Language Arts

[Anonymous]

"Don't we have enough to do just to teach kids to read and write?" But teaching students to read and write with any real efficacy and permanent effect on their lives is also, very much, teaching them to think. And you can't learn to thiink effectively without extending your range of things to think about. Even within the canon of Western Literature we have to dip into other languages in translation (Latin, Greek, French, Russian, Italian, Spanish, German, Czech) to teach some of the standard authors (Ovid, Homer, Maupassant, Dostoevsky, Dante, Cervantes, Kafka, Kundera). So, the question for most of us who teach English is not, I think, why bother with Asian literature? The question is, why don't we teach more (or some, or, in some cases, any) Asian literature?

More and more Asian-American literature is being taught (Amy Tan et al.) and some actual translations from Asian literature have been staples for years on California secondary reading lists (e.g., Yukio Mishima's The Sound of Waves). But if I decide I want to take the plunge and teach Murasaki's Tale of Genji, for example, how I am going to get sufficient texts, even for a small class? I would have a hard time justifying the purchase of an expensive book that, initially, at least, only one teacher might use. (I have been department chair of English for the last three years at my school and I have not felt justified in making such expenditures.) But let's say, for the sake of argument, that I get a green light to order the books, or LAUSD comes up with a one-time-only grant for the purchase of Asian literature in translation. Would I then teach it in AP English Literature or World Literature? Probably not, and for several important reasons. First, although I have read bits and pieces of Genji, I have not read the entire novel. Second, although I have learned a great deal about the Heian Period from the lectures of Professors Yamashita, Miyake and Ptelka, I feel that I have just barely scratched the surface and have much more to learn before I could begin to teach a novel as complex as Genji in its historical and social context with anything like the level of confidence and general success I experience in teaching Great Expectations or The Grapes of Wrath. Context, as Professor Yamashita said, is the key to making sense of history, and history is the context of literature. No individual work of literature can be fully understood without reference to its historical context. Some sub-genres, such as haiku, are of course more accessible and many English teachers have taught haiku (or American-style haiku) successfully for many years without bothering overly much about the historical and social context of the Japanese form. But teaching about Asian literature, done correctly, must necessarily incorporate teaching about Asian history and society, subjects touched upon very, very lightly and briefly in most Social Studies classes and hardly at all in English.

So there we are. Why bother about Asian literature? Because we must, if we want to teach literature in its full scope (and not just contemporary Amercan literature). Why don't we teach more Asian literature in our English classes? Because most of us are not really prepared to do a good job. The USC East Asia Seminar is a giant step in the direction of getting more of us aware of what we have to learn to do a good job. Then there is the issue of money and texts. Even if I'm ready to teach Asian literature, where can I find the money to buy what will be perceived initially as specialized texts that "nobody else will teach"? Perhaps as the importance of Asia in the US grows with every passing day more money will become available for these expenditures. Perhaps if the US government turns its attention from making war in Asia (Afghanistan et al.) to teaching about Asia (happy thought), lots more money might become available. However, in anticipation of that golden age, I must get to work and read the entire Tale of Genji (and much more Asian literature) and put my money where my mouth is.

Leigh Clark
Monroe High School[Edit by="lclark on Jun 14, 2:14:14 PM"][/Edit]

[Anonymous]

I have recently acquired a wonderful book, "How to Write Haiku and Other Short Poems" by Paul Janeczko

I find it very well put together. It not only goes into How to write them, but what Haikus are and even some of the history behind them, as well.

It is written very freindly for middle school and elementary students, but may be a bit juvenile for High schoolers.

It goes into the history, then what should be written. It doesn't just break it down by sylables and lines. It discusses the importance of the content of a Haiku. It discusses the importance of seasons and where to get ideas for good Haikus.

It also looks at Senryu, Haibun, Renga and Tanka.

I hope you enjoy it, I sure did.

Lisa Monie-Peralta

[Anonymous]

Cornell Notes are great. I'm glad the district has adopted this method. It is particularly important to pick one strategy and follow it through as students progree from grade to grade. It is so refreshing to teach 7th grade and for students to enter already knowing how to take Cornell notes. It allows me to focus on the content and material, rather than focusing on teaching students how to take notes.

