Reading through the second book of Ally Carter’s excellent Gallagher Girls series, Cross My Heart and Hope to Spy, on the bus home yesterday afternoon, I was suddenly struck by how the representation of schools in YA writing is, in many ways, reflective of the wider problems of modern education. Now, when it comes to the subject of education generally and high school in particular, I am not what you would call an objective commentator: I have passionate opinions, and I like to share them. I mention this by way of establishing from the outset that my perception of modern education and its problems are not necessarily universal. (I like to think it should be, but that’s another story.)
The point being, high school is problematic, and regardless of differing opinions on why that is or how it might be fixed, the simple assertion that problems do exist is not a controversial statement. And so, while reading a book about a spy academy for teenage girls, it occurred to me to wonder why some types of school are held up as interesting, awesome and excellent in YA novels, while others either blend into the background or, at worst, are depicted as hateful, prisonesque institutions. At first glance, this is something of a ridiculous question: YA is about teenagers, teenagers go to school – is it any wonder, therefore, that depictions of education in YA should vary, too? Well, no: but probing a little deeper, it’s possible to discern an interesting pattern about the types of school on offer.
To start with, let’s consider the cool schools. These are places where the actual content of various classes is depicted as positive and interesting, not only to the characters, but to the readership – and more, where the skills they teach are of demonstrable use to the protagonists. These are the schools that cause real-world teenagers to read about them and think, man, I wish I went there, and what should be instantly significant about this is not that such schools exist, even hypothetically, but that their status as such is contingent on the combination of three factors in varying ratios: glamour, agency and relevance. Dealing with the foremost of these, it’s undeniable that cool schools train their students to be, well, cool. Carter’s Gallagher Academy is a school for spies; J. K. Rowling’s Hogwarts trains witches and wizards; and, though they don’t attend schools in the modern sense, Tamora Pierce’s heroines nonetheless learn to be knights and police officers in institutional settings.
Undeniably, then, glamour is a factor: to borrow Monty Python’s favourite example, who wants to read a book about a school for chartered accountancy? But even so, there’s something significant in the narrative success of schools whose aim is to churn out graduates with qualifications for a particular career: the idea of educational relevance. Beyond the novelty of reading about single-focus schools, all these stories show students being trained for an identifiable purpose, taking on difficult assignments not just through their own adventuring (though this also happens), but because the structure of the institution demands that they do so. Regular homework, genuine danger, obedience to teachers and repetitious training are never omitted or skimmed for the sake of making school look like a cakewalk: instead, they are emphasised, because in a setting where teenage protagonists are allowed to have personal ambitions – and more, where these can be actively pursued through school – then all those educational necessities which in the real world are seen as tedious, pointless and intrusive suddenly become interesting, worthwhile and relevant. Put bluntly, it’s one thing to sit resentfully through hours of geography class without the slightest idea of when it might ever be useful, and quite another to read about a scenario where, in order to prepare for their future career as a globe-trotting spy, a teenage protagonist sits down to memorise all the world’s countries and capital cities. Sure, actually doing the memory work would be difficult, time-consuming and perhaps even dull, but the end reward – being a spy – would more than compensate for it.
And then there’s the question of agency: the fact that teenage attendees of cool schools are not only expected to know what they want from life, but are frequently allowed leeway in their efforts at pursuing it. By and large, cool school teachers don’t care about standardised testing: they care about the material, about preparing you for the real world; they stand up for their students, support independence, encourage critical inquiry and – most importantly – treat teenagers as though they’re intelligent enough to have real opinions. As a result, the students of cool schools get to have genuine adventures without being constantly told that doing so is impossible, illegal or irresponsible. Which isn’t to say that their actions never have consequences, or that no one ever gets punished for breaking the rules, or even that adults never call them idiots. What it does mean, however, is that there’s a general acknowledgement that the most important, powerful and significant moments of one’s secondary education do not necessarily take place in class or as a result of school-sanctioned activities, and that a certain amount of disobedience is to be, if not actively encouraged, then certainly expected as part and parcel of growing into an independent adult. Thus, while Professor McGonagall has no compunction about taking house points or assigning detention (for instance), we never see any evidence that particular crimes at Hogwarts have lasting consequences beyond the (drastic, rarely issued) threat of expulsion. At cool schools, there is no such thing as a permanent record, and if you can’t see the link between the freedom to make mistakes without endangering your whole future and an assertion of teenage agency, then I’d be so bold as to suggest that you’ve forgotten what high school is like.
So, to recap: cool schools have glamour. They make the students work hard, but towards well-defined goals that are actually relevant, both to the real world and to their personal ambitions. They are understanding of error: punishments are personal and immediate, rather than long-term and general. They have good teachers and interesting subjects, with an emphasis on curiosity and independent research. Students at cool schools have agency, and are treated like adults-in-training rather than merely teenagers. This, to my way of thinking, distinguishes cool schools in YA fiction from most actual schools, but you’re allowed to disagree. (Note: real world schools can still have awesome teachers. If I’m asserting any dissonance in that regard, it’s that awesome teachers in cool schools never have to answer to an underfunded, over-nannied bureaucracy and are actually well-paid for their services. Which, you know. Matters.) Hopefully, though, you’ll agree that the characteristics listed above, with the exception of glamour, are all good things.
