Archive for August, 2010

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Come gather round people and check out the brilliant web site for our 2011 Annual Gathering. The place: Banff, one of the most beautiful natural settings in the world. The dates: May 20-23. Url: http://mensa2011ag.ca/. Expect an international crowd and a mix of fun and challenge, breadth and depth, games, songs and earnest debate. And don’t forget meditation and exploration. The web site contains full details, though we’re still planning the minutia. Volunteers are welcome. To volunteer in various capacities, contact Vicki Herd at vherd@shaw.ca

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The Events page lists our monthly coffees and movies, dinners and social occasions. Thank you Rob for your excellent work. Readers can run their mouse over the indicated word on the Events page and – voila – our calendar appears.

Visualization is the challenge in our Puzzles section. Don’t hesitate to stretch your skills.

The Articles begin with a French analysis of buck-passing in the BP disaster. I mean the PR disaster as well as the “black wave” as Paris expresses it. Would it surprise us to see titanic struggles in court one day, as BP sues Transocean, Halliburton and Cameron International? Other companies can’t wait to join the litigation nightmare to come. We’ve heard soft noises from BP thus far, but these are as the velvet glove that conceals an iron fist. Stay tuned, sports fans.

Next is a study of the cost-cutting and unreality that pervaded and financed BP’s growth. Prudence was not BP’s mission, caution not its practice. Near-misses and errors seem the rule. But BP still takes on projects that other companies view as too risky, and BP then tries to make the projects ever more profitable. The combination of increasing risk and decreasing caution is volatile. BP hasn’t learned. Or is it governments that never learn to moderate promises, or we voters who keep electing them and expecting the impossible?

We also see another article in the Why Johnny Can’t Read series, that now has stretched through a generation. Tests have become easier because of politicians who want to brag about scores and who make financing contingent on test results. Well, frankly, what else could a rational person expect? The focus here is on New York, which allows us to watch the Big Apple squirm as we feel superior. It can’t happen here, right?

WHAT’S ON THIS MONTH

Click here to see the calendar of events for this month. Use it as a reference by rolling your mouse over the links or just as a reminder. Bookmark it today!

PUZZLES

1) To stretch your visualization skills, imagine any bizarre quadrilateral on a flat surface. The quadrilateral must, of course, consist of four straight sides that completely enclose a space. Join the midpoints of adjacent sides. What new shape have you created? Now return to the original quadrilateral in your mind and bisect its angles. Use pen and paper if you wish. Connect the points where the bisectors meet. What shape have you drawn? Finally, bisect the angles of this last shape and connect the points where the bisectors meet. What is this last shape you’ve created? [from Mathematical Amazements and Surprises, by Alfred Posamentier and Ingmar Lehmann]

2) Starting with a cube, consider how to create an object that is invisible and has infinite surface.

The answers to last month’s puzzles were supplied last month.

Here are the answers to this month’s puzzles:

1) The first shape is a parallelogram. The second is a rectangle. The third is a square.

2) One answer is the Menger sponge. Imagine that our cube has been notionally divided into 27 subcubes of equal size. Remove the subcube at the centre of each face and the subcube at the heart of the original cube. We’re left with a cube that has three square holes right through it. There are 20 subcubes remaining. Treat each of the remaining subcubes as we treated the original, and repeat the process again and again. The surface area keeps multiplying as the volume shrinks. At the limit of infinity, the surface area approaches infinity while the volume approaches zero. [from Here’s Looking at Euclid, by Alex Bellos]

FEATURE1 WHO’S RESPONSIBLE?

En raison du coût des opérations en mer, de l’incroyable complexité des forages à grande profondeur et de la nature de roches-réservoirs, plus compactés et plus cimentés, l’exploitation offshore est une aventure plurielle. La plate-forme Deepwater Horizon, à l’origine de la marée noire dans le golfe du Mexique, était un gigantesque Meccano où s’enchevêtraient de multiples compagnies. Et pour l’instant, les associés de BP s’en sont plutôt bien sortis.

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BP, qui a déjà dépensé 2,49 milliards d’euros pour la marée noire, était l’actionnaire principal de Deepwater Horizon (65 %) aux côtés de la compagnie pétrolière américaine Anadarko (25 %) et du conglomérat japonais Mitsui (10 %). Société américaine basée en Suisse, Transocean était propriétaire, opérateur et responsable de la sécurité de la structure métallique. Le groupe américain de services Halliburton avait cimenté les appareils de sondages, la petite société texane Cameron International avait fourni les obturateurs anti-éruptions destinés à protéger les équipements contre l’énorme pression à grandes profondeurs.

Le cours en Bourse de ces entités a d’abord souffert de l’inquiétude des marchés face aux poursuites éventuelles de BP contre ses partenaires. En effet, dans la semaine ayant suivi la destruction de la plate-forme, le 20 avril, le groupe britannique avait affirmé que Transocean serait obligée de prendre en charge l’essentiel de la facture, avant de faire marche arrière.

Les milieux financiers se sont rangés aux arguments des partenaires de BP. Pour Transocean, “la production de gaz et de pétrole commence et finit avec l’opérateur ultime, BP”. Anadarko et Mitsui ont eu beau jeu de souligner que leur rôle se limitait à l’apport de fonds. Pour sa part, Halliburton a souligné qu’il avait suivi à la lettre le cahier des charges fixé par BP. Enfin, plus que centenaire, Cameron a mis en avant sa longue expérience et son bilan irréprochable en matière de sécurité.

