work on language subordination
processes as well as the cultural theorist Homi Bhabha's metaphor of
''third space''.
In the pedagogical discussion (''On Rejecting Linguicism''), the
author draws largely on the work and strategies established by the art
teacher. Here, she reflects on what educators can learn from the
antiracist stance of this teacher at Northside. She purports that
teachers need to develop their own critical literacy skills and
recognize the discriminatory discourses facing students. The concept
of critical literacy as developed by Brazilian educator Paulo Freire
(1970) is crucial in this discussion. Under ''Further Reflection and
Discussion'', Goldstein reflects on the work of Tatum (1997) and the
concept of identity. She devises activities in which students explore
the different cultural images of language identities that are
presented in the media. Other activities also connect with the play,
in discussing racial and linguistic tensionsin the school.
CHAPTER 6: Oral Presentations, Accent Discrimination and Linguistic
Privilege. In this chapter, Goldstein calls attention to the emphasis
given to the display of strong English oral presentation skills at the
school. The chapter begins with a play written by Asian student
Timothy Chiu called ''No pain, no gain''. The play dramatizes the
challenges of organizing oral presentations in a second language, and
the disappointment of giving a performance that does not live up to
the presenter and his family's expectation of excellence. The
assignment is part of a workshop conducted by Mrs. Yee, the English
teacher who wanted to provide more opportunities for the Asian
students to use English.
In the commentary section (''Speaking with Different Accents''), the
author utilizes the student's play to explore the issues that arise
when students speak in different accents and teachers must evaluate
students