Archives For Reading

“…but first, I give them a quiz,” the 2nd grade teacher was telling me.
“A quiz?” I was surprised, “Why?”
“Well, how will I know they read their homework?” she responded.
“But…they are only in 2nd grade…so……” I trailed off; she blinked expectantly.

I didn’t finish my sentence.

“So… this is how the madness starts,” is what I wanted to say.

Quid Pro Quo Assignments

Homework has always been a bit of an educational  “quid pro quo (Latin). The “give something, get something” in schools where a quantitative grade marks the successful exchange of educational services, the teacher, to the student in a paper-or digital-transfer.

Quid pro quo homework follows a cycle: the homework worksheet is distributed; the homework worksheet is completed; the homework grade is entered OR the homework is assigned, and the student is quizzed to check compliance.Non-compliance can sometimes bring a punitive action.

This cycle does not facilitate trust between teacher and student.

The quid pro quo cycle of homework has been customary practice in the upper grades, but recent studies are raising concerns about the increasing amounts of homework in the elementary grades.

Increase in Homework for Elementary

The focus on back-to-school issues in the media such as the article Kids Receive 3 Times the Recommended Homework Load in the 8/12/15 issue of TIME magazine  is bringing attention on the tripling of homework at the elementary level. The amount of homework raises concerns in policy and research:

From the National Education Association Research Spotlight on Homework

“In the last 20 years, homework has increased only in the lower grade levels, and this increase is associated with neutral (and sometimes negative) effects on student achievement.”

From Does Homework Improve Academic Achievement? A Synthesis of Research, 1987–2003 (Cooper, Robinson, Pattall REVIEW OF EDUCATIONAL RESEARCH )

“No strong evidence was found for an association between the homework–achievement link and the outcome measure (grades as opposed to standardized tests) or the subject matter (reading as opposed to math).”

From The American Journal of Family Therapy Homework and Family Stress: With Consideration of Parents’ Self Confidence, Educational Level, and Cultural Background

Family stress, measured by self-report, increased as homework load increased and as parent’s perception of their capacity to assist decreased.

One conclusion is that the increase in homework at the elementary level is not only academically ineffective, but also stressful, particularly for families with limited educational resources.

Long Term Consequences of Too Much Homework

A consequence of assigning homework as high stakes, rigorous, or graded practice in the lower grades sets up a disturbing paradigm that becomes ingrained in the upper grades. Homework becomes less about good practice in a discipline and more about student responsibility. In the upper grades, where homework does show academic value, the homework grade is often an average of the two.

Another consequence is how quickly younger students can be trained into a exhausting pattern of expecting a grade for each assignment. Once that pattern is set, students may require a grade for anything they turn in. They may not be able to discriminate between a grade for a long-term assignment or for busy work, and in the course of 13 years of education there will be a great deal of homework that is simply busy work.

Once that habit of quid pro quo homework has been established in the younger grades, it can become an addictive monster at every other grade level. For example, the 2nd grade student who will be met with a quiz for reading homework will be conditioned to associate reading with quizzing.

Constant quizzing could mean the student may never understand how to read for pleasure or grow to love reading. Ironically, reading for pleasure has been proven to be the one academic skill that will make that student successful way beyond that second grade classroom.

from jarofquotes.com

from jarofquotes.com

Of course, homework should receive feedback, an equally critical part of the educational process, but one that serves a different purpose than grading. Feedback on homework could be a positive experience for a student. It can be unexpected, encouraging, comforting, instructional, corrective, supportive-as opposed to a graded assignment….especially for a student in an elementary grade.

If the homework given in a 2nd grade class is to read, a quiz should not be the method to check to see if students did the reading; a  sidebar conference or quick discussion about what was read might be a better assessment.

Not everything needs a grade.
When selecting homework assessments, teachers should consider the question “Is this homework simply busy work?”  as well as other questions:

  • Is a quiz necessary to see that a student has read a homework assignment?
  • Is correcting this homework the best use of time?
  • What does this homework assignment accurately measure ?
  • How many times have I had students do this same homework assignment?

Homework is Practice

Teachers can measure a student’s performance through other forms of assessment. While a teacher, at any grade level, has little control over the conditions and support for homework once a student leaves the building, there are multiple opportunities for the teacher to monitor student progress while students are in the classroom.

Furthermore, homework’s design is to provide students the opportunity to practice, which raises the question: should student practice homework be assessed at all?

This school year, it’s time to halt the increase in elementary homework and the potential madness of its quid pro quo value.

Instead, educators should heed the research that shows students in elementary grades need less homework, and when they do have homework, the emphasis should be on practice.

Students -all students-need the practice more than they need the grade.

