Using Genre Study to Teach Creative Nonfiction Profileby Rebecca Goldin Genre Study Approach:
Using a genre approach to the teaching of writing provides appropriate and effective scaffolding for novice writers, while maintaining the elements of a quality writing program. Randy Bomer, educator and genre study advocate, writes of the genre approach, that it fosters the important values of “community, inquiry, mentorship, collaboration, and sense of craft.” As the classroom becomes a true community of learners, discovering and writing together, the classroom is transformed into an energetic writing community. Bomer writes, “The genre study gave them (his students) a new shared journey, and it reinforced the spirit of community.”
As the entire community is focused on the same goal – creating a quality piece of writing – the class is able to rally around one another and create an atmosphere of encouragement and motivation. However, beyond the spirit of the classroom, the genre study approach instills the elements and skills essential to writing in a range of genres. The teacher, guide of the genre study, is able to fully equip his or her students with resources to aid in the writing process. Through the use of mini lessons, the class navigates through the form and elements of the given genre.
The benefits of a genre study do not end with practicality and efficiency. The goal of educators is to help their students face the world with a strong foundation to succeed. In his argument for the genre approach Bomer writes, “Helping students learn how to learn about different genres of writing empowers them to find a way of writing that counts in the different communities they will move though in their lives,” and that the genre study helps students, “develop habits of mind related to learning in a genre, so that they can learn in whatever genres they need.” By guiding students through the elements of different genres, teachers are giving their students a different lens through which to view their world, and the writing they will encounter.
Through the use of genre study, educators can expose their students to a variety of writing. The classroom remains alive, and does not become stale. Lucy McCormick Calkins writes in her article “The Art of Teaching Writing,” Because the forms in which we write become lenses that affect our view of seeing the world, it is tremendously important that we not allow writing workshop to become a place in which children write over and over in the same genre. Student writers must be nudged to extend their repertoire.” The exposure to the variety of genres, or lenses, becomes essential to the learning process in the lives of students.
“A genre study is a structure we create in order to scaffold and support reading-writing connections. Our students read and evaluate, muse over and analyze, learn from and model themselves after texts that are like those they will write” (Calkins 365). Described here is the basic idea of a quality genre study. Through their own discovery, being hands on and exploratory through a selection of texts, students are able to build schemas for different genres, and in turn, this helps them view the world through a more educated literary lens.
Over view of Creative Nonfiction: Profile
Creative Nonfiction heightens the whole concept and idea of essay writing. It allows a writer to employ the diligence of a reporter, the shifting voices and viewpoints of a novelist, the refined wordplay of a poet and the analytical modes of the essayist” (Dobler 1). This writing comes in many forms – personal essays, memoir, biographical profiles, feature articles, to name a new – are all forms of creative nonfiction. Also called, “literary journalism” this genre has become popular though magazines and journals such as “The New Yorker” and “Harpers.” The “creative” characteristic in this specific type of nonfiction can tend to confuse many writers. Many wonder, “How can nonfiction be creative when the writer has to stick to the truth?” Creative nonfiction, while remaining true to the facts, is not limited by the same narrow range of creative options given to traditional journalists. Creative nonfiction allows “three dimensional thought and scenic expression in a novelistic context.” The writer is able to “recreate ideas and details from memory” without the writing being interrupted by literal truth (Gutkind 118).
“Creative nonfiction has emerged in the last few years as the province of factual prose that is also literary – infused with stylistic devices, tropes, and rhetorical flourishes of the best fiction and the most lyrical of narrative poetry. It is fact-based writing that remains compelling, undiminished by the passage of time, that has at heart an interest in enduring human values: foremost a fidelity to accuracy, to truthfulness ” (Forche 1).
