just listen to the teacher’s voice while looking down at their notes. Or, a student may find that staring at a screen at prescribed hours is difficult; we process screen information differently than in-person or print information, often in a less linear way. Recorded sessions allow this student to pause, take a break to stretch and refocus, and return to the content.

Welcome to the new classroom
Image via StockSnap

So what makes for good online course design?

  1. Break up content into small, clear steps. Order these steps in a logical way, so students can move from one to another. Sometimes in a classroom, as a tool, we withhold the end result for a big, memorable reveal. That doesn’t work so well online; students should know why they’re doing what they’re doing and what order they should do it in. Likewise, it’s much better to watch five or six 10-minute videos than it is to watch one big hour-long video. It makes it easier to return to content if necessary, and it makes focus easier, too.
  2. Design assessments that are reinforcement rather than testing or sorting. This means embracing open-book assessment, which can be a very effective learning space. This means ditching the time limits (or using very generous time limits) and the surveillance. Instead of multiple choice quizzes (although, as I’ve mentioned, those are sometimes very useful if done low-stakes), consider a short reflective paragraph.
  3. Streamline the course. We all have our pet lesson plans, of course. We all have that example we’ve used since 2010 (or earlier). But this is a good time to get radical and return to the course goals and ask yourself, about every item you include as you upload it, “What is this thing’s purpose? Do I really need it? How will the student actually interact with this thing?” If you are teaching a relatively standardized course, strip it down to just what’s needed according to the standard requirements: if it says 4-5 assignments, do four, not five.
  4. Do not require students to show their faces or record their voices online! It is absolutely not necessary for a student to have their camera on while you are lecturing. It is absolutely not necessary for you to see into a student’s home while you are teaching, and certainly not while they’re taking a test. Students may have any number of reasons (tech, psychology, family situations, culture, whatever) that they are uncomfortable on camera or recording themselves. For instance, if you assign a video, be sure to emphasize that there are other options besides being in front of a camera: students can remix other videos, make slide show videos, etc.
  5. Use the technology you already understand. It’s tempting to use a lot of new tools right now. Limit yourself to maybe one new toy. If you know your school’s LMS well, use it well; this is not the time to try something entirely new. If you know Google’s collaboration tools well, use those. Limit the number of tools you’re using and lean mostly on the mainstream ones where you can, because students are having to learn a lot of new tools too, and you want them to focus on the content of your course more than mastering new tools.
  6. Trust students. I can’t stress this enough. Trust students. They’ll rise to the level you show you expect of them. If you write policies that imply you expect them to cheat and are just playing a game of cat and mouse with them, well, you’ll be having to play a lot of cat and mouse, because you just made that the expectation. If you write policies that show you trust them, then you’ll find they trust you back.

There’s a lot of useful information about online teaching out there. A lot of resources. Go find them. And go forth trusting your students and streamlining your curriculum and you’ll be fine.

Content, Process, Skill: Heuristics for Evaluating Educational Foundations

One of the biggest misconceptions underlying problems in education is that education is, at its core, simply the accumulation of content: memorizing facts and formulae somehow makes an education. Blame standardized testing if you like, since it’s much more cost-effective to test for content than for processes or skills. For the present argument, where the blame should fall isn’t important. What’s important today is the distinctions between content, processes, and skills.

It’s Thursday so I guess I’m using this photo again (I like it)
Photo by Michal Jarmoluk

This distinction becomes even more important right now as educators are trying to assess what can be done remotely, asynchronously, etc and what must be done face to face, synchronously, etc. At a macro level, we’re having to reassess what the function of the educational institution itself is in education: what makes a school? Why is a school important? At a micro level, we’re having to assess what our classes are at their most fundamental in order to assess what level of risk is acceptable for them to carry out their purpose. And one tool we can use in these fundamental assessments of our own curricula, programs, and institutions is the distinction between content, process, and skill.

Content, then, is discrete facts and knowledge. It’s knowing the dates of the American Civil War. It’s being able to define key terms, like rhetoric or metonymy. Content does matter; content helps frame understanding and allows us to talk about ideas and meaning. Without content like vocabulary, formulae, etc to build on as a foundation, much of education grinds to a halt. But content also can be stored easily, even entirely apart from students and teachers. Content can exist on a shelf, to be accessed as needed.

In my composition courses, for instance, students need a certain level of content: they need to know terms to identify parts of rhetorical situations, they need to know terms to describe writing processes, etc.

