No Sale

This week started with professional development: an inservice for the teachers in my charter district, designed to help us improve our ability to teach students by using assessment results (read: “test scores”) to inform our instruction – data-driven instruction was the eduspeak buzzterm used.

But though we teachers made up the majority of the audience, we weren’t actually the target demographic. You could tell from the handouts, and the PowerPoint presentation. Because one of the slides looked like this:

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Now, I’m generally pretty forgiving about typos, honestly. I’ve been a writer for a long time, and I have made my share of mistakes; I like to think that those mistakes do not represent my intelligence nor my writing ability, and I like to think that my audience doesn’t think less of me for them. In pursuit of that ideal, I try not to freak out about other people’s mistakes.

But come on. Tranining? When you’re going to present to a room full of teachers? Who are, generally speaking, the nitpickiest, judgmentalest, eye-rollingest crowd (Other than our students, of course.) that you will ever speak in front of? And to make matters worse, that wasn’t the only typo. Names used in examples changed – Courtney became Cortney, Redick became Riddick. (And because teachers are never allowed to make the filthy jokes that come to our minds as often as anyone else’s – you wouldn’t believe how hard it is for me to hold back the “Yo mama” type responses that constantly flash through my brain while I am talking to my students, not to mention the That’s what she said cracks I think up all the time – the name Redick, pronounced Re-Dick, was the source of many suppressed giggles at my table. Yeah, that’s right – we’re goddamn professionals. Just like your mom.), and Buddy left to find a new “hoe.” (Also the source of some giggles.) Most bothersome for me personally was this first question about Macbeth:

Fruitless, indeed.

Fruitless, indeed.

You’d think it was all the typos in the quotation, wouldn’t you? Nope. (But also, yup.) See, the four options given in our handout for the first question there – “What does it mean that Macbeth has a ‘fruitless crown’?” – were something like A) He will be an unsuccessful ruler, B) He will die soon, C) The country will not thrive under him, D) He will not have the crown for long. My problem? NONE OF THOSE OPTIONS IS THE CORRECT ANSWER. The “fruitless crown” is a reference to Macbeth’s vision, which predicts that his children (“No sin of mine” in a lovely Freudian slip that I wish Macbeth actually used) will not follow him on the throne, that the crown will revert to Banquo’s descendants, and go down through Banquo’s line (Which, supposedly, Shakespeare included as a bit of flattery for the new king, James I, who was descended from the historical Banquo and would have enjoyed seeing his family revealed as the legitimate rulers of Scotland) rather than Macbeth’s line. That’s why his crown will be “fruitless,” because he will have no fruit – you know, “Be fruitful and multiply,” which is from some famous book or other – to pass the crown on to. And though I know this because I know the play, it is also pretty damned apparent from the quotation they used in the question itself – though apparently, not apparent enough to the two dudes who came to teach all the English teachers how to teach English, and the math teachers how to teach math.

But you see, this failure to prepare their presentation in such a way that it might actually please teachers – it didn’t matter. Because while we were the bulk of the audience, we were not the actual target demographic.

Because teachers aren’t in charge of the money. We can’t order repeat presentations, or follow-up conferences; we can’t order books or computer programs or mailing lists produced by those yutzes who couldn’t even spell “training” or format fractions correctly (One of the other questions featured two answers that looked like this: 512/3. Because they couldn’t make their program say 51⅔. Which took me about a minute and a half to figure out, even though I’ve never done it before.). Administrators do that. Administrators control the purse strings at schools, and so this presentation, like most that I have seen, was largely a sales pitch aimed at administrators.