Creative nonfiction, more specifically, profile. It is a unique form of writing. It takes the form of a narrative story, while remaining true to fact. Profile is not the lengthy work that is today's biography. Profiles are not a chronological listing of the events of a life but rather, a compact form that renders the essential story behind the life in a streamlined narrative (Forche 69). The focus in creative nonfiction is on what brings the character alive for the writer, rather than on sequential life events.
There is a mission to creative nonfiction, and according to Lee Gutkind, that mission is to “gather and present information, to teach readers about a person, place, idea, or situation” (70). Therefore, in writing profile, the writer needs to be focused on presenting information to his or her reader about the person chosen and the subject.
What is “Profile?” (Forche 68) Profiles, also known as biographical sketches or personality profiles, are a unique form of writing. They are:
To better understand the profile, one should look at what the profile is not . They are not:
Why conduct a Genre Study on Creative Nonfiction Profile?
Deciding which genre's to inhabit can be a daunting task for educators. And while, there is no precise list to tell which should be taught, we can find the answer to the question by observing our students themselves. Profiles can fill the need to write about something personal, in a reflective narrative fashion,
The very essence of creative nonfiction, truthful and literary, and its collision of these elements presents motivation for immersing in this world with students.
Students will have to do the difficult and important work of researching, interviewing, and discovering the story within. They will also have the opportunity to write something of worth to them, about someone of worth in their lives. This task makes the writing authentic and “academic” while still keeping it personal for the student.
While incorporating the creative element into the nonfiction, some may argue that creative nonfiction is the most accurate form of reporting. “Creative nonfiction is as accurate as the most meticulous reportage – perhaps even more accurate because the creative nonfiction writer is expected to dig deeper into a subject, thereby presenting or unearthing a larger truth” (Gutkind 10). This type of digging and unearthing is essential to the success of the student writer.
Pursuing a Genre Study on Creative Nonfiction Profile
Charles Cooper outlines in his article, “Evaluating Writing” essential elements to a successful genre study. For our purposes we will follow these elements. Lessons will be designed following the order outlined in the article. These elements are:
• Reading Models • Listing Basic Features • Choosing Topics • Inventing and Researching • Planning • Revising • Reflecting • Portfolio (publishing)
Each of these aspects of the study help students inhabit the genre, to explore it from every angle, to learn to become established as a writer in the genre.
(1) Cooper outlines that “reading models” first in the order of a genre study. This introduction to the genre allows students to explore the text. Teachers should have a handful of texts available in the genre for students to be able to read, discover, and compare. It is in this introductory phase that the instructor and guide of the study can begin to explain a basic definition of a Profile. During this stage students will become familiar with the text and its aspects through their own journey. Teachers will be able to dispel myths of previous notions of profile writing (long volumes of chronological events, journalistic reporting, etc) and introduce students to the literary creative pieces.
Models that are readily available for classrooms include: * Student examples – teachers may use either models from the previous years of writing profiles in their classrooms, or for first time genre study facilitators, Nancy Atwell has included some of her students' writing in her book In the Middle, these may be used for student models. * “Gypsy” by Adam Gopnik found in December 2004 edition of “The New Yorker” * The winning profiles found at www.jfkcontest.org.
(2) Once students have read a few selected texts, they will begin to list and identify the basic features of the genre. Many of the elements that the students will focus on, to distinguish it from other forms of writing, are found in Nancy Atwell's In The Middle (480) these characteristics will be the following: • Only what is needed and brings out the essence of the person and adds to the mission of the piece should be added • The story remains true to the facts – it is nonfiction. • The mission of the piece is to present information to teach the reader. • It reads like a story. • Has an enticing lead that is packed with information • The lead sets the tone for the rest of the profile • Details show the reader who the subject is
Students will work both in the large group class setting to begin identifying these aspects of the writing, and also in small cooperative learning groups for guided practice in exploring the text.
A handout with details and activity can be found in Appendix A on page 8.
