Textbook Reflections 11-15

Chapter 11- Realistic Fiction

SUMMARY:
Realistic  Fiction is also sometimes called Contemporary Realistic Fiction or Modern Realistic Fiction, but whichever name you use, it means stories that are set in modern times.  These stories are believable, everything within them is consistent with the real world, including characters, settings, and events.  The criteria used to evaluate realistic fiction is:

1. Everything in the book is consistent with the real world that modern kids live in.  This includes speech, behavior, gender and cultural elements. We should look for realistic fiction that avoids stereotypes to share with our students.
2. The theme emerges naturally from the story.  It avoids preachy and didactic messages.  The theme should not bash the reader in the head, but emerge as the story develops.  Also, good stories often have more than one theme.
3. The topic and subject matter relates to modern children.  Realistic fiction is about sensitive and difficult issues.  These can include:  sexual orientation and sexuality, death and disaster, changing family structures, and many other topics.  Right now, the topics that were taboo in  previous generations are becoming the subject matter for YA books.

REFLECTION:

Realistic Fiction is important to teach.  While students do need to escape reality with some other types of literature, realistic fiction is important so that they can have a mirror to see themselves in and realize that they are not alone with their problems and life issues.  Realistic Fiction can also provide the necessary window into other people’s world and provide a means for students to gain empathy and compassion for others.  Realistic Fiction contains a power that other types of fiction do not have; it has the power to change perceptions and beliefs.

Chapter 12- Nonfiction

SUMMARY:

Nonfiction is challenging to define because it covers such a wide variety of approaches and templates.  According to Dr. Robert Small, nonfiction is defined by what it is not.  Nonfiction includes biography, autobiography, expository, narrative, etc.  A resource worth looking into is Nonfiction For Young Adults:  From Delight To Wisdom by Betty Carter and Dick Abrahamson (and we should know these people and this novel is crazy important for nonfiction- probably I should go buy this even though it is out of print).

Criteria for evaluating Nonfiction (based on the chapter and the video together):

1. What are the qualifications of the author?  Two easy ways to find out are to read the back of the book “about the author” section or to check out their websites.  Some authors will include notes, indexes, etc. in the back of the book as well that will show that they did their research.  Over time, you will learn that certain authors are the “go-to” people for their subject or that they are one of the authors who write about many different topics, but that do thorough research for each one.  The fact that they do their research is what makes them trustworthy.  Some reliable authors (many award-winners in this group) are:  Kathleen Krull (AMERICA”S BILL OF RIGHTS, WOMEN WHO BROKE THE RULES- a series), James Cross Giplin (THE LIFE AND DEATH OF ADOLF HITLER), Steve Jenkins (EYE TO EYE), Don Brown (AARON AND ALEXANDER), Loree Griffin Burns (BEETLE BUSTERS), Seymour Simon (OUR SOLAR SYSTEM).           
2. Are the facts accurate?  We don’t know ourselves unless we have personal knowledge and we can’t rely on reviews because the book reviewers likely have no more expertise than we do.  One way to check for accuracy is to compare the book to other books about the same topic by putting the students into groups where they create a chart analyzing where the books agree and disagree.  The students can then do research on the differences to determine which book is most accurate.  This may also show that one book goes into more depth than the others. This also teaches us and our students that we don’t have to be experts in everything, but it does teach us and our students how to find the most accurate information.  This is why it is important to trust reliable series and authors as well. Possibly the most important idea is that there are lists put out by the National Council teachers groups by content that will vet these books- read them and use them. 
3. What is the purpose and scope of this piece?  Determine how broad of a scope you need a book to have and what specific purpose you need it to cover.  IT’S PERFECTLY NORMAL by R. Harris is an amazing example (which is fabulous because we are reading it in class!).   The scope of this book is very broad and covers many topics about sex, sexuality, and changing bodies.  The purpose is for older children whose bodies are about to be/are going through these things. It is followed up by ITS SO AMAZING that’s scope covers sexual reproduction and babies growing (a much narrower scope) and its purpose is for younger children.  Another example, ANIMALS THAT MAKE ME SAY EWWW!, serves the purpose of grossing kids out. Your job as an educator is to determine the purpose and scope you need.
4. What is the organization of the book and how will it assist students in finding what they need?  The organization of a book is important when students are looking for specific information.  In WHY’D THEY WEAR THAT: FASHIONS AS A MIRROR OF HISTORY, there is a forward by Tim Gunn which automatically gives credibility because, hello, Tim Gunn.  The Table of Contents is organized by centuries (super helpful for kids to find what they are looking for efficiently).  The chapter titles are hilarious, and it covers a vast amount of time.  It also has an index for further efficiency.  It also includes suggestions for further reading and back matter.  Credits given for illustrations, bibliography, notes, etc.  These elements also tie in to the qualifications of the author.     
5. What role do visuals play?  Visuals elaborate on the text as well as break it up to make it less overwhelming for students. THE STAR-SPANGLED BANNER is part of a reading series called The Smithsonian.  The book is full of archival photographs and how-to pictures about repairing the flag. The role of the visuals depends on the scope and purpose of the book, but any way you look at it, illustrations, charts, maps, etc. are needed.  There are books such as SEEDS that discuss the importance of seeds, seed museums, and preppers. Books such as CHOCOLATE with rich colorful illustrations discussing the science behind chocolate.  ITS GETTING HOT IN HERE discusses climate change for students will many different organizational structures and elements used. 
6. One final discussion that was not numbered on its own: Nonfiction collections need to be well-rounded and of interest to all students.  LGBT books, the Koran, the Talmud, etc. should all be included.  THE TEEN’S GUIDE TO EXPLORING LIFE WITHOUT RELIGION What If I’m An Atheist?  Is an example of a book that meets the windows, mirrors, and doors that students need.  This is not just for fiction!  As a librarian, we need to have ALL types of nonfiction in our library.

