By Amy Vizenor
On a sunny afternoon in May, I sat in the parking lot of Midwestern Alternative (pseudonym), a high school for “at-risk” students where I was interviewing for an English teaching job. Watching the high schoolers spill out into the parking lot to leave for lunch, I felt intimidated by their stereotypically edgy, alternative dress, style, and behavior. I also felt intrigued and motivated to teach in a unique program, as my previous teaching experiences were in traditional middle and high schools. With anticipation, I accepted the job when it was offered. When I met these same students on the first day of school in September, I realized that while their appearance might have been tough, they were just kids—kids with stories to uncover about the life experiences that propelled them from their traditional high schools to alternative education.
My teaching assignment included three courses: English 9, Composition, and Independent Reading. A significant part of the curriculum for the composition class involved teaching concepts such as the writing process, types of paragraphs, organization, style, transitions, audience, and conventions. Students plodded daily through these exercises, working diligently but remaining detached from the class and from me, despite my efforts to interest them in the content. A couple months into the school year, I had coffee with a colleague who had created a first-semester course for college students on the topic of memoir—with great success. I decided to encourage my students to own their stories by incorporating memoir into my composition class. Doing so transformed the complexion of the class and moved students from making it through the daily grind of the course to engaging as writers with expertise and investment in their craft—writers whose personal stories were valued in the classroom space.
Alternative schools and programs are designed to meet the needs of students identified as at risk of failure to graduate from high school (Carver and Lewis 1). Not all alternative settings share the same features; rather, they provide extra supports to their student population through specialized structures and personnel. Midwestern Alternative employed several structures to promote student success, including (1) an onsite, free daycare, (2) a no homework policy, (3) weekly access to a chemical dependency counselor, and (4) an informal relationship between students and staff, as evidenced by students addressing faculty by first names.
Adolescents may enroll in an alternative school by choice or by referral of their home schools. Common reasons for referral to an alternative setting include academic failure, truancy, physically or verbally disruptive behavior, chemical use, pregnancy, and mental health issues. Traditionally, the numbers of students of color and students with a low socioeconomic status enrolled in alternative schools are disproportionately high (Farrelly and Daniels 107). The student demographics at Midwestern Alternative reflected this imbalance. Currently, the percentage of students of color enrolled in the school district as a whole is 25%, compared to 39% at Midwestern Alternative (Minnesota Department of Education (MDE)). The district’s student population receiving free and reduced-price lunch is 37%, while 69% of students at Midwestern Alternative are enrolled in the free and reduced-price lunch program (MDE). Thus, the student population at Midwestern Alternative reflects a high number of both students of color and students living in poverty.
Though traditionally underserved students bring a strong skill set to the classroom, it is often neutralized in a traditional system. As Herrera noted, “More often than not, however, CLD [culturally and linguistically diverse] students’ assets are left untapped because the classroom does not provide a place for them to become part of the curriculum” (14). As the school year progressed, I realized that I was leaving student assets untapped by slogging through an old-school composition curriculum. I was teaching my alternative high school class in a very mainstream and, for my student population, ineffective manner. My teaching was a disservice to them and to me—despite my best intentions.
Memoir as a Genre
Born of the nonfiction narrative movement begun in the 1970s, the memoir genre evolved from autobiography and enjoys widespread popularity today (Kirby and Kirby 22-23). While the autobiography is often a birth-to-death narrative, the memoir presents a “slice of ordinary life” (Bomer 4). Memoir relies upon the author selecting one key event or a handful of events with the same theme and requires the author to grapple with all of the complexities surrounding the topic of the memoir. In writing memoir, the author uses the genre to puzzle through, answer questions, and make sense of their experiences (Kirby and Kirby 23). This notion “puzzling through” was one of the things that appealed to me about memoir. My students had had impactful experiences, but they had not taken time to sort though the layers and make sense of them.
Academically, memoir offers a rich opportunity for meeting standards in reading and writing using a medium that, in our current culture of reality television and sharing life through various social media sites, appeals to adolescents. While reading memoir, students might engage in literacy standard RI.9-10.3: “Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them” (Common Core State Standards (CCSS). Teachers could incorporate several writing standards when students are writing memoir, most of which are sub-parts of standard W.9-10.3: “Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences” (CCSS). English teachers can easily justify teaching this nonfiction genre as an avenue to reaching reading or writing standards.