(3)Choosing a subject for the piece of writing may be a difficult task for the student. It is important for the teacher to aid in this process – for a subject must be selected for the task to be possible. A key element of each stage of this genre study, and specifically in this stage, is the use of modeling. Teachers must model for their students each step of the way. Atwell writes in “In the Middle” that when modeling, “the grown-up is acting like a grown-up, like someone who is competent, has good advice, and wants to make a task as easy and meaningful as possible for the child. The adult gives control when the child seems ready, because the goal is for the child to be able to act independently” (Atwell 20). From how one chooses a topic, to the final revision the teacher needs to model the process for the students. This allows students to gather knowledge, ideas, and see one may organize thoughts and ideas.
Due to the fact that an enticing lead is essential to the profile, it is imperative that the teacher guide the students through this process. Modeling is the best way for students to get a firm understanding of how to be successful in writing the opening of their profiles. Appendix B2 focuses on this type of modeling.
Students can be creative in their presentation of their profile and therefore they can be creative during the planning process. It is important that in this stage, as they begin to organize their thoughts, that they have help in finding ways to present their subject in a compelling manner. Through different exercises students will have new ideas on ways to organize and craft their profile. “They (young writers) need teachers who will guide them to the meanings they don't know yet by showing them how to build on what they do know and can do. Student writers need response while the words are churning out, in the midst of the messy, tentative acting of drafting meaning” (Atwell 218).
Students will both explore new writing exercises as well as be given thought provoking questions to help them begin to frame their piece.
Appendix B1, on page 9, is a detailed description of the assignment for the genre study and the grading rubric that will be used. Appendix B2, on page 12, is and example of an overhead and examples used in the modeling process. (to be used when teaching how to write Enticing Leads) Appendix B3, on page 13, describes a prewriting exercise.
(4) The process of researching and inventing is a critical phase in writing profile. Due to the fact that for this specific assignment, students will be asked to write about someone they know, their main source of information will be interviews or personal experience. During this study, students will be practicing and honing their interviewing skills. They will also be taught skills for sifting through the information to find what is most important.
Students will be encouraged to interview the subject of the profile directly, or others who are close with the subject to get to the heart of what the writer finds most fascinating.
Appendix C, on page 13, details the in class activity.
(5) Detail can make the author's subject come to life. It is important that the writers understand the impact their detail has for their reader. Names, clothing, setting, all are important details for a writer to add to his or her writing.
Appendix D, on page 14, describes an exercise to help students understand the importance of detail.
(6) For this genre study students will be expected to revise their own work as well as be peer editors for one another. The use of peer review partners allows students to “test” their piece on a varied audience. It also allows each students to try on their “critic hat.” By reading and evaluating one another's work they develop more of an appreciation and understanding of the characteristics of the genre and mechanics of writing. The direction given by the teacher in the revising process should “provide students with an opportunity to give substantive, genre specific help toward revising” (Cooper 49).
During the genre study, as mentioned previously, it is important for the student to have models to follow. Teachers should show the transformation of their own works in progress. Students, seeing the revision process, will better understand how to go about cutting and transforming their own work.
Students will be given the grading rubric at the beginning of the genre study, so they are clear as to what is expected of them. During this revision and editing process they should be encouraged to use the rubric to aid in their editing.
Appendix E1, on page 15, contains models for the revision process. Appendix E2, on page 16, is the peer review guide.
(7) To aid students in the reflecting process, a writer's conference will be held between the teacher and the student writer. During this process students will be able to reflect both on their piece, and the process of creating a profile. This conference gives students an opportunity to first, reflect on their own writing – their strengths and weaknesses, their style, and how they felt about the process. Secondly, the conference allows for them to be in authentic dialog about the learning process with a writing adult. This dialog between adult and student can help the student to understand the purposes for writing on a more personal level and allow for more personal sharing my both the mentor and the student. Finally, the conference also is an avenue for the writer to celebrate successes, things the author is proud of and struggles he or she faced and overcame. Also this can be a time for the writer to troubleshoot difficulties. The dialog can offer suggestions for efficiency and effectiveness in areas the writer struggled.
