Carrot or Stick?

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Loco Parentis

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Updated Aphorism #5

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Executive Privilege

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Deist Dystopia

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Yet another film about earth's dystopian future hit the theaters this week, with at least two slated for later this summer. We humans seem to need some scolding about our profligate ways, and Hollywood, that bastion of restraint, is just the town to let us have it.

In After Earth, humans have again evacuated from earth to a distant location in space after destroying the home planet by pollution, overpopulation, and nuclear war. It is now a thousand years later, and "everything on this planet has evolved to kill humans." (Although one has to wonder how this evolution occurred, considering that no humans remained behind to contribute to the natural selection process . . .)

On the new planet, Kitai Raige (Jaden Smith) is a young cadet who wants to become a brave and respected ranger like his father Cypher Raige (Will Smith). But mostly Kitai just wants to be accepted by his father, who seems distant, cold, and demanding, more like a commander than a father.

When Cypher is called up for a mission, he decides to bring Kitai along. The ship is damaged in a magnetic storm and crash lands on — you guessed it — earth, where all those animal predators have evolved to kill humans. Strapped in during the crash, Kitai is unhurt, but Cypher's legs are both badly broken, and the other crew members are dead. The only hope of survival is to retrieve the emergency beacon from the wreckage of the tail, 100 kilometers away. Kitai must make the journey by himself, through unfamiliar land where predators have evolved . . . well, you get the picture.

For a sci-fi film populated by savage beasts terrorizing a likeable young boy, After Earth is surprisingly bland and extremely slow moving.

The predators are attracted to humans through the pheromones released by fear. No fear, no predators. Cypher encourages his son with the film's philosophical tag line: "Danger is real. Fear is a choice." It's a powerful concept, and if there is only one takeaway from the film, it's a good one. "Fear is not real," Cypher explains. "Fear is a product of our thoughts of the future. We are all telling ourselves a story. Fear exists only in the imagination. Stay focused in the present, and there is nothing to fear." I kind of like this version that I found on Facebook today: "Surrender to what is. Let go of what was. Have faith in what will be."

Unfortunately, "fear is a choice" is about the only takeaway. For a sci-fi film populated by savage beasts terrorizing a likeable young boy and an actor known for both his wisecracks and his ability to save planets, After Earth is surprisingly bland and extremely slow moving. Trapped by his broken legs, Cypher himself can't move. Instead of movement, we see his stoic reserve, his pain-induced wooziness, and his pensive flashbacks of family times at home.

Midway through, the film turns into a heavy-handed allegory. Before sending Kitai off into the lone and dreary wilderness, Cypher dresses him in a mechanized space suit equipped with a 360-degree camera and heat sensors. This gives Cypher a bird's eye view of Kitai's surroundings; Cypher can see everything in front of Kitai and behind him. Thus Cypher operates as an unseen, disembodied voice who guides Kitai from a position of omniscience. The boy must trust his father's voice and obey his commands in order to survive. At one point Kitai's receiver stops working. He can't hear his father's voice, but his father can still hear him. He thinks that his father is no longer watching him, but of course the father is there all along. The deist allegory is crystal clear, and rather satisfying if you like that sort of thing. I sort of do.

It makes even more sense when the credits roll and M. Night Shyamalan's name appears as director. Shyamalan is known for the spiritual themes that permeate his works, but also for the decline of his storytelling technique. He is best known for his stellar freshman work, The Sixth Sense, which is possibly the best ghost story ever made, and Bruce Willis' best and most serious acting job. Shyamalan was a shining star back then, but his star his dimmed to a nightlight now. In fact, the trailers for this film didn’t even include his name. Nor did it appear in the opening credits. The name that used to fill theaters is now considered box-office poison, I guess.

Allegory or not, the film remains heavily antihuman. Even after 1,000 years without people, the earth has not managed to stabilize. In fact, climate change has deepened. Temperatures drop well below freezing at night but soar into the tropical zone during the day. Oddly, broadleafed trees and warmblooded bison have no trouble thriving in these extreme temperatures.

The original screenplay for this film was not set in the future, or even in space. Father and son were driving a lonely road when their car crashed and the father's legs were broken. The young son had to hike through the forest on his own to find help and save his father's life. Will Smith decided that the film would be much more exciting if it were a sci-fi story set in space, with scary aliens and cool equipment. But I'm not so sure they made the right decision.

Father trapped in a car? Sending young son out into the woods alone? In this day and age? Now there's a scary story.

