G is for Genes, by Kathryn Asbury and Robert Plomin, makes a very strong case for something most teachers, and probably many parents, know already. Children are not blank slates. Young people inherit as much as 60 – 70% of their aptitude for maths, for example. Asbury and Plomin’s book makes a nonsense of successive education ministers’ attempts to expect state schools to compete with public schools when the latter are able to select pupils by ability. Furthermore some pupils achieve despite attending a poor school, and some will never achieve even if with the very best teaching. So what is the answer? A more diverse curriculum, one that does not expect the same from every pupil.
Category Archives: books
The Day It All Changed
When I was a young I knew animals had souls. I was a thug until around the age of seven or eight, and had, until then spent far too long devising sinister tortures for wasps and minnows. I won’t detail them here, I am not proud of what I did. But I had a dog, which we put into kennels when we went on holiday, and when we returned it was dead. I was inconsolable. I thought of my dog, a sweet little Sheltie pup, and imagined it pining for us, wondering why it had been abandoned. I thought it of it as retribution for all the horrors I had inflicted on tiny creatures. I became protective of all living things, of the smallest creatures, even of plants. I took it a step too far with my feelings for inanimate objects, and in sensing their natures, began to understand where the temptation to hoard comes from. The universe, some say, is cold and ruthless. Life is an aberration. I live with that, but at the same time I can’t help but marvel at life, at being, at what we are and what we make of the world around us.
Alchemy
It’s a limbo I’m sure all writers understand. The book is finished, and has been reduced to the essence of what it should be. I’ve always thought writing, or any creative activity, is like alchemy. The alchemist takes raw materials, or base matter, and subjects it to a process of reduction until there is nothing but a purified essence. This, perhaps, is the mysterious white stone. It is everything stripped down to all that matters. I forget who said that good design is the art of knowing when you’ve reached the point where no more can be added, and nothing can be taken away. Perhaps it’s the same for writing a book. I don’t want to add any more, and I dread taking anything else away. Meanwhile I am in limbo, waiting for my agent to reveal to me what she intends to do. Will she represent it? And if so, to whom? Will she be ambitious, cautious, or will every publisher in town get to see it? So I cook boiled eggs and eat toast. I read more. I fidget.
Cutting Tentacles
In June I went to see my agent, Catherine, who, along with Amy Waite, a new member of staff at the agency, sat with me and made some suggestions on what to do with the new book. At the moment it’s called Octopus Crush. I hope it stays that way, but you never can tell with publishers. It’ll probably end up being called Hairy Octopus or His Dank Tentacles.
Catherine wants cuts, and I can understand why. It’s because my book is far too long. One day, perhaps, I will assemble the cuts into Octopus Crush, the Author’s Cut, but it will be rambling and have too many scenes in which nothing happens.