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An analysis of the connection between the study of literature and the
development of writing skills.
The connection between the study of literature and the development of writing
skills should not be underestimated. The ability to analyse the tone and
underlying content of written material, the ability to articulate ones feelings, to
persuasively formulate arguments these are all learned practices. Prior
examples, illuminated by teachers and others who espouse their inherent value,
form the platform for new learning and new meaning making. A major benefit of
this new learning is the development of social awareness and responsibility.
English teachers, more than most educators, are accountable for the
development of their students social responsibility. Reading widely and with
purpose, and truly engaging with texts is essential to this development. As Freire
asserts, [re]ading is not walking on the words; it's grasping the soul of them
(1985 p.149). Within todays multicultural classrooms, and as gender equality
continues to develop, English teachers must be attuned to their classrooms
social dynamics. Texts within the Western canon, that have previously
warranted study based solely on their artistic merit are being increasingly
scrutinized for their social relevance, inclusiveness and ability to inspire
students to action. Many students and other readers have lost patience in texts
that dont represent their values or personalities, and are finding new ways to
engage with and develop them.
Defining literature and what constitutes an important text for todays students
is a contentious exercise. Hudson asserts that the word literature commonly
carries with ita clear suggestion of delimitation[b]ut where is the boundary-
line to be drawn?(2007 p.9) There is no question that canonical texts offer
readers a diverse range of brilliantly constructed ideas and stories from which
they can learn a great deal about the world, themselves, and the history of
humankind. Bloom boldly posits that all of Freud that matters most is there in
Shakespeare already, with a persuasive critique of Freud besides (1994 p.25)
Its important to note, however, that not all of these texts offer all of these things
for all readers. The popularity and even university study of texts such as the
Harry Potter series, though drawing the ire of traditional literary purists,
highlights a weakness of some canonical texts - their inability to speak to all
members in a multicultural classroom. It stands to reason that, although teachers
should indeed aim to give our students the very best that our culture has
produced (Weaven 1997 p.12), they must carefully consider the social
complexion of their readership when choosing texts that will achieve this.
Its important for teachers and students to work together in negotiating complex
literary terrain to employ texts that empower and prepare students for
productive, fulfilling lives. As citizens of a democracy teachers have a civic
responsibility to equip students with the knowledge, skills, and dispositions
needed to participate in the daily governance of our nation (Wolk 2009 p.665).
In order for students to become ethical, thoughtful, informed and active
members of society (Ausvels), teachers must foster students interest in, and
knowledge of, issues that will shape their lives. According to Wolk, [c]lassroom
inquiry nurtures social responsibility, and living a socially responsible life means
to live a life of enquiry. (p.666) Whether its opening students eyes to prejudice,
or inspiring them to learn more about a culture they wouldnt otherwise
discover, English teachers play a major role in developing young peoples
negotiation of the world around them. Nussbaum agrees, asserting that [t]he
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arts cultivate capacities of judgment and sensitivity that can and should be
expressed in the choices a citizen makes (1997 p.86). A literary texts power to
provide insights into the minds of foreign people, or the construction of complex
arguments set it apart from other forms of communication.
Students who become better informed and more socially active citizens are
better able to recognize and challenge inequality where and when they see it.
This is especially important during the formative years within school
communities. According to McLaren within schools there exist
power relations, social practices, and privileged forms of knowledge that support
a specific vision of past, present and futurein ways that reproduce inequality,
racism and sexism. (1989 p.161)
In order to empower students, then, teachers must work with them to break
down these hegemonies and critique staid, unhelpful ideologies (Lankshear 1997
p.150). Knowledge is definitely power, and by developing analytical skills and
the ability to express themselves articulately, students can share power and
other social goods on (more) equal terms with others (Lankshear 1997 p.151).
Instead of taking school culture or government policy for granted, students must
question knowledge and authority instead of accepting it as universal wisdom
(Shor 1992 p.32). When students are able to locate and analyse oppression
within texts or in the words of dishonest politicians, they are able to take
ownership of decisions that directly affect their lives. Disputing the legitimacy or
worthiness of traditional texts, or the motives of national leaders isnt always
easy, given the generally prohibitive views on such questioning. However careful
analysis of previously untouchable texts often reveals compelling arguments for
a critical approach.
Many texts featured on English class reading lists marginalise certain members
of society. Steinbecks revered Of Mice and Men, a perennial classroom staple
because of its accessible portrayal of friendship and failed pursuit of the
American dream, doesnt appeal to all students. English teacher Kenney muses
that, although many of her students thought it was the best book they ever read
(2013) many of her female Latino students showed little interest in the story.
Steinbecks refusal to develop OMMs only female character, Curlys wife, lest her
plight diminish the pathos encouraged for white male characters George and
Lennie, alienated a large proportion of Steinbecks potential readership. This
moved one of Kenneys students to label Curlys wife sort of a slut (2013). Her
sentiments are understandable. As Cash notes, Curlys wife is never named
because she is simply an agent of the plot; her sole function is to simper in a
seductive way (2012 p.221). And so, although OMM does offer white male
readers an engagingly tragic depiction of George and Lennies failure to grasp
prosperity, it doesnt provide an accessible protagonist for female readers.
Among works in the Western canon, it is not alone in doing so.
The promulgation of white mens quest for meaning and fulfilment, portrayed by
dead white male authors, has been a constant within literature. Morgan asserts
that many male writers perpetuate the idea of woman as a female satellite
revolving around [man], as the Moon revolves around the Earth (1972 p.152).
