literature program

A fantastic conversation is happening right now at Dan Brown's blog, "Get in the Fracas," about reading for pleasure as key factor in student success, especially on standardized tests.  He draws on research by Veda Jairrels about how voluntary reading is the crucial piece that is missing for many African-American students and accounts for the "achievement gap" between black and white students.  I highly recommend reading the post and comments. 

I just posted this response:

Reading for pleasure is such a key factor AND indicator of learning and intellectual growth because when a child reads voluntarily he or she is focused on the reading experience and not the grade, desired test score, or approval of the teacher. Our schools and school system are built around the idea that kids will respond to extrinsic motivators to learn. Research shows that extrinsic motivators (incentives, grades, etc.) work when the task is very simple, not requiring critical thinking. But when the task is more complex and requires critical thinking, the extrinsic motivator has a negative effect on the learning. That is because it moves the child's focus to the grade or desired outcome, instead of the content and experience itself. (See Daniel Pink's new book, Drive, for this research. Also this Ted Talks video.)

Back to reading for pleasure: the Readers (as Brown describes--those who read for pleasure but often do not complete class assignments) are building genuine intellectual experience in their reading, whereas the Worker Bees (those who complete all assignments but understand very little) are just trying to earn the grade and/or please the teacher and other people in their lives.  They are far removed from the real process of learning. 

I believe that intrinsic motivation to learn is the crucial factor in academic success. Reading for pleasure is not the only way kids can develop and work off of intrinsic motivation, but it is a really important and rewarding place to start. I agree with Jairrels that including the parents in the process is extremely valuable. [I want to say it is essential, but some students really do not have family situations that allow this, though they can definitely still become readers.  Parent involvement also becomes more complicated when parents do not speak English or are not literate themselves-nonetheless, I have not found this to be a barrier to students developing a love of reading.] Some of my most rewarding experiences as a teacher have been when I've connected with parents around my reading curriculum, so that parents understand their child's reading interests and actually get involved in their reading lives directly, by reading together, or through conversation about the reading. 

Last year I had a student I'll call Jamar.  Jamar was a sweet, very sociable kid, who always expressed a desire to do well in school, but who, in reality, was pretty disengaged with his school work.  He had a lot of trouble focusing and following through on assignments.  His grades in most classes including mine regularly hovered between a D+ and an F.  His skills more or less matched those grades.  My homework all year long is reading.  We alternate between students choosing their own books and me assigning whole class novels.  Every night, students are to read at least 10 pages and write 3 post-it notes inside the book with their responses.  (I also allot class time for this.)  I make lots of phone calls home to let parents know what students are reading and especially to alert them when their child is not doing it.  

Jamar was reading very little, especially at home. I had made a few phone calls to his mother about it. As it turned out, she was out of work on disability and so she had plenty of time to spend with Jamar in the evenings.  This time I was calling about a novel the whole class was reading, The Dream Bearer by Walter Dean Myers.  It was due in two days and Jamar needed to complete it in order to participate in seminar-style discussions.  His mother said, "That's it. He's gonna read this book."  The next day, Jamar skipped into school early.  "Ms. Sacks, you're not going to believe it. I am SO tired. I was up til 2am reading that book with my mother!  But you know what?  The book is really GOOD! And you're gonna love reading my post-it notes!"  

The following day the book was due, and Jamar came in boasting to everyone that he'd finished.  His participation in discussions that week was exemplary.  His insights into the book were deep and well-evidenced.  A new voice--both knowledgeable and inquisitive--emerged from him that day.  I called his mother to tell her how wonderfully he'd done with it and thanked her for her help. She said, "You know, I'm home with him every day. I always ask him what homework he has and he says he already did it.  This is the first time I got to really work with him on anything."  She also told me how much she'd enjoyed reading the book with him and asked me what other books I had that might be similar that she could read with him. 

The amazing thing was that Jamar was not the same student after that moment.  Something had clicked. He became much more engaged with his work, not just the reading, and not just in English class.  He had benefitted from the real intellectual experience of reading and was able to speak from that experience in an academic context.  The power of that work and the deepening of his relationship with his mother was great enough to turn him on to learning.  

