When I draw, I like to leave the sketchlines showing. Those words are from a song, metaphorically describing my desires for explorative, transparent communication processes in relationships. But most writing I share is produced with an invisible digital editing process.
A ‘zine-in-a-day’ workshop counters this digitality. We made physical stacks of printed material by cutting, pasting and writing with ink pen and printing with a Risograph printer within a few hours. With a risograph printer creating a master costs £1, after which prints cost 1p in ink, but the master can only be used for one batch: so making all the copies in one batch is the most efficient option. ‘I always think you might as well do 50’, the workshop leader told me. 30 was my compromise.
My project was personal and therapeutic: to reclaim my PGCE assignment. I’d submitted a draft a week before. Writing had been an up and down experience, spread over more than a year due to the disruptions to my course. My engagement with it had gone up and down with the normal difficulties of writing, and more personally with the processing of my experiences in schools from messy reality tinged with failure and anxiety into professional learning experiences. After many periods of serious avoidance and procrastination, and two full restructurings, I got well into it. Rediscovering educationalists who are dedicated to good pedagogy and who write research that is good for thinking with heartened me– in particular Askew, Resnick, Boaler. A coursemate’s kindly shared submission met the explicit learning criteria exactly but bored me stiff, making me value my attempts to include my ambivalences and cross the gulf between systemic critique and classroom practice.
Writing between the lines of my conclusion, literally as well as figuratively, re-claimed my ideas on my own terms, for an audience of my peers and community rather than my assessors. What I handed in was written in the academic register, and trod a line between criticality and compliance. Many of the thoughts which preoccupy me most were not incorporated, or were written in muted forms. I may still get feedback to cut the polemic and focus more on the classroom, so before dealing with that I wanted to value my personal experience and political rage, and mourn how these raw edges are controlled and smoothed over by professionalism.
Paper based production challenged my perfectionism in writing. My choices of writing fast or slow, my hesitations, my corrections are all visible in the printed zine. I drew skyscrapers and some suits with currency symbols on them pulling puppet strings, and then self-consciously scrawled ‘generic clicheed representations of gneoliberal capitalism’ over them. It is unclear, and chaotic in places. I overwrote my nod to the examiners that “the capacity to convey enthusiasm, [threatened by the isolation and overwork of the teacher’s role,] is ‘a core Teacher’s Standard’” to the point of illegibility with the comment ‘like I give a shit about standards; this was a question of sanity’. I touch on ideas without finishing them, leaving threads of thoughts hanging. It’s a messy area in a way that a composed piece of writing never can be.
At the last minute I used this bit of writing to make a B-side poster fold out. I handwrote on the side ‘sometimes, when conversation fails, I end up sitting by myself and writing’ and ‘This zine is for everyone who’s been around me as I’ve been withdrawn and/or needy through my PGCE years. And everyone’s who’s grappling the role of teacher …’. I then accidentally made a black master before changing the roll to a light ink, so the text as image behind the text didn’t work. With that and another printing fail I’ve got a one-sided zine. It would have been good to have something that I liked on the poster side – but I’ve shared what I did produce with a few people anyway, and shall continue to do so when socially appropriate conversation is failing me when they ask ‘how’s the teaching going?’
This digital text makes the process behind the zine explicit, but also flattens it. I’ve found this easy to write, but I don’t know how well it conveys my thoughts and feelings. I’ve become trained into producing theoretical words, which are unnecessarily distancing to read. I’d like to re-educate myself away from the supremacy of pure text for communication, particularly formal writing. Alt text for the zine could read as briefly as:
When writing critically about teaching and learning as part of ‘professional learning’ balancing making a systemic critique, portraying personal experiences of frustration, presenting all experiences as ‘professional learning’ and complying with ‘explicit learning outcomes’ was a struggle for me.
That may be clearer, it’s certainly easier to read. But . . . it’s the process more than the product that makes me glad I made this messy little zine.