There are questions to ask for nonfiction.  Some of these are: 

●     Tell how this book would be written 50 years in the past or 50 years in the future?

●     Describe your favorite illustrations. 

●     Would this book make a good documentary? 

●     Explain what you think the author did to research this book.

●     What kind of teacher do you think this author would make?

●     If you had to interview this author, what would you ask them?

●     What do the title and jacket tell you about the book?

REFLECTION:

Nonfiction is such a vast topic.  From my years as an ELA teacher, I have learned that getting students interested in nonfiction can be very challenging.  I think by using some of these questions created by Carteree and Abrahamson, the students will come up with interesting answers and find reading is much more interesting than reading a passage and writing the main idea and supporting points.  I love that there is so much new and interesting nonfiction out there, and I am hopeful that we as educators can start to do more interesting things with it to keep our students interested and learning.

Chapter 13- Fantasy and Science Fiction

SUMMARY:

The genre of fantasy fiction can be defined as stories that violate the laws of physical reality.  Science fiction is a subgenre of fantasy.  Not all fantasy is science fiction, but all science fiction is fantasy. 

The criteria used for evaluating Fantasy and Science Fiction is:

1. Despite the fantastical characteristics of the story, the characters must behave in consistent and believable ways.
2. There are rules for the fantasy world that are followed.
3. The author must help the reader sustain a “willing suspension of disbelief”.
4. Universal truths should be found in the themes.

There are many subgenres in Science Fiction.  Dr. Perry shared them in a video.  They are: 

●     Apocalyptic- The world is ending.

●     Post-apocalyptic- The world has ended and is trying to recreate civilization.

●     Steampunk-set during the steam engine era, often in Victorian England.

●     Cyberpunk- high tech, bleak and dark

●     Biopunk- dark side of genetic engineering

●     Dystopian- control of thoughts and freedom, a fake perfect world

●     Extra Sensory Perception- usually about telepathy, precognition, or clairvoyance

●     Space and Aliens- set in other worlds, aliens are characters

●     Time Travel/ Alternate Universe- travel through time and other worlds

●     Miscellaneous books about things like zombies, unnatural aging, vampires, superhero powers, cryogenics and more.