There are options for teachers who want to go further than have an in class publication. Profiles written about members of the local community can be published in local news papers. Also, contests such as those found at jfkcontest.org offer cash prizes to top entries which may encourage student writing and success.
Atwell in her book In the Middle shares her thoughts about conferences. She writes, “The purpose of my conferences is not to get writers to revise. I confer with kids about ideas, information, purpose, audience, language, and format so they can consider what's working, what needs more work, and what they can do next to make the writing work better” (221).
Students should have the option to revise after their conference. If they have uncovered ideas that they feel will improve their writing, they should not be stifled. Allow them the opportunity to create a piece of writing that they can be most proud of and learn the most from writing.
Appendix F, on page 17, contains focus questions during the writing conference and suggestions.
(8) Publishing or displaying the class's work can be a very rewarding experience for the students. It will give them a goal to strive for that is more authentic that simply getting a good grade – they have an audience and a purpose behind their writing, and this can be a very powerful experience. For the genre study on profile, students will be showcased to their classmates during “Author Days.” During designated classes, students will read their profile to their classmates. Also, the teacher should contact faculty and staff in the building and invite them to this event. Students will be able to publicly share their hard work to a appreciative audience.
Preparing for the New York State Regents
As it is imperative that students pass the New York State Regents exam, it is important they have opportunities to practice the type of writing that will appear on the test.
Now that students are familiar with the Profile, this can be a genre used as a passage for the students to read as part of Regents practice exams.
Appendix G, on page 18, contains an example exercise for students to participate in to help prepare them for the exam. The exercise allows for peer review of a draft of the proposed writing sample, this will encourage students to revise their own work, and help them recognize the necessary elements of the “unified essay.”
According to Nancy Atwell a genre study on Profile both teaches students that they are “surrounded by interesting people who lead worthwhile lives,” and “how to observe, interview, research, and write with information and discover” (475). By guiding students through the eight aspects of a genre study, students will find success and delight in the writing process and they will continue to grow as writers in their community of literacy.
Appendix A
In the introductory phase of the genre study students should have hands on exploratory opportunities with touchstone texts. The following is an example of a handout a teacher could give to her students. This should be accompanied by example profiles from which the students may select.
• Teacher reads aloud, while students follow along on their own copies, Emily Ullman's profile of New York State Assemblyman George M Michaels – a winning essay in the JFK Profiles In Courage Contest. • In a group of four people, the profile will be read again. • Select someone in your group who will take notes on the group's findings and another group member who will be responsible for sharing the information with the class. • Work together to identify the following: • What characteristics are strongest in the character represented in the profile? • What details within the writing display these characteristics? • Did you learn anything from the selection? • What is the focus of the author? • How does Emily begin her writing? • What details are presented to the reader? • 5. The class will come back together as a large group and share their findings and create a list of characteristics indicative of profile writing.
Appendix B1 - Assignment
Your mission is to create a creative nonfiction profile. We will be working as a class and individually to research and write a quality piece of writing in this genre. You will adhere to all the conventions of English, while using the definitions of Creative Nonfiction Profile discussed in class.
Topic:
You are to write a profile about someone you know. This person can be a family member, neighbor, teacher, family friend, or a store clerk in town. You may not choose to write about a classmate. Due to the fact that we will be conducting interviews, I ask that you do not choose someone you do not have access to for this assignment. You may choose someone who has passed away if in fact you have access to reliable secondary sources for the interviewing process. Please see me if you have questions regarding the topic guidelines.
Your Profile: • Should be at least 2 pages in length. • Capture what you find most fascinating about the person you have chosen. • Be truthful – remember, we are writing nonfiction. • Read like a story. • Draw on the list of common elements we developed for Profile. • Appropriately address your audience. • Contain an enticing lead that establishes the focus and tone of your writing • Be concise. • Be informational.