Danger is real. Fear is a choice. And even though movie danger isn't real at all, I think I would choose to be very fearful watching that scenario.


Editor's Note: "After Earth," directed by M. Night Shyamalan. Columbia Pictures, 2013, 89 minutes. (But it seems like two hours, at least.)



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Nanny Tries to Resurrect Pappy

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This recent story has gone virtually unnoticed. It is a report that the federal government — yes, our very own nanny-state — has funded anew one of its many websites: www.fatherhood.gov. The site is devoted to teaching American men and — let’s not be sexist! — American women how to be good fathers.

The site gives just tons of terrific tips about being a good dad, such as: it is the father’s job to provide healthy meals for his kids, and actually to eat meals with them. (This is a revelation: I thought that since the government is advertising to get people to apply for food stamps, the rolls for which have swollen to an all-time high of 47 million, it is in fact the government’s job to feed the kids.) And there is other vital information, available nowhere else. There is a video about how to wash your hands, with narration that instructs: “Wet hands under running water, add soap, and rub all parts of the hands and fingers for 15 seconds.”

The things you can learn from government! I never knew you had to use soap!

The site offers some even more desperately needed videos on reading, “constructive play,” and — most amazing — brushing your teeth.

There is a richly layered irony in this. Begin with the fact that the website was funded most recently by the 2005 Deficit Reduction Act. The idea that deficit reduction is advanced by funding completely superfluous government websites is self-evidently ridiculous.

Now add the bigger point. Here we are, nearly 30 years after the publication of Charles Murray’s Losing Ground, the definitive analysis of the massive destruction brought to the American family (and society) by the benighted changes to the welfare programs in the early 1960s. The new form of welfare basically paid young girls to make horribly bad life choices, mainly to have children too young and out of wedlock. The illegitimacy rate in the inner city spiraled out of sight, hitting 25% by the mid-1960s (when Daniel Patrick Moynihan wrote his famous report on the black family crisis). In the inner city, the first of the month was dubbed “Father’s Day,” in grimly humorous recognition of the fact that the only “father” in these broken welfare families was Uncle Sam.

Over the decades since, the welfare state’s iatrogenic pathology has spread from the inner city to mainstream America. Now over 70% of all black children, 50% of Hispanic children, and 25% of non-Hispanic white children are born out of wedlock. The rate of illegitimacy for all American births is currently 41%, and for American women under 30, it is a stunning 53%.

So the richest irony of all is that the nanny state that did so much to eliminate fatherhood is now trying to train men to be fathers.

In fine, now that nanny has choked pappy to death, she is trying to resurrect him.




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Problems of Perspective

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Perspective. Two people can look at the very same scene, or experience the very same event, yet come away with completely different ideas of what they have seen. That seems to be the point of Wes Anderson's latest film, Moonrise Kingdom, and he begins making that point, cleverly and creatively, with his opening scene.

We see a painting of a seaside house. As the camera comes closer, we enter the house. It is obviously a dollhouse, full of tiny dollhouse furniture. Then a boy walks into the scene, passes the tiny chair, and demonstrates that it is actually normal size. As the camera pans from room to room, similar anomalies appear. We see a giant set of binoculars at the far side of a room, until a young girl walks into the scene and comes toward the binoculars. Only then do we realize that they were normal sized binoculars sitting on the window sill in the foreground, not the background. Again, we see a full-sized lighthouse in the distance, until a car drives into the scene and we realize it is merely a mailbox in the foreground, decorated to look like a lighthouse.

These optical illusions are no accident, and they are not merely a filmmaker's cinematic game, although they are mighty fun. Anderson uses this technique to establish, early in the film, that what we see is not always what we get. Our perspective of anything we see is often skewed by our expectation of what it is. The girl carries her binoculars everywhere and sees almost everything through their lenses, suggesting that if we look at events more closely, and put people into the picture, we are more likely to gain a proper perspective.

Wes Anderson is known for his quirky story lines, dysfunctional families, vivid color palate, and deadpan direction. This film is no exception. Moonrise Kingdom is a story of young star-crossed lovers — a familiar story, here turned upside down. Suzy Bishop (Kara Hayward) is the oldest child of a pair of lawyers (Bill Murray and Frances McDormand) who speak in legal jargon and call their four children to dinner with a megaphone. At one point a shirtless Mr. Bishop walks through the living room, carrying an axe, and announces to no one in particular, "I'm going to find a tree to chop down." No wonder Suzy has anger-control issues.