And in exciting news, Dr. Perry wrote a book that Neal Shusterman wrote the forward to.  How amazing is that?! 

REFLECTION: 

I have never been a huge science fiction fan, but there are some authors that do such a phenomenal job that I can’t help but love what they do.  I haven’t always been able to put my finger on why I don’t like so much of what I see, but looking at the criteria for evaluating Fantasy and Science Fiction has helped.  I also struggle to get some of my students to understand the fictional worlds that are created, and have found that it takes a very skilled author to create a fantastical world where many of my low readers can learn and follow the “rules of the world” without difficulty. 

Chapter 14- Graphic Novels

SUMMARY:

Graphic novels are not a genre, but are a form/format.  The term is now used to describe any book in a comic format that has about the same length and narrative development as a novel. They can be about any topic- history, fantasy, nonfiction, and all the subgenres you can think of. Graphic novels are different from comic strips because they are more complex.  They are similar to comic strips because they use illustrations and test to tell the story. Graphic novels have evolved in such a way that they are now read from kindergarten all the way through adulthood.

Survey says:  67% of teachers do not read graphic novels, yet research shows that readers prefer graphic novels in growing numbers.  Graphic novels are not just for low or unmotivated readers, they are for all levels of reading ability and attitudes.

Graphic novels do promote literacy.  They promote literacy by: motivation, teaching mood and tone, beneficial for ELLs, dyslexic, and other students with special needs, and contain all the elements of literature.

Many educators have reported great success in using graphic novels with their students.  Graphic novels combine many formats together because they have illustrations and words moving together to tell a story and creating movement on the page (this is pretty amazing and freaked me out the first time it happened to me).  They cover all genres and can be used for any subject.

There are graphic novel readings lists published on the ALSC blog (through ALA.org) to help get an idea of excellent graphic novels to start with.

REFLECTION:

I never liked graphic novels.  And my reason was simple- I am a good reader, why would I want to look at a long comic strip?  And then I started my MLS at SHSU and was forced to read one.  The very first one I read was ROLLERGIRL, and I was in love with this format!  I am now a huge fan of graphic novels and have enjoyed countless talks with my students about them. I have recommended books to my students and read books they have recommended to me.  I know librarians who still say graphic novels are not their thing, but I have definitely become a believer.

And, in even more exciting news, I just ordered classroom sets of a graphic novel for my 8th grade LA department and we CANNOT wait to read these novels with our students!

Chapter 15- Peck’s Questions

SUMMARY:

The following is a list of questions created by Richard Peck that forces the reader to analyze the novel instead of answering simple questions that do not require deep thought. 

Ten Questions to Ask About a Novel (Peck 1978)

1.  What would the story be like if the main character were of the opposite sex? (stereotypes)
2. Why is the story set where it is? (because this requires thought about author’s purpose)
3. If you were to film the story, would you use black and white or color and WHY? (mood/tone)
4. If you could not use all of the characters, which would you eliminate and WHY? (main versus minor characters)
5. How is the main character different from you? (identify even if they are different from you)
6. Would this story make a good TV series? (focus of the ending and sequential order)
7. What one thing in the story has happened to you?
8. Reread the first paragraph of Chapter 1.  What is in it that made you read on?  If nothing, why did you continue reading? (author’s purpose)
9. If you had to design a new cover for the book, what would it look like?
10. What does the title tell you about the book?  Does it tell the truth? (narrative hook?  symbolic?

REFLECTION:

These questions are amazing and cause the reader to analyze, make inferences, and draw conclusions.  These are all skills my students need to practice.  This list was made in 1978.  Why in the world have I never seen it until now?  I am going to begin incorporating these questions into our reading in my classroom because I think they are interesting and they are something my students have never seen before.  These questions are more interesting than what we traditionally ask students.  Let’s see what my lovely guinea pigs say after we test them out!

Textbook Reflections 6-10 for LSSL 5385

Chapter 6- How Do Adolescents Develop?

SUMMARY

Young adults are going through A LOT!  There are many different things going on with them, and librarians need to have a working knowledge of all of these developmental aspects of our readers in order to help them find what they need to enjoy reading.  It is our job to use our knowledge so students are matched with books appropriate to them (the individual).