Casting d’enfer

Le recul de ces groupes à la corbeille n’est pas dû à leurs rapports avec BP, mais à la défiance envers l’ensemble du secteur pétrolier (baisse attendue des commandes, hausse du coût des mesures de sécurité et de protection de l’environnement à venir…). Pour le reste, si BP a été contraint de renoncer au versement d’un dividende, Transocean a choyé ses actionnaires en leur distribuant 1 milliard de dollars ! A l’inverse de BP, entité britannique mais de facto américaine, ses associés ont bénéficié du réseau d’influence politique au casting d’enfer bâti par les pétroliers américain. L’administration Obama a concentré ses attaques sur BP, épargnant les autres entreprises.

Pour les deux partenaires du britannique, l’essentiel est de se dégager de toute responsabilité. Ils ont certes participé à l’élaboration du budget, du design du puit et de l’échéancier, et ils ont été informés des progrès de l’exploration. En vertu de l’accord d’association, Anadarko et Mitsui sont responsables à hauteur de leur participation, sauf à démontrer l’acte de négligence de la part du chef de file. Pour n’avoir rien à payer, ces dernières ont délibérément chargé BP. Par ailleurs, les obligations contractuelles des autres sous-traitants, juridiquement bien définies, diffèrent selon les projets et la culture d’entreprise du client.

En attendant le colmatage de la fuite, les concurrents de BP profitent de ses déboires. Ainsi, dans le grand projet d’exploration de la mer de Chine méridionale, la société britannique a dû accepter de laisser à son associé Chevron la direction des opérations.

(Marc Roche, Le Monde, 5July2010)

FEATURE2 BP – CHEAP & DIRTY

Hurricane Dennis had already come and gone on July 11, 2005, when a passing ship spotted a shocking sight in the Gulf of Mexico: Thunder Horse, BP’s hulking $1 billion oil platform, was listing precariously to one side, looking for all the world as if it were about to sink.

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Towering 15 stories above the water’s surface, Thunder Horse was meant to be the company’s crowning glory, the embodiment of its bold gamble to outpace its competitors in finding and exploiting the vast reserves of oil beneath the waters of the gulf.

Instead, the rig, which was supposed to produce about 20 percent of the gulf’s oil output, became a symbol of BP’s hubris. A valve installed backward had caused the vessel to flood during the hurricane, jeopardizing the project before any oil had even been pumped. Other problems, discovered later, included a welding job so shoddy that it left underwater pipelines brittle and full of cracks.

“It could have been catastrophic,” said Gordon A. Aaker Jr., a senior engineering consultant on the project. “You would have lost a lot of oil a mile down before you would have even known. It could have been a helluva spill — much like the Deepwater Horizon.”

The problems at Thunder Horse were not an anomaly, but a warning that BP was taking too many risks and cutting corners in pursuit of growth and profits, according to analysts, competitors and former employees. Despite a catalog of crises and near misses in recent years, BP has been chronically unable or unwilling to learn from its mistakes, an examination of its record shows.

“They were very arrogant and proud and in denial,” said Steve Arendt, a safety specialist who assisted the panel appointed by BP to investigate the company’s refineries after a deadly 2005 explosion at its Texas City, Tex., facility. “It is possible they were fooled by their success.”

Indeed, there was a great deal of success to admire. In little more than a decade, BP grew from a middleweight into the industry’s second-largest company, behind only Exxon Mobil, with soaring profits, fat dividends and a share price to match.

From its base in London, the company struck bold deals in politically volatile areas like Angola and Azerbaijan and pushed technology to the limit in the remotest reaches of Alaska and the deepest waters of the Gulf of Mexico — “the tough stuff that others cannot or choose not to do,” as its chief executive, Tony Hayward, once put it.

The company also led an industry wave of cost-cutting and consolidation. It took over American competitors like Amoco and Atlantic Richfield and eliminated tens of thousands of jobs in several rounds, streamlining management but forcing the company to rely more heavily on outside contractors.

For a long time, BP’s strategy seemed to pay off. But on April 20, the nightmare situation occurred: the Deepwater Horizon drilling rig exploded, killing 11 workers and sending millions of gallons of oil gushing from BP’s Macondo well like so much black poison.

Although the accident is still under investigation, preliminary findings by Congressional investigators indicate that BP made a series of decisions that compounded the chances of disaster.

BP declined to make Mr. Hayward or other executives available for this article. But in an interview last month, Robert Dudley, the BP board member now in charge of the gulf spill response, denied that the accident reflected a corporate disregard for safety.

“I think we will find that this was an incredibly complicated set of events with individual decisions and equipment failures that led to a very complicated industrial accident,” he said.

BP is hardly the only oil company that has taken on difficult projects with a shaky safety net. But the company’s attitude toward risk stands in contrast to that of its competitors, most notably Exxon Mobil, whose searing experience with the Exxon Valdez spill in 1989 spurred a wholesale change in its approach to safety.

“You can have the best intentions in the world, you can have the best equipment in the world, but it’s a combination of intentions, equipment and judgment that keeps accidents out of the workplace,” said Joseph H. Bryant, who ran BP’s operations in Angola from 2000 to 2004 and who is now chief executive of Cobalt International Energy. “If you are going to ask people to innovate, you’d better make sure that they know that any risks they take are manageable.”