While they are not wrapped in shiny paper with frills and bows, the piles of donated used books on the tables of the local area library book sales this summer are presents.

It does not matter that these presents are “re-purposed” or “re-gifted”…these books will be presents to students to encourage reading. It’s Christmas in July for filling the classroom libraries!

red boxFor this special kind of “Christmas shopping”, I have been to three Connecticut library books sales: the New Milford Public Library, the C.H. Booth Library in Newtown, and the Westport Public Library. These large book sales have the titles that students want to read, because the books have been donated by students who have already read them. These gently used donated books have already been field-tested.

Choosing books that student want to read is different than selecting books that students should read. Educators believe that students should read selections from the literary canon, for example, those written by Shakespeare, Steinbeck, and the Brontë sisters. Students should read titles such as The Crucible, To Kill a Mockingbird, and The Odyssey. These selections from the literary canon are often assigned in middle or high school classes.

But many students do not want to read these pieces of classic literature for pleasure. They want to read a title from the Diary of a Wimpy Kid or The Hunger Games series. The key difference between reading for pleasure and assigned reading is recognizing that students have similar guilty pleasures as adults in reading popular culture,

Students want to read titles such as the Dork Diaries;  Angus, Thongs and Full-Frontal Snogging; I’d Tell You I Love You, But Then I’d Have to Kill You; Hatchet; or The Perks of Being a Wallflower. These are the titles they look for in their independent reading choices. So, I looked for these titles at the three book sales, and I found copies of all of them.

The titles students want to read can build vocabulary and fluency for the classic literature they are assigned in school. Reading books by John Green (Looking for Alaska, The Fault in our Stars), Anthony Horowitz (Point Blank, Scorpio) or Sarah Dessen (Dreamland, This Lullaby, The Truth About Forever) gives students the chance to practice reading for pleasure. I looked for these titles, and I found copies of all of them as well.

Reading for pleasure for today’s teen reader means wandering in some very dark worlds as students are particularly drawn bleak futures as depicted in the Divergent series (dystopian world) or Delirium series (dystopian world) or the Chaos Walking series (finding yourself in a dystopian world).  Again, I found copies of all of these titles.

Student readers of fantasy, a genre sadly overlooked in most school offerings, cannot get enough of Rick Riordan’s retelling of Greek Mythology (The Lightning Thief, The Last Olympian) or his newer Egyptian series (The Red Pyramid). I found multiple copies from both series.

When students are offered the titles they want to read, they can practice reading the way marathoners train for races or musicians rehearse for performances. Practicing reading in school with Silent Sustained Reading (SSR) or for homework improves their reading pace, their reading accuracy, and helps students develop a reading routine.

It does not matter if reading practice for pleasure includes some titles from the often maligned series from Captain Underpants (intermediate grades) or Twilight (high school grade). The elements of story (protagonist, antagonist, conflict, rising action, and resolution) are in each. Not to mention Stephanie Meyer’s borrowing passages from Wuthering Heights to accessorize her vampire-filled trilogy.

There is good reading practice in the R.L. Stine collections from Goosebumps to Fear Street, and there is good reading practice in Fruit Baskets (Manga) or Calvin and Hobbs comic books or in the  Darwin Awards series. And, yes, I purchased many copies of each.

Titles with movie tie-in such as the Star Wars series, World War Z, or the original Jurassic Park are always popular, and students check to see how accurately the film matches the text. YA Chick lit from Meg Cabot (The Princess Diaries) orAnn Brashares (The Sisterhood of the Traveling Pants) appeal to a particular female demographic while novels written by Nicholas Evans and Jodi Picoult can take that same group well into adulthood. I found copies of all of these.

What I did not find were those popular Minecraft books, but those will come in book sales next summer as more and more students engage in the game platform. Note: In 2016 expect a Minecraft wave near you!

All together, shopping at the three book sales yielded book as “presents” that will be spread out over 50 classroom libraries. These popular books will encourage students to practice reading in and out of school  to build up their reading stamina, for school and for life.

The Friends of the Library website lists all the book sales in Connecticut, and there are plenty of opportunities year-round to increase libraries that are geared for reading pleasure. Our students will be life-long readers if they develop the solid reading habits.green box

So far, this has been A Very Merry Book Sale season! Happy Holidays!

 Anne Frank: The Diary of  Young Girl transcends the labels of genre. anne Frank book

Yes, as the title suggests, it is a diary, but it is also a memoir, a narrative, an argument, an expository journal, an informational text, and much more.

