Lose the Booths?

The Isolation Room in StalagLuft III runs out of A4 lined paper again

In the light of the forthcoming conference, Lose the Booths, and the fact that the issue has recently made headlines in the national media, I thought it was worth revisiting an earlier blog on the topic, as someone who still works in schools, albeit at a lowly, part-time level now, but who was once a Deputy Head helping to implement a system of enlightened withdrawal from classes. So, here goes….

I’ve followed the recent debate on the use of isolation rooms in schools with some interest. It seems to have divided opinion, with a vociferous group condemning their use matched by an equally passionate opposition who take the view that staff and students need to be protected from the disruption to teaching and learning that poor behaviour usually brings. I wonder if the two sides are as implacably opposed as they appear.

At the last school I worked in as a Deputy Head, a school that could reasonably be labelled “challenging”, the isolation room was an essential component of our behaviour management strategy. We called it “Inclusion” to try and signal that students were placed there as an alternative to exclusion. We were actively trying to keep them in school. When I first arrived at the school the room exhibited all the very worst characteristics of an isolation room. It was staffed by a motley collection of odds and sods, who just happened to be free at that time (including NQTs!). It was in a tiny room with a handful of graffiti -covered desks, no window, no computer and, most of the time no books, paper or equipment. Some students were placed there for days at a time. Some students placed themselves there, to escape lessons and to meet their mates for a bit of R and R.

We appointed a behaviour specialist to run it, moved it to a large, airy, well stocked room and linked it to the SEN department. Over the years it was staffed by outstanding individuals, most of them not teachers, whose skill and dedication brought about genuine and positive changes for many damaged students. We had exciting plans for its development. We intended to link it to SEN formally and have two distinct wings: a temporary short- term penal institution with strictly enforced rules and a work programme that mirrored the classes they had been removed from. The second wing was for an alternative curriculum provision for groups of up to fifteen students. This could be for a month. It had specialist subject teachers attached to it as part of their timetable and we devised therapeutic programmes with counsellors and specialists to help these students address and confront some of their issues.  The aim was for them to be readmitted to the mainstream at the end of their programme. It took a lot of negotiating and planning to set it up, but finally we were ready to implement the new system.

And then, after dodging the austerity bullet for several years, we couldn’t avoid it any longer and we had to cut. We could not afford to set it up as we had planned. It stayed as it was, still doing stirling work. And then we had to cut again. And again. And make the brilliant, skilful staff redundant, or move them out of behaviour provision and into delivering mainstream classes. By the time I left, it was just about functioning as a sinbin. And it could have been so much more than that.

Isolation, inclusion, whatever you want to call it, is necessary. The option of removal of a student from class has to exist, for the good of everyone concerned. But it can only be justified if it fits some kind of model similar to the one described above. And, no matter what the apologists say, its blindingly obvious that too many versions of withdrawal, in schools across the country, do not match up to this model of best practice. And every system that condemns challenging students to harsh, isolated, punitive supervision regimes, without proper access to expert teaching and appropriate curriculum, brings all withdrawal systems into disrepute.

There were staff at my school during this implementation described above, who completely misunderstood the purpose of Inclusion. For them it was one of a range of punishments, alongside detentions, exclusions, meetings with parents and governors. These people would openly advocate removing students from classes for days at a time and they didn’t much care what they did when they were banged up. The idea that removal was not a punishment, but a measure intended to protect the class they had come from, and an opportunity to flag up a student with issues and actually do some therapeutic work with them, was anathema to them. In their eyes, these kids had forfeited any right to teaching and learning and needed to be got rid of. They could only understand the internal aspect of this kind of removal as a necessary evil in terms of protecting the school from the consequences of racking up too many exclusions.

Looking back, it seems clear to me that isolation rooms, or whatever you choose to call them, only work if they are properly staffed and resourced and if there is a commitment to work with the students in there, rather than simply getting them to copy in silence, the educational equivalent of solitary confinement. Even Steve McQueen had a baseball and a glove. That was the trouble with those Prisoner of War camps. They just weren’t tough enough. Students should not be left in there for days on end, and neither should staff, unless that is their interest in terms of their career development. The trouble is, I suspect this controversy stems from the fact that the tough, zero tolerance devotees amongst headteachers will not see a problem with solitary confinement.

This is a new breed of ambitious senior leaders – openly contemptuous of ideas of rehabilitation or restorative justice, with no regard for the nuance, flexibility or judgement essential to the successful operation of social organisations like school. In their eyes, these are the ideas of a discredited liberal progressive establishment, and they want nothing to do with them. Populist, common sense ideas that can be badged with a slogan of not more than three words is what they want. It seems to me that children, whether they are complying with the school or not, deserve more than that.