Memoir in the Classroom
Inspired by the advice from my colleague to utilize memoir in my composition class and ready for a change, I planned for our journey into memoir. Included in my plans were framing memoir; reading memoirs and autobiographies; analyzing constructs of memoir; generating ideas through free writing and timeline creation; engaging in the writing process; exploring avenues for publication; and celebrating our success. From start to finish, we spent almost three months reading and writing memoir.
In January, we read excerpts from Bomer’s Writing a Life, exploring the history of autobiographical writing and the concept of writing about “a slice of ordinary life” through memoir (4). We discussed public fascination with peering into the lives of others and the insights gleaned from experiencing an event through the lens of another. We also addressed controversy regarding what constitutes “truth” in memoir, citing the example of James Frey’s expulsion from Oprah Winfrey’s Book Club for misrepresenting truth in his memoir, A Million Little Pieces.That example lead to dialogue about the difference between fiction and nonfiction and the percentage of “truth” required for nonfiction.
Reading and Analyzing Memoir
After developing a shared understanding of memoir as a genre, we prepared for a trip to a large public library not far from Midwestern Alternative. Before the library visit, we reviewed how to search the library website for memoirs, each student creating a list of potential books to check out. When we had done all of our pre-work, we walked to the library so students could see and touch the books they had identified and choose one to read. Several of my students had never been to a public library before, and seeing the shelves of books stacked floor to ceiling was a novelty to them. Some of the students had their own library cards. For those who didn’t, I checked out their books on my library card. A few students signed up for library cards during the visit. The trip to the library was a highlight for my students. They were excited by the opportunity to choose what memoir or autobiography to read. Their palpable enthusiasm for checking out their selected books made me realize how little choice students might have in the materials the read and interact with over the course of a school year. There was something important about physically going to the library, too. It was an adventure and an opportunity to leave the school building. The impact of acquiring the books would not have been the same had I checked them out myself and delivered them to school.
Because of the no-homework policy at Midwestern Alternative, we used part of each class session for reading. As students read their memoirs, they analyzed the works in light of the following questions:
- Is this memoir a “slice of life” that includes just a phase or experiences in a person’s life, or is it a birth-to-death, chronological autobiography? What experiences are included in the memoir?
- Is the memoir believable and true? Do the experiences the author shares seem like they could have happened? Does the author write in a way (with details) that makes you believe him/her?
- Is the memoir reflective? Does the author tell you not just what happened, but how s/he felt about what happened and how it changed him/her as a person?
Ultimately, they wrote short essays addressing these questions and the degree to which the books they read fit Bomer’s definition of memoir as we had studied it (4). This analysis of memoir primed the students to write their own stories.
Writing to Generate Ideas
In addition to spending class time reading memoirs—both the ones they had from the library and other, shorter works taken from Ehrlich’s When I Was Your Age—we also devoted time to writing in a writer’s notebook. Each day, we completed “free writing” on a topic I selected or they chose. Sample prompts included topics like my earliest memory, my greatest accomplishment, something I didn’t tell my parents, an adventure with a friend, and my something I regret. We all (including me) wrote for 7-10 minutes each day. When time was up, we sat in a circle where people who chose to do so took turns sharing their writing. I gave the option to “pass” for students who chose not to share. Time in the sharing circle was powerful. I think everyone recognized that sharing their writing required them to be vulnerable, and students were very careful with each other. In this writing and sharing practice, I saw the students create a classroom space in which all voices were honored (Herrera 14). I say all participants because the students honored my voice as a writer, too.
The day on which the prompt was “something I regret,” I wrote about an incident that happened when I was in fourth grade that later connected to my adult life. Matt Thomas was a large boy in my class who consistently came to school wearing dirty clothes and smelling of body odor. It was not uncommon for other students to make fun of him. One morning, before Mrs. Scanlan was present, one of my classmates sneaked into the classroom and placed a piece of dog feces under Matt’s desk. When Matt arrived, he was visibly upset, his face growing hot as other students snickered. Mrs. Scanlan demanded to know who was responsible. I had seen the culprit, but I said nothing. The next year, Matt transferred to a different school, and I didn’t think about him or the incident again. Twelve years later, I was standing in a check-out line at a stationary store when I noticed Matt standing in front of me waiting to make a purchase. My intuition that it was him was confirmed when he wrote his name on his check in scrawling script: Matt Thomas. In that moment, I struggled with indecision as my feelings of guilt washed over me as if the incident had just happened. Should I speak to him? Should I ignore him? What would I say? In the end, I said nothing, and Matt walked away.