A Focus on the Basics

When Tony Hayward became BP’s chief executive in May 2007, he promised to get the company back to basics.

One of his first moves was to remove the modern art adorning the company’s swanky London headquarters, including an endless video of gently waving corn projected onto one wall. In its place went prosaic photographs of BP service stations, platforms and pipelines.

A plain-spoken geologist and longtime company man, Mr. Hayward dispensed with the limousine used by his socially prominent predecessor, John Browne, and closed the concierge desk in the lobby that had helped employees with dry cleaning and theater tickets.

“BP makes its money by someone, somewhere, every day putting on boots, coveralls, a hard hat and glasses, and going out and turning valves,” Mr. Hayward said in a speech at Stanford Business School last year. “And we’d sort of lost track of that.”

Mr. Hayward also pledged to fix the safety problems that contributed to the downfall of his predecessor. Though the company would continue doing the “tough stuff,” he declared, it would make safety its “No. 1 priority.”

In the realm of personal safety, Mr. Hayward expanded on Mr. Browne’s initiatives. Visitors today see signs at company offices exhorting workers not to walk and carry hot coffee at the same time, to stick to marked walkways in parking lots and to grasp banisters while climbing the stairs. Employees with company cars must take defensive driving courses.

Mr. Hayward also set up a new companywide management system to evaluate risks, standardize safety practices and improve decision-making.

In a memorandum to employees on Friday, he noted that before Deepwater Horizon, the company’s safety record had been improving. “This accident has been a terrible exception to that trend and we must learn the lessons from it,” he wrote. “But at the same time, it does not invalidate all the hard work you have put in to improve our safety standards around the world. Safety is our first priority. It will remain so.”

But American regulators and some members of Congress say that despite such talk, the company continues its risky behavior.

“The way safety is measured is generally around worker injuries and days away from work, and that measure of safety is irrelevant when you are looking at the likelihood that a facility like an oil refinery could explode,” said David Michaels, assistant secretary of labor for occupational safety and health. “This is comparable to saying that an airline is safe because the pilots and mechanics haven’t been injured.”

A Story Begun in Persia

BP was born in 1908 when a rich Englishman named William Knox D’Arcy struck oil in Iran and formed the Anglo-Persian Oil Company. Treating the locals as little more than imperial subjects, the company, partly owned by the British government, expanded across the region, its fortunes intertwined with those of the British Empire.

But as oil-rich countries around the world began nationalizing their oil fields, British Petroleum, as it later became known, was forced to retreat and find new strategies along with the rest of the industry.

In 1995, the British government sold the last of its stake in the company and the charismatic Mr. Browne took over.

A highly visible supporter of the Royal Opera House, the National Gallery and Prime Minister Tony Blair, Mr. Browne transformed the company into a global behemoth, boldly acquiring properties around the world and rechristening it BP.

Unlike some of his more cautious competitors, Mr. Browne ignored small projects and went after the riskiest, most expensive and potentially most lucrative ventures — “elephants,” in industry jargon. Under him, BP’s share price more than doubled and its cash dividend tripled, making it a darling of investors.

But even as he became the toast of Britain’s business world and was made a knight and member of the House of Lords, Mr. Browne was ruthlessly slashing costs. He outsourced many operations and fired tens of thousands of employees, including many engineers.

Tom Kirchmaier, a lecturer in strategy at the Manchester Business School, said that Mr. Browne tried to run BP like a financial company, rotating managers into new jobs with tough profit targets and then moving them before they had to deal with the consequences. The troubled Texas City refinery, for example, had five managers in six years.

Mr. Browne, now advising Britain’s coalition government on its cost-cutting campaign, declined to comment for this article. In his new autobiography, “Beyond Business,” he said, “I transformed a company, challenged a sector, and prompted political and business leaders to change.”

Mr. Browne resigned under pressure in 2007, his reputation tarnished by a lie he told in court papers about his relationship with a male companion.

However, Mr. Browne’s fall from grace really began on March 23, 2005, when 15 people died and more than 170 were injured in America’s worst industrial accident in a generation: a huge fire and explosion at Texas City.

A Troubled Workplace

Acquired by BP in the Amoco purchase, the Texas City plant was America’s second-largest refinery, turning 460,000 barrels of crude oil a day into gasoline. But the facility, built in 1934, was poorly maintained and long starved of capital investment.

“We have never seen a site where the notion ‘I could die today’ was so real,” the Telos Group, a consulting firm hired to examine conditions at the plant, said in a report two months before the accident.

The explosion occurred when a 170-foot tower was being filled with liquid hydrocarbons. Because of poor communication among several workers who had been on 12-hour shifts for more than a month straight, no one noticed that the tower was filled too high.

A 20-foot geyser of unstable chemicals shot into the sky, and the vapor ignited when a contractor, trying to get away, repeatedly tried to start the engine on his stalling pickup truck.

The subsequent investigations were scathing. The explosion was “caused by organizational and safety deficiencies at all levels of BP,” the United States Chemical Safety Board concluded in one report.

The government ultimately found more than 300 safety violations, and BP agreed to pay a then record $21 million in fines.

