|Illustration by Marcellus Hall|
I work part-time in the evenings as an adjunct instructor of English. I teach two courses, Introduction to College Writing (English 101) and Introduction to College Literature (English 102), at a small private college and at a community college. The campuses are physically lovely—quiet havens of ornate stonework and columns, Gothic Revival archways, sweeping quads, and tidy Victorian scalloping. Students chat or examine their cell phones or study languidly under spreading trees. Balls click faintly against bats on the athletic fields. Inside the arts and humanities building, my students and I discuss Shakespeare, Dubliners, poetic rhythms, and Edward Said. We might seem, at first glance, to be enacting some sort of college idyll. We could be at Harvard. But this is not Harvard, and our classes are no idyll. Beneath the surface of this serene and scholarly mise-en-scène roil waters of frustration and bad feeling, for these colleges teem with students who are in over their heads.
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I work at colleges of last resort. For many of my students, college was not a goal they spent years preparing for, but a place they landed in. Those I teach don’t come up in the debates about adolescent overachievers and cutthroat college admissions. Mine are the students whose applications show indifferent grades and have blank spaces where the extracurricular activities would go. They chose their college based not on the U.S. News & World Report rankings but on MapQuest; in their ideal academic geometry, college is located at a convenient spot between work and home. I can relate, for it was exactly this line of thinking that dictated where I sent my teaching résumé.
Some of their high-school transcripts are newly minted, others decades old. Many of my students have returned to college after some manner of life interregnum: a year or two of post-high-school dissolution, or a large swath of simple middle-class existence, 20 years of the demands of home and family. They work during the day and come to class in the evenings. I teach young men who must amass a certain number of credits before they can become police officers or state troopers, lower-echelon health-care workers who need credits to qualify for raises, and municipal employees who require college-level certification to advance at work.
My students take English 101 and English 102 not because they want to but because they must. Both colleges I teach at require that all students, no matter what their majors or career objectives, pass these two courses. For many of my students, this is difficult. Some of the young guys, the police-officers-to-be, have wonderfully open faces across which play their every passing emotion, and when we start reading “Araby” or “Barn Burning,” their boredom quickly becomes apparent. They fidget; they prop their heads on their arms; they yawn and sometimes appear to grimace in pain, as though they had been tasered. Their eyes implore: How could you do this to me?
The goal of English 101 is to instruct students in the sort of expository writing that theoretically will be required across the curriculum. My students must venture the compare-and-contrast paper, the argument paper, the process-analysis paper (which explains how some action is performed—as a lab report might), and the dreaded research paper, complete with parenthetical citations and a listing of works cited, all in Modern Language Association format. In 102, we read short stories, poetry, and Hamlet, and we take several stabs at the only writing more dreaded than the research paper: the absolutely despised Writing About Literature.
Class time passes in a flash—for me, anyway, if not always for my students. I love trying to convey to a class my passion for literature, or the immense satisfaction a writer can feel when he or she nails a point. When I am at my best, and the students are in an attentive mood—generally, early in the semester—the room crackles with positive energy. Even the cops-to-be feel driven to succeed in the class, to read and love the great books, to explore potent themes, to write well.
The bursting of our collective bubble comes quickly. A few weeks into the semester, the students must start actually writing papers, and I must start grading them. Despite my enthusiasm, despite their thoughtful nods of agreement and what I have interpreted as moments of clarity, it turns out that in many cases it has all come to naught.
Remarkably few of my students can do well in these classes. Students routinely fail; some fail multiple times, and some will never pass, because they cannot write a coherent sentence.
In each of my courses, we discuss thesis statements and topic sentences, the need for precision in vocabulary, why economy of language is desirable, what constitutes a compelling subject. I explain, I give examples, I cheerlead, I cajole, but each evening, when the class is over and I come down from my teaching high, I inevitably lose faith in the task, as I’m sure my students do. I envision the lot of us driving home, solitary scholars in our cars, growing sadder by the mile.
Our textbook boils effective writing down to a series of steps. It devotes pages and pages to the composition of a compare-and-contrast essay, with lots of examples and tips and checklists. “Develop a plan of organization and stick to it,” the text chirrups not so helpfully. Of course any student who can, does, and does so automatically, without the textbook’s directive. For others, this seems an impossible task. Over the course of 15 weeks, some of my best writers improve a little. Sometimes my worst writers improve too, though they rarely, if ever, approach base-level competence.
How I envy professors in other disciplines! How appealing seems the straightforwardness of their task! These are the properties of a cell membrane, kid. Memorize ’em, and be ready to spit ’em back at me. The biology teacher also enjoys the psychic ease of grading multiple-choice tests. Answers are right or wrong. The grades cannot be questioned. Quantifying the value of a piece of writing, however, is intensely subjective, and English teachers are burdened with discretion. (My students seem to believe that my discretion is limitless. Some of them come to me at the conclusion of a course and matter-of-factly ask that I change a failing grade because they need to graduate this semester or because they worked really hard in the class or because they need to pass in order to receive tuition reimbursement from their employer.)
I wonder, sometimes, at the conclusion of a course, when I fail nine out of 15 students, whether the college will send me a note either (1) informing me of a serious bottleneck in the march toward commencement and demanding that I pass more students, or (2) commending me on my fiscal ingenuity—my high failure rate forces students to pay for classes two or three times over.
What actually happens is that nothing happens. I feel no pressure from the colleges in either direction. My department chairpersons, on those rare occasions when I see them, are friendly, even warm. They don’t mention all those students who have failed my courses, and I don’t bring them up. There seems, as is often the case in colleges, to be a huge gulf between academia and reality. No one is thinking about the larger implications, let alone the morality, of admitting so many students to classes they cannot possibly pass. The colleges and the students and I are bobbing up and down in a great wave of societal forces—social optimism on a large scale, the sense of college as both a universal right and a need, financial necessity on the part of the colleges and the students alike, the desire to maintain high academic standards while admitting marginal students—that have coalesced into a mini-tsunami of difficulty. No one has drawn up the flowchart and seen that, although more-widespread college admission is a bonanza for the colleges and nice for the students and makes the entire United States of America feel rather pleased with itself, there is one point of irreconcilable conflict in the system, and that is the moment when the adjunct instructor, who by the nature of his job teaches the worst students, must ink the F on that first writing assignment.