As I shared this writing with my students, I noted how much regret I felt about failing to support Matt in fourth grade. To some degree, I revisited that regret and more when I didn’t speak to him as an adult. In revealing my shortcomings to my students, I showed them my humanity, my cowardice, and my shame. I was nervous to share my regret, and I was amazed by their ability to listen, empathize, and show compassion.
Another method we used to generate ideas was timeline development. Students each established a timeline of their lives, choosing events that were noteworthy and writing about them and the circumstances in which they occurred. As they considered important incidents, they reflected in writing about the meaning of the events, jotting down notes about the significance of each event.
The free writings, timelines, and other notes and reflections the students kept in their writers’ notebooks became a source of material to choose from as they prepared to draft their own memoirs. By the time they were ready to begin writing, they had much from which to choose.
Engaging in the Writing Process
In preparation to write, I had students review a six-step writing process: brainstorm, organize, connect, draft, revise, and edit and publish. They used computer-based, memoir-specific materials from the website Writing Matters: Writing Memoir to refresh and enhance their understanding of the writing process (Teaching Matters). As noted previously, students had invested a lot of time into generating ideas in class. To select their topics, students chose their top three ideas from their writers’ notebooks and completed a chart explaining the significance of each event. They shared their top ideas with a small group of their peers, whose insights they relied on to make the final selection. Often, classmates were familiar with ideas or stories from previous conversations, and they were able to make recommendations for the best material. Part of this selection process included consideration for whether or not the authors were comfortable sharing those experiences, as they knew that others would be reading their work. To their credit, most of my students did not shy away from painful topics, which included (1) finding out I was pregnant at age 14, (2) letting my mom down because I was high when she was dying from lung cancer, (3) getting arrested for possession of illegal drugs, (4) when my mom stopped coming home, and (5) immigrating to the U.S. from Somalia and forgetting what Somalia is like.
After choosing their topics, students organized and connected their thoughts and ideas by reflecting on the following questions:
- What is the key event?
- What happened before the event that will help your reader understand the experience?
- What happened after the event?
- Throughout the experience, what were your thoughts and feelings?
- How did the experience change you as a person or impact you? What did you learn about yourself as a person?
When students had completed their first drafts, I taught a session on improving writing using “show don’t tell” techniques. Students brought their drafts and participated in four different strategy-specific stations in small groups: use dialogue; use sensory language; be descriptive; and be specific, not vague. This task was one of the most challenging for students—to read, analyze, and improve upon their work. As they participated in the stations, they made minimal changes to their drafts. In retrospect, I should have provided better scaffolding to complete this writing exercise. It was challenging for them to step outside their narratives and identify ways to substantively change what they had already drafted. Instead of running stations, I should have offered more direct instruction and modeling of how to use the strategies.
Exploring Outlets for Publication
As students were drafting their memoirs, we started exploring avenues for publication, the purpose of which was to build authenticity into the writing experience. In the real world, authors write for a broader audience. Initially, some students expressed concern about publishing their work. They felt intimidated. However, as they researched publications that accepted student work and read student work published on various websites, interest increased. We found that many sites or publications did not accept work with the “mature themes” addressed in many of the students’ memoirs. In the end, all students submitted their memoirs to Teen Ink, a site that publishes online and paper magazine issues devoted to teen writing and artwork (Teen Ink). Teen Ink has few restrictions on the content for the work it publishes, making it a good fit for the memoirs my students were writing.
Celebrating Our Success
Final papers were due at the end of March, and all students self-assessed their work on the rubric I was using to evaluate their memoirs (Appendix A). Across the board, students were generally more critical of their work than I was. For the next two class sessions, we celebrated their success as authors by hosting a reading of selected excerpts from the memoirs for students who chose to share. We enjoyed snacks and invited other staff and students to join us. Students’ voices and stories were heard and valued.
At the end of May, we discovered that Teen Ink was publishing three of the students’ memoirs in one of its online issues: finding out I was pregnant, immigrating from Somalia, and being arrested for possession of illegal drugs. When I shared the publication news with the class, students were simultaneously incredulous and elated. Because of our shared experience of “writing a life” together, it felt like the success of one of us was the success of all of us. By the time the news of the publications arrived, we were in the last few days of school, which felt bittersweet, as our class was no longer; our time together was over.