And it hit the mark. After the presentation Monday, the teachers at my school will be setting aside some of our planning time in order to implement the proposals outlined in the sales pitch – which also included a rather transparent statement to the effect that a school that wants to foster this culture of data-driven instruction needs to do it over a long period of time, and will need guidance of some sort (“LIKE MAYBE TWO GUYS WHO MAKE A LIVING OFF OF THIS IDEA, AND WHO ARE AVAILABLE AS CONSULTANTS” screamed the subtext). We will also have a new committee to suggest protocols so that can let the data drive our instruction more readily. The committee idea is amusing (and exasperating) particularly because my admin’s proposed name for it, the “Good to Great” committee, came from Monday’s presentation – but it came from the “case study” that was used to start the discussion, in which a principal tried to implement a data-driven culture, and did it wrong. Did everything wrong. Failed to get the teachers to agree, had to use threats to force the issue, didn’t actually use the suggestions from those few teachers who were involved, did most of the work herself, and got mediocre results because of all this. Apparently my admin saw this as inspiring, and so we will be emulating – that. Though not the part where she paid her teachers to create curriculum over the summer, instead of taking away some of their work time during the school year. I intend to imitate the teacher in that case study who complained about putting test prep into her curriculum in place of her “friendship unit.” Because I can’t give up my Friendship Unit. (That’s what she said.) The committee is also amusing (and exasperating) because on Wednesday, my admin, when proposing the committee, asked for volunteers; by Friday there had been only one volunteer. So the request was repeated. I can’t believe the administration thinks that teachers will volunteer for a committee like this. I really can’t believe that one of us actually did.

My point with all of this is that marketing and sales is a very different kettle of fish from education. Salesmen tailor their pitch towards their one specific goal – sales. Everything serves that, and anything that doesn’t serve that is wasted effort. So time spent on correcting your typos and bad answer-options is wasted time: because correct grammar doesn’t sell presentations. Catchy slogans and fun graphics sell presentations. Clips from the Brad Pitt movie Moneyball, in which a single hardass administrator – played by Brad Pitt, whom some people also find to be attractive – saves a poor and poorly run organization simply through the strength and clarity of his vision: those sell presentations. These guys sold presentations, and the system that goes with them. They made their quota.

Education, on the other hand, has as its goal the improvement of the entire society, and all of the people in it. We can argue about what would best do that – I’d argue that it would be lots of books and reading, where other people might think computers had a role (Probably it’s both) – but that is the goal: improvement of society as a whole. Because of that, educators strive to reach their entire audience. I don’t agree with the actual proposals in the No Child Left Behind law, but it’s hard to argue with the name, or the moral that name represents. Education is the clearest path to equality and equal opportunity for all people; it is the great leveler of an unbalanced society. Though I don’t believe that all of my students learn everything I teach, my goal is always to teach every single one of them as much as I possibly can. This is why education goes on for so many years, and has so many different forms and systems: because that is the best way to reach the maximum number of people with the maximum amount of information. Sales pitches are short and simple, and repeated ad nauseam: because you don’t need to reach every person listening. You just need to reach enough to sell your product. You just need to reach your target audience. That’s it.

And yet despite these fundamental differences, somehow the consumer model has crept into educational philosophy over the last thirty years or so. Now we seem to be under the impression that our schools are commercial endeavors: that we are selling a product, rather than providing a service necessary to the proper functioning of our society, and therefore our goal should be to please our customers – rather than to do what is best for everyone. This detracts from the effectiveness of education, because it leads to resources going to make schools more shiny, rather than more effective: we buy new computers rather than new books, and new sports equipment rather than lab equipment; because those are the things that impress our customers. We listen to complaints from our customers, and adjust our practices to please them, rather than doing what is most likely to achieve our goals and improve our society. And so when someone objects to The Adventures of Huckleberry Finn, we remove the book from our curriculum. Not because the book harms our society: simply because our clients don’t like it. We are reaching the point now where books are vanishing entirely from the curriculum: because our students find them too long and boring and hard to focus on; and therefore they are removed. Because anything that doesn’t help sell the product is wasted effort.

But education is not sales. What is the product we are selling, exactly? It isn’t education. Is it attendance? Conformity? Diplomas? Great expanses of time reduced to pleasant emptiness, without effort, without stress? What?

