Recent media reports regarding efforts by a school district in Biloxi, Mississippi to drop To Kill A Mockingbird from their curriculum have generated understandable concern. As schools continue to grapple with both disorienting societal changes and increasing political polarization, we are inevitably going to see more challenges to specific classroom content and practices, which should concern any professional educator. Anger rarely results in good policy decisions.
Our societal discord certainly connects to broader questions regarding what we expect of our K-12 schools. That fine line between education and indoctrination will be ever more difficult to discern as educators struggle to find ways to challenge students to think without falling into the trap of preaching to them. However, given the well-documented deficiencies in critical thinking skills that colleges and employers must grapple with today, it is more important than ever to encourage our K-12 schools to shake students from their easy assumptions and comfortable mental inertia. The question is, of course, how best to do this.
I’ve taught To Kill A Mockingbird to high school students in the past, and they were often shocked to read about the routine degradations inherent in the entrenched racial discrimination of our nation’s history. If nothing else, the novel served as a lesson that allowed us to ladder into discussions about what has—and still has not—changed in America today. It has been many years since I’ve had the opportunity to teach this particular novel, but I suspect that my classroom lessons and activities regarding To Kill A Mockingbird would need to be very different now because I would be compelled to address uncomfortable changes in our perceptions of the characters and their motivations.
The cartoonish delineation between the heroes and villains in To Kill A Mockingbird has always posed pedagogical problems, although it eases reading comprehension for an audience often composed of 8th or 9th graders. On the one side we have the Ewell family, who are a caricature of what we expect—and perhaps prefer—our racists to be, an ignorant and violent clan devoid of even an iota of decency or honesty. Facing off against them, we have Atticus Finch, a caring and compassionate lawyer and tragic widower raising two intelligent and inquisitive children who are miraculously free of the least taint of racism. Caught in the middle we have Tom Robinson, falsely accused of rape by the evil Ewells, and the very personification of stoic dignity in the face of injustice. There are no shades of gray among these main characters; there are only, if I may be forgiven this analogy, broad strokes of black and white.
To Kill A Mockingbird, were it to be published today, would likely face a somewhat more mixed critical reception. Aunt Alexandra’s desperate efforts to put a gloss of girlishness on the tomboyish Scout would likely be more harshly judged by contemporary feminist critics. Mr. Dolphus Raymond’s sexual relationships with African-American women would raise questions regarding power differentials and consent. Boo Radley’s peculiar interest in his prepubescent neighbors, which obviously includes covertly observing them and following them outside the house at night, might not be so wondrously free of any question of pedophilia—or at least “stranger danger”—in today’s less innocent world. It may well be that the year of the novel’s publication back in the mists of 1960 was the very last moment in our cultural and social history when the questions and answers seemed quite obvious and easy, so complexity and nuance could be blithely set aside in the pursuit of an uplifting fable.
I’ve always been a bit leery of joining in the chorus of hosannas regarding To Kill A Mockingbird, and perhaps this is because I have always found Atticus Finch a bit less than admirable—which I realize is near to sacrilege to some. Although he has the best possible intentions in the worst possible situation, Atticus Finch and his legal machinations, in a final and flinty-eyed analysis of outcomes, actually come to nothing. Tom Robinson is dead, no minds are changed, and the Jim Crow system that informs the actions of the town and its people is wholly unaffected.
Atticus Finch’s attitudes and actions are in many respects a foreshadowing of the well-meaning (but ultimately ineffectual) white liberals in the 1960’s whose best intentions would be overrun by the flame and fury that finally destroyed Jim Crow segregation and its many local permutations. Although the novel suggests that readers should derive some cosmic satisfaction from the death of the thoroughly despicable Bob Ewell, which also allowed Boo Radley to finally reveal his essential human decency (although it might be reasonably observed that manslaughter is a mighty odd plot device to get there), it would be impossible to argue the trial of Tom Robinson produced any significant changes in the town or its people.
Of course, all of this speaks to the many moral compromises that inform the book. The worst of the town of Maycomb and its racist attitudes is on display, but the best of the many small but significant accommodations the decent need to make each day to survive in an indecent world also bear our examination. It could be argued, if one really was looking for hope for a better future, that the most moral course of action Atticus Finch could have pursued would have been to refuse to represent Tom Robinson, thereby removing the thin veneer of respectability that placates those whose mute compliance is needed. Imagine how different the novel would have been if Judge Taylor had not been able to use Atticus’ stirring but pointless speech to soothe the consciences of those who knew just how profound an injustice was being done. Moral but meaningless victories serve the needs of tyrannies that need to smooth over the rawness of oppression, and we should not fail to recognize that Atticus’ carefully restrained outrage sounded lovely but changed nothing at all.
All of this is, of course, beside the point of why the novel is now often banned. The norms that now rule in many communities judge the politically incorrect—but historically accurate—usage of the “N-Word” as both insult and casual descriptor to be too much to bear in our sensitive school and social climates. This is understandable, but it also opens up opportunities for classroom discussion of the novel and its context. If we are going to crusade to excise every questionable bit of U.S. history from our schools instead of engaging in the conversation, research, and exploration of our past that is a core mission of education, we condemn our children to facile sloganeering instead of intelligent and well-rounded inquiry that will prepare them for a future where the answers will be neither obvious nor easy.
Perhaps the key to continuing to use To Kill A Mockingbird in our nation’s classroom is to gently remove it from its pedestal and recognize its limitations—just as acknowledging our own human limitations is the precursor to a better understanding of our world and ourselves. To Kill A Mockingbird is not a perfect novel, and the tiresome insistence on canonizing it impedes an honest engagement with what can be learned from a thoughtful and critical reading. Just as a person can be wonderful but flawed, so can a book fall into that same category. If we can accept this, perhaps we can finally move forward instead of squabbling without end, which ultimately does nothing to improve the education of our children.