[Anonymous]

Greetings,

A great book for elementary students is Sadako and the 1000 Paper Cranes. My fifth grade teacher read it to us and I still remember it to this day. It is the story of a young Japanese girl named Sadako, who survived the atomic bomb blast in Hiroshima but was exposed to radioactive material. In the story she developed leukemia and she has a goal of making 1000 paper cranes. This story reveals many aspects of Japanese culture, familial relationships, traditions, and qualities such as loyalty and honor. In the end Sadako dies before making all 1000 but her family and friends rally to complete all 1000 to honor her.

John Yamazaki

[clay dube]

Hi Folks,

It's just been announced. A Chinese who started studying Japanese at age 22 has just received Japan's most prestigious literary prize. This should be a great inspiration to those seeking to learn Asian languages and for those eager to teach about Asian literature. Here's the announcement that Yang Yi had earned the award:

http://www.yomiuri.co.jp/dy/features/culture/20080716TDY01304.htm

This article includes the author's response:

http://search.japantimes.co.jp/cgi-bin/nn20080716a2.html

Here's a Japan Times editorial about the author and her work.
http://search.japantimes.co.jp/cgi-bin/ed20080718a1.html

[Anonymous]

Moss Roberts has collected and translated a number of Chinese fables, Chinese Fairy Tales & Fantasies, published by Pantheon, copyright 1979. These are kind of traditional stories. There are scores of them usually only a few pages and categorized by theme: magic, greed, animals, women, ghosts, judges. They are easily accessible and also reveal much about Chinese culture.

[clay dube]

One of the participants in this OSU NCTA seminar created a series of lessons utilizing Chinese literature for young adults:
http://ncta.osu.edu/China%20Culture%20and%20Young%20Adult%20Lit%20McBrady.pdf.

Many are already using Red Scarf Girl and Iron and Silk, but I'm not familiar with many of the titles listed (e.g., Colors of the Mountain). It would be great if teachers who have read or used them could comment on using them.

[clay dube]

Many teachers are found of haiku and enjoy introducing it to their students. One of our NCTA partners, the University of Colorado, is offering a wonderful opportunity this summer. You can travel to Japan and visit places that Japan's great Basho visited. The tour is June 28 – July 28, 2009. Applications will eventually be available at: http://www.colorado.edu/cas/BashoTeacherInstitute.html

This trip is funded by the Fulbright-Hays program and is open to secondary teachers of world literature or history; teachers of AP Japanese Language and Culture; as well as university instructors of Japanese.

Please mention you heard about the opportunity via the USCI Asia in My Classroom forum.

[Anonymous]

Can't we build analytical and communication skills drawing upon old favorites from the Western tradition? Why should we go to the bother of adding Asian literature to our courses? Don't we have enough to do just to teach kids to read and write?

Why should we go to the bother of adding African literature to our courses? Why should we bother adding literature written by women? Why should we bother analyzing the literature of the Irish? Mexicans? Columbians? And don't get me started on Canadians...whew!!

Okay, so if we teach by the most literal definition of English literature, wouldn't we only teach the British authors: Shakespeare, Dickens, Marlowe, Chaucer, Virginia Wolf (oops...woman!) and the like?

The most simplistic reason for adding diversity to our curriculum is that, although there are classic works that reveal truths about us as humans, such a canon needs to evolve as the audience evolves. We do teach kids to read and write...but what then? What will the kids want to read? What will they want to write about? If all they ever read is of worlds where there are no characters like them, how will they learn "I matter."? Why is Western tradition more valuable than Eastern? than Southern? Who determines what is valuable and what is a "bother", as Winnie-the-Pooh might say?

Tom Hanks once said, "We study American literature because in order to know who we are, and where we're going, we must know where we've been." ...or something like that...he was on The Actors Studio being interviewed, and the subject of literature came up. My point is, we don't add Asian literature to our curriculum in order for our students to become Asian; we incorporate the literature of Asian, African, Latino, Irish, Islander, and indigenous populations (okay, even Canadian), and all-genders because our students need to have a world view, to have world knowledge, to have an understanding of the ever-expanding, ever-shrinking world around them...and to plan what's next.

p.s. I think I mentioned this in class, but there are a couple of great philosophy books out there that use Pooh and Piglet. I don't remember the author(s), but one is The Tao of Pooh, and the other is The Te of Piglet.