There are very few educational ideas that are intrinsically good or bad in themselves. A rubbish Senior Leadership, that hasn’t read the “How to be an emotionally intelligent human” manual, can poison the most enlightened, liberal initiative. Just as an example, I used to work in a school that completely ruined Charity MUFTI days. The kids were asked to donate a pound for the privilege of wearing their own clothes for the day, with all proceeds going to the charity they had chosen. Pretty standard practice, huh? And this, believe it or not, turned into smiling, happy kids being confronted by stern faced suits at the school entrance, making them wait silently in line while they handed over their “donation”. And, of course, some of them were from families that didn’t have two pennies to rub together, never mind a pound. At a stroke, charitable engagement turned into a Sheriff of Nottingham type tax grab and the day started with a sour confrontation.

If they can’t even get that right, I certainly wouldn’t trust them to run an isolation room.

Little Women and The View From The Great North Wood

Little Women

Directed by Greta Gerwig

Starring: Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Timothee Chalamet

Running time: 2hrs 15m

Rating:PG

The 1994 film of Little Women, starring Winona Rider, Christian Bale and Clare Danes was a really big deal in my house when our kids were growing up. We watched it avidly and regularly, revelling in the glorious snowy scenes in New England, and loving the early feminist role model of the completely splendid Jo March. It still means a huge amount to my children now, so when we proposed this as one of our Christmas family cultural outings, now that all four of us are fully fledged adults, there was more than a little trepidation that it wouldn’t measure up to the earlier version, wrapped, as it had become, in our own family mythology.

We needn’t have worried. We left the cinema two and a half hours later, buoyed by the wonderful experience we had just had. The world seemed a nobler, kinder, more splendid place than it had when we had stepped into the darkness earlier in the evening. Gerwig makes a bold decision with the structure of the plot, interleaving the later parts if the novel with the first half, and for the most part it works, showing us explicitly the adults the younger girls would become and the different ways they dealt with the realities of the adult world as women. Or not become in the case of Beth, whose tragedy would melt the heart of the Scroogiest of us, familiar though her part of the story is. On one or two occasions the structural leaps created a slightly furrowed brow as we had to focus to be certain which time frame a particular scene was in, but working hard in the cinema is no bad thing. I like a film that makes demands on its audience.

The other controversy was the casting of Louis Garrel as Friedrich Bhaer. Bhaer is explicitly old and unattractively foreign in the book. His appeal is in his refreshing attitude to Jo as a person and an artist. Here he is an altogether hunkier presence than Louisa May Alcott probably envisaged and although one can bemoan the superficiality of our celebrity airbrushed age, the movie does have to shift tickets and I for one can get behind the idea that bookish, unconventional, geeky types end up with the hot actor, as if it happens all the time. Which it doesn’t.

Ronan is wonderful as Jo, but then Jo is such a magnificent creation that anyone could seem impressive playing her. Anyone plucked from the pages of Hello magazine and dropped into the role would seem like a gritty feminist icon. (you can tell I’m too scared to name someone for fear of revealing my absolute ignorance of contemporary popular trash culture. I leave that to you.) The real revelation is Florence Pugh who, with Gerwig’s sure touch, transforms Amy March into a complex and sympathetic character, negotiating her passage through a man’s world without apology. Gerwig handles the contractual and financial nature of marriage for women explicitly, illuminating the relationships of the characters and the dilemmas faced by Alcott herself when trying to get published in 1860s New York.

It’s a wonderful film. Go and see it while it’s still showing. And when you do, wonder for a moment how on earth Gerwig was not nominated for an Oscar. It would have been enough to drive Alcott herself mad.

My Books of the Year, part 2

The Hunting Party by Lucy Foley.

This squeaks into the last days of 2019 as one of my Christmas presents. It’s been riding high in the best seller lists for a few weeks now, and I wanted to recreate Christmases of my youth when I would always treat myself to an Agatha Christie or an Alastair Maclean. They were the perfect books to bridge the wasteland years between 12 and 15 – short, immaculate lessons in plotting and manipulating an ensemble of characters. Foley was a Literary agent who has clearly learned the lessons of what makes a best seller. I was unsure when I started: there was a repeated phrase on the same page and I couldn’t think of a reason for that to have been done stylistically for effect, so I assumed it was a sign of a formulaic, crappy pot-boiler. The other black mark was the first person narrative, beloved of literary agents and consultants as being more intimate and immediate. So boring, so cliched , so wrong. But actually, in the end, that was me. Boring , cliched, wrong. And probably a little jealous that an agent can knock off a book and make such a success of it. Yes, they actually can walk the walk as well as talk it. I finished it in a day and a half and it’s an enjoyable read. It’s a variant on the houseparty detective novel. There’s a small group of characters thrown together for a few days, snowed in to their exclusive Scottish Highland holiday mansion, when one of them is murdered. It can only be one of the others whodunnit. The first person narrative extends over named chapters that cycle around the main six or seven characters and there’s a clever timeslip element to the structure. A snowy, scenic setting and some ghasty middle class yuppie type characters and a murder. I can see the ITV miniseries now. And, I imagine, so could Lucy when she was planning it. A nice festive palate cleanser.