A year later, there was a new calamity: 267,000 gallons of oil leaked from BP’s network of pipelines in Prudhoe Bay, Alaska.

It was the worst spill ever on the North Slope, and once again, the cause was preventable. Investigators found widespread corrosion in several miles of under-maintained and poorly inspected pipes. BP eventually paid more than $20 million in fines and restitution.

While these two accidents drew most public attention, serious problems were also brewing offshore, at BP’s Thunder Horse platform.

Mr. Aaker, the engineering consultant who worked on it, said BP’s bosses rushed construction of the intricately designed vessel, moving it to the gulf before it was ready to “demonstrate to their shareholders that the project was on time and on schedule.”

Once the rig was at sea, several hundred people at a time frantically worked to complete it, sleeping in cramped, chaotic conditions on board a temporary encampment of ships.

“It was like having the plumbers, the electricians and the bricklayers come to a construction site at the same time as they are laying the concrete,” said Mr. Aaker, who is now assisting the House Energy and Commerce Committee in its investigation of Deepwater Horizon. “This was not methodical.”

Nor was it safe.

The near sinking of Thunder Horse in 2005 was caused by a shockingly simple mistake: a check valve had been installed backward, and that caused water to flood into, rather than out of, the rig when it heated up during the hurricane.

After costly repairs to fix that damage, BP discovered a more significant problem: rudimentary mistakes in the welding of pipes in the underwater manifold, which connects dozens of wells and helps carry the oil back to the platform, had caused dangerous cracks and breaks.

Had the well been active, the damaged pipes would have caused a major oil spill. As it was, the company had to remotely rip out, retrieve and fix dozens of complex and heavy pieces of equipment lying on the sea floor, some weighing more than 400 tons.

Altogether, the blunders cost BP and its minority partner, Exxon Mobil, hundreds of millions of dollars in repairs and set back production, today at 300,000 barrels of oil and oil equivalents a day, by three years.

Although the Deepwater Horizon accident involved an exploration rig, not a production platform, a similar carelessness and disregard for safety was evident in BP’s decisions there, according to preliminary findings by the House Energy and Commerce Committee. “In effect, it appears that BP repeatedly chose risky procedures in order to reduce costs and save time and made minimal efforts to contain the added risk,” wrote Henry A. Waxman, the committee chairman, and Bart Stupak, chairman of its subcommittee on oversight and investigations.

BP took a different sort of risk in Russia, forming a 50-50 joint venture in 2003 with that nation’s unpredictable oligarchs to gain access to the vast resources beneath the Siberian taiga.

The deal, which accounted for about one-quarter of BP’s global oil reserves, nearly collapsed in 2008, when the Russian government sought tighter control over its energy sector. After a nasty public fight, BP was forced to hand over operational control of the venture to its Russian partners, although it continues to reap vast profits from it.

BP stepped into another tricky political situation last year, when Iraq offered foreign companies $2 a barrel to help it increase production from its oil fields, which had suffered from years of war and neglect. BP’s competitors blanched at the low price, but Mr. Hayward teamed up with a Chinese state-owned company and accepted the deal.

The chairman of a rival company was so enraged that he called Mr. Hayward and demanded: “Tony, have you gone mad?” BP’s move forced other companies to agree to similar terms. As one analyst noted, it was “disastrous to profitability” for the industry.

Old Habits Die Hard

Time and again, BP has insisted that it has learned how to balance risk and safety, efficiency and profit. Yet the evidence suggests that fundamental change has been elusive.

Revisiting Texas City in 2009, inspectors from the Occupational Safety and Health Administration found more than 700 safety violations and proposed a record fine of $87.4 million — topping the earlier record set by BP in the 2005 accident. Most of the penalties, the agency said, were because BP had failed to live up to the previous settlement fully.

In March of this year, OSHA found 62 violations at BP’s Ohio refinery, proposing $3 million more in penalties.

“Senior management told us they are very serious about safety, but we observed that they haven’t translated their words into safe working procedures and practices, and they have difficulty applying the lessons learned from refinery to refinery or even from within refineries,” said Mr. Michaels, the OSHA administrator.

BP is contesting OSHA’s allegations, saying it has made substantial improvements at both facilities.

Accidents have also continued to plague BP’s pipelines in Alaska. Most recently, on May 25, a power failure led to a leak that overwhelmed a storage tank and spilled about 200,000 gallons of oil — the third-largest spill on the Trans-Alaska Pipeline System.

Mr. Dudley, the BP executive overseeing the gulf response, said it was unfair to blame cultural failings at BP for the string of accidents.

“Everyone realized we had to operate safely and reliably, particularly in the U.S., to restore a reputation that was damaged by the accident at Texas City,” he said. “So I don’t accept, and have not witnessed, this cutting of corners and the sacrifice of safety to drive results.”

Mr. Waxman, whose committee is investigating the Deepwater Horizon accident, has a very different view. When Mr. Hayward testified a month ago, the representative upbraided him: “There is a complete contradiction between BP’s words and deeds. You were brought in to make safety the top priority of BP. But under your leadership, BP has taken the most extreme risks.”

“BP cut corner after corner to save a million dollars here and a few hours there,” Mr. Waxman said. “And now the whole Gulf Coast is paying the price.”

