Amy Shanks 

A Utopian Education

(Prompt A3 & Essay 2 Combined)

           Dystopian literature is generally regarded as having a greater entertaining value than utopian works (Obj. 1a). A utopian tale is commonly devoid of conflict, deviating from the traditional plot structure fiction is built upon. Because there is usually a heightened sense of community, utopian literature often lacks diverse, well-developed characters and instead has one or two characters representative of the collective (Looking Backward’s Dr. Leete and Utopia’s Raphael Hythloday).  These aberrant characteristics are often the reason why dystopian literature is prioritized in high school curriculum; however, there is a close relationship between the two genres that mandates paired teaching. To completely dismiss utopian literature is an insult to the genre and a disservice to students.   

A common concern for teaching utopian literature is that it is not entertaining enough to engage students (Obj. 5c). Conflict is a reality of life that can unfortunately thrive in high school settings (Obj. 2a-2c). Even if students have no personal investment in the occasional fights that break out, there is almost always a natural curiosity for details. This unpleasant morbid curiosity drives most fiction plots, including dystopian literature. Conflict is often considered the “entertaining” aspect of a storyline, implying a harmonic existence can make for a boring read.

From Animal Farm to Lord of the Flies, the most common dystopian titles in current high school curriculum place heavy emphasis on conflict that often leads to violence. This plot point is usually left out of utopian literature, however, often leading to the hesitation to incorporate the genre into curriculum.  With community being the elevated ideal, most utopian plotlines in the course readings have focused on how people work together rather than against one another. With an amplified example of “it takes a village” to raise children, Charlotte Perkins Gilman’s Herland articulates the communal mindset of childrearing through Moadine’s statement: “Because the finished product is not a private one” (59). It is only natural that conflict would not thrive in such a communal environment where the concept of the “family unit” becomes so extended. The only utopian course reading selection that truly exemplified conflict was Ernest Collenbach’s Ecotopia. From the lovers’ quarreling outside of William’s corridors to the “cooperative criticism” at the cafe, it extended the characteristics of the genre by depicting utopian characters with a greater range of emotions. However, Ecotopia is not the norm for utopian literature and due to its salacious content it would not be appropriate for high school curriculum.

Conflict is not the only plot device that captivates readers, however. Though the stories are not driven by the explosive products of discord, utopian literature has more subtle means of engagement that beckons readers to delve into comparative elements of real life and literature – an element lacking in some dystopian literature. Utopian tales are often deemed incredulous because of the ideals they purport, but this most chastised characteristic is what makes the genre so engaging (obj. 3). In order to articulate such a scathing critique, a reader must evaluate the text. Utopias force us to consider their purpose and compare it with our realty to determine whether or not we are convinced. It is almost inescapable to juxtapose the familiar characteristics of child behavior from personal experience when gauging the conceivability of Ecotopian children achieving “an intuitive feeling for the fact that people excel in different things, and that they can give to each other on many different levels” (119).  In contrast, dystopian societies are easier to accept in part because of rampant pessimism throughout society. From natural disasters to immanent terrorist attacks, Armageddon always seems to be on its way. Therefore, willing suspension of disbelief is much more likely to be used while reading a dystopian work, which allows a reader to simply take in the events of a story rather than interactively engage with it. 

Utopian literature is also often criticized for lacking relatable settings and developed characters (Obj. 1a). During the day, high school students’ lives are highly controlled. A stark contrast from the lax educational approaches exemplified in Ecotopia, the American education system relies heavily on structure. From the clothes they are permitted to wear to the classes they are enforced to take, students have very little control over their day-to-day routines. Once the students get home, the school day does not (or should not) stop. Usually loaded down by nightly homework, students’ time is heavily directed by the demands of school. Though this controlling environment is purposefully created to instill discipline and knowledge within the students, this intention is not always realized within the “oppressed” students.  A desire to break free from a controlling entity is a thematic element to a dystopian setting that students can often easily relate to.  It is not difficult to picture students identifying with Anthem’s Equality 7-2521 when he expresses the defiantly emphatic desire to “be away from the City and the air that touches upon the air of the City” (24). In contrast, they are much more likely to feel leery toward the conformity elements of a utopian community setting. Students are likely to feel unsettled by the “Great Trust” described in Edward Bellemy’s Looking Backward. As Kristin Bird astutely observed in her 2007 final exam, this construct of the utopia implies that the “individual no longer matters unless it is part of the whole” (http://coursesite.uhcl.edu/hsh/Whitec/LITR/5439utopia/models/finals/f2007/final07bird.htm).