[Anonymous]

It may be possible to stretch just a bit past the traditions of American literature(or English literature ?) by adding a taste of Asian to the mix. I'm wondering how successful I might be if I asked the students to read the short story "Seventeen Syllables" by Hisaye Yamamoto. Yes, she would be an Asian-American; however, there are cultural differences that are obvious in her story. Then, could I introduce the ideas of Ban Zhao(Zhao Ban) and her "Lessons for Women" thereafter asking students to comment on the behaviors of Rosie and her mother and their conformity(or lack thereof)to Ban Zhao's ideas? I wonder.
Respectfully submitted,
Walt Banta

[Anonymous]

The success of this writer in a language and culture other than her own is unique and impressive. It seems to speak to the expression that one can always learn/be taught "new tricks." It reminds me of Joseph Conrad, born in Poland, who moved to England and became a writer of great noteworth. Perhaps the "immersion" in the new language and culture made learning a matter of survival, but numerous people learn another language without becoming noteworthy writers.

Then there are those of us who do not seem to have the same affinity for language acquisition as the aforementioned. For me, Latin and German were an uphill battle to say the least. My hat is off to anyone who can speak and write two languages(or more).
Respectfully submitted,
Walt Banta

[Anonymous]

It is interesting what Tom Hanks had to say on Actors Studio. The response postulated we can learn of other cultures as well by reading other literature from other countries. While this is true, I think another equally important component of reading literature from other countries is that, ultimately, human beings share certain common characteristics and that this sharing unites us, regardless of the country of origin or the belief system detailed. Humans share certain qualities that only other humans can appreciate, learn from, and incorporated into their everyday lives.

[clay dube]

The Economist newsmagazine marked the 1,000th anniversary of The Tale of Genji, arguing it's the equivalent of the Iliad in scope and influence. You can see the review and discussion of the work at:
http://www.economist.com/books/displaystory.cfm?story_id=12811335

Genji-mania is going strong. The book is popular in reading groups and there a wealth of programs about the book. Tea and sweets inspired by the book are sold and a Genji symphony is newly available. The book is also endlessly updated through new versions, at least 7 in the last century.

Perhaps the most fascinating story in the article is how Arthur Waley's English translation of the book which has been retranslated into Japanese. One editor says, "Waley's is the most accessible version for us too."

[Anonymous]

I think that the very beauty of working with texts from around the world is that it offers avenues for students to become even better readers and thinkers. When we examine texts from other cultures, especially Asian cultures, we get a glimpse into another way of thinking that in some ways can be very different from many American attitudes. I am all for the classics, but certainly "classics" come from all over the world!

[clay dube]

Topics: children's literature, chinese american, japanese american, internment, world war II

Icy Smith is a writer and businesswoman. She's written a book entitled Mei Ling in China City. She'll be appearing in downtown Los Angeles on Feb. 7, 2009. The Japan American National Museum is hosting this 2 pm event.

Here's the museum website:
http://www.janm.org/

Here's the book blurb:
Based on a true story of events during World War II in Los Angeles China City, a 12-year-old Chinese American girl named Mei Ling Lee loses her best friend Yayeko Akiyama when she and her family were interned in the Manzanar War Relocation Center. By writing letters to each other, both young girls recount their painful separation and their lives in China City and Manzanar. The vivid watercolor paintings warmly portray the real scenes of the forgotten China City in Los Angeles and Manzanar. This unprecedented children's book depicts the hardships and cross-cultural experiences of Americans of Chinese and Japanese ancestry during the war years. Close to 50 never-before-published paintings and historical photographs of China City are presented for the first time.

Ages 6+, 10" x 11", 44 pages, available in English only, Bilingual English/Chinese and English/Japanese editions

Hardcover, ISBN: 9780970165480-English, 2008, $18.95

[Author]

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