Yet, these genres listed are treated as separate and distinct in the reading and writing standards of the Common Core (CCSS). The standards emphasize the differences between the literary and informational genres. The standards also prescribe what percentages much students should read (by grade 12 30% literary texts/ 70% informational texts), what genres of writing they should practice (narrative, informative/explanatory, argumentative) and the percentages students should expect to communicate  in these genres by grade level.

Distribution of Communicative Purposes by Grade supported by the Common Core

Distribution of Communicative Purposes by Grade supported by the Common Core

In the real world, however, the differences between genres is not as clear and distinct as neatly outlined in the standards. The real world of Nazi occupied Holland was the setting that produced the defiant Diary of Anne Frank.

On June 12, 1942,  Anne Frank received a red and white check autograph book as a birthday gift. This small volume was soon filled by Anne as a diary, the first of three separate volumes, as she her family and friends hid in the secret annex.

A diary is a daily record, usually private, especially of the writer’s own experiences, observations, feelings, attitudes.

Anne’s narrative in these diaries provides a sequence of events and experiences during the two years she spent hiding with others behind the bookcase in the attic where her father had been employed.

A narrative is a story or account of events, experiences, or the like, whether true or fictitious.

In June of 1947 Anne’s father Otto Frank published The Diary of Anne Frank, and it has become one of the world’s best-known memoirs of the Holocaust.

A memoir is a written account in which an individual describes  his or her experiences.

In one entry Anne explains she is aware of what was being done with Jews throughout Europe and those who resisted the Nazis. She refers to radio reports from England, official statements, and announcements in the local papers. There are expository style entries throughout the diary that help the reader understand how much she and others knew about the Holocaust:

“Our many Jewish friends and acquaintances are being taken away in droves. The Gestapo is treating them very roughly and transporting them in cattle cars to Westerbork, the big camp in Drenthe to which they’re sending all the Jews….If it’s that bad in Holland, what must it be like in those faraway and uncivilized places where the Germans are sending them? We assume that most of them are being murdered. The English radio says they’re being gassed.” October 9, 1942

“All college students are being asked to sign an official statement to the effect that they ‘sympathize with the Germans and approve of the New Order.” Eighty percent have decided to obey the dictates of their conscience, but the penalty will be severe. Any student refusing to sign will be sent to a German labor camp.”- May 18, 1943

Expository writing’s purpose is to explain, inform, or even describe.

Finally, there are excerpts taken from the diary where Anne makes a persuasive argument for the goodness of people, even in the most awful of circumstances:

“Human greatness does not lie in wealth or power, but in character and goodness. People are just people, and all people have faults and shortcomings, but all of us are born with a basic goodness.  If we were to start by adding to that goodness instead of stifling it, by giving poor people the feeling that they too are human beings, we wouldn’t necessarily have to give money or material things, since not everyone has them to give.” March 26, 1944

A persuasive argument is a writer’s attempt to convince readers of the validity of a particular opinion on a controversial issue.

Anne’s opinion about the goodness of people during the horrors of the Holocaust is a remarkable argument.

The Diary of Anne Frank gave rise to other genres. Anne’s diaries served as the source material for a play produced in 1955 and then as a film in 1959.

The genre of The Diary of Anne Frank, however, should not be the focus, or the reason for its selection into a curriculum or unit of study. Instead, it is the quality of the writing from a young girl that makes the diary a significant contribution to the literature of the 20th Century.Screenshot 2015-06-11 18.50.33

Novelist and former president of the PEN American Center, Francine Prose revisited the diary and was “struck by how beautiful and brilliant it is.” Prose’s research on Anne Frank as a writer culminated with her own retelling, Anne Frank: The Book, the Life, the Afterlife, in which she makes a strong case for the literary quality of Anne’s writing:

“And the more I thought about it, the more I realized how rarely people have really recognized what a conscious, incredible work of literature it is.”

In an interview on the PBS website, Prose was asked, “Do you think there is something about Anne Frank’s voice that continues to resonate with young people today?” Her response,

“I do. Because the diary was written by a kid, it is almost uniquely suited to be read by a kid. Salinger and Mark Twain certainly got certain things right about being a kid; but they weren’t kids when they wrote their books. The diary works on so many different levels.”

When selections from The Diary of Anne Frank were first published in the “Het Parool” on April 3, 1946, the historian Jan Romein also recognized how Anne’s young literary voice rose above the inhumanity that caused in her death at 15 years in the Bergen-Belsen concentration camp. In his review, he writes:

“… this apparently inconsequential diary by a child… stammered out in a child’s voice, embodies all the hideousness of fascism, more so than all the evidence at Nuremberg put together.”

Romein’s review elevates the “apparently inconsequential diary” as testimony in making a legal case against the Nazi regime. It is that power in Anne’s voice that makes her diary a powerful text to offer students, whether it fits the percentages in a CCSS aligned unit of study for an informational text or not.