Just as important: who are we selling it to? This is a question that I don’t think anyone has a definite answer for. Sometimes schools cater to the desires of students – my school has a dress code, for example, which three years ago was extremely strict: uniform polo shirts in school colors, khaki pants or skirts, and black shoes. That was all that was allowed. Now, students are still required to wear a uniform shirt – but they may also wear shirts that come from an extracurricular program connected to the school, so if a club or a sports team makes t-shirts for its members, that t-shirt becomes acceptable under the dress code. And now students can wear jackets over their shirts, as well, and shorts, and black pants of any style, and blue jeans, and any shoes they wish. And they get free dress days as rewards for good behavior, and for high test scores, and for good grades, and on their birthdays. The dress code has grown so relaxed simply because the students don’t like it, and fight against it, and the school doesn’t want to fight them.

After all, they’re our customers. Right?

But they’re not: because the students don’t make the decision about where they go to school. Their parents do. And so the school bends over backwards to please the parents. Teachers are expected to make time to meet with parents regardless of what else we have to do. Any dispute – over grades, over policies – is inevitably decided in favor of the parents. We had one parent complain about the weight of a child’s bookbag, and now all teachers are required to list and coordinate with each other the materials and supplies they ask students to carry, so they don’t have to carry too much weight. We had one parent complain about too many big projects being due at the same time, and now we have to coordinate our schedules with each other so that we stagger our due dates. Doesn’t matter that teachers complained – several teachers, several times, in both instances – that these things are a waste of time, that any student who has a problem with too much weight or too many projects due at once could come talk to a teacher individually and have the problem immediately solved; the parent complaints made the decision. Because they’re the customers.

I would argue that the reason for the push towards greater accountability and readily interpreted data – test scores and letter grades, rather than the old style report cards that described one’s “social skills” as “satisfactory” – is largely so that parents can decide if this school is a “good” one for their children to attend. My school, because it is part of a charter program, represents one of several options that parents in the area can choose; so we have open houses that try to draw new students to attend our school. At those open houses, we talk about the school’s past performance in easily digestible chunks: these are the test scores of our students; this is the total dollar value of the scholarships won by our students; this is the percentage of our students who go on to higher education (in these readily-marketable areas). But we don’t talk about what students actually study, what they learn, what they do. The parents do not meet and get to know the teachers, see if we are competent, see if we are personable. That would be wasted time and wasted effort: affable, erudite teachers don’t sell schools. Test scores do. And the various promises of constant and detailed communication, about every facet of school, to parents: we have all of our assignments online, and all of our teachers available through e-mail, and an auto-dialer that calls all of the parents with any school news (Remember when we used to get up early and watch the news to see if there was a snow day? Not any more.), and an online database of behavior that sends parents e-mails whenever their child is punished or rewarded, by any teacher, for any reason. Those sell the school, because parents want to know how their child is doing; and so those are the priority. But nobody asks how long I’ve been teaching, or how much education I have, what experience, what knowledge. Nobody cares. That doesn’t sell the school to the parents, and so it doesn’t matter. Thus, my performance evaluation is largely based on the test scores earned by my students. And also on the results of a survey given to parents and students about how much they enjoy my class, and how well I communicate with parents.

Oh yes – and the open houses feature a PowerPoint presentation. With many slogans and graphics. No clip from Moneyball, though. We should work on that.

When the goal of the organization becomes sales, then inevitably, the resources are dedicated to identifying what will sell and who will buy, and then providing that product to that consumer. Everything else falls away. Capitalist endeavors have only one purpose, no matter how our politicians crow about capitalism being the engine of innovation and the key to a perfect society: that one purpose is profit. Maybe Bill Gates uses his profits to benefit society; but that isn’t why he built and ran Microsoft.

Education is not a product. Students are not consumers nor customers of education; nor are parents; nor is society. Education builds society, it is not consumed by anyone. Teachers are not salespeople. Schools cannot be effectively run like a business. The presentation I saw on Monday is the antithesis of good education: there was nothing in it that could benefit anyone other than the two guys who were selling it and hoping to make money from it; indeed, there were a number of things in it that were essentially harmful. Money was spent on that presentation that was not spent on materials or staff or facilities. The teachers who were required to attend lost time that could have been spent preparing actual education for actual students: we could have been making our society better, instead of being tranined. And my brain was, I think, actually damaged by reading sentences like this:

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I don’t buy it.

Is this one good enough?

This is how it feels to be an artist.