INTELLECTUAL:  There are many intellectual changes happening inside their bodies and several pieces of research that explain them.  First, let’s look at Piaget’s research.  Children begin to transition from concrete to abstract thought around age 14 (this is a big change from the previously accepted age of 10).  This makes teaching concepts such as “theme” a major challenge.  

Due to this transition in the way their brain works, it is necessary to think about the questions you are going to ask kids about books.  If you want them reading at the abstract level, you must provide scaffolding.  They need to start with books that are concrete, and then add some that require abstract thinking.  Think about the difference between concrete and abstract thought and apply that knowledge to each of the students.  Next, let’s take a look at Havighurst’s research about the changes that occur from childhood to adolescence.  Children are learning to get along with their peers- they are moving out of their neighborhood play pals and hanging out with peers who share similar interests.  Since children develop at different rates, this often leaves some kids with no friends because they are the last to hit this stage.  As they are emotionally changing, they are also growing physically at different rates- not only from others, but within their own bodies.  Some kids have gigantic feet, others are tall and lanky, and many are clumsy because their bodies are in such a state of flux!  Also, children are starting to pull away from their parents to develop their own independent identities.  They are challenging their parents’ beliefs and developing their own morals and values.  They are learning to make friends with the opposite sex, learn the socially “appropriate” behaviors and roles for their gender, and trying to figure out what they want to be when they grow up.   Some of these children have even started working for pay.   With all of these changes, there is the fear of not fitting in, of being made fun of for not conforming to standard gender roles, and trying to navigate between the world of child and adult.

MORAL:  As mentioned above, adolescents are trying to determine their own moral code.  Kohlberg’s theory breaks down the development of morality into three stages.  First is preconventional.  This is when people make decisions based on reward and punishment.  Children are in this stage, but adults also fall into it- think about your obedience to a stop sign if there is a police officer driving beside you… and how likely are you to stop at a 4-way if there are no other cars in sight?.... Exactly.  The next stage is conventional.  This is where people follow the rules because they are good people and that’s what good people do. The final stage is post-conventional.  This is the point when a person is able to recognize the laws, but also recognizes that humanity supersedes the law.  This is where civil disobedience comes from.  This is where a person is watching out for other people instead of themselves.  Many people have moments of post-conventional behavior, but normally take care of themselves.

As a librarian, we are looking for books that will speak to our students where they are now and try to move them up.

DEVELOPMENTAL:  Maslow’s pyramid of needs applies to all people, and can be put into the context of our students.  At the base level is physiological need.  Our students must have food, sleep, and not be in pain in order to be able to function.  Level up to safety, where our students need to feel physically and emotionally safe.  This is where we must pay attention to bullying, name-calling, etc.  Level up again, and students need love/sense of belonging.  In our classrooms and libraries, we need to SEE our students and call them by name and greet them.  Level up to the fourth level and our students need esteem.  This is respect.  This is something that many of our students do not feel like they receive from teachers, and it is something we must return to them since we expect them to give it to us.  Finally, at the top of the pyramid is self-actualization.  This is the magical place where our students believe they can be anything they want to achieve.  Wouldn’t this be great?

PHYSICAL:  As mentioned before, our students are going through puberty!  Kids are wondering, “what is normal?  Am I normal?”  And of course they aren’t, who is?  Students all develop differently- at different times, in different order, in different ways (remember our too big of feet from above?).  These poor kiddos are having Goldilocks syndrome- “will I ever…” and “My __ is too ___”.  This is a physically drastic period of change.  Sometimes, their physical reality gets in the way of everything else.  Lots of books talk about this subject.  As a librarian, look at the main characters in books to see how they change from child to tween and tween to teen.  Look for the books that show these changes are normal… and the students will get through it.