Content waiting to be learned.
(Image via Stocksnap, as usual)

Processes are series of predictable steps that we learn to go through on command. Learning a process is learning, for instance, the scientific method in a lab class, or an order of operations in a math class. In a lab class where the goal is specifically to learn a process, it’s not terribly important whether the lab itself is mixing a chemical with a reagent, or if it’s testing the navigation of a fruit fly. What matters is that the students practice and demonstrate the process of conducting an experiment and properly documenting it. Likewise, it’s not important what numbers are in an equation, only that students demonstrate the process of solving it (hence, “show your work.”)

In my composition courses, there are certain processes that students need to learn. They need to learn how to receive feedback (I tell them, for instance, to read backwards: read the summary note at the end first and then look for the detailed line edits and comments). They need to learn how to use a database, which is a process. It doesn’t matter what topics they’re searching for on the database, only that they’re learning how to expand and limit results with the tools available through a fairly predictable series of steps.

Skills are much more flexible things altogether. Skills are the ability to problem-solve in real time for certain kinds of problems. They’re the ability to adapt processes by understanding not only how to do them but what they mean. Skills involve, for instance, combining equations together in novel ways to calculate the amount of materials needed for a new construction, or to use the scientific process to solve a problem, rather than simply repeat an experiment. Most skills have some kind of analytical and critical thinking component. Consider even the “workplace skills” that seem mundane and are often treated as binary know/don’t know: coding in C++, for instance, is not just content or processes, but combines content and processes into the ability to analyze and solve problems as the occur.

In my composition classes, students are acquiring digital literacy skills: the ability to encounter new material on the internet in their daily lives and analyze it according to critical thinking processes, and even reproduce or generate new digital media. They are learning writing skills: the ability to consider their own strengths and use those to solve new problems in new rhetorical situations. (I should note when I say “new” I mean “new to the learner” generally, not necessarily “never seen before”)

It’s worth noting that these three things build on each other in a cyclical manner: you need content to learn processes, and processes to learn skills, and you need skills to create new processes or revise old ones, and you need processes to create or revise new content.

This works pretty well, especially for conveying content, but also for many processes and skills.
Image via Stocksnap

If, as many people believe, education is just a content delivery system, then online-only is just fine for everything. In fact, it’s likely the superior system. For content, online courses probably offer deeper learning environments, not shallower. In an online course, students can review material more readily, skip over the content they’ve already mastered more quickly, spend more time on the content they struggle with, etc.

Online-only is also adequate for a lot of processes and skills, but here the matter gets muddier, so here the argument for the necessity of face-to-face instruction gets a little stronger. For my classes, online-only is fine. Writing is something that can be done remotely, and feedback on writing is often delivered remotely anyway (and has been for a very, very long time), so remote instruction is more than adequate. All content, processes, and skills can be modeled, practiced, executed, and evaluated remotely very easily. In fact, it’s very much a replication of real-world writing environments.

However, there are other things that can’t be taught remotely. For instance, consider the fencing classes I took as an undergraduate. We had a textbook (a very well-written textbook written by our professor!), and it had all the content we needed. We had reading assignments out of it and even quizzes on the content. But that was our homework, because there was no point in spending much class time on the content, when the course mostly focused on processes and skills. Processes included lunges, ripostes, and parries. We practiced these in isolation on command, as one often does with processes. These had to be adjusted in face-to-face instruction, where our instructor could, if needed, correct our very posture physically, so we could build the right muscle memory. However, we could practice these processes on our own just fine too; they didn’t require an opponent or an observer to practice. Skills, on the other hand, required face-to-face instruction. In order to solve the sorts of problems that fencing skills solve (that is, how to use physical and mental processes unique to fencing to best an opponent doing the same processes), it was necessary to practice against opponents: sometimes classmates (usually for practice), sometimes the instructor (usually for evaluation).

Some things, mostly skills and some processes, require face-to-face instruction.
Photo by Chuttersnap from StockSnap

I don’t mind if a journalist never interviews an informant face-to-face in their journalism classes; they can do their work just fine without, even though face-to-face interviews are certainly a resource that many journalists rely on. A programmer or a designer can certainly master their skills in online environments with no detriment to their professional capacities. But I think we can all agree that some things should be face-to-face; we don’t want nurses who learn how to take blood pressure strictly as content rather than as practiced skills, and to practice those skills requires actual patients (whether their classmates or patients in a teaching hospital). We want our field scientists trained in the field; a chemist needs access to a lab, a geologist needs access to samples, a musician needs access to ensembles, etc in order to learn the skills that we expect of them.