Her entry on July 15, 1944, written 20 days before she and her family are betrayed to the Nazis reveals yet another genre:

 “I see the world being slowly transformed into a wilderness, I hear the approaching thunder that, one day, will destroy us too, I feel the suffering of millions. And yet, when I look up at the sky, I somehow feel that everything will change for the better, that this cruelty too shall end, that peace and tranquility will return once more.”

For there is poetry in that entry as well.

One Word Text Complexity

March 23, 2015 — 1 Comment

I recently attended the 2nd Annual Conference for The Teaching Studio at The Learning Community, a public charter school in Central Falls, Rhode Island. Doing double duty as keynote speaker and presenter, author and blogger Vicki Vinton conducted two workshops on text complexity and how students read complex texts.

Vicki Vinton's previous book

Vicki Vinton’s earlier book on reading; Good news, she is writing another!

As an opening exercise, she asked those in attendance in the afternoon session to sum up their attitudes or feelings at that moment using only one word. She explained that while she is in the process of writing a book on the topic of text complexity, she sometimes feels overwhelmed in trying to meet deadlines and keep up with work responsibilities. She said she had chosen a word to sum up her feelings.

On a slide was her word: “Breathe.”

Some of the participants’ words?

Uncertainty
Joy
Time
Try
Action
Happy
Quality
Discover

My word? I combined the words try and action; my word was traction.

This opening activity mimicked how readers approach a complex text. In asking each member of her audience to select a word, Vicki explained that she was using the exercise as an ice breaker. She had established a purpose. Her request to have each person choose only one word to sum up an attitude required that each participant had to tap into his or her background knowledge (schema). As Vicki wrote each single word on the chart paper, the words formed a contextual coherence. Individually, these words were in the abstract, but listed collectively on the page, they provided an emotional portrait of the attendees in the session.

When readers read complex texts, they must perform many of the same steps we performed. Readers must establish a purpose for reading. Readers must tap into their own background knowledge, just as we did when Vicki requested that we select a single word. Our choices illustrated how readers must rely heavily on knowledge of word meanings when reading complex texts.  Finally, a reader needs to recognize a coherence; how words in a text connect to each other. The attendees in Vicki’s session had a chance to recognize the connection of their words to the education profession.

Had we been given the time, we might have explained in more detail why we had chosen our particular words. I would have had the opportunity to explain why I had selected the traction. The dictionary defines traction as:

1: the act of drawing : the state of being drawn
2: the adhesive friction of a body on a surface on which it moves (as of a wheel on a rail)
3: a pulling force applied to a skeletal structure (as a broken bone) by using a special device <a traction splint>; also: a state of tension created by such a pulling force

Of the three possible meanings, my reason for choosing traction is most closely associated with the second definition. One of my educational objectives this year is to help students in my district to make gains in reading and writing. While that means I may encounter some “friction” in meeting this goal, I must be careful about the degree of “tension” that I create as I work to be a “pulling force” in improving literacy.

The complex thinking that began Vicki’s presentation came from her request to choose only one word proving that text complexity has nothing to do with length; text complexity can be found in brevity.

Vicki’s opening exercise was an excellent way to highlight the stages all readers can experience in reading complex texts. Her presentation developed many of these ideas that she promised would be outlined in the book she is currently writing. While the working title Embracing Complexity is, according to her, “subject to change,” the book will offer problem-based approach to the teaching of reading.

I look forward to reading her book when it is published.

In the meantime, I have a new word: anticipation.

“What’s the last ‘best’ book you read on your own?” I would ask students when I taught middle and high school.

When I asked them this question, the boys almost always answered “Hatchet“.

“That’s the last book I read, too,” many would admit.

The number of Hatchet fans was 100% among the vocational agriculture students I taught for seven years in a rural school in Northwest Connecticut. Their love of this novel resonated with their desire for independence, adventure, and the outdoors.

The author Gary Paulsen shares many of these interests according to his biography:

Running away from home at the age of 14 and traveling with a carnival, Paulsen acquired a taste for adventure. A youthful summer of rigorous chores on a farm; jobs as an engineer, construction worker, ranch hand, truck driver, and sailor; and two rounds of the 1,180-mile Alaskan dog sled race, the Iditarod; have provided ample material from which he creates his powerful stories.

In Hatchet, Paulsen’s protagonist, Brian Robeson, is a thirteen-year-old boy from New York City. From the onset, Brian is ill-prepared to meet the hardships of the wilderness when the single engine plane he is riding in from New York to Canada crashes because the pilot had a heart attack. Thus begins a compelling survival story, and my students loved survival stories; many of them were experienced hunters or fishermen.