READER:  Students are changing how they read.  In Donelson & Nilson’s tiered birthday cake model, reading serves many purposes for students. Let’s start at the bottom tier and move up.  Students read to develop empathy for others.  Students read for unconscious delight.  This is when they find they can “get lost in a book” and is often found in reading a series, serial reading, or sticking with one satisfying genre.  Students read autobiographically so they can see themselves in literature.  Students conversely read for a vicarious experience so they can see something totally different from their normal life in literature.  Students read for philosophical speculation which fits in with their need to start developing their own moral code.  Finally, students read for aesthetic experience, for the sheer beauty and wonder found in a book.  

So, the librarian’s job is to find books that the students can fall into, that ask the hard questions, allows them to see themselves, see new things, and simply enjoy the magic of literature.

REFLECTION

This chapter brought back much of the learning I had about human development in college while preparing to be a teacher.   It also taught me some new information; some of which made me go, “Aha!”  For example, abstract thought not kicking in until age 14.  This blows my mind!  When you look at the TEKS for Language Arts in 6-8 grades in Texas, students are expected to be functioning at abstract thought beginning in 6th grade, where many of them are only 11.  Aha!  Another element from this chapter that speaks to me is that a librarian needs to put together many elements about each child in order to scaffold them up in their reading as they grow, and to help them love literature, even as the literature helps them develop these super, crazy important elements of who they will become as they grow up.  What power and what responsibility!

Chapter 7- Literary Elements

SUMMARY

This chapter provides a list of literary elements and devices that authors believe are basic to the critical evaluation of young adult literature.  In order to read critically, the reader must have a working definition of these terms.  There are several lists and websites of literary elements and devices linked to in this chapter. Included are the literary elements and devices the authors believe to be basic to evaluate YA literature critically.  A students in this course, it is asked that we develop a 50 word or less definition of the literary elements and devices listed to use when creating our annotations  and blog posts.  Below you will find my list.

Literary elements

1. Antagonist- the person/thing causing the conflict with our narrator
2. Protagonist- the main character
3. Characters- the people who populate the story
4. Climax- the turning point; moment of most intense emotion
5. Conflict- the problem the protagonist faces
6. Dialogue- conversation
7. Inciting Incident- the event that sets the conflict/ plot into motion
8. Mood- the author’s disposition toward the subject- creates the atmosphere
9. Plot- the events
10. Setting- where and when the story takes place
11. Themes- what it is and what it is NOT

1. Not an old saying, main idea, topic, summary, single word
2. Truism, message, complete sentence, multiples, text proves
11. Tone- the perspective or attitude the author has toward a character, place, development

Literary devices

13.          Allegory- a symbolism device that teaches the meaning of an abstract concept using a more tangible object as the example.  Like a metaphor.

14.          Alliteration- repetition of consonant sounds

15.          Allusion- reference to another work

16.          Amplification- When a simple sentence does not show the extent of the meaning, the sentence is extended to show more feeling/ give more understanding

17.          Archetype- uses a well-known character (damsel in distress, villain) to convey a significant amount of meaning; they are overused, but excellent at making their point

18.          Anthropomorphism- a super cool way to say personification

19.          Bildungsroman (because it is such a cool word)- a novel that focuses on the psychological and moral growth of the main character ( a sensitive person) from youth into adulthood.  Usually starts with a tragedy and typically the conflict is versus society fancy word for “coming of age” novel

20.          Deus ex machine- a literary device that is looked down upon- it is when an author has to come up with some kind of implausible concept or character in order for the conflict to resolve.  Seen as a poorly written plot.

