Making
the Case for Heroes
What
made Abraham Lincoln rise from poverty and obscurity to become
a wise, cunning, and compassionate president? How did he carry
on during the Civil War when his son died and his generals failed?
After southerners offered $40,000 for Harriet Tubman's capture,
why did she repeatedly return to Maryland to rescue slaves she
did not know? Why did the villagers of Le Chambon risk their lives
to hide Jews from the Germans? What made Sir Thomas More defy
his friend Henry VIII and die for the Catholic Church?
These
are some of the questions I pose as I travel around the country
talking to high school students about heroes. I argue that heroes
are fascinating to study and that we should be interested in the
mystery of goodness and greatness. The trick, I tell them, is
to be amused by popular culture but not seduced, to look for some
grandeur or loftiness when they search for models of excellence.
Before September 11, students were less familiar with the word
hero, more inclined to dismiss it as too grandiose, doubtful as
to whether any one person could hold up under the burden of such
a word. After September 11, that word, which had been out of fashion
in America since the late 1960s, became omnipresent. Students
now connect "hero" to bravery and self-sacrifice.
But
they are quick to point out that, while it is easy to respect
rescuers, it is hard to identify with them, and that a brave deed
does not necessarily equal a heroic life. As America begins to
appropriate the word hero to sell products, some students are
already being made cynical by its overuse. Moving away from September
11, we understand that our society has been modified, not revolutionized.
Celebrities are still with us, politicians are back to squabbling,
and disdain for our history persists.
The role of heroes in educating the young interested Plato and
Aristotle and will continue to intrigue Americans in a diverse,
information-rich, ever more egalitarian society. Contemporary
students ask many of the same questions about heroes that thoughtful
people have long considered. "What role does chance play
in creating heroes?" "Do we need to know the whole truth
about our heroes?" "At bottom, aren't all human beings
just selfish?" "Can a celebrity be a hero?" "How
can anyone from the past serve as a model?" "Why do
we tear people down?" "Why do we need heroes?"
Back
when the ideology of heroism was influential in American culture,
schools automatically offered young people heroes. Students read
Plutarch's Lives and learned the triumphs of Washington, Jefferson,
and Lincoln. The tradition of education by exemplary lives has
ended. In its place we offer lives that are seriously flawed,
juvenile novels that emphasize mundane reality, and a history
that is uncertain and blemished.
What can educators do to make heroes relevant to skeptical, unsentimental,
information-age students? My message is not to turn back the clock
and embrace the heroes of the 19th century, heroes who tended
to be white, male, and privileged. My hope is that students learn
to detect greatness in the midst of all their choices and information.
As educators, we can offer today's students a more realistic definition
of hero, a more subtle and complex presentation of heroism, one
that includes a recognition of weaknesses and reversals, along
with an appreciation of virtues and triumphs.
However
extraordinary, heroes are not perfect. They are familiar with
doubt and depression. They suffer, they fail. Ulysses S. Grant
started his magisterial memoir when he discovered he was dying
from throat cancer. Jane Addams suffered a nervous breakdown before
she founded Hull House. Heroes instruct us by transcending suffering
and triumphing over weakness. We can look into the obscure corners
of history for new heroes, such as Martha Ballard, who is celebrated
in Laurel Thatcher Ulrich's book A Midwife's Tale. Ballard trudged
through blizzards to deliver thousands of babies with a higher
success rate than that of male doctors in the 18th century.
We can look at old heroes in new ways. We could see Thomas Jefferson,
for example, as guilty and conflicted, a selfish slaveowner who
did not completely transcend his time. But we could also see a
diplomat, architect, scientist, and idealist who believed in religious
freedom and educational opportunity and who wrote imperishable
words that have become the basis for a movement toward democracy
that is sweeping
the world.
We
can make the case for all kinds of heroes and show how the study
of their lives can lift and improve our own. History classes could
include more biographies and encourage students to question the
past without diminishing their patriotism. We can admit the mistakes
the United States has made while acknowledging that our country
learns from those mistakes. From Wounded Knee we learned. From
the Homestead Strike and the Triangle Shirtwaist Fire we learned.
From Versailles and Vietnam.
After reading George Eliot's novel Adam Bede, British philosopher
Herbert Spencer commented, "I feel greatly the better for
having read it." Might this not be a reasonable test for
at least some of the books on our English reading lists? Why not
replace Ernest Hemingway's The Sun Also Rises and its cynical
expatriates with For Whom the Bell Tolls, about a brave soldier
fighting fascism in the Spanish Civil War?
Antiheroes
currently have too big a role in the English curriculum, particularly
in realistic juvenile novels. By questioning convention and exposing
hypocrisy, antiheroes can be appealing and even useful. They test
our ideals to make sure they are not shallow. Falstaff's mockery
of military honor leads us to a more realistic definition of courage.
Albert Camus' The Stranger helps us understand the allure of Mersault's
detached nihilism and the need human beings have for connection
and purpose. Antiheroes permit us to explore our dark side safely.
But antiheroes can be dangerous when, instead of seeing them as
characters to be wary of, we are seduced into antisocial behavior.
Critical
inquiry, the reigning goal of contemporary education, is only
one goal, and for much of U.S. history, encouraging virtue was
considered a more important one. Horace Mann, today remembered
as the father of public education, exhorted teachers to make their
students good as well as smart. Should Socratic dialogue mean
that there is no truth and that adults never have answers? Can
the promotion of idealism and the cultivation of optimism be as
worthy a goal as critical inquiry? In a bureaucratic age, we should
celebrate individual achievement; in an egalitarian age, praise
genius; when everyone is a victim, stress personal responsibility;
in addition to popular culture, value high culture. In a celebrity
age, caution young people about worshiping fame and beauty; in
a society mesmerized by athletes, recall the moral language of
sport.
Heroes
are a response to a deep and powerful impulse, the need to emulate
and idealize. We need to teach students that character is as important
as intellect, that idealism is superior to cynicism, that wisdom
should come before information. We need to teach them to be realistic
and affirming, to see life not only as it is but also as it ought
to be.
Peter
H. Gibbon is a research associate at the Harvard Graduate School
of Education. His book,A Call to Heroism: Renewing America's Vision
of Greatness, will be published in July by Atlantic Monthly Press.
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