The opening chapters of Hatchet also cover Brian’s personal background, his knowledge of his mother’s affair and his parent’s subsequent divorce, and the events leading up to the plane crash. Since the pilot had offered Brian a few minutes of flight lessons, he is able to control the descent of the plane until it crashes into a lake. He swims to safety with his only asset, a small hatchet he has taken from the crash.

Brian’s wilderness education alternates between emotions of loneliness and his physical needs. He learns to respect the natural world through a series of unexpected encounters with a bear, a porcupine, and a wolf. A turtle’s eggs give him a food source until he learns how to fish.  He learns how to build a fire and how to store food properly after a serious spraying by a skunk. Initially devastated about his inability to signal a passing plane for help, Brian works to improve his skills by constructing a studier lean-to.  These incidents mark a change in the “new” Brian, one who is far more self-reliant than the “city boy” who left on the plane to Canada. My students enjoyed the notion that “city boy” values must change to include skills they valued as well.

In recounting Brian’s emotional turmoil caused by his parent’s recent divorce, Paulsen uses simple and effective word choice and syntax; Brian is monosyllabic with memories, “The words. Always the words. Divorce. The Secret. Fights. Split. The big split.” Many of my male students spoke monosyllabically as well. These simple statements capture Brian’s stream of consciousness effectively without sentimentality.

There is just the right amount of the “yuck” factor in the novel to satisfy a young male reader. When the plane resurfaces, Brian decides to retrieve the plane’s flight location transmitter. While diving in the plane, he comes upon the decomposing body of the pilot:

“The fish. He’d never really thought of it, but the fish—the fish he had been eating all this time had to eat, too. They had been at the pilot all this time, almost two months, nibbling and chewing and all that remained was the not quite cleaned skull and when he looked up it wobbled loosely.”

Paulsen illustrates Brian’s growth as he learns how to adapt to increasingly dangerous situations; he survives a tornado and a terrifying moose attack. The reader is increasing aware of the self-confidence that Brian develops towards the end of the novel:

“Come on, he thought, baring his teeth in the darkness—come on. Is that the best you can do—is that all you can hit me with—a moose and a tornado? Well, he thought, holding his ribs and smiling, then spitting mosquitoes out of his mouth. Well, that won’t get the job done. That was the difference now. He had changed, and he was tough. I’m tough where it counts—tough in the head.”

54 days after the plane accident, Brian is rescued. Like all characters in a coming-of-age novel, he is not the same; he is more introspective and thoughtful. Paulsen’s narrative convinces students that Brian’s transformation is real, and that maybe such transformations are possible for themselves.

The novel’s grade level equivalent is 6.3; the Lexile® measure is 1020, but labeling the interest level as grades 6-8 is a mistake. My students’ interest in Hatchet was the standard for all other reading choices as in, “This book is not like Hatchet” (*sigh*) or “This book is almost as good as Hatchet.”

Hatchet was the 1988 Newbery Honor book and, fortunately for teachers wishing to offer books like Hatchet, it is the first in a trilogy + one. After Hatchet came The River,(1991); Brian’s Winter, (1996); and then Brian’s Return, (1999).

Paulsen also has two non-fiction offerings: the book Guts, a set of true short stories of survival, and Winterdance, a story of running the Iditarod. Both titles were also popular with my students.

Paulsen’s wilderness experiences set a high standard for adventure stories for my students, and the experience of reading this book was often so powerful that I had to (figuratively) drag them “out of the woods” in the book to notice other compelling stories on our classroom’s bookshelves.

Hatchet was my “go to” for the reluctant reader, and I always had several copies on hand to lend out. There were copies for the first time reader and for the re-reader, but I did have to draw the line on occasion. While Hatchet can still be the best book some of my students have ever read, it cannot be their last.

When Erik Larson was interviewed by the NY Times for his latest book Dead Wake about the sinking of the R.M.S. Lusitania, he Screenshot 2015-03-11 23.14.19expressed his purpose for choosing to write in the narrative non-fiction genre:

“It is not necessarily my goal to inform. It is my goal to create a historical experience with my books. My dream, my ideal, is that someone picks up a book of mine, starts reading it, and just lets themselves sink into the past and then read the thing straight through, and emerge at the end feeling as though they’ve lived in another world entirely.”

There is nothing of analysis in his stated purpose for writing, but there is a desire to have a reader engulfed by a narrative that ends in the reader “feeling.”