Drive your Plow over the Bones of the Dead by Olga Tokarczuk

Another whodunnit, but of a very different kind this time. This is a bit of a cheek because I’m only three quarters of the way through it (another Christmas present), but it was too good to leave out. This book is delicious. From the cover which is brilliantly, brutally Stalinist in its stark functionality, to the first person narrative (see above) which is an authentic insight into the mind of a genuinely interesting, unusual character, to the evocation of the freezing snow-bound wilderness on the Czech/Polish border, via the unravelling of a series of bizarre murders, everything about this book is a treat. The main character’s musings, as the story unrolls, reveal her thoughts on the poetry of Blake, astrology, militant animal rights, illness (Her “Ailments”), nature, children versus adults and much more besides. A short, lovely book.

The Nix by Nathan Hill

This was my favourite book of the year. If you want something that will wrap you in a warm embrace for several weeks, so that you eventually deliberately slow down to delay the awful prospect of it not being part of your life, then this is the book. It’s engaging, affective, moving, clever, thought provoking and entertaining. Its got a clever time slip element between the civil rights movement of the sixties to contemporary America, romance, and social commentary. It’s a straight 9 out of 10. Lucky you if you haven’t read it yet.

There were some Turkeys as well as Crackers…..

My Absolute Darling by Gabriel Tallent

I got this out of the library on spec, after having spent much of the previous year seeing its distinctive yellow cover in bookshops prominently displayed. It’s a chunky hardback with some hardcore recommendations on the front and back from the great and the good. About  third of the way in I thought I had discovered a  major new talent. The prose was extraordinary: sinuous, inventive, poetic, but unlike some of the more experimental writers around, Tallent seemed able to combine those figurative qualities with clear communication of meaning. He is particularly impressive conveying a sense of the rural location in woodlands by the California coast. But the last two thirds were dreadful, as it slipped into being a horribly exploitative book about male violence, power, child abuse riddled with cliches, improbable plot twists and action sequences. Avoid at all costs.

Lanny by Max Porter

I haven’t read Grief is a Thing with Feathers but was aware of Porter’s reputation. I started this and couldn’t manage more than about 35 pages. I’m a big fan of experimental, inventive prose, so don’t get me wrong and think I’m dismissing this because it didn’t tell a straight linear narrative. It just seemed to me to be willfully obscure and difficult for its own sake. Thankfully, I’m old enough now not to make the mistake of thinking that if  I don’t like a book then it means that the book is bad. The act of writing a novel is a labour of love, involving long hours of sweat and brain ache and self-doubt, followed by an agonising period of public exposure to possible humiliation. The book is not bad – there are far too many distinguished people who loved it for that to be true. It just didn’t speak to me. You might be luckier.

Paris Echo by Sebastian Faulks

I’ve loved many of Faulks’ books in the past (Birdsong and Charlotte Gray are two of my all-time favourites), so this was a particular disappointment. This was a novel that was phoned in. It is one big nothing, that exists because of what he has done before. It would never have made it past any Literary agent had it been a debut novel. A complete waste of everybody’s time. Sorry Sebastian.

Mentioned in despatches

Honourable mentions must go to, in no particular order:

Washington Black – Esi Edugyan

The Mars Room – Rachel Kushner

Everything Under – Daisy Johnson

How to be Right – James O’Brien

The Overstory –  Rchard Powers. (although there were too many trees for my liking. I know you can never have too many trees these days. Except in a book)

So, what a year it was. And I’m already looking forward to the treats in store in the year to come. I’m depending on them, actually. The horror of the election result can only be managed by retreat into culture and pleasure. I’ll emerge sometime later in 2020, hopefully refreshed, re-energised and ready for the struggle. But not just yet.

A New Year message of Hope

It’s still a B movie out there, but we must spread the word of the only way forward…
 As I walk through
This wicked world
Searchin' for light in the darkness of insanity
I ask myself
Is all hope lost?
Is there only pain and hatred, and misery?
And each time I feel like this inside
There's one thing I wanna know:
What's so funny 'bout peace love and understanding? Ohhhh
What's so funny 'bout peace love and understanding?
And as I walked on
Through troubled times
My spirit gets so downhearted sometimes
So where are the strong
And who are the trusted?
And where is the harmony?
Sweet harmony
'Cause each time I feel it slippin' away, just makes me wanna cry
What's so funny 'bout peace love and understanding? Ohhhh
What's so funny 'bout peace love and understanding?