Sam (Jared Gilman) is an orphaned "Khaki Scout" staying at a summer camp across the island from Suzy's house. Sam doesn't fit in with the other scouts. Authority figures in 1965, when this film is set, would probably have said he needs to "be a man"; certainly no one seems concerned about how the other boys treat him. Those same authorities today would probably say “he is being bullied.” It's all about perspective, isn't it?

Sam and Suzy meet by accident when the scouts attend a church production of Benjamin Britten's "Noye's Fludde," in which Suzy plays the raven. (Okay, it's not exactly by accident; Sam sneaks into the girls' dressing room to find out who she is.) Britten's music provides the score for much of the film, and "Noye's Fludde" foreshadows both the pairing up of the two young romantics and the tempest — figurative and literal — that is about to break forth.

After a year of clandestine correspondence and furtive binocular spying, Sam breaks out of his tent, Shawshank style, and runs off with Suzy into the woods. The shenanigans that follow, with scouts, family members, and a robotic matron (Tilda Swinton) known only as "Social Services" trying to find the runaways, is classic Anderson, with bizarre, illogical, unexpected happenings presented as perfectly natural events. The sweet budding romance between Sam and Suzy as they play house in the woods (also bizarre and illogical) is contrasted sharply with the mean-spirited antics of those who are sworn to protect them.

Under the direction of their gung-ho scoutmaster (Edward Norton) the rest of the scouts form a posse to track Sam down and bring him back to camp. "I resigned," Sam tells them simply, to explain why the boys have no jurisdiction over him. To this one of them asserts, "You don't have the authority to resign!" His perspective on group dynamics is funny and chilling, so obviously wrong and yet so socially accepted. Recalling the furniture in the film's opening scene, the boy appears to be a small GI Joe, but he is spouting grownup beliefs. Sam is correct when he says to the boys, "I don't like you and you don't like me, so why don't you just let me go?" But they won't let him go; they expect him to conform to the group.

All of this might be charming and delightful if only our star-crossed lovers were a little older. But to me there is something creepy and unnerving about 12-year-olds kissing in their underwear and talking about hard-ons and breasts. Yes, these children have faced some difficult obstacles, with Sam being sent to foster care after his parents died and Suzy spying on her mother's infidelity with the local cop (Bruce Willis) and being bathed by her mother at the age of 12. But I hardly think that running away to play house and have sexual experiences at that young age is the answer.

I also couldn't shake the realization that Kara Hayward and Jared Gilman were 12 themselves as they experienced their first "touching sessions" in front of cameras, boom operators, and director Anderson. As the film points out in its opening scene, a little perspective is wanted. Things that are large sometimes turn out to be small, and things that are small often turn out to be large. Children are small. They should not be placed in adult situations, no matter what the director — and their parents — tell them to do.


Editor's Note: Review of "Moonrise Kingdom," directed by Wes Anderson. Indian Paintbrush, 2012, 94 minutes.



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Like the Father or the Dog Just Died

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Leading up to Father’s Day, I count my victories in small bites. This month, it was a button.

While filling in my son’s information on ePACT, an online emergency preparedness resource for families, I noticed that on the mother’s page there was a button for "same address as child." For the father, there was no such button. I wrote a letter. Now fathers have a button too. A button-sized victory for dads everywhere. Well, for dads in British Columbia anyway.

There’s still a part of me that feels ridiculous writing complaint letters about these sorts of things. Two years ago, I would never have noticed the discrepancy. Who cares about a button? But after two years as a single dad — two years of dealing with gender-role stereotypes at nearly every level — there I was, not only noticing but writing letters.

Unfortunately, not every institution is as responsive as the nice folks at ePACT. There is, to pick on the local 800-pound gorilla as an example, Revenue Canada. Its policy for the Canada child tax credit explicitly and unabashedly discriminates based on gender: “If there is a female parent who lives with the child, we usually consider her to be [the primary caregiver]. However, if the male parent is primarily responsible, he must attach to Form RC66, Canada Child Benefits Application, a signed note from the female parent that states he is primarily responsible for all of the children in the household.” And if the female parent will not provide a signed note, then the burden of proof on the father is somewhere between that of a criminal trial and the Spanish Inquisition.

In my case, a sole-custody court order was deemed insufficient to prove that I have “primary responsibility” for my son. I was asked to provide letters from his school, from his afterschool activities, and from community leaders such as doctors and lawyers. For a mom, it’s automatic. For a dad, it’s a two-year treasure hunt.