In contrast, in the first three anchor standards for reading (grades k-12), the Common Core State Standards (CCSS) for English Language Arts spell out the expanse between their objectives and Larson’s expression to use narrative non-fiction to connect viscerally with the readers:

CCSS.ELA-Literacy.CCRA.R.1
Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.
CCSS.ELA-Literacy.CCRA.R.2
Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.
CCSS.ELA-Literacy.CCRA.R.3
Analyze how and why individuals, events, or ideas develop and interact over the course of a text.

The anchor and grade level standards were written purposely to be devoid of any reference to reader’s feeling or connection. These standards were carefully articulated not to be confused with the popular  Reader Response Theory supported by Louise Rosenblatt that focused “on the reader rather than the author or the content and form of the work.”

“Reading closely” in the CCSS has been spun as “close reading”, defined by the The Partnership for Assessment of Readiness for College and Careers (PARCC) as:

Close, analytic reading stresses engaging with a text of sufficient complexity directly and examining meaning thoroughly and methodically, encouraging students to read and reread deliberately. Directing student attention on the text itself empowers students to understand the central ideas and key supporting details. It also enables students to reflect on the meanings of individual words and sentences; the order in which sentences unfold; and the development of ideas over the course of the text, which ultimately leads students to arrive at an understanding of the text as a whole. (2011, p. 7)

Analyzing the definition of close reading (above) through analysis in a WORD SIFT highlights the CCSS emphasis on ideas and meaning for the student:Screenshot 2015-03-11 22.02.36

Missing from this definition? The word “author.”

This word sift analysis illustrates how the “close reading” advocated by the CCSS requires students to read for meaning, with no consideration to the intent of an author.

The NYTimes interview with Larson provided him the opportunity to state that he does not write to a standard; he says nothing about “meaning” and “ideas”. Instead, Larson poetically defined his goal for writing. He writes for the reader to have an experience, and that experience is ” his “dream” or “ideal.”

While the language of the Common Core contrives to eliminate the author’s role in creating texts, those same texts students will be expected to “close read”, Erik Larson reminds us that authors do not write to meet a standard.

Authors write to create feelings in their readers, whether those readers are reading closely or not.

March 2 was Dr. Seuss’s birthday, celebrated as Read Across America Day. In West Haven, Connecticut, planning for the event began in January when the Reading Department discussed how teachers were the model readers in every building. In a previous post, I added a sideshow of photos of classroom doors that teachers and staff designed to help students recognize the importance of reading and pay tribute to Dr. Seuss.

Many of the designs were remarkable. There were doors decorated as “Readboxes,” a playful twist on the movie-dispensing Redboxes. There were doors decorated with book choices displayed in Twitter tweets, or pie charts, or hot air balloons taking students “to the places they will go.” There was even a Type 40 TARDIS door where Dr. Who can meet Dr. Seuss!

Even more remarkable was the amount of time and effort that these West Haven educators put into the communal sharing of texts. Back in January, the hope of the Reading Department was that conversations about books would happen between students; between teachers and staff; and between teachers and students and staff.  Too often in education, there is an expectation that reading a book will end in an assessment or grade. Too often, reading a book means analyzing theme, discussing character change, or identifying setting.  Too often, there is no celebration in reading.

The hope of asking teachers to share their favorite titles on classroom doors was that these displays would spark new conversations about books that were far more informal, something akin to a student saying,  “Hey, I like that book, too!”

Two other West Haven elementary schools participated in the Read Across America, and their classroom doors and bulletin boards will hopefully continue their school community’s conversations about books. At minimum, their door decorations have definitely sparked conversations about  the impact of Pinterest on education!

Some of Mackrille Elementary  School’s offerings are seen here:

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The numerous weather delays and cancellations resulted in a delay of festivities for Forest Elementary School, but their enthusiasm for engaging in conversations about favorite books and reading is clearly evident:

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These posts wrap up the 2015 West Haven edition of Read Across America where educators contributed time and effort to celebrate reading. Now, we can listen for students to say, “Hey, that’s my favorite book, too!”

A Seussian-thanks to all those who participated:

The doors, the books, a wonderful sight
Seeing everyone share was such a delight!

March 2 is Dr. Seuss’s birthday, celebrated as Read Across America Day. Here in West Haven, Connecticut, there were book sharing activities for teachers and students in grades K-12.  Planning for the event began in January when the Reading Department discussed how teachers were the model readers in every building.
Because teachers are successful readers, several teachers and staff members shared their personal reading histories with students and other staff members. This sharing was most evident with a wall display at Washington Elementary School where students could “Guess which book was a childhood favorite?” Photos of teachers when they were in elementary school were paired with book covers such as The Little Prince or Go, Dog, Go!