21.          Diction-the author’s word choice

22.          Epithet- a descriptive device, usually added to someone’s name “Alexander the Great”

23.          Euphemism- a gentler way to say something unpleasant or severe

24.          Flashback- a break in the progression of the plot to share an earlier episode

25.          Foil- characters that contrast each other in order to highlight a trait

26.          Foreshadowing - clues to what will happen next

27.          Hubris- arrogant

28.          Hyperbole- exaggeration

29.          Imagery- making a picture in your mind; 5 senses

30.          Irony- when your meaning is the opposite of what you say

31.          Metaphor- compares unlike things

32.          Motif- any element, subject, idea or concept that is present throughout the entire work

33.          Oxymoron- putting contrasting words together - deeper meaning

34.          Personification- giving human qualities to an inanimate object

35.          Point of view- who is telling the story- 1st, 3rd limited, 3rd omniscient, 2nd

36.          Simile- compares using “like” or “as”

37.          Style- the unique way the writer uses language

38.          Suspense- the build up of tension

39.          Symbolism- when something stands for something elses

40.          Syntax- the way words and sentences are placed together

41.          Verisimilitude- how close it seems to the truth

42.          Vernacular- using plain, everyday language (not to be confused with dialect)

REFLECTION

I use literary devices and elements every day in my Language Arts classroom.  I decided to make my list a mixture of the elements I find in literature the most often, the elements that I feel are the most important, and elements that I am unfamiliar with and hope to be able to recognize and name more readily now.  It never ceases to amaze me that there are always so many new words to learn!

Chapter 8- Awards

SUMMARY

Awards and lists- Library students should be familiar with the many different awards given for YA literature.  It is also important to know the criteria for each award, when the awards/lists will be announced, and where to access them.  

For the first set of books:  As far as where to access them, they are accessible from the “Teen Book Finder Database” created by YALSA and on the ALA website.

As far as when they will be announced, many of the awards are announced at the ALA Youth Media Awards.  This year the date is Monday, February 12 at 8 a.m. MT (eek- that is in two days!!!).  

The criteria is different for each book, so it will be listed with the award.  However, some criteria that remains the same unless specified otherwise is that they are all for YA literature and they all must be excellent in literary quality.

The awards include:

• Printz Award.
• Criteria- literary excellence- all forms of writing, open criteria are- story, voice, style, setting, accuracy, characters, theme, illustrations, design
• YALSA Excellence in Nonfiction
• Criteria- All print forms of nonfiction, excellent writing, research, presentation, and readability
• Great Graphic Novels for Teens
• Criteria- Graphic novel format, this one is unique in that it can be not only YA, but also adult as long as it has strong teen appeal, fiction and non-fiction, collections of comic strips if they contain an overarching story arc.
• Best Fiction for Young Adults
• Criteria- Appeal to the reading tastes of young adults, titles from a series are allowed
• Margaret A. Edwards Award
• Criteria- Does the book help adolescents become aware of themselves and answer their questions about their role and importance in relationships, society, and the world?  Acceptable literary quality, satisfies the curiosity of young adults and helps them thoughtfully build a philosophy of life, currently popular in different parts of the country, and serves as a “window to the world” for young people.
• ALEX Award
• Criteria- Appeal to young adults
• Odyssey award
• Criteria- The best audiobook produced for children and/or young adults that is available in the U.S. and in English.
• Morris award
• Criteria- First time author, highest standards and well written, components should be of high merit, teen appeal, and represents the “highest achievement in a debut work for young adults.”
• Outstanding Books for the College Bound
• Criteria- Consonant with the ALA Library Bill of Rights, should be widely available, and criteria can be set up for the different categories.  The committee determines these.
• Popular Paperbacks
• Criteria- Must be in print and paperback, popularity is more important than literary quality, adult titles can be considered,and diversity is important.
• Quick  Picks for Reluctant Readers
• Criteria- Books should have appeal as self-selected pleasure reading for young adults.  Teen feedback is encouraged.
• Readers Choice
• Criteria- Popularity over literary quality, must fit into a category (horror, mystery, etc), and must be widely available in the U.S.
• Teens Top Ten
• This list is announced on the Thursday of National Library Week and is a list selected by teen book groups at fifteen school and public libraries across the country.  Then, readers 12-18 vote for it during Teen Read Week.  
• Criteria- The readers vote for it.
• Amazing Audiobooks
• Criteria- Appeal to teens, remain true to the original work, effective use of voices, music, sound effects, and language, appropriate for audio presentation, suitable match between performer and text, professional quality, and clarity.
• Batchelder Award
• Criteria- Outstanding children’s book originally published in a language other than English in a country other than the U.S. and subsequently translated into English for publication in the U.S.  
• Stonewall Award
• Criteria- exceptional merit relating to the LGBT experience written in English
• Schneider Family Award
• Criteria- A person with a disability is the protagonist or secondary character and it is printed in English.
• Pura Belpre Award
• Criteria- Positive and accurate portrayal of the Latino culture, excellence of literary qualities, and excellence of presentation for an intended child audience.
• Sibert Award
• Criteria- Excellen, engaging and distinctive use of language and visual presentation, clear, accurate, and stimulating presentation of facts, concepts, and ideas, supportive features, respectful and of interest to children.