Draft 1 is due ____ Interview needs to be complete by _____ Peer Review is due ___ Draft 2 is due ____ Final Draft is due ____
Grading Rubric
Appendix B2 – topic selection
In modeling for my students how I chose my subject for my profile. I generate a list on the overhead, and talk through my process of selecting which person I would want to write about. I would then have the students follow the same process.
The process we will follow is:
My model will be shown to the class:
Chip – gas station owner and childhood babysitter's husband – community cornerstone.
Carrie – cousin and friend – kind.
Maurice Goldin – Paternal grandfather – unknown community impact.
Mike Huber – boss – humble strength.
Bill Neal – late dean of admissions and former boss – strong leader.
I will talk through my elimination process with my class. I will explain that for some people on the list I am too close to them to write from a new perspective. Others, I don't have adequate access to people to interview now that I have moved away. For others, my elimination may be simply that my interest in others is more intense. I will share with my students my inner monologue about each on my list until I have narrowed it down to my grandfather.
When the students are asked to do the same, they will have a better grasp on the concept because they have witnessed the process.
Appendix B3 –Prewriting Exercise
A prewriting activity:
• Have students think of a person they could write about. • Students should write that name on a piece of paper. • Students should then list everything they might find in that person's garbage can. • Students should cross out everything on the list that is typical (tissues, scrap paper, etc.) unless it is significant to the person in some way. • Ask for a few volunteers to read their list to the class.
This serves as an interesting way for students to view people and can help them as they enter into the creative nonfiction world.
Appendix C – Interviews
Conducting an interview may be a new concept for students, one that they may have reservations about. If this is the case, this lesson should be done before the writing assignment is given to students. Therefore anxiety surrounding this form of research will be limited. Students will practice conducting an interview with another student in the class before they interview for their profile. This will allow students to be more comfortable with the concept of an interview by giving them some experience.
The following should be given to students to help them conduct an interview.
A Successful Interview Guide
Before the interview:
Consider the following before you head to the interview. • What most fascinates you about this person? • Why did you choose this person? • If interviewing secondary sources, what information do you want to gather? * note, a secondary source is a person you have chosen other than the subject of your profile, to interview about the subject.
Also, be sure to have questions prepared before you go to the interview. This will help keep you on track and give you something to fall back on.
Be sure to bring with you pencils and paper to the interview. You don't want to forget the priceless information you will gather.
After the interview:
• Type up your notes – all that fast writing is probably hard to follow. Write it down before you forget it.
Ask yourself the following questions: • Was anything surprising? • What is the most useful information? • What is my focus?
To better model this process, the teacher should invite into the classroom a fellow teacher or another adult and interview that person while the students observe. The students will witness the teacher taking notes and engaging in conversation.
Following the interview the teacher should share his/her notes with the class from the interview, so the students are able to see what was considered important information.
Before the students interview for their profile, time should be given in class for them to interview another member of the class. This should lower their anxiety as they will have more experience with this new concept.
Appendix D – Adding Detail
Adding Detail
Detail can make your writing come to life, and tell more about the person you are profiling. To help us understand the importance of detail: In groups, read the following paragraphs aloud. As a group, make a list of the elements of the story you think are missing thus far. Does the writing lack detail that you are wondering about?
Profile of Marcia Stewart By Curt Monaco (edited) Although plants grow slowly, keeping them alive is a nonstop occupation. Marcia Stewart has her plants, and many other obligations that keep her life downright hectic. She works very long days, but she says she doesn't mind. This high-energy existence is the life she has chosen for herself, and it is a life she loves.
Marcia Steward and her husband own several small businesses. She is tiny , but full of energy. It is impossible to miss her because of the unique way she dresses.
Now that you have made you list, read the version of the profile that has the detail in it. Underline the details that were omitted from the previous piece. What do these details teach you about Marcia Stewart?