Though English students are today encouraged to analyse a writers social
context and their intent for propagating harmful stereotypes, the values
espoused in these works do impact readers. Oscar Wildes The Picture of Dorian
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Gray proffered disturbingly negative views of women. In the novel Lord Henry
opines
no woman is a genius. Women are a decorative sex. They never have anything to say,
but they say it charmingly. Women represent the triumph of matter over mind, just as
men represent the triumph of mind over morals (1891)
Although Wilde delighted in the bombastic and imbued many of his characters
with a surreal dynamism, this outright denigration of women cant be separated
from his work. As sexist as it appears from todays feminist viewpoint, this
sentiment is common within texts preoccupied with the male plight. F. Scott
Fitzgeralds The Great Gatsby (TGG), which has received widespread critical
acclaim, also marginalised female readers, with Fitzgerald even noting himself
that the book contains no important woman character (in Turnbull 1968
p.197). Fitzgerald, moved to admit this much upon the novels initially poor
commercial return, would have enjoyed more success had he factored in the
economic power of post-war emancipated women (Strba p.41). Seen in this light,
it would be pertinent for teachers to explore the sexism and subordination of
TGGs female characters instead of dutifully preoccupying students with the rise
and fall of the extravagant male protagonist, Jay Gatsby. Exploration and analysis
of this marginalisation of women are just the beginning for some readers.
In their quest to identify with and feel respectfully represented within
established Hebrew texts, readers are now actively rewriting literature. In her
study of the emergence of feminist readings of Hebrew literature, Aschkenasy
proudly asserts that Hebrew literature, a domain once dominated by men, is
now effectively and confidently overrun by women (2004 p.200). She declares
that Hebrew women are taking back Hebrew literature by offering readings of
biblical texts that displace male figures and misogynist interpretations from their
position of centrality (p.281). This was necessary, says Aschkenasy, because
throughout Jewish history, ancient and modern, women were conspicuously
absent from the Hebrew literary canon (p.200). This exclusion can be traced
back to ancient Judaic midrash who believed that the Hebrew bible was the
primary text from which all written words flowed (Aschkenasy p.3) Predating
the canon, the Bible set a dangerous precedent, with misogynistic passages that
portrayed the idea of the first woman Eve becoming sexually subordinate to the
first man, Adam. A small selection of these passages highlights this exclusionary
narrative:
This is now bone of my bones, and flesh of my flesh: She shall be called Woman,
because she was taken out of Man. (The Holy Bible, Genesis 2: 23)
Unto the woman God said, I will greatly multiply thy sorrow and thy conception; in
sorrow thou shalt bring forth children; And thy desire shall be to thy husband, and
he shall rule over thee. (The Holy Bible, Genesis 3: 16)

This subordination of woman in the Bible and other holy books also reverberates
throughout the Western canon. The displacement of male figures detailed by
Aschkenasy, though perhaps viewed by traditionalists as drastic or even
blasphemous, regardless exemplifies the need of females to see more of
themselves in the literature they encounter. Given that misogyny has
underpinned literature for centuries, such efforts to democratise it must be
sustained if lasting results are to be achieved. As Sontag laments, language is the
most intense and stubborn fortress of sexist assumptions (Sontag, in Burlacu
1993 p.206), and old stereotypes will die hard.
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The idea of taking ownership of literature championed by Aschkenasy is
paralleled by young readers creating fan fiction. These revisions and alternative
readings of popular texts such as the Harry Potter and Star Wars series
reinvigorate previously marginalized or unsatisfied readers. Online communities
of predominantly female readers insert fully developed female characters that
take on the hero role as Jedi knights in Star Wars fan fiction, which in the
original canon features only male Jedi masters are challenging literary
boundaries (Thomas 2013 p.226). As Thomas asserts, fan fiction writers
challenge the traditional notion of the single, individual authorthe boundaries
of reality and fantasy and what it might mean to be literate in the digital age
(p.231). Far from merely escaping into Star Wars fantasy genre and losing
themselves in these stories, fan fiction writers remove the need for writing from
a single perspective or with a stable identity (Thomas p.237). Although these
relatively new methods of creating text might be seen as attacks on the narrative
form, the benefits for the individuals involved outweigh any such paranoia.
Although frowned upon by literary purists as unoriginal, and denounced by some
authors whose texts are re-imagined, fan fiction provides many emotional and
educational benefits for its practitioners. Jenkins insists that not everything that
kids learn from popular culture is bad for them: some of the best writing
instruction takes place outside the classroom (Jenkins and Thomas 2006 p.227).
Its difficult to refute Jenkins claim when considering the supportive,
collaborative online groups these young writers are utilizing. Fan fiction writers
receive critical feedback from peers, and many young people[gain]
considerable insight into the writing process (Thomas p.227). This is feedback
and support that might not be forthcoming in classrooms or other forums that
dont approve of or understand fan fictions appeal. The improvements in fan
fiction writers grammar and spelling as they work collaboratively within non-
judgmental, supportive forums are also invaluable. If English teachers are
serious about giving all students a chance to use the study of English to learn to
analyse, understand, communicate with and build relationships with others and
with the world around them (AUSVELS), fan fiction is worth exploring.
Reading and writing play pivotal roles in the development of socially aware
citizens. The beauty of literature is also its curse diversity. Not all literary texts
involve or speak to all readers. This makes the English teachers efforts to
educate and inspire all of their students with a completely inclusive text
impossible. The Western canon, undoubtedly invaluable, cannot provide
everything that students require. However with some imagination and flexibility,
teachers and students can work together to find meaningful ways of engaging
with different texts and allowing students to find themselves.







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References
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