It doesn’t strike me as a coincidence that writers – that is to say, intelligent, creative people working in a profession that cares absolutely nothing for their school marks or qualifications - have a tendency to question the current educational system. Without wanting to assume my own experiences to be even vaguely universal, I can’t have been the only teenager who knew that they wanted to write stories for a living (or play sport, or be a musician or an artist or a dancer), and who therefore dedicated thousands of hours throughout high school to personal projects utterly unconnected with anything on the curriculum. Quite arguably, the fantasy of cool schools is as much for the authors as it is the readers: what would our teenage years have been like if, instead of being forced to learn things we’ve never found a use for and have subsequently forgotten, we went to schools specifically structured around our interests? What if our passions hadn’t had to compete with our coursework – if every school was like the one in Fame, only geared to our personal interests? What if we’d been taken seriously as teenagers?
It’s a rosy-lensed hypothetical, to be sure. Back here in reality, even radical educational reform would never allow for the kind of schools we all secretly yearned to attend. But even so, our desires come through in our writing: testing the waters, trying to see what school could be like if people like us were in charge. Both Liar and How to Ditch Your Fairy by Justine Larbalestier play with the idea of different secondary systems: in Liar, the protagonist attends a class called Dangerous Words, where censorship and media dishonesty are discussed, while in Fairy, subject-centric schools are run on lines designed to foster traits valued in their particular professions, so that the rules of a sports high emphasise teamwork, discipline, obedience, punctuality and coordination over everything else. It goes without saying that YA novels feature a certain amount of escapism, but while the base assumption about teenagers is that they all want to escape from school all the time, the idea that they might be taking refuge in stories about better schools is not nearly so normative.
And when, in such novels, the teenage protagonists do rebel against school, it’s usually for very good reasons: either the school itself is terrible, or it has become terrorised. In Cory Doctorow’s Little Brother, for instance, Marcus sets himself up in opposition to authority because his rights are being violated: government politics are interfering with freedom of speech, his best teacher is being muzzled, and the principal has started using particular students as informants. In Libba Bray’s trilogy about Victorian schoolgirls, Gemma Doyle and her friends use magic, courage and cleverness to make lives for themselves beyond what society expects of them as women, escaping the confines of a college that, for all its sorority, only wants to turn them into wives. To quote the final book, The Sweet Far Thing:
“They’ve planned our entire lives, from what we shall wear to whom we shall marry and where we shall live. It’s one lump of sugar in your tea whether you like it or not and you’d best smile even if you’re dying deep inside. We’re like pretty horses, and just as on horses, they mean to put blinders on us so we can’t look left or right but only straight ahead where they would lead.”
Which brings us, finally, to the traits of mediocre schools in fiction: how are they characterised? Usually, it’s enough that the characters have more important things in their lives than what goes on at school: that they’re learning elsewhere, and – more particularly – that such external subjects are of greater interest and relevance than the content of their classes. The characters in Kiki Strike: Inside the Shadow City by Kirsten Miller, for instance, are both exceptional individuals and largely self-taught: Betty is a master of disguise, Luz is an inventor, DeeDee a chemist, Oona a hacker, and Ananka an observant intellectual. While it would be foolish to ignore the glamour factor of these interests, what’s important is that the girls are independent, resourceful and clever, pursuing their passions in their own time precisely because a traditional school environment would only limit them.
As I’ve previously had cause to mention, science tells us that the human brain continues to develop throughout our teenage years and doesn’t actually settle until sometime in our twenties. The upshot of this information – or at least, one of the social upshots – is that many adults consider their suspicions about teenage childishness to be correct. This is why schools and universities are compared to daycare centers: because students cannot be trusted to act like adults, must be coddled and protected and talked down to, protected from agency and relevancy and all the danger that comes from actually acting like an independent person held to be responsible for your own actions. Never mind that the same research about brain development talks about the power of teenagers to sculpt their own identities by exercising their intellect – by thinking, by acting, by engaging with the world – and the far from radical notion that a good way to encourage this behaviour might be to, you know, treat teenagers like adults. Oh, no: their brains are not ready! No one should do anything that matters until they’re twenty-five!
But how can the brain develop if the person attached to it is only ever treated like a child?
And this is why, to come to the long-awaited point, the depiction of schools in YA is so reflective of the current problems with Western education: both narratively and in terms of the real world, writers and readers understand the disconnect between what school is meant to achieve, and how it actually works. Passionate students must follow their interests outside the classroom. Adventurous, inquisitive, questioning students are disproportionately punished in the long term for misdemeanours that are, at base, attempts at critical thinking and independence – skills that schools are theoretically supposed to foster, but which in practice they actively suppress . Average students drift through classes without a sense of either purpose or agency, unable to find meaning in lessons that most of us forget by the time we’re twenty, and which have no bearing on anything they might care about otherwise or be interested in doing.
And so they turn to fiction: stories where the schools are genuinely good; or where, outside of school, there’s a means of learning relevant, interesting things with friends; or where, if the school is terrible, there’s a way of fighting back. Over and over, we tell ourselves stories of how things could and should be different, to the point where novels – and through them, authors – are in a sense picking up the shortfall left by school itself: suggesting interests, provoking passions, encouraging dreams and critical thinking and courage and independence, proving that there are at least some adults who understand that the way things are is not necessarily the way they ought to be.
So governments: if you’re out there, and you want to really improve your education systems? You could do a lot worse than asking some YA authors (and – gasp! – teenagers) what they think. Because in the end, we never resented school for being school. Instead, we resented it for all the things it should have been, and could have been – but wasn’t.