Dystopian literature generally has the advantage with these literary elements. The unadulterated joy that members of utopian societies experience is not likely something that teenagers readily relate to. While high schools are not completely devoid of voracious readers, it is unlikely that any student would be able to connect with the content of any publication in the utopian manner that Frederick Douglass expresses in Narrative of the Life of Frederick Douglass when he states “the paper became my meat and my drink. My soul was set on fire” (Ch. 11). However, that does not mean utopian characters (or autobiographical utopian experiences) are completely impossible to relate to. Utopian texts usually feature an outsider role that often connects with adolescence. Students could just as easily relate to Herland, in which Jeff, Van (and yes, even Terry’s) curiosity to learn more about the inhabitants and their struggle to build relationships with people of a different culture.

From differing socioeconomics to varying cultural backgrounds, most public school classrooms are filled with diverse demographics. The modern classroom experience can often be analogous to the culture shock that comes from the utopian journey motif because students are frequently affronted with elements of cultures and beliefs they had never been exposed to before. Because education trends emphasize cooperative learning, from the very first day of class students are arbitrarily placed together with the expectation that they demonstrate tolerance, collaboration, and respect. Students are not required to completely eradicate the concept of individuality as in Anthem, but they are expected to find a way to work together regardless of differing opinions.

Ultimately, the best approach to the dystopian/utopian debate is to recognize what both genres have to offer and format a well-developed curriculum that showcases them together. Olaudah Equiano’s The Interesting Narrative of the Life of Olaudah Equiano is an example of a text that could achieve this goal. The utopian elements of the African homeland where the “land is uncommonly rich and fruitful” and the community is “remarkably cheerful” (Ch. 1) are emphasized by the stark contrasting dystopian elements of slavery where “the loathsomeness of the stench and crying together” (Ch. 2) steals the appetite for food and life itself. With strategic planning, an integrative approach for teaching the genres has the best potential for conceptualizing their unique and similar constructs.

Both of my research postings emphasized practical application to my occupation (Obj. 5c).  The natural extension of this assignment is a plan for implementation.  I am lucky enough to work in a district where there is flexibility in text selection and a strong emphasis on teaching literature through genres. What I discovered from the second research posting was a common recommendation for teaching dystopias and utopians comparatively. While I would agree with the general consensus from class discussion that our graduate course text selection was not necessarily targeted for high school students, Paul Wild’s article from my posting relayed such positive results it encouraged me to see if I could make the texts work. Though it is still difficult to picture students enthralled in the diatribes of Raphael in More’s Utopia or inspired by the almost incredulous perfection delineated the by Dr. Leete in Bellemy’s Looking Backward, using excerpts from both novels is a manageable approach for an adolescent audience.

My plan for introducing the topic is also the foundational guideline for the entire unit. I will begin with a student exploration of what they know and recognize about the conventions of the genres before delving into the literature. Though in my research posting I expressed hesitation toward some of the educational activities from John Knapp’s article, his emphasis on explorative learning is an excellent educational approach I plan to extend. Good literature studies encourage students to reflect, relate, and compare the text with their surroundings. In an attempt to foster such a student-text relationship, my utopian/dystopian unit will begin with an analysis of our school environment.  Members of the community have jokingly referred to the school where I am employed as “the compound.” Its proper title, “The Education Village,” perhaps better conveys its strategic purpose.  In contrast to the typical sprawling elementary, intermediate, and high school campuses most districts create, the school decided to plot all three campuses together for a specific goal: to foster a sense of community throughout the entire student body. Identifying the utopian ideology embedded within the community in which the students are already a member is a strategic method of explorative learning. I plan to use this activity as a foundational reference point to guide the class’s “journey” through the comparative genre unit.   

As previously mentioned in the midterm essay, my introduction to utopian literature was a little bumpy, but I am exhilarated by the moments of mental struggle because of where they led me.  What I appreciate the most from this course is the refreshing excitement I now have for incorporating what I have learned into my professional classroom. For me, the biggest challenge in my profession is not the student engagement, administrative expectations, nor the insurmountable grading, but it is simply the lack of time to generate (and at times even to develop enthusiasm for) lessons that all of these pressures of education cause.  Taking summer courses that have provided me with materials to work with next year was the most rewarding way to use my vacation time.