But resistance is futile, so I tried to comply. In doing so, I noticed that my son’s elementary school had changed his student information from “Father has sole custody” to “Mother has sole custody” despite the fact that the school had a copy of the court order. Like ePACT, the school is full of good people. The teachers, the principal, everything about it is great, and it was apologetic about the error — a simple accident, not conscious discrimination. But even as an accident, it says volumes about social expectations. People assume that the mother is the caregiver to such a strong extent that it changes what they see on the page.

It’s somehow become socially acceptable (again) throughout North America to devalue a human being purely because of an identity-characteristic such as gender.

Dealing with this over and over has made me hypersensitive, a bit like a feminist in the 1980s. When my son’s teacher corrected his grade-one essay about his family from “My family is my dad, my mom, and . . .” to “My family is my mom, my dad, and . . .” I asked the teacher why. She told me I was “ridiculous” and “offensive” to bother her with such an issue. She was both right and wrong. It is ridiculous to complain about a simple swapping of the word order — though not that dissimilar from the campaign 20 years ago to change “businessman” to “businessperson” — yet when you correct a child you’re telling him he’s wrong, that he made a mistake. Why is it a mistake to put “dad” first?

When did it become such a bad thing to be male? Why has “testosterone” become a dirty word? Thinking about these things, I started to do something men don’t often do: I talked, communicated. First during poker games with friends who happened also to be single fathers. Then through a website I started for single dads, initially as a fitness site for dads with little spare time. And finally through systematic research for a book that grew out of this frustration.

What I’ve seen coming out of all this talking is that it’s somehow become socially acceptable (again) throughout North America to devalue a human being purely because of an identity-characteristic such as gender. In the US, President Obama's method of counting civilian casualties excludes all military-age males, within a strike zone, who have not been explicitly proven innocent. Meaning that it’s official government policy that in certain situations the simple fact of being male makes you guilty until proven innocent.

Here in Canada, we have a Ministry for the Status of Women — a cabinet-level government ministry — that publishes reports of journalists who write articles discussing the gender discrepancy that’s leaving boys behind in schools, and reframes this as a “hate” issue against women. A report from 2003 titled School Success by Gender: A Catalyst for the Masculinist Discourse, for example, argued for greater government monitoring of websites that seek to help boys in school or give fathers support in custody disputes. "Some masculinist groups use the Internet as a vehicle for hate-mongering against feminists. This accessible and virtually universal medium gives them the opportunity to say and post almost anything. It is no accident that this medium is being used by those on the extreme right, pedophiles and pornographers.”

This is not a fringe group writing. It’s a report for a government ministry associating men with pedophiles and pornographers simply because they are seeking each other’s support — something that women do far more naturally than men for reasons of culture and history. If men are forming support groups, if they’re seeking a greater role in caring for their sons and daughters, if fathers are engaged with their sons’ education and well being, then those are all good things. They should be encouraged. It means we’re slowly moving to a post-gender society. Ironically, however, all the institutions we’ve put in place to help enable that transition are precisely the ones that are now causing the greatest obstacles.

The philosopher Ivan Illich once pointed out that every institution gradually becomes counterproductive to its original intentions: the medical industry causes illness, educational institutions induce ignorance, the judicial system perpetuates injustice, and national defense makes a nation less secure. Similarly, the fight for gender equality has now made it almost politically incorrect to acknowledge equality among parents.

So let me put my cards on the table before I get added to the ministry’s list of “certain writers acting as the customary spokespersons for the masculinist discourse.” I’m not a misogynist. I’m not anti-feminist. I like feminists, and I have read more feminist literature than any man I know. I don’t agree with all of it. I tend to prefer French deconstructive feminists, such as Luce Irigaray, and literary ones such as Gayatri Spivak, over the more combative ones, such as Andrea Dworkin and Catherine McKinnon,who once wrote that "to be rapable, a position that is social not biological, defines what a woman is." Which inevitably implies that to be a rapist defines what a man is.But I’ve read them all, I appreciate them all, and I think it’s time for men to start learning from them all.

That's because it is time for a masculinist discourse to complement feminist discourse, especially in family matters where the unofficial policy often seems to be mirroring the official “guilty until proven innocent” approach to defining war casualties based on gender. We don’t need men shouting words like “feminazi,” which is the way masculinists are caricatured — but it's worth pointing out that to be a good feminist you also have to be a masculinist (and vice versa). I’m not suggesting that everyone needs to become as hypersensitive as I am now to missing buttons for the dad’s address or the constant bombardment of “man as idiot” commercials on radio and TV. But we do need to start some sort of conversation about gender that is rooted in today rather than in history. I have a son, and to me that trumps any notion of historical wrongs. I don’t want him to grow up voiceless, any more than a feminist 30 years ago wanted her daughter to grow up second class.