Texas Booklist:  The following three book lists can be found on the TXLA.org website

• Lone Star Reading List
• Criteria- Determined by the committee, current books, encourage students in grades 6, 7, 8 to read a variety of books.
• TAYSHAS Reading List
• Published within two years of the list year, favorably reviewed in a scholarly journal for grades 9-12, variety of difficulty levels
• Maverick Reading List
• Graphic novel that encourages students in grades 6-12 to explore a variety of current books.
• Edgar Award for Mystery
• When:  Every Spring, in 2018 it will be on April 26
• Where:  theedgars.com
• Criteria- There are several categories, but it must be a crime/mystery/horror type novel

On the NCTE website:

• NCTE Award for Excellence in Poetry for Children
• Criteria- Literary merit, poet’s aggregate work, evolution of the poet’s work, and appeal to children.
• Orbis Pictus Award for Outstanding Nonfiction for Children
• Criteria- Nonfiction, accuracy, organization, design, style, and should be useful in the classroom.

On the Scott O’Dell (www.scottodell.com) Website:

• Scott O’Dell Award for Historical Fiction
• Criteria- Historical fiction

On the International Literacy Association (litearcyworldwide.org) Website:

• YA Choices
• Criteria- Will encourage adolescents to read, chosen by readers.

REFLECTION

I knew there were many awards for books, but many of the ones on this list are new to me.  It is amazing and wonderful to know that there are people out there (librarians and professors and writers and endowments and students) who are constantly reading to determine what the best literature is.  It is impossible to stay up with every new book written every year and knowing where the lists of award winning and honor books are will be exceedingly helpful in selecting books for my library.  

Chapter 9:  Poetry

SUMMARY

Poetry is the most undervalued and underused form (not genre) of literature.  When it is used, it is beaten until dead and then dissected until nothing remains but fragments (and here, I hang my English teacher head in shame as I remember the analysis of poetry we often do in the classroom). How can we expect children to learn to love poetry if this is what they are getting?  Poetry can be treated with much more dignity than what is often receives.

 There are five criteria that can be used for evaluating poetry:  First, is the subject something children will be familiar with?  For example, let’s read with them about climbing a tree, not staring at a tree in abstract wonderment.  Next, does the poem use imagery?  The more the young reader can imagine and connect to sounds and sights and tastes, the better they will connect with and understand the poem.  Thirdly, does the poem rhyme?  Although writing in free verse is wonderful for children, reading poetry is much more comfortable for them if there is a consistent pattern of  rhyme.  Fourthly, how is rhythm used?  Just like rhyme, children understand and enjoy poetry more if it has a “beat” that matches the mood of the poem.  A natural rhythm helps them to understand what they are reading.  Finally, what role does sound play?  Students love the use of alliteration, assonance, and onomatopoeia (this is my favorite word to spell and my students’ favorite word to find in poetry!).

Some additional criteria that can be used when evaluating poetry for children includes: visual images, imagery that allows their imaginations to grow the idea, never bring it “down to their level”, use lively poems, and touching subjects that they will be able to “feel” about.

There are some great ideas about what to do with poetry.  Allow kids to interact with poems.  This is done through having them make the noises, read the chorus, or create a readers theater where the students have roles.  One idea is to let them read a poem multiple times in a week so that they learn their parts and can enjoy them by the end of the week. Poetry can also be used for teaching, with such collections like Ruth Heller’s MANY LUSCIOUS LOLLIPOPS and other books teaching the parts of speech.  Books about school, such as  IF YOU’RE NOT HERE, PLEASE RAISE YOUR HAND by Kalli Dakos are also great for forging connections (the familiar topics and language).  Another idea would be- do not always pick it apart!  Just read it.  Enjoy it.  Also, let students write poetry because there are really no rules and they can focus on what they are saying instead of how they are saying it.  