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At Bailey Middle School, teachers also shared their favorites with recommendations for students in Grades 7 & 8:

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Since reading “opens doors”, teachers and students at several different elementary schools shared their favorite books together on classroom doors. The Doors of Haley Elementary School were a Pinterest-lit explosion:

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While grades 5 & 6 teachers and students combined to pay tribute to Dr. Seuss and share their favorite titles on the Doors at Carrigan Intermediate School:

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The day’s celebrations included other activities as well. Students at Savin Rock dressed as Dr. Seuss characters and spent time in their classrooms reading. At Pagel’s Elementary school, there was a character parade that ended in a laser light show.  Forest Elementary School will be celebrating with a door contest  held  mid-week. Finally, at West Haven High School, 12th grade students wrote letters to 9th grade students listing the books that they would recommend to read in order to succeed.
The National Education Association (NEA) created Read Across America in order to  motivate children to read. Their research has shown that children who are motivated and spend more time reading do better in school.
The photos from West Haven illustrate a high degree of motivation where teachers and students are talking about books. The day’s success was made possible through the  collective efforts of teachers and students  and building principals.
Thank you to all who participated in a Dr. Seuss fashion:

One Thanks,

Two Thanks,

Big Thanks,

True Thanks!

The Hollywood Academy released the 2015 nominations this past week, and their choices for best picture, best actor, and best director lit a firestorm on social media about the lack of diversity in their choices.Oscar

Some of the heated discussions called into question the make-up of the Academy, which according to a  2014 Los Angeles Times article is:

  • 93 percent white
  • 76 percent male
  • Average age of 63

The percentages that make up the homogenized Academy bear a striking resemblance to the make-up in the canon of literature traditionally taught in high school English classrooms, a list of works dominated by white male writers. There are numerous reasons as to why the literature is singular in gender and race: politics, economics, culture, and textbooks play a part. The most probable explanation on why the traditional canon endures, however, may be as simple as teachers teaching the books they were taught.

Even the average age of the dead white male writers in the canon is the same as those in the Academy. A sampling of traditionally assigned authors at the time of their deaths (offered in no particular order) is the average age as the members in the Academy=63 years: John Milton (72), Percy Bysshe Shelley (30), F. Scott Fitzgerald (44), Dylan Thomas (39), Arthur Miller (90), William Shakespeare (52), John Keats (27) Ernest Hemingway (62), William Faulkner (65), John Steinbeck (66) William Blake (70), George Orwell (47), and TS Eliot (77).

My observation that older white male literature dominates the curriculum is nothing new, and while there are there are glimmers of diversity, authorship bears little resemblance to readership. Occasionally, Richard Wright, Langston Hughes, and August Wilson pop up to address racial diversity, while the inclusion of Mary Shelley, Harper Lee, Jane Austen and the Bronte sisters are worthwhile contributions to gender equity.

At the same time, there is a growing body of popular young adult literature from authors representing diversity such as Jacquelyn Woodson, Sharon Draper, Pam Muñoz Ryan, Gary Soto, and Sherman Alexie.  In a manner akin to film audiences, students have been voting for these book choices with their pocketbooks or checking out library books. They are selecting materials (novels, graphic novels, animé, pop culture, biography) that they want to read.

As readers, students look for characters like themselves, who have problems like themselves, even if the settings of the stories are in the ancient past or distant future. If a student never builds empathy with a character because all the assigned reading comes from the canon, then the canon is disconnected from personal experience and useless for that student. If creating life long readers is the goal, curriculum developers must pay attention to student interests and the trends in the popular reading lists. Continuing the disconnect between the traditional canon in school and what students choose does little to build credibility.

That same kind of disconnect is seen in the nominations submitted by the Academy. Their choices show a wide gulf of opinion between critics and audiences, between the selected films and popular films at the box office. National Public Radio (NPR) film critic Bob Mondello noted the low audience numbers for many of the 2015 nominated films:

MONDELLO:  If you total up all of the grosses for all of the best picture nominees this year, you come up to about 200 million, which is roughly what a picture like “Teenage Mutant Ninja Turtles” makes all by itself so that you’re talking about very few eyeballs were on those pictures.

Mondello’s noting the difference in box office is striking in comparison to the the top three box office films to three of the nominated films for best picture:

TOP GROSSING:
1 Guardians of the Galaxy – $333,145,154
2 The Hunger Games: Mockingjay – Part 1 $330,643,639
3 Captain America: The Winter Soldier – $259,766,572

NOMINATED FOR BEST PICTURE:
94 Birdman  $26,725,993
95 The Theory of Everything $26,317,946
100. Boyhood  $24,357,447

Mondello further suggests that Academy has not supported its own self interest in making nominations:

And the idea here is that you’re not going to watch the Oscar telecast unless you have a horse in the race….And I think what they’re hoping is that the next six weeks up until the show, these movies will be seen by a lot more people. If they aren’t – and they only have 38 days to do this – then you’re going to have the lowest rated Oscars telecast in the history of the Oscars.