Profile of Marcia Stewart By Curt Monaco “Although plants grow slowly, keeping them alive is a nonstop occupation. Add a florist shop and orders for flowers, greenhouse orders waiting on customers, supervising employees, making and mailing ads, and training to become a florist, and things become downright hectic. But this is only part of what Marcia Stewart has taken on. She also runs an art gallery single-handedly. This makes for eleven – twelve hour days, seven days a week, but she says she doesn't mind. This high-energy existence is the life this hard working woman has carved for herself, and it is a life she loves.
Marcia Stewart is the owner of Gallery House on Route One in Nobleboro. With her husband, John, she runs Holly Hill Nursery, also in Nobleboro, and Cottage Gardens on Church Street in Damariscotta. She's tiny - only four feet eleven inches – but she projects energy wherever she goes. Its impossible to miss her as she charges through her day in a loose sweater, baggy corduroys, and hiking boots.” (Atwell 482)
Now, read your own draft of your profile. What details can be added? Where is there information missing? When you revise, add the detail you find that is missing.
Appendix E1 – revising
To best model for the students the revision thought process, the teacher should use his or her own writing and revise it with the class. This allows for dialog between the class and the teacher. It also allows the teacher to think though and show the class how proper revising takes place. The revision should not only be grammatical corrections, but a transformation of the writing to give it more impact. Below is an example introduction to a profile that I may share with my class. The sample writing should be placed on an overhead projector and a conversation about the writing should take place with the class as teacher as facilitator.
Initial writing sample:
After driving home from college for Grandpa's funeral I wanted to help my parents by running errands for them. While I drove downtown I noted all flags at public places were flying at half-mast. I wondered what tragedy had occurred that prompted the mourning. When I got home I asked my mother. She told me that the flags were at half-mast in honor of my grandfather. It made me think that he must have had greater impact on the community than I was aware of. I was soon to learn what a great impact he had.
After the class has read the writing sample. A discussion should occur about how the writing can be improved and what can be done to make it more effective.
The following is an example of how the class may change the writing sample: In an effort to support my family, and distract myself from the stressful funeral preparations at home, I went to the store to replenish our milk supply. As I passed the Municipal Building I noticed that the flag was at half-mast. With the recent loss of my grandfather and being away from home I had not paid close attention to local and nation al news. My curiosity perked wondering who was being honored. When I returned home I asked, “Mom, why re the flags down town at half mast? What happened?”
I was shocked when she replied tearfully, “Its for Grandpa sweetie.”
The class could again revise the paragraph, continuing to hone it and sharpen the language. Other discussion questions that should be covered:
What details did we add? Why? What was cut? Why? How does it affect the reading? What more would you change? How does the paragraph set up the piece? What do you expect from the piece of writing?
Looking at your own piece of writing, examine it for where it lacks detail. Where can you add detail to your piece? Are there elements of your profile that you tell, rather than show? Apply this lesson to your writing.
Appendix E2 –
Students will review one another's work as peer editors. This will allow students to “test” their piece on a small audience and give each writer some ideas to continue to shape their piece.
The following should be handed out to the students to guide them in the peer review process.
Exchange drafts with another student. Read the draft your partner wrote and respond to the following questions as thoroughly as possible. (you may need to read the draft more than once.)
Appendix F
Allowing time for students to reflect on the writing experience is essential. The following are questions that should be asked of students during a one on one reflective conference between the student and the teacher. (Some questions adapted from Nancy Atwell's In the Middle 226)
Why is this person significant to you?
Are you proud of this piece of work? Why or why not?
What difficulties did you run into during the writing or researching process? How can we make this easier next time?
Which part of the profile do you feel is the strongest?
How did you decide on this person?
Allow the student to make any revisions on their piece after this conference and he or she finds necessary. This will encourage them in future writing endeavors.