(reported by Sarah Lyall, Clifford Krauss and Jad Mouawad and written by Sarah Lyall, New York Times, 12July2010)

FEATURE3 SCHOOL TESTING

Applying new, tougher standards, state education officials said Wednesday that more than half of public school students in New York City failed their English exams this year, and 54 percent of them passed in math.

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The results were in stark contrast to successes that Mayor Michael R. Bloomberg had heralded in recent years. When he ran for re-election in 2009, he boasted of state test scores that showed two-thirds of city students were passing English and 82 percent were passing math.

But state education officials said that performance was misleading because those scores were inflated by tests that had become easier to pass. The scores released on Wednesday were the first attempt to establish what the officials considered a more trustworthy measure of students’ abilities.

Merryl H. Tisch, the chancellor of the State Board of Regents, said she had encouraged teachers and parents to greet the news “not with disappointment and not with anger.”

“Now that we are facing the hard truth that not all of the gains were as advertised, we have to take a look at what we can do differently,” she said. “These results will finally provide real, unimpeachable evidence to be used for accountability.”

The falloff in passing rates occurred statewide. This year, 61 percent of state students were deemed passing, or at grade level, in math, compared with 86 percent last year. Students also performed dismally on the English tests, with 53 percent passing, down from 77 percent.

The scoring adjustment could raise questions about the precision of educational testing, even as policy makers across the country, including President Obama, are relying on tests to determine teachers’ pay and whether a school should be shut. In New York City, scores on state tests have been used to assign grades A through F to each school, as well as to determine principal and teacher bonuses.

And the results could cast doubts on the city’s improvements over the past several years; both the mayor and the schools chancellor, Joel I. Klein, have used increases in state test scores as evidence that schools have improved.

“It certainly complicates the Bloomberg administration message, because the state test is completely unreliable,” said Michael J. Petrilli, a researcher with the Fordham Institute, a Washington-based research group.

New York State said the tests had become too easy, with some questions varying little from year to year, making it simple for teachers to prepare students because each test is made publicly available after it is given. So this year, the state made the questions less predictable and raised the number of correct answers needed to pass the tests, which are given to every student from the third through the eighth grades.

Last year, for example, a fourth grader had to get 37 out of 70 possible points on the math test to reach Level 3 (out of 4), or grade level. This year, a fourth grader needed to earn 51 out of 70 points to reach that level.

New York City officials said that if previous scores were adjusted to the new standards, the city would still show substantial progress over the past decade, and they noted that students had improved somewhat on federal tests in recent years.

“This doesn’t mean the kids did any worse — quite the contrary,” Mr. Bloomberg said at a news conference Wednesday afternoon. “What this is simply saying is that we’ve redefined what our objectives are for the kids.”

“Whether the new expectations will instigate all of us to try harder,” he added, “one can only hope.”

By last year’s standard of proficiency, students in New York City did improve slightly in math this year, but dropped a bit in English.

The mayor’s explanation is likely to offer little consolation to teachers and parents of students who once were considered proficient and now are deemed behind. Scores for districts and schools were released on Wednesday, with student scores available for parents next month.

The Bloomberg administration has relied on the exams to carry out one of its most contentious policies: requiring every student who scores at Level 1, the lowest, to attend summer school and pass a retest or repeat the grade.

This year, anticipating a drop in passing rates, the city sent more struggling students, about 27,000, to summer school. But the test results indicated that about 8,500 more should have been enrolled, the mayor said.

Mr. Bloomberg said that next year, education officials will tell principals to “keep an eye on these kids” to provide extra help. He dismissed a question about whether students in the past few years had been promoted before they were prepared for the next grade.

“You can make the case that we should have held back everybody,” he said. “I don’t know that there’s a standard where you should say, ‘We’re satisfied.’ ”

The city has made plans to assign grades to schools on a curve this year. But the grades are likely to fluctuate wildly — in many schools the percentage of students passing dropped by more than 50 percentage points.

At Public School 179 in the Bronx, for example, the percentage of third graders proficient in math plummeted to 21 percent, from 91 percent last year.

“We had to take several deep breaths,” said Sherry Font Williams, the principal.

Under the federal No Child Left Behind law, schools are required to show “adequate yearly progress” on tests or face being shut down. Testing experts say that has led many states to progressively make their tests easier.

Because of the drop-off, New York State is in danger of having far more schools labeled as failing, but has asked the federal Department of Education for an exception this year.

The drop-offs were most drastic for black and Latino students, as well as those with disabilities and those still learning English, primarily because many of the students had been just above the minimum proficiency rates under the old standards.

While the test scores paint a bleak portrait in New York City, urban districts upstate fared worse. In Rochester, just 25 percent of all students were at grade level in reading, compared with 56 percent last year. In Buffalo, 26 percent of eighth-grade students met the state’s standards in math, although 58 percent did so last year.

“It’s devastating how they presented it and how they are doing it,” said James A. Williams, the Buffalo superintendent. “This is moving the goal line. While we were running for a touchdown and we were at the 10-yard line, they moved the goal post 20 yards forward.”

(Jennifer Medina, New York Times, 28July2010)

NOTES & QUERIES1 LITERARY READINGS?

