In books and films about failing schools attended by poor students of color, a suspiciously upbeat plotline has become all too familiar. A novice teacher (usually white) parachutes in, overcomes her students’ distrust and apathy, and sets them on the path to college and worldly success. Such narratives are every kind of awful. They make the heroic teacher the center of attention, relegating the students to secondary roles. They pretend that good intentions and determination have the magical power to transform young people’s lives, even in the most adverse circumstances. And they treat schools as isolated sites of injustice, never connecting educational disadvantage to other forms of inequality.
Michelle Kuo is a writer who resists the mythmaking impulse, with its clichés and wishful thinking. In her penetrating, haunting memoir, Reading With Patrick: A Teacher, a Student, and a Life-Changing Friendship, she confronts all of the difficult questions that the teacher-as-savior genre claims to have answered, and especially this one: What difference can a teacher actually make?
Her credibility stems, in part, from her willingness to make her misjudgments and failings an integral part of the story she tells. At age 22, after graduating from Harvard, Kuo frustrates her immigrant parents’ ambitions for her by joining Teach For America. She takes a job at an alternative school in Helena, Arkansas, a blighted Mississippi Delta town populated by the descendants of black families who stayed behind during the Great Migration. By her own admission, her first year in the classroom is a disaster. She arrives hoping to teach African American literature to her eighth-grade students, but she blinds herself to the fact that most of them read at a fourth- or fifth-grade level, and so they are bored and frustrated by her lessons. She wants the students to know “their history,” by which she means the history of racist violence in the Delta. But she knows nothing of the trauma they have inherited; when she passes around a picture of a lynching, a boy named David brings her lesson to a halt by putting his head on his desk and muttering, “Nobody want to see that.” Instead of defying her school’s authoritarian culture, Kuo initially succumbs to it. Once, she recalls, “I tore up a student’s drawing, which I’d thought was a doodle, in order to jolt him into paying attention; he never forgave me, and I will regret it forever.”
Eventually, Kuo does begin to reach some of her students, but she gives them most of the credit for their progress as readers and writers. When they perform A Raisin in the Sun in class, she looks on, amazed, as they compete for the part of the matriarch Lena Younger—a character they admire because “she don’t play.” When she creates a classroom library and schedules silent-reading periods, she sees their adolescent restlessness give way to concentration. Before they relinquish the books they like, the students inscribe endorsements on the inside front covers. Until now, Kuo points out, they had never been handed a play or allowed time to read books of their choice. Just look, she seems to say, at what they make of these opportunities.
Her descriptions of individual students are unusually perceptive and moving. A boy named Tamir, asked to write a poem about himself, looks afraid “and peers at a classmate’s paper, as though this was the kind of assignment one could copy.” A girl named Kayla, who had been removed from the district’s regular high school for fighting, writes herself a letter that says, “I hope that when trouble come your way, you would just hold your head high and walk away with a smile on your face.” Patrick Browning, a student with a history of absenteeism, seems lost as he starts eighth grade, “as if he’d gotten on the school bus by accident.” He sits at the back of Kuo’s class, quiet and easily overlooked. But over the course of his eighth-grade year, he develops eclectic tastes in reading—everything from Langston Hughes and Dylan Thomas to The Wonderful Wizard of Oz—and wins the schoolwide award for “Most Improved” student. When rainwater leaks through the classroom ceiling and destroys much of the book collection, it is Patrick who says to the other students, “Stop crying, y’all,” and fetches a bucket and mop.
After two years in the Delta, Kuo decides to leave her job and go to law school. (“With a law degree, you can multiply your impact,” a friend assures her. And her parents are thrilled.) But what might seem the natural ending to her story proves not to be an ending at all. Kuo returns to Helena three years later when she learns that Patrick has been arrested and charged with murder. She begins to visit the county jail where he is awaiting trial, bearing books and writing assignments. Her account of the seven months she spends as his tutor and fellow reader occupies the heart of the book, and it unfolds with all the starkness and immediacy of a two-character play. Scene by scene, it asks what brought them to this place and what can come of their time together.
* * *
The night Patrick was arrested, he had gone out looking for his younger sister, but he couldn’t find her. Then she arrived on the family porch with Marcus, a man she was dating. Marcus was drunk and belligerent, and when Patrick ordered him to leave, he started talking loudly and acting aggressively. Believing that Marcus was armed, Patrick picked up a knife he had left on the porch earlier in the day. He just wanted to scare Marcus, he says, but then they fought. He can’t remember the fight itself—just the sight of Marcus limping away and then falling to the sidewalk.
Patrick doesn’t realize that he has a plausible self-defense claim. A white man fending off an intruder on his property could invoke principles such as “stand your ground” or the “castle doctrine.” But Patrick is a black man in the Delta, and the prosecutor goes for a massive overcharge: first-degree murder. There is no question of bail: for sixteen months, Patrick awaits his trial in a jail so unsanitary and poorly managed that the state of Arkansas later shuts it down. And though his public defender eventually gets the charge against him reduced, they never meet until Patrick has his day in court.
The first time Kuo comes to the jail, Patrick blurts out, “Ms. Kuo, I didn’t mean to,” in what she calls “a tone of supplication.” But she soon realizes that he feels an intolerable sense of guilt. Patrick imagines that all the mistakes he has ever made led inexorably to the act he is now locked up for. He is haunted by a litany of wrongs he has no way to redress. “The problem,” Kuo writes, “was not that he wouldn’t confess but that he had confessed too much; it wasn’t far-fetched to think he might spend the rest of his life confessing.”
And yet maybe he needed his guilt; otherwise the death would have happened for no reason, a result of senseless collision—of mental states, physical impulses, and coincidences. He needed, for his own sense of meaning, to knit his failures into a story. “Cause and effect,” as he put it. The thread was that he messed up by ignoring God.