Appendix G – Preparing for the New York State Regents Preparing for the Regents “Unified Essay” The Regents Exam's “Unified Essay” asks you to read two passages, then write an essay that draws on the information in both passages. The essay question includes a topic that you must use as the focus of your essay. You will use the topic to develop a theme for your essay. Your essay should draw from both passages to support your theme. For the purposes of this practice essay, you will read two passages – a poem, and an award winning essay. As this is practice, you will also have the opportunity to work with a peer editor after you have written one draft. Your essay task – as it may appear on the Regents is: *After you have read the passages, write a unified essay about the meaning of courage as revealed in the passages. In your essay, use ideas from both passages to establish a controlling idea about the meaning of courage. Using evidence from each passage, develop your controlling idea and show how the author uses specific literary elements or techniques to convey that idea. Be Sure To: - Use ideas from both passages to establish a controlling idea about the meaning of human dignity. - Use specific and relevant evidence from each passage to develop your controlling idea - Show how each author uses specific literary elements (for example: theme, characterization, structure, point of view) or techniques (for example: symbolism, irony, figurative language) to convey the controlling idea. - Organize your ideas in a logical and coherent manner - Use language that communicates ideas effectively - Follow the standard written English. Passage 1 Courage By Anne Sexton It is in the small things we see it. The child's first step, as awesome as an earthquake. The first time you rode a bike, wallowing up the sidewalk. The first spanking when your heart went on a journey all alone. When they called you crybaby or poor or fatty or crazy and made you into an alien, you drank their acid and concealed it. Later, if you faced the death of bombs and bullets you did not do it with a banner, you did it with only a hat to comver your heart. You did not fondle the weakness inside you though it was there. Your courage was a small coal that you kept swallowing. If your buddy saved you and died himself in so doing, then his courage was not courage, it was love; love as simple as shaving soap. Later, if you have endured a great despair, then you did it alone, getting a transfusion from the fire, picking the scabs off your heart, then wringing it out like a sock. Next, my kinsman, you powdered your sorrow, you gave it a back rub and then you covered it with a blanket and after it had slept a while it woke to the wings of the roses and was transformed. Later, when you face old age and its natural conclusion your courage will still be shown in the little ways, each spring will be a sword you'll sharpen, those you love will live in a fever of love, and you'll bargain with the calendar and at the last moment when death opens the back door you'll put on your carpet slippers and stride out.
Passage 2
In the words of John F. Kennedy, an act of political courage is one in which a man's "loyalty to [his] nation triumph[s] over all personal and political considerations…" (Kennedy, 18) This courage is the ultimate test of a politician, a test in which individual convictions are set against outside pressures. George M. Michaels, a New York State Assemblyman, surmounted this test and performed such an act of political courage on April 9, 1970.
Before the landmark U.S. Supreme Court case Roe v. Wade , each state was permitted to enact its own legislation with regard to abortion. The criminalization of abortion had spread from England to America in the first half of the nineteenth century. By 1900, almost all state legislatures had laws outlawing any attempt at ending a pregnancy except for a threat to the mother's life, and even disseminating information about abortion or birth control was a criminal offense. The pro-birth control movement, and with it a fledgling abortion rights movement, sprang up almost immediately. By 1970, critical test cases were being pushed through the courts across the country. In New York, the combined impetus of a lawsuit, Abramowicz v. Lefkowitz , brought by three hundred women, and the determined efforts of Assemblywoman Constance Cook forced a bill to repeal the anti-abortion laws to the floor of the State Legislature. There it would be the subject of one of the most bitter debates in the history of that body.
The repeal bill provided for legal, on-demand abortions during the first 24 weeks of pregnancy. It had already been passed by the state Senate after five grueling hours of debate, 31 to 26. In the three weeks separating the two votes, the pressure on the assemblymen was intense. The Catholic Church, in particular, had mobilized its clergy to persuade religious legislators to vote against the bill. Constance Cook, the bill's sponsor, determined that 75 votes would be the number necessary to pass the measure.