‘This is my Fight Club,” says Todd Zuniga, the editor of American creative writing magazine Opium and the inventor of Literary Death Match, who is already confusing me with his appearance: strikingly fresh-faced, he tells me he is 35; exuding hipness, he is nonetheless wearing a slightly grotesque white jacket with Miami Vice-style rolled-up sleeves. It transpires that his outfit is in keeping with the evening’s 80s theme, chosen to honour Bret Easton Ellis’s new novel Imperial Bedrooms. With Ellis in town – he has earlier in the week appeared at the Festival Hall before a sell-out audience – all the whispers in the room are of whether he’ll grace tonight’s event with his presence.

If, at around 10pm, Ellis did slip quietly into the basement of Concrete, a former industrial space reclaimed for the pleasure of the hedonistic twenty- and thirtysomethings who throng to London’s Shoreditch on a nightly basis, he might not have immediately recognised the spectacle before him as a bookish sort of gathering. Literary Death Match was reaching its climax. In the couple of hours before, four writers – Milly McMahon, Clare Pollard, Lee Rourke and Nikesh Shukla – had read their work in strictly timed seven-minute segments, and found themselves the subject of an instant critique from a panel of judges. Among the highlights had been a somewhat painful account of a virginity long in the losing and, from Shukla’s forthcoming novel Coconut Unlimited, which tells the story of a group of teenage Asian wannabe rappers in Harrow, the author’s crowd-delighting version of Public Enemy’s “Don’t Believe the Hype”.

Now Rourke and Pollard were slugging it out to claim the title; but that involved neither earnest declarations of literary intention nor intricate comparisons of imagery. Instead, in what amounted to a gameshow finale, audience members flung themselves at the stage to the tune of 80s pop songs to declare their allegiance. By the time Rourke, author of the novel The Canal, finally won through, the scene resembled something like Mike Reid’s Runaround mashed up with The Late Review. “I usually read in little bookshops in front of about 20 people,” Rourke told me. “I guess LDM brings literature to those who wouldn’t necessarily step into a little bookshop to hear an author read.”

But if the face that Literary Death Match presents to the public is determinedly chaotic and endearingly amateurish, then its rise demonstrates a rather steelier business acumen. Launched in 2006 in New York, it has now enjoyed 97 outings in 23 cities, spreading from Los Angeles, Denver, San Francisco and Dallas to London, Oxford and Paris, where Zuniga now lives. In August, it will take to the Edinburgh stage for the first time, and make a return visit to Beijing’s Bookworm bookshop, the scene of the first international Death Match last year. It’s no surprise to hear that Zuniga, who originally saw it as a way to promote Opium, now envisages it attracting corporate sponsorship.

Any potential literary angels, however, may note that they are arriving in a bustling marketplace. Up and down the country, particularly in the previously unfashionable areas of densely populated cities, in the spare spaces of pubs, clubs and restaurants, in arts centres and at micro-festivals, a new breed of literary event is flourishing. Often influenced by trends wafting in from the other side of the Atlantic, for example, celebrated New York storytelling event the Moth, and drawing heavily on the relaxed, interactive ethos of comedy nights and bring-your-ukelele music sessions, they are youthful, energetic, imaginative and defiantly lo-fi – and a world away from their rather more strait-laced cousin, the book reading. Just as literary festivals have begun to tend towards the small and to become tailored to their surroundings – the inaugural Stoke Newington Literary Festival, this May, was designed by organiser Liz Vater to pay tribute to the north London enclave’s history of radical thinking and included a powerful audience with Tony Benn – so too have standalone events started to reflect the preference for spontaneity and ad hoc amusement of their audiences.

During the course of my evening at Literary Death Match, I was told of at least half a dozen other literary performance series that are currently thriving; indeed, Damian Barr’s Shoreditch House Literary Salon was in full flow next door at exactly the same time. Perhaps the quirkiest event mentioned, organised by the poet Tim Wells, involves (self-declared) Fat Men Reading Poetry, with a pair of scales on the stage dictating the running order. Shukla, a fan of the Death Match’s “silliness, bonhomie and good nature”, himself runs a literary pub quiz called the Complete Works, because “I have this secret desire to be a quizmaster and because I want people to enjoy themselves. Also, the competitive element means you get people coming along for the quiz and then seeing readings by ace writers like Stuart Evers or Gavin Bower and going out and finding their work.” One of his favourite evenings, he adds, is Book Club Boutique, created by Salena Godden and Rachel Rayner, which now has a monthly residency at the House of St Barnabas in Soho. Shukla explains: “It has a stellar network of writers, poets and musicians who are all thick as thieves . . . It’s great when the performers look like they’re having fun. And the audience is definitely having fun.”

The Book Club Boutique provides an interesting glimpse into the phenomenon of the new literary event. Describing itself as revolving around “books, booze and boogie-woogie”, as “London’s hippest literary salon” and as a book event that takes place in “a speakeasy environment”, it blends the traditional reading with cabaret, featuring a house band and frequent trips to carefully selected festivals such as Latitude, Camp Bestival, Port Eliot and the Standon Calling music festival in Hertfordshire. It makes collaborations with campaigning organisations such as Burlesque Against Breast Cancer, UK Feminista and First Story, the charity founded by the writer William Fiennes, and produces a fanzine called Yours Generally. In short, it is a perfect example of the new wave of artistic cottage industry: participatory events with a homespun feel that owe their success not only to the enthusiasm of their creators but also to their committed use of social networking tools. Contributing recently to a BBC World Service item about the influence of the new media on the world of literature and publishing, Godden noted that, when she performed her first gig 20 years ago, publicity consisted of photocopying fliers and sticking them together with Sellotape; now it means ensuring a constant flow of new and tantalising information on Facebook, Twitter and MySpace.