Research shows five consistent conclusions about what elementary students like as far as poetry.  The things they dislike are free verse and haiku.  The things they prefer are narrative poetry, rhythm and rhyme and other sound devices, funny poems and poems that are about experiences familiar to them, and contemporary poems because of the familiar language and topics.

One way poetry is coming out of the shadows is through the NCTE Award for Excellence in Poetry for Children. This award used to be awarded every three years, but is now awarded every year.

Why do we teach poetry?  There is value in poetry for our students.  They can share emotions, experiences, and visions with the poets. Through poetry, they can gain a new or deeper understanding of the world.  There are six reasons for sharing poetry with children suggested by Jean Le Pere: to create enjoyment, share knowledge of concepts, increase vocabulary, help children identify with people and situations, understand their own feelings, grant insights into their feelings, and understand universal emotions.

There are certain characteristics of poetry that are suitable to different ages.  In 1st-3rd grades poetry should be: narrative, limericks, strange and fantastic events, traditional, and have: rhyme, alliteration, and onomatopoeia.  In 4th-6th grades, excitement for poetry declines.  Poetry should be: contemporary, familiar and enjoyable experiences, tell a story with humor, and have: rhythm and rhyme, no heavy imagery or implied emotion.  In grades 7-9, poetry should be humorous, narrative about familiar experiences, and continue to have rhyme.,

REFLECTION

I learned so much about poetry and what is appropriate for children.  I think about what we learned in chapter 7, and that children don’t get to abstract thought until 14, but we have our middle school children reading and analyzing Frost and Dickinson- the very stuff we have been giving them is the very stuff their brains can’t wrap around.  Our kids don’t want boring, and they don’t want to dissect a poem.  I have some great ideas about poems now to work with my students with, and my future students when I am the librarian.  I can’t wait to let the students read a poem in a reader’s theater every day for a week.  I look forward to the Friday when they know their parts and they can feel happy and confident.  I can’t wait to see them fall in love with poetry because I have learned how to properly care for this beautiful form of literature.

Chapter 10- Historical Fiction

SUMMARY

Historical fiction is any story set in the past.  As it turns out, the past is debatable.  If, in 2018, you ask an adult if 9/11 is a contemporary event, they will say probably say yes.  However, if you ask a school age child, they will say that it was historical.  For many adults today, THE WATSONS GO TO BIRMINGHAM, 1963 is considered historical, however there are still many people who lived during that time, so it would be contemporary.  Basically, historical fiction allows the reader to experience living in a different time.

There are five criteria that can be applied to evaluate historical fiction.  First, does the book tell a good story that seamlessly binds the history into it through the details?  Secondly, are the facts of the historical period accurate?  It is a good idea to consult the CBC or another list of excellent novels unless you happen to be an expert on a particular time period.  Thirdly, how are the values of the time brought to life?  The reader must be able to see how things were valued differently from today.  Fourthly, is everything consistent in the social milieu?  The clothing, architecture, music, speech patterns, and everything else must fit the time period.  Finally, does the theme of the story relate to modern readers?  If it does, fabulous.  If it does not, then the novel is off the mark.  The theme of historical fiction must be universal and meaningful to the contemporary reader.

REFLECTION

Historical fiction is one of my favorite genres.  I love to see the struggles and the way of life of a different period of time. One of my favorite things to do with a novel is to see how long it takes me to figure out the time period without reading the book flap or any reviews.  As I learn here, it is more the skills of an excellent writer than the skills of me as a reader that determine how long it takes me to figure out.  There is a skill in writing historical fiction because a writer must blend historical accuracy, a compelling fictional plot, and a theme that crosses time and place into one interwoven masterpiece.  

Something I have seen as a teacher is the difference between what I consider history and what my students consider as history.  As this chapter points out, this difference is important in determining which literature falls into which category- especially when the controversy about genrefied libraries comes up.