And if not for your sons who will one day become fathers, then do it for the girls. Because if you assume men cannot raise healthy, well-adjusted, and confident children just as well as women can, then you’re also implicitly re-opening the question of whether a female firefighter can perform certain rescues as proficiently as a stronger male counterpart.

In the song "Everybody Knows," Leonard Cohen sings the line, "You've got that broken feeling, like your father or your dog just died." Within family matters in North America it does sometimes seem that this is the status that fathers are assigned. So on this Father’s Day, let’s give the dads a promotion. Fathers are wonderful. They’re just as cool as mothers.




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What Not to Do About Bullying

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The Weinstein Brothers are champions at using controversy to garner publicity for their films. Recently they used that skill to the hilt to stir up public interest in their documentary Bully, an intimate look at the problem of bullying in public schools. First they inserted enough explicit language to earn an R rating. Then they complained vociferously to the rating board that the R would prevent the most important audience from seeing the film. The controversy was reported in the media, and reviewers like me sat up and took notice. I viewed Bully the day it opened, fully expecting it to knock Hunger Games off its throne as the most talked-about film of the season.

Katniss Everdeen need not worry; she still owns the throne. Bully is a good documentary. It might even be an important documentary. Those who have experienced any form of bullying will probably find it a very moving documentary. But I don't think anyone is going to be flocking to see it, regardless of the rating. It will probably end up in many school libraries, however, and many students will see it in their social studies classes for years to come.

The film follows the stories of five students from four states (Georgia, Iowa, Oklahoma, and Mississippi) who have experienced bullying for a variety of reasons. One is small for his age. Another suffers the physical effects of a premature birth. Yet another is a lesbian. Two have committed suicide, and are represented by interviews with their parents and in clips from home movies. The filmmakers were able to get surprisingly candid scenes of students abusing these kids on the bus, in the cafeteria, and in the hallways, as well as candid scenes of administrators, teachers, and parents — people who often make fools of themselves as they discuss the problem. I often thought to myself, "Didn't they realize they were being filmed?" I applaud the filmmakers' ability to elicit such open, unabashed realism. No one in this film was on his best behavior.

Except, perhaps, for the school administrators. They fairly glow in their obvious attempt to put their best feet forward and shine for the cameras. The principal at Alex's school stands in the hallway as the students arrive from the bus. One boy comes to her with his hand on his head and reports, "A kid slammed my head into a nail!" The principal puts on her sweetest, most understanding voice and says, "I'll bet you didn't like that, did you?" Another boy walks past, visibly upset, and she says to the camera, "He's such an unhappy child." In another scene she forces two older boys to shake hands as a way to resolve what seems to be a longstanding battle. The bully extends his hand, but when the victim of his bullying is reluctant to do so, she chastises him, saying that he is now the bully and that it's his fault. "Why don't you just get along?" she coos after the bully leaves. "He was willing to shake your hand. I think the two of you could be friends." The boy, nervous and confused, responds, "The cops told us to stay apart." This principal hasn't a clue. Not a clue.

When are parents going to wake up and realize that the public school system itself is broken beyond repair?

Another school administrator tries to whitewash the issue. "Is it an ongoing problem in our school?" she asks rhetorically. "No it is not," she answers herself, vigorously nodding her head as she says it. I would love to have an expert explain that body language! Another administrator offers a similarly Pollyannish response when parents complain about the abuse their son is experiencing on the bus. First she says, "Buses are notorious for abuse," and offers, "I can put him on another bus" — rather than trying to solve the problem. The mother suggests (wisely, I might add), "When I was a kid the bus driver pulled over and wouldn't take anyone home until everyone settled down." Isn't that kind of an obvious policy? But the principal simply says, "I've ridden Bus 54, and they were good as gold." Several of us in the audience laughed out loud at that idiotic response. Well, duh! You were on the bus! Of course they behaved!