Encouraging people to attend the films nominated by the Academy will be a challenge, and the success of the Oscars this year will be determined by audience choice. The deaf ear of the Academy this year may make them more open to diversity in future years. In contrast, a deaf ear from curriculum developers who continue to assign literature from the canon because “it has always been taught” may result in student audiences disconnected and less interested in reading anything at all.

Hoping to bridge this disconnect are organizations such as the Children’s Book Council (CBC )Diversity Committee whose mission statement is:

We endeavor to encourage diversity of race, gender, geographical origin, sexual orientation, and class among both the creators of and the topics addressed by kid lit. We strive for a more diverse range of employees working within the industry, of authors and illustrators creating inspiring content, and of characters depicted in children’s and young adult books.

The organization We Need Diverse Books is also committed to expanding diversity in literature and in the video below, the popular YA writer Jon Green (The Fault in Our Stars, Paper Towns, Looking for Alaska) makes a compelling case for including other, newer voices into the literary canon that is taught in classrooms.

Unlike the choices made by this year’s Academy, the choices in English classroom should represent diversity in authorship, in genre, in character, and in topics because the readership is diverse. NPR’s Bob Mondello’s metaphor about engaging an audience for the Oscar show this year could be a metaphor for creating life long readers. Unless students “have a horse in the race” in what they read, they will not value the choices made for them.

I have seen how the monthly Scholastic Publishing Company book flyer can set student readers’ hearts aflutter. scholastic-flyersScholastic’s marketing through classroom book clubs gives them direct access to all levels of student readers, and when a school hosts a Scholastic book fair, students can browse books or products with book title tie-ins. Moreover, Scholastic offers resources to teachers including lesson plans, discussion guides, and leveled reading programs.

So when Scholastic releases a report titled Kids and Family Reading Report, they speak with authority.

The Fall 2014 report was based on a survey given in conjunction with the UK international marketing firm YouGov. The objective was to “explore family attitudes and behaviors around reading books for fun.”

The key findings of this research, were based on a nationally representative sample of 2,558 parents and children including 1,026 parents of children ages 6–17.

In this survey, there were questions about parental reading habits, ages for reading aloud, and the use of e-readers.

Given my interest in providing time in school for reading, I was particularly interested in what the survey had to say about dedicated time and developing readers.

There were three key finding about reading in school:

#1: One third of children ages 6–17 (33%) say their class has a designated time during the school day to read a book of choice independently, but only 17% do this every or almost every school day.

Scheduling time for independent reading is important, but making sure that time is sacrosanct conveys to students the critical importance of reading.  Making sure independent reading time is respected also demonstrates that schools value the ninety-one percent of children ages 6–17 in the survey who stated that “my favorite books are the ones that I have picked out myself.”

#2: Half of children ages 6–17 who read independently as a class or school (52%) say it’s one of their favorite parts of the day or wish it would happen more often.

The 52% is a combined percentage of boys and girls, with 61% of girls agreeing in contrast to the lower percentage of 41% of boys agreeing (see data below). However, it is distressing to see a drop of 9% in reading for fun since 2010.

Screenshot 2015-01-11 20.39.11

 

#3 School plays a bigger role in reading books for fun among children in lower-income homes. 61% percent of children ages 6–17 from the lowest-income homes say they read for fun mostly in school or equally at school and at home, while 32% of kids ages 6–17 from the highest-income homes say the same.

There was no one reason for the difference why twice as many low-income students read for fun during dedicated time in school, however, time and access to books are the most obvious possibilities.  How students have access to independent books was factored into this survey with libraries as being the most important resource. Although Scholastic was not directly named, school book fairs, book clubs, and bookstores were judged to be among the leading sources for children ages 6–17 to find books to read for fun.

Finally, the survey suggests the most important allies schools have in promoting reading are parents who want their children to choose books:

  • Three-quarters of parents with children ages 6–17 (75%) agree “I wish my child would read more books for fun.”

So while this Scholastic survey could be considered self-serving, (after all, they are interested in selling more books) the data does support the importance of time for independent choice reading in schools. The survey highlights the power of enlisting parents in putting independent reading programs in place in school. Ultimately, the results of Scholastic’s survey supports those classroom teachers who recognize the value of independent choice and inviolable time to read.

So, pass out those book flyers, browse the book sale, get those students to the library, and put up the sign:

“We Have Time to Read for Fun!”