There’s never enough time. Everything you have to do takes you away from where you should be: working, sleeping, bathing, cleaning, eating, exercising, relaxing, dressing, smiling. It always has: you started too late in life, you didn’t work hard enough, you spent all those years in math class, working at Carvel Ice Cream, hanging out with friends. So much time wasted: and wouldn’t a real artist have spent that time making art? You know those artists you read about who ignore food and sleep and companionship when they’re working? Those are artists. You’re not an artist.

When there is time to spend on art, you spend it the wrong way doing the wrong things. Everything’s the wrong thing: you have too many ideas, and no idea which idea is the right idea. There’s supposed to be a click in your head when the right idea comes and settles into its place in your brain, and then the art will just flow out of you like milk and honey. But there’s no click. So you just pick something, something that seems interesting, maybe the most recent idea, because it’s often exciting when it’s new. Then as soon as you pick an idea and start working on it, something clicks in your brain, and you realize: this is the wrong idea. That other idea would be better, that old idea, the one you’ve had enough time to think about and really develop. What were you thinking, working on a just-born idea like that? So you change, and work on the other idea. It’s not the right idea either. But you know better than to change again, because you tried that thing once, working like that artist you read about who kept nineteen different projects going at the same time, gamboling about his studio adding a dash of color here, a touch of spice there, probably singing operatic arias and feeding the birds from his hand, like Cinderella, as he did so. But that never works for you. You have to do one thing at a time. So you keep working on this idea. Even though it’s the wrong idea. Because you need to do art, and if you don’t use the time you decided on and set aside for it, the time you clawed away from work and from sleep, you’re not an artist.

So you work. And it’s lovely. The world falls away: you don’t feel thirst or hunger, none of the needling of need, and your thoughts, blessedly, turn off. There is a glorious silence. Heaven forbid you have somewhere else to be and a time to depart, because you’ll miss it. Then again, if you don’t have a reason to stop, you may surrender all the light of the day, all the peace of the night, to your work. You arise from your working space with pins, needles, cricks, stiffenings, aches; now you’re hungry, now you’re thirsty. Now you’re an artist.

And it is to be hoped that you finished what you were working on. Because coming back to it after a stop, it never feels quite right. Time away from it gives you time to think about how wrong this idea is, and how it’s not coming out the way it’s supposed to come out (like milk and honey, it’s supposed to flow like milk and honey, to fall magically from your unconscious to your hand to the paper), and how you can’t quite make it feel the way it felt in your head when it was just an idea, and looking at it now you can’t remember what you were going to do next, and now you realize that you did that thing wrong — what were you thinking? That is terrible. You’re not an artist.

It’s only right when it’s finished. When something’s finished — and long finished, not ink-still-wet finished — then you sometimes look back at it and think, “Damn. That is good.” And then you think, “How the hell did I do that?” But right then, it doesn’t matter how: you did do that. That was you. That makes it all worthwhile. Because you’re an artist.

Except nobody else sees it. Nobody else cares about it. You send your work away to the people who buy and sell art, and they never even look at it, because they’re not concerned with art, they’re concerned with buying and selling. And you and your art won’t make them any money. You read of famous artists who were rejected over and over, twenty times, thirty times, before they were accepted, and they say “Never give up! Ignore rejection!” So you keep trying — twenty times, thirty, fifty. A hundred. Maybe you’re not as good as you thought you were. Maybe you’re not an artist.

But never mind: it’s art. It’s right there, and you made it, and it’s good art, you think. So you ignore the chorus of twenty, thirty, fifty, a hundred small voices in your head that say, “No, that’s not what we want. That’s no good. You’re doing it wrong.” It helps now if you have loved ones who support you; they can drown out those voices. Mostly. Though their voices come with one other, a little one, dry and creaky and quiet like Jiminy Cricket and the Cryptkeeper rolled into one, and this voice says, “They’re only saying that because they love you.” But it’s only one voice. It’s easy to ignore. For a time.