Literary Death Match, the Book Club Boutique and other series – most notably Homework, a “Night of Literary Miscellany” that takes place in the Bethnal Green Working Men’s Club in east London, and To Hell With the Lighthouse, the live offshoot of independent press To Hell With Publishing, which also produces limited editions, new fiction and a literary journal – have doubtless flourished because of a perception of them as clever outsiders: witty, iconoclastic and unfettered from the constraints of the traditional, and largely corporate, publishing agenda. If they are beneath the radar of the capital’s mainstream live arts offering, then that is where they want to be. In Homework’s case, it started out as an improvised night organised by writing collective Aisle 16, designed to encourage its members to produce new work and share it with others. Over time, explains poet and novelist Joe Dunthorne, one of Aisle 16’s key members, the night grew in popularity and they began to invite special guests, among them Jon Ronson, Kate Nash and Kevin Eldon. Sometimes, particular nights went down so well that Aisle 16 developed them into touring shows – for example, Found in Translation, a piece about the group’s quest to join the experimental French writing movement Oulipo. The appeal to the audience, says Dunthorne, is that “they get to see (for a fiver) a live literature show that can take in poetry, video, songs, stories, animation, comedy, ‘multi-vox’, slide shows, mini-lectures, performed by writers who are great at writing, but also great at communicating their work.”

It’s easy to identify the advantages to the performers at these sorts of events: a chance to put their work before the public, to foster word-of-mouth recommendations, to boost, by however small a margin, book sales, and an opportunity to hook up with other writers and take a night off from staring at the computer screen. But what, precisely, has made audiences so receptive right now? Inundated with entertainment opportunities, probably already in possession of a number of books on their “to read” pile, able to access recommendations, reviews and footage of live performances in the comfort of their own homes, what attracts them to a literary cabaret?

One answer lies, perhaps, in the unexpectedly widespread rise of the do-it-yourself book club. One minute, you had heard a distant rumour of a few friends-of-friends who met over a glass of wine and a frittata in a knocked-through sitting room to mull over the finer points of the new Colm Tóibín or Margaret Atwood; the next, you were no one if you weren’t part of one. Publishers started producing reading guides to help proceedings along; people either swotted furiously for them or conceded that they were largely a genteel cover for a good old-fashioned knees-up; and suddenly they were both a mainstay of a certain kind of British life and an invaluable asset to the precarious business of selling books. When Richard & Judy got in on the act in 2004, and sent the sales figures of writers such as Joseph O’Connor, Alice Sebold and Jodi Picoult sky-high, book clubs also underwent a social expansion. They were no longer the preserve of the chattering classes; they were for everybody who enjoyed a good story and wanted to talk about it.

Add to that the more general democratisation of cultural criticism, and a picture begins to emerge. Conventional book readings – still the backbone of large, established venues, literary festivals and bookshops – have maintained their popularity, providing readers with a familiar setting in which to come face to face with a favourite author, ask questions, have a book signed. At the Southbank Centre, for example, the London Literature Festival has recently run to packed houses for 18 days; its programme also included a live StorySlam, dramatisations of classic texts and a “Litweeter” Festival, curated by the Southbank Centre and Shukla. But readings still carry with them the stamp of a cultural hierarchy: the author, occupying a privileged space before his or her appreciative audience, usually with an intermediary asking the questions on the readers’ behalf; the respectful queue at the book-signing table; the rapid disappearance of the central figure after the last copy has been signed. For audiences eager to experience closer and less formal contact with a writer and – perhaps even more importantly – to feel part of a literary moment, that isn’t quite enough.

And book readings don’t usually place the same emphasis on fun. At their best, they can be magical events, affording a unique insight into a writer’s work and craft and prompting the reader to return to their books renewed, informed and inspired. But when they are not quite at their best, they can also tend towards the dry. In those circumstances, it’s unsurprising that the audience feels there is little chance for escape or diversion. Rosie Boycott, the journalist and writer who earlier this year launched a series of storytelling events called 5×15, told me that the idea came to her when she found herself stuck in a less than scintillating talk that lasted for over an hour. As a riposte, she devised an evening in which the reading is banned. Instead, five writers give a quarter-of-an-hour talk based on their work. At first, notes weren’t allowed, but Boycott and her team relented; however, performers who exceed the time limit will find themselves yanked from the stage mid-flow, no matter whether they are in sight of their punchline or not.

At the event I attended earlier this summer at the Tabernacle, a former evangelical church in west London that is now a community arts centre, Boycott’s decision to programme without a specific agenda in mind was much in evidence: Fatima Bhutto, Andrew O’Hagan, Yotam Ottolenghi, Frances Stonor Saunders and Maureen Lipman – a memoirist, a novelist, a chef, a historian and a comic actor – shared the bill, with a musical interlude of “politically incorrect” songs from the writer Terence Blacker. Given its location – Holland Park and Notting Hill are barely a stone’s throw away – it’s perhaps unsurprising that the audience was a slightly older and better-heeled group than the punters most likely to attend a Literary Death Match or make their way to the Bethnal Green Working Men’s Club. Indeed, when 5×15 ventured beyond these shores in June, it landed in Paris, as part of bookshop Shakespeare & Co’s summer festival. “This gig,” as Lipman remarked during the 15 minutes that she spent telling jokes and performing one of a series of comic monologues that she’s currently writing, “is like a cross between the Comedy Store and the Women’s Institute.” If the assembled company, packed in like sardines, tucking into plates of antipasti and sipping dry white wine, took that as a slur on their credentials as sophisticated cultural consumers, they weren’t letting on.