Memoir in an Alternative Setting
While the genre is effective with high school students in general, there are three inter-related reasons why memoir is particularly significant for alternative high school students. First, connecting with their experiences through memoir empowers students by encouraging them to overcome shame and own their stories. Second, memoir aligns with several tenets of culturally responsive teaching. Third, writing memoir puts the student in the role of expert, setting up the student for success.
Overcoming Shame and Owning Their Stories
Whether they came to the alternative site by choice or by force, many students attending alternative schools have had challenging and possibly damaging life experiences that have interfered with their potential for success in a traditional school setting. As noted by Monroe, “Schools present many opportunities for children to feel a sense of weakness or failure. When children see themselves as deficient or having failed in some way, they experience a sense of shame” (58). Many, if not all, of the adolescents at Midwestern Alternative perceived themselves as having failed in their home schools. While in reality their home schools may have failed them, the students carried a sense of school failure and, in turn, shame. In her book titled Rising Strong, researcher Brené Brown asserted, “You either walk inside your story and own it, or you stand outside your story and hustle for your worthiness” (45). One of my goals for engaging students in writing memoirs was to help them process, reflect on, and walk inside their stories. In the pre-writing phase, students analyzed the events about which they were writing at length. Many of the events students chose were shameful to them—things most didn’t share out loud. On the rare occasion that students did talk about the circumstances that brought them to the alternative high school, they often did so with bravado, in a boastful, posturing manner in an attempt to mask the hurt that accompanied these experiences. However, when invited to engage in honest reflection about these events, many of the students revealed the pain and loss they felt. In bringing their stories out of the shadows and uncovering them for what they were, students found their worth, saw their resilience, and experienced success.
Alignment with Culturally Responsive Teaching
Asserting that meeting the needs of CLD students requires more than “good intentions,” Herrera identified several key components of culturally responsive teaching well addressed by incorporating students’ biographies into the classroom: (1) appreciating students’ and families’ “ways of being,” (2) constructing a classroom space in which all voices are honored, and (3) establishing classroom “ecologies” that demonstrate care and respect for all students’ backgrounds (13-14). As she described the importance of acknowledging CLD students’ experiences, she noted: “When educators work to move beyond the status quo, CLD students’ biographies, knowledge, and Discourse are valued and utilized beyond superficial attempts to ‘celebrate’ students’ culture and language” (14). Kirby and Kirby echoed this sentiment, explaining that inherent in memoir is a respect for difference and “transformative” opportunities related to cultural and ethnic diversity (24).
Memoir functioned as a vehicle for bringing students’ backgrounds, cultures, language, and ways of being to the forefront of the curriculum. Some of the students’ choices regarding the memoirs they checked out from the library were identity-driven; they selected works by authors whose cultural or linguistic identities aligned with their own. In doing so, they found mentors—like individuals who had navigated unique or challenging experiences, reflected on them, and learned from them. As students wrote their memoirs, they their experiences and the ways they framed those experiences became the curriculum. They each saw themselves represented in the classroom as they wrote about events in their writers’ notebooks, eventually choosing one theme or incident to unpack in their memoirs.
The Role of Expert in the Classroom
Kirby and Kirby explained, “When students write about their lives, they encounter a rare opportunity in formal education to know more about a topic than do their teachers” (24). This aspect of memoir was central for the students at Midwestern Alternative. For many of them, school was a place where they were far from expert. In their eyes, they were failures. My colleague once expressed that the students were so used to failing at school that they were almost afraid to succeed. However, one of the things they needed most to persevere through school was to be and feel successful. Gay asserted:
Success does not emerge out of failure, weakness does not generate strength, and courage does not stem from cowardice. Instead, success begets success. Mastery of tasks at one level encourages individuals to accomplish tasks of even greater complexity. To pursue [learning] with conviction, and eventual competence, requires students to have some degree of academic mastery, and personal confidence and courage. In other words, learning derives from a basis of strength and capability, not weakness and failure. (26)
In her book Pedagogy of Confidence, Jackson reiterated this idea: success breeds success, and students must have experiences in school in which they feel competent and confident in order to overcome the cycle of under-achievement (Jackson 80).
Writing memoirs enabled my students to experience success. The free writing exercises were key in building their sense of efficacy and accomplishment. They completed free writing knowing that they could not be wrong. They were the only ones with the right answers. Sometimes I shared my own free writes that were uninspiring and choppy. Though students never expressed it out loud, it seemed that me sharing my mediocre writing made them more confident in their own capabilities. I could almost see them thinking, “Huh. She’s not that good. I could do that—and better,” and they were right! When it came time to craft the memoirs, they were practiced and ready. Their incremental successes with free writing equipped them to write their memoirs.