But I didn’t believe the story he told himself. I wanted to break it. For me to do that, we needed to forge a connection. But what did I have that I could share with him?
All I could think of was books. There were other things he liked—he’d tended lovingly to his go-cart and said once that he wanted to be a mechanic. I didn’t believe that reading was inherently superior to learning how to fix a car, or that reading makes a person better. But I did love books, and I hadn’t yet shared with him anything I myself loved. Had I known how to sing, I would have had us sing.
The bond they establish during their jailhouse sessions eases his torment, as Kuo hoped it would. Yet Patrick never ceases to hold himself responsible for Marcus’ death. After he takes a plea deal and is convicted of manslaughter, Kuo asks him, “Do you feel guilty?” and he replies, “I know I guilty.” It’s not the answer she wanted. But she comes to see that if she had undermined his sense of himself as the agent of his own actions, she would only have deepened his despair. No teacher can “break” a student’s story, his understanding of his life, and replace it with her own.
The story matters to Patrick because it allows him to envision the possibility that a person can change.
In other ways, too, the course of the relationship between Kuo and Patrick diverges from her original intention. When she discovers that his literacy skills have deteriorated, she promptly resumes her English-teacher role—marking every last error in his writing, assigning “extra homework to eliminate future mistakes.” This makes her sound overzealous, and sometimes she is. Yet Patrick, who at first dismisses the idea of homework (“Nah, it’s over with,” he tells her), makes greater progress than she had anticipated. “For me and perhaps for him,” she writes, “the task of making a sentence perfect had the effect of containment: It kept unbearable emotions at bay.”
Once they begin reading, Kuo is continually surprised by Patrick’s responses. When she gives him C. S. Lewis’ The Lion, the Witch, and the Wardrobe, for instance, she thinks of it as a diversion: “a magical book, where the heroes were children, and children on the side of good.” But Patrick doesn’t see it that way. He is drawn to the character Edmund, who acts wrongfully but makes amends, and who grows stronger and wiser in the process. The story matters to Patrick because it allows him to envision the possibility that a person can change.
Similarly, Kuo is not prepared for the intensity of Patrick’s reaction to Frederick Douglass’s Narrative. He reads it in a concrete stairwell at night, away from the other inmates, and persists even when he finds himself painfully identifying with the slaves Douglass describes. She half-expects him to deride the exuberance of Walt Whitman’s Song of Myself, but instead he writes lines imitating it, picturing landscapes and cities he has never seen. At such moments, Kuo recalls, “he appeared to me anew, as a person I was just beginning to know.”
For one of his final assignments, Patrick composes a letter inspired by a passage from Marilynne Robinson’s novel Gilead. Addressed to his baby daughter, it describes a journey they might one day take together. The writing is so evocative that it humbles Kuo to read it. “I was searching for myself,” she admits, “for deposits of our conversations, memories he’d shared or words I taught him. But I was barely there. Each word felt like a tiny impulsive root, proof of a mysterious force that exceeded me.”
* * *
Back when she was a classroom teacher, Kuo engaged in a sort of triage. “There are just certain kids for whom you bring all your hope,” she writes, and Patrick was one of them. It makes sense, then, that news of his plight would have drawn her back to the Delta. But Kuo doesn’t allow us to forget that his tragedy is not the only one. She hears, soon after her return, that her former student Tamir is living on the streets in Little Rock, a crack addict begging for money. On a school-district report listing the students who dropped out of school in Helena the year after she left, she recognizes a long series of names along with Patrick’s. And when he finally appears in court, she sees many of those names again on the crowded docket of criminal cases:
I tried to count the number of black males of my sixty-something students over two years who had at some point gone to jail, and I ran out of fingers. The docket was the coda to the STUDENT DROPOUT REPORT—the county jail was where the dropouts landed. There were no jobs in Helena. They had no skills. Most had a disability or an emotional or mental disorder. Where else had I thought they would go?
Nothing Kuo has done for Patrick frees him from this dynamic. After the plea bargain, he is sent to an overcrowded prison. Two and a half years later, when he is paroled for good behavior, he returns to Helena with all the liabilities that come with having a violent felony on his record.
By then, Kuo is working as a public-interest lawyer in California. “I begin to think,” she confesses, “that those seven months didn’t really happen, that I had imagined the mystical silences we shared while Patrick wrote. I must have dreamed the poems we memorized, because I cannot remember the lines anymore. On the way to work, holding the metal bar of a subway, I wonder what it was all for and consider the idea that once you stop thinking about something, it disappears.”
But this is not her final word on the subject. If Kuo distrusts the romanticism of the teacher-as-savior narrative, she also resists the kind of fatalism that would have prevented her from becoming a teacher in the first place. She does wonder sometimes what would have happened had she never left Helena. Could she have kept Patrick from dropping out of school or confronting Marcus? Not likely, she says. Besides, she is wary of talking about Patrick “as if I think I could have saved him, as if I think I’m so important in his life. It’s not like that.” But then, exhibiting the kind of impassioned writing and hard-earned wisdom that set her book apart, she adds:
Or maybe it is, in the sense that the alternative, the rational thought, would be to say to myself, You can’t do that much, you’re not that important, there are so many forces in a person’s life, good and bad, who do you think you are? That’s what I said to make myself feel better after I left the Delta, and sometimes I still say it. But then what is a human for? A person must matter to another, it must mean something for two people to have passed time together, to have put work into each other and into becoming more fully themselves.
Maybe there are prospective readers who noticed Kuo’s memoir on a bookstore shelf, leafed through its pages, and put it back, saying to themselves, “I know this story already.” But in all of the literature addressing education, race, poverty, and criminal justice, there has been nothing quite like Reading With Patrick.