There is no one-size-fits-all-disciplines answer to how to safely conduct education right now. There will, however, be a reckoning in all disciplines that requires returning to fundamentals and thinking about the purpose of each class, each lesson plan, in order to justify whatever risks and methods are used to teach it. In that evaluation of what we teach, why we teach, and how we teach, we’re going to have to ask what parts of our curriculum teach content, processes, and skills. And then we’re going to have to evaluate the processes and skills in particular to determine if those are things that can be taught remotely or that truly do require a specific setting for learning.

About That “Teachers Writing Their Wills” Thing…

Lately I’ve seen a bevy of observations that teachers are writing their wills as part of their preparation for the fall semester because they are scared of dying in the inevitable spike in Covid-19 cases that in-person classes could cause. I don’t want to make light of the fear; it’s a very real fear, and we should take it very seriously. However, something seems off about the way that the headlines and tweets assume that writing a will is something only someone expecting death in the near future ought to be doing, and I want to talk about that assumption.

An example of one of these posts equating will-writing with fear
Another tweet equating making a will with fear of an impending doom

American culture is death-avoidant. We don’t like talking about death. We don’t like facing our own mortality. This is evident all over the place, and not just in my brother-in-law shutting down the conversation any time I start to talk about death and mourning culture (which is something of a hobby interest for me and always has been; in his words, I’m “morbid”).

We shut away those who are near to death in hospitals and nursing homes, where we don’t have to face their suffering except for scheduled, contained visits on the terms of the well person, not the terms of the sick or dying. When people die, they’re carried out of those sanitized spaces in carefully disguised gurneys and whisked away to a funeral home where they aren’t typically seen again until they’ve been embalmed, dressed up, and given makeup to make them appear more “natural,” as if being dead were somehow unnatural. Then they’re viewed, again in scheduled, contained visits, and either cremated or buried. We no longer use outward signs of mourning: no black armbands, no mourning jewelry to tell people around us “Hey, I’m grieving, please be gentle with me” as we move through the “normal” world. Cemeteries are often empty of visitors, despite all the effort we put into making them into nice places. Our workplaces give us a day or two off and expect us to be back to regular productivity as soon as the earth covers the body. And heaven forbid we involve anyone else in our grief; that stuff’s private.

Part of the cemetery you’re not supposed to look at: a concrete vault that the casket is put into during burial. Just another example of how we hide so much of our death culture away from mainstream eyes.
(Photo by the author)

This “death denial” in American culture is well documented (I recommend starting with Caitlyn Doughty’s books; they’re very accessible). The result, however, is that if someone decides to make their will, or wants to discuss what they want done for them in the event that they’re incapacitated (a “living will”) or that they die, it’s assumed that they must have some dread diagnosis or be terribly sick. And that’s a problem.

We need to normalize making wills and discussing our death plans with our loved ones. We need to have these conversations when we aren’t dealing with the dread of an impending threat as well as when we are. Of course, it can be comforting to have these conversations when we expect some threat; it’s something we can control in the face of the awful, inevitable, uncontrollable future. But we also need to sit with the discomfort of knowing that death can come unexpectedly as well, and so we ought to be prepared for it even when we’re healthy, young, and otherwise expected not to die.

This willingness to sit with the uncomfortable feelings that addressing our own mortality can bring can be framed as part of a growing movement called death positivity. Death positivity doesn’t mean we look forward to death, or that we want to die. It also doesn’t mean we erase the awfulness of death. It means that we talk about it, that we consider our options when we’re not actively dying or afraid of death, and that we hold open space for death and mourning for the dead as a normal, dignified part of human life.

Cemeteries are beautiful places. Talking about death is beautiful too, even if it’s hard.
(photo by the author)

In this frame, making out a will isn’t some dramatic action that normal people in normal times should never have to do. It’s a responsible thing to do that should be done regularly if you have any preference for how your body is treated and how your assets are distributed.

I don’t say this to dismiss the fears of the teachers who are making out their wills. Indeed, the pandemic has prompted my husband and me to have some difficult conversations about our death plans and whether or not we need a will (we’ve decided it isn’t strictly necessary at the moment as we don’t have much to protect, we’ve had a lot of these discussions regularly with family, and the legal defaults are fine by us for now). If you don’t have a will right now, and you have anything you want to protect (such as children) or any specific ideas about what you want done with your body or your possessions, then, yes, you should be making out a will. There is no better time than now.

But I don’t want you to think of it as an act of desperation. It’s an act of control and maturity, in facing your own mortality and recognizing that, while you can’t control when and how you die, you can control at least most of what happens when you do.

If you want to start a conversation about death, here are some resources gathered by The Order of the Good Death for talking about death in the time of Coronavirus.

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