I did not track my students’ academic journeys following participation in this composition class. I wish I had. In fact, as I was writing this manuscript, I found some of them on social media and caught up with their lives. However, I do know this: when we were engaged in memoir, students were invested. They worked (mostly) without a lot of prodding. They talked about their memoirs outside of class. They enjoyed learning. When I solicited feedback from students at the end of the year, many mentioned memoir in their comments, such as:
“The writing in general was great. I really liked writing a memoir.”
“This quarter I really enjoyed reading my memoir book so it made it easy to read.”
One of my students wrote, “What you teach sticks.” I hope that was true, but it didn’t stick because of me. It stuck because they were working with content that was meaningful to them. They were the experts.
Though my students at Midwestern Alternative certainly possessed ways of being, knowledge, and skill sets that they needed, most of the qualities they possessed were not valued in traditional schools. In fact, the school personnel often found these characteristics distasteful or inadequate—a detriment to school success. For my students at the alternative high school, memoir provided an avenue for promoting who they were by putting them at the center of their education. In this way, memoir facilitated their success on both academic and personal levels. Memoir facilitated my success as a teacher, too, by helping me see and appreciate each, individual student. Knowing my students changed the way I saw them and how well I could teach them. Being known changed the way students saw me, and they were willing to think, to try, and to risk. Because they were willing to write, students gained perspective and took back some of the power those perceived failures held over them. Because they were willing to write, they owned their stories.
Bomer, Katherine. Writing a Life: Teaching Memoir to Sharpen Insight, Shape Meaning and Triumph Over Tests. Heinemann, 2005.
Brown, Brené. Rising Strong: How the Ability to Reset Transforms the Way We Live, Love, Parent, and Lead. Random House, 2015.
Carver, Priscilla Rouse, and Laurie Lewis. Alternative Schools and Programs for Public School Students At Risk of Educational Failure: 2007–08 (NCES 2010–026). U.S. Department of Education, National Center forEducation Statistics. Washington, DC: Government Printing Office, 2010.
Common Core State Standards (CCSS) Initiative. “English Language Arts Standards.” 2018, http://www.corestandards.org/ELA-Literacy/. Accessed 3 May 2018.
Erlich, Amy, editor. When I Was Your Age Volume One: Original Stories about Growing Up. Candlewick Press, 2001.
Farrelly, Susan Glassett, and Erika Daniels. “Understanding Alternative Education: A Mixed Methods Examination of Student Experiences.” NCPEA Education Leadership Review of Doctoral Research,vol. 1, no. 1, 2014, pp. 106–121.
Gay, Geneva. Culturally Responsive Teaching: Theory, Research, and Practice. 2nd ed., Teachers College Press, 2010.
Jackson, Yvette. Pedagogy of Confidence: Inspiring High Intellectual Performance in Urban Schools. Teachers College Press, 2011.
Kirby, Dawn Latta, and Dan Kirby. “Contemporary Memoir: A 21st Century Genre Ideal for Teens.” English Journal, vol. 99, no. 4, 2010, pp. 22-29.
Minnesota Department of Education (MDE). “School Report Card.” http://rc.education.state.mn.us/#mySchool/p–1. Accessed 3 May 2018.
Monroe, Ann. “Shame Solutions: How Shame Impacts School-aged Children and What Teachers Can Do to Help.” The Educational Forum, vol. 73, 2009, pp. 58-66.
Teaching Matters. “Writing Matters: Writing Memoir.” https://learn.teachingmatters.org/course/view.php?id=122. Accessed 8 May 2018.
Teen Ink. “Submit to Teen Ink.” https://www.teenink.com/. Accessed 9 May 2019.
Memoir Checklist: If you’re done, complete this checklist.
_____ My memoir has a title.
_____ My memoir is double spaced.
_____ My name is on my memoir.
_____ I have spell-checked my paper.
_____ I have read my paper one last time and corrected any errors.
_____ I have followed submission guidelines for the website to which I’m submitting my work.
_____ I have submitted my memoir to one of the websites we explored (www.teenink.com).
_____ I have printed a clean and final copy of my memoir.
_____ I have scored my own paper using Amy’s scoring guide (below).
_____ I have stapled this paper to the back of my memoir.
Memoir Rubric: Scoring Guide (30 points)
In each category, circle the description that you think best fits your paper.