A week or so later, I returned to the Tabernacle for a far more long-established event. The novelist Patrick Neate’s Bookslam, a combination of “high-end literature and low-end pop reggae” and “the first/best/only literary nightclub”, was one of the first events to try to expand the brief for writers in performance. Over the six years that it’s been running, with Angela Robertson and Elliot Jack joining Neate, it’s grown from an intimate gathering of a hundred or so to a consistently well-subscribed organisation that now spins off podcasts, has its own YouTube channel and this year hosted a celebratory summer barbecue. Performers have included William Boyd, AL Kennedy, Dave Eggers, Hari Kunzru, Nick Hornby and, most recently, Zadie Smith. What’s noticeable is that, despite its familial feel – Neate takes to the stage to compère without feeling the need to introduce himself or indulge in scene-setting formalities – it steers clear of some of the more pyrotechnic inventions of newer arrivals. In other words, even though readings are shortish and punctuated by live music, they are still essentially readings. It’s just that they are readings during which the audience, seated around tables rather than in serried ranks, feel as though they won’t be shot if they nip to the bar.

For some, though, even more participation is the order of the day. Storyteller Mary J Lockwood, who is about to take her show, Mary’s Extraordinary Story Club, to Edinburgh, began the Story Slam in her home town of Lancaster a year ago, subsequently running a regular event in London. One of her first moves was to make contact with Bill Hillmann, who started Chicago’s Windy City Story Slam at the beginning of 2008 and has now seen attendances grow from an initial crowd of seven to 900. Recently, Lockwood invited Hillmann to bring a team over for an International Story Slam, in which two teams of five storytellers, one American and one British, would do battle; amusingly enough, they were playing by British rules, which demand that randomly selected members of the public rate each performer by holding up a scorecard, rather than, as in Chicago, simply going by the decibel level. In other words, the vibe is more Strictly Come Dancing than Spartacus: Blood and Sand. For those inspired by what they saw, there was the promise of an open-mic slot to finish.

Lockwood is keen to promote a supportive atmosphere, and even includes tips for slammers on her website (including having your last line in your head to avoid meandering and not fretting if you leave something out). When people ask her what demographic she’s aiming for, she says she can’t narrow it down because everyone, she believes, loves stories. Slammers’ ages have ranged from 16 to 80. At the International Slam, I think I’ve hit on something when I note how heavily biased the audience is towards women; in fact, the men are just waiting until the last moment to unveil themselves. Unsurprisingly, the performances – given that the storytellers are not allowed to use notes – tend towards the raw and unstructured; they also occasionally blur the distinction between oral literature and stand-up comedy. But they are also fresh, free-wheeling and enthusiastically delivered as part of an ensemble evening of light-hearted and unpretentious entertainment.

And entertainment is where it’s at – and the more inclusive, the better. The perception of literature and literary life as a citadel with the public kept firmly behind the gates is not merely passé, it’s positively antithetical to a new generation of readers aware of the power that their interest represents to a medium in danger of cultural marginalisation. Craig Taylor, editor of the online literary magazine Five Dials, has even identified that emblem of closed-door literary life, the launch party, as a forum for involving his readers, inviting subscribers along to an event – from Paris to Montreal – each time he’s ready to press the “send” button. “At Five Dials we want to invite as many people as possible into the tent for the launches,” he explains, “then have fun and send out the issue and have faith that subscribers and attendees will read the magazine later when they’re sitting in a comfortable chair. People seem increasingly to want to be at these livelier literary events because they like the kind of people who attend. They don’t want to hear hours of readings. They want to drink and dance and flirt and talk and listen to short, interesting readings and then go back to the other stuff. It’s fine if you’re going to have a debate or a reading or a long discussion with two writers sitting in two chairs, but please, please, please remember there has to be some element of theatre.”

There is one problem posed by the increased focus on a writer’s capacity for performance. What of the writers who can’t, or don’t want to? Those for whom the words on the page are the thing, not their talent for doing a turn? In the past few years, the incursions into what writers might have optimistically thought of as their private space have multiplied, with publishing’s shakier finances dictating that authors find themselves on the road, or in front of a class of creative writing students, rather more frequently than before. If, in addition, we’d like them to become fully fledged variety acts, we may have to take the consequences in the quality of the prose on offer – and we might have to search all the harder for those who prefer to stay in their studies.

Yet my experiences in the salons and at the stand-up recitals of the new literary scene suggest that, despite the occasional piece of irritating modishness, the hyperbole with which some events are trumpeted and the odd ropy performance, there is an energy and invention on offer that the established scene and its practitioners might do well to allow to rub off on them. Which is not to say that readers won’t continue to enjoy the hushed reverence of a traditional reading, nor its still unparalleled ability to focus the audience on a text; they just might like to see a flash of ankle as well.

(Alex Clark, The Guardian, 31July2010)

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