With a full gallery, the Assembly met on April 9 th to determine the fate of the New York abortion law. At 4:30, the final roll call was taken. As the clerk tallied the votes, it became clear that a count of 74 to 74 had left the repeal movement one vote short. Before the bill could be officially announced as defeated, however, George Michaels, an assemblyman from upstate Cayuga County who had originally voted "No," rose to his feet. Shaking, he spoke to the legislature about his family's support of the bill and the pain he had felt for voting against it previously. Finally, as the chamber sat in hushed silence, he said " What's the use of getting elected if you don't stand for something. I realize, Mr. Speaker, that I am terminating my political career, but I cannot in good conscience sit here and allow my vote to be the one that defeats this bill – I ask that my vote be changed from ‘No' to ‘Yes'" (Saxon) As the floor erupted, Michaels put his head down on his desk and cried.
George Michaels was a native of College Point, Queens, and attended Cornell University and Brooklyn Law School. A decorated captain in World War II, he was a partner in an Auburn, NY law firm. In 1970, he was 59 years old and a fifth term state assemblyman. He was a Democrat from a largely conservative and Republican district but was elected on the votes of his Catholic constituency, a group comprising about 65% of the city of Auburn. Michaels had compiled a highly conservative voting record and had several times previously voted against any change in the legal status of abortion. However, his personal convictions were with the pro-repeal camp. One of his sons, a rabbinic intern in a Cincinnati ghetto, had told his father about the poor women he had seen mangled by back-alley abortions, a problem that affected Michaels deeply. Hoping to satisfy his conscience as well as keep his seat, he promised his family and Constance Cook that he would vote to repeal if his was the deciding ballot. When confronted with the reality of the situation he had most hoped to avoid, Michaels gathered up his courage and stood by his convictions.
The voters of Cayuga County were appalled at what they felt was a betrayal of their wishes. Threats and vicious letters required the Auburn Police Department to post guards outside Michaels' home, and his law firm broke up when his partner refused to be associated with him. Two priests in Auburn organized a campaign against Michaels branding him a murderer and traitor to his party, and bending to the overwhelming adverse sentiment, the Cayuga County Democratic Party denied him what otherwise would have been a routine renomination three months later. Doggedly competing in a four-way primary without organizational support or money, Michaels went on speaking tours and attempted to explain his choice to his constituency. On one of these trips, he ran his car into a bridge and was hospitalized with a shattered leg and seven broken ribs. Unable to complete his campaign, he was defeated in the primary. Nevertheless, he ran on the Liberal party line in the general election, but was again defeated.
Michaels' prediction on that fateful day of April 9, 1970 proved true; his vote cost him the election and he never again ran for office. Instead, he faded into obscurity, practicing law in Auburn with his son Lee until his retirement and his death from liver cancer at 80 in 1992. Still, his political courage changed the entire landscape of the abortion debate. Women from around the country flocked to New York to have legal, safe abortions. Heartened, activists pressed their cases in other states, including the Texas and Georgia lawsuits that eventually would become Roe v. Wade and Doe v. Bolton . Still more importantly, George Michaels proved that even a part-time state assemblyman can make a difference. His strength is an inspiring example in the battle for personal freedom that still rages today, a battle that cannot be fought without brave individuals willing to sacrifice for their principles. Michaels gave hope to a generation of women, and struck a blow for liberty that should be as honored today as it was by the founders and great men of our nation.
After writing a draft of your essay exchange papers with a partner and answer the following questions about your partner's essay:
• What is the main idea of the essay? • What evidence from the poem does the author use? • What evidence from the essay does the author use? • Does the evidence support the main idea? • Which literary elements or techniques does the author discuss? • Is the essay easy to understand? • Correct any errors you may have found.
When you receive your own paper back make any corrections that need to be made based upon your peer reviewer's answers to the questions. Be sure that it follows all of the guidelines required by the Regents Exam.
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