The film does a fine job of revealing the problems experienced in the communities it covers, but it offers few satisfying solutions. Devon, who was bullied for four years, says in an interview, "I stood up for myself, and they leave me alone now." But when Ja'Maya tries this technique, she ends up in juvenile jail for several months. Alex simply gives into the abuse, acknowledging sadly, "At least it's attention. I don't mind it that much." His story is perhaps the saddest, because he feels so lonely in addition to being bullied. He just wants a friend. Telling school authorities and the police also accomplishes little. When a vice principal asks one of the bullied boys why he didn't speak up sooner, he responds, "Because you didn't do anything about it last year when I told you that X sat on my head."

Only one family makes what I consider the right choice: they take their daughter out of school and teach her at home. Why would any thinking, caring parent subject a child to this kind of torture day after day? When are parents going to wake up and realize that the public school system itself is broken beyond repair?

While Bully is a good movie, it is hardly a great one. My biggest complaint is that its scope is so limited. These children all lived in similar small towns in the South or Midwest, and all seemed to come from similar poor socioeconomic backgrounds. That is hardly a representative sampling. An estimated 13 million children experience bullying every year, representing every region of the country, every size of community, and every socioeconomic group. Moreover, children used to find a safe haven after school hours. But bullying has left the schoolground and now occurs increasingly at home, especially through the internet. Children simply can't get away from the painful words and public gossip. None of this is highlighted in the film. Nevertheless, I consider Bully must-see viewing for anyone who has a child attending a public school.

What made me saddest as I watched this film was not the funeral of little Ty, one of the boys who committed suicide, or even watching a boy ram Alex's head against the back of a bus seat. It wasn't hearing Alex's principal say, "Boys will be boys." It was the sight of Alex's own mother browbeating and chastising him for not telling her that he was being bullied at school, followed by his sister joking that she's embarrassed at school because none of her friends like him. He's surrounded by bullies at school, and by well-intentioned bullies at home. I just wanted to wrap my arms around that little boy and whisk him away from all of them. All of them.

Except, perhaps, for the school administrators. They fairly glow in their obvious attempt to put their best feet forward and shine for the cameras. The principal at Alex


Editor's Note: Review of "Bully," directed by Lee Hirsch. Weinstein Bros., 2011, 99 minutes.



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Stop the Slander of Inner-City Parents

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A few years ago I wrote an article for this journal urging school choice. Afterward, I received a number of arguments against it — bad arguments. One of these was what I termed the “incompetent parent argument,” which is the one you often hear from the defenders of the present public school system (that is, from greedy rentseekers who benefit from the system, because they are employed by it). The argument is this: school choice will fail because inner-city parents are too ignorant and indifferent to make wise choices about their kids’ education.

This claim is usually proffered sotto voce, since inner-city parents are often members of ethnic minorities. The argument can be accused of having a racist cast, yet the people who offer it are typically politically correct progressive liberals who love accusing the rest of us of racial insensitivity.

But to return to the argument itself. A recent piece in the Wall Street Journal exhibits the ultimate refutation of this rubbish. It reports the dramatic swelling of a “crime wave” of inner-city parents who lie about their home address on school applications. Gov. John Kasich (R-OH) recently had to grant clemency to a poor black mother who had dared — dared!! — to use her father’s home address to get her two daughters into a decent school.

For this act of vicious criminality, she was charged with grand theft. After being incarcerated for nine days, she was convicted on two felony counts. If they had remained on her record they would have ruined her chances of getting a teacher’s certificate and becoming a teacher herself.

The lady is not alone. Not hardly. In several states, desperate parents — you know, the inferior inner-city parents who are genetically incapable of the same love for their children that tenured white teachers can feel — have been arrested for trying to do what she did, and are facing jail time or other punishment. School districts around the country are hiring detectives to follow children and see whether they really live where they say they do. Some districts are even using “address-verification” programs to halt the abominable crime of finding a decent education for your kids. One of these programs, VerifyResidence.com, uses “covert video technology” to find the pernicious perps.

Minority parents must care a lot about choosing good schools for their kids, if so many are risking prison for the chance to do so. And of course, these people are hardly criminals. As the article suggests, we can view them as practicing a form of nonviolent protest to achieve their civil rights, in the honorable tradition of Martin Luther King.

A couple of months ago, more evidence that parents are not indifferent but are in fact committed to finding good schools came to light. It was an internal teachers’ union PowerPoint presentation boasting about how the union (the notorious American Federation of Teachers) thwarted parents’ groups in Connecticut from passing a “parent-trigger law” that would have forced a change in administration of any failing school if the majority of the district’s parents voted for the change. If the parents had been as indifferent as rumored, would the union have gone to such Machiavellian means to screw them?




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