But never mind: it’s art. It’s right there, and you made it, and it’s good art, you think. Maybe you just have to do something a little different. Maybe that other idea would be better. This one doesn’t feel right. That’s why it was rejected. It’s no problem, adding this piece to your collection of finished and unpublished pieces; someday they will write books about these, have displays in museums and galleries of your early work. This will be known, someday. It’s art, and you think it’s good. You’re an artist.

You do it again, and again, and again: lose yourself, finish a piece; let some time go by so you can see your work instead of seeing only a collaboration of flaws you couldn’t fix. No: this one’s good (“No good,” shout the fifty, the hundred.). And now you have a new plan: you’ll put it on the Internet. The hell with those fifty businessmen, those hundred empty suits, those Philistine fat cats; you’ll take your work in front of an audience yourself, take your message straight to the people, no middlemen. This is the digital age: you don’t need some corporate shill passing judgment on your work; all you need is a blog. You’re an artist.

You start a blog, maybe an online shop. You post your work. You wait.

One Like. Thanks, Mom.

Hey — now there are two Likes! Oh — never mind. It’s a spam bot.

Where are all those people? The ones who told you they loved your work? Who said you were great and talented? Who said they’d buy your work if it was published?

They’re buying other things. T-shirts and new shoes. SUVs. Vacations. Coffee. Beer. Concert tickets.

Not art.

Nobody buys art.

You try not to count the years. Sometimes you look at what you’ve done and you’re proud, you think, “Look at that. That’s a legacy.” Sometimes you look at the same work and you think, “How much time have I spent on this?” How much of my life have I given to this?” You think, “This isn’t right. I can’t be doing this right. Maybe I shouldn’t do this at all. I’m not an artist.”

But what else can you do? What are you, if you’re not an artist?

You think about why you became an artist. Obviously not for the money, you laugh — though it would have been nice to have made a lot of money. Or even some. Enough to buy something you could point to and say, “I paid for that with my art.” You can’t do that with a cup of coffee or an extra donut.

So why did you become an artist? Was it wrong? Has it all been a mistake? Is that why nobody buys your work? Why you’re only up to twelve followers on your blog, even though you have one hundred, two hundred, five hundred friends on Facebook? Share your art, get six Likes; share that kitten video, though, or that status about losing weight. Hell, asking for support in your choice to be an artist gets you a bigger response than your actual art does.

Now you feel a little bitter. A little mad at the world. We don’t live in a time or a place that values art. We should: art brings beauty and truth into our lives in a way we can abide, with just enough joy, just enough mercy to allow it to settle to our souls and become a part of us, making us larger, fuller, more whole. All the memes on the internet can’t match one genuine piece of art — which is why so many of those same memes are built on stolen art.

Yeah: that happens to you. Someone takes your idea, or takes the whole thing, your work, your art, and sells it themselves. You find out; you’re pissed; you look into the law — there’s nothing you can do. It’s the digital age, and nobody buys art. Everybody steals it. The laws protect those who make enough money to buy the laws.

You get a little more bitter.

Your art gets angrier. Sadder. It’s not as good, any more. People certainly aren’t going to buy it now, now that you’re ranting at them.

Now you face it. The end. You’ve tried long enough, done everything you could, you’ve done your best.

Do you give up? Surrender to the inevitable? There are too many good artists out there, and not enough people who buy art; the supply exceeds the demand. You’re just not good enough. Or is it lucky enough? Are you better than those who are making money doing what you do? Is there a secret to their success which you don’t know? You read the blogs of people who tell you they can give you the secret to making a living as an artist, but here’s the secret: you have to convince people that you know the secret to making a living as an artist, and then you get them to buy that secret — which is that you have to convince people that you know the secret to making a living as an artist, and then get them to buy that secret. Art is no longer a scene; now it’s a scheme.

So what do you do?

Do you give up?

If you give up, you’re not an artist, and you never were: everybody says that artists never give up, that artists are compelled to make art, that that compulsion is the only reason to be an artist: because you have no choice.

But it’s artists who sell art who say that. Just like the ones who say “Never give up! Ignore rejection!” are the ones who eventually got past the rejection to acceptance.

Not you. Maybe not yet: but maybe not ever.

So do you give up?

Are you an artist?