[image credit: homelink.cps-k12.org]

Tomorrow I'll be at the NCTE convention in Philadelphia doing a poster presentation with my mentor from Bank Street, Madeleine Ray, on the Whole Novels Program, a student centered literature program we've been developing for some years.  In honor of that, I'm posting a piece I wrote last year about my favorite part of the Whole Novels Program--discussions. Here it is.

It is my
favorite time again--discussions of the novel the class has just finished
reading. I pull two tables together on one side of the room to form a “discussion
table,” and call half of the class to the table. The other students have
independent work to do quietly; halfway through the period the two half-groups
will switch.  Students know that
there will be three days of successive discussions, and that only students who
have completed the reading are eligible to join.  A few students catch up on unfinished reading in a corner so
that they may enter discussions the following day, or even by the end of the
period. 

This is a
tradition I became a part of six years ago as a student teacher at Bank Street
College, working with faculty advisor, Madeleine Ray, who teaches this methods
each year in her Children’s Literature course.  When I was student teaching in an English class, she
instructed me to try allowing the students to read and experience an entire
novel on their own.  The point was
to hold off on discussions and public interpretations until they had read the
entire work.  Then, she urged, let
the students discuss the work openly, as adults do in book groups or as art
critics would do at an opening.  “Don’t
script a list of questions for students to answer,” she said.  “Just ask them what they notice, what
they think and go from there.” 

Many
teachers wince at this suggestion, predicting that their students will fail at
the task, or that they, as teachers, will fail to teach the content they feel
obliged to cover.  I also
questioned if it would be possible.

Over the
years, I’ve developed structures that help me hold students accountable for
completing the reading and others that help struggling readers succeed in the
process.  I’ve found that this core
framework for the study of literature is one of the most sucessful and
rewarding pieces of my teaching practice.

“Welcome to
our first novel discussions,” I say to my group of nine students sitting around
the table holding their novels, packed with post-it notes where they’ve
recorded their thoughts over the last 2 ½ weeks of reading. I explain, “First,
we will go around the circle and hear once from each student. After that, the
discussion is open. The student to my left goes first. You can say anything you
want about the book…tell us your general impressions of it, something you loved
or hated, a character or scene you want to comment on, something you noticed or
wondered…” 

And the
discussions begin.  Everyone gets a
turn.  Students fight to hold back
their responses until we’ve gone around the circle once. Then the discussion
accelerates as students unleash their insights into characters, challenge one
another over what really happened and why, whether the book was compelling or a
bore, and frantically searching for the pages that hold proof of their points…
All the while I take notes on everything that is said, only occasionally asking
a question, or reminding students to take turns and make sure to hear from
everyone. 

During these
discussions, year after year, I have the wonderful sensation that time around
us has stopped—we are consumed by the experience—until then the bell rings (or
the timer goes off, indicating that it’s time for the groups to switch).

            “Class
is over?” a student usually asks, confused. 

            “Yes,”
I say. “But we’ll continue tomorrow. 
Before we go we need to decide on a homework assignment based on today’s
discussion.” A student usually comes up with a question or challenge for the
group to write a paragraph about. 
If there are competing ideas, I ask students to write on something they
would like to discuss tomorrow, in round two.  This may include locating a specific passage in the book
that supports their position for the group to reread and analyze. By the end of
the year, students create these types of assignments for themselves without my
prodding. 

That night,
I spend the extra time it takes to type up the notes from today’s discussions,
and bring a copy for each student to read at the beginning of the round
two.  I give them a few minutes to
read over the notes.  They are
thrilled to see their words in print! 
“As you read, highlight anything they want to return to in today’s
discussion.” We begin by again allowing everyone to speak once.  Then it’s open and the discussion picks
up both speed and depth.  On day
one, students mostly offer strong visceral opinions about characters or the
book as a whole.  By day two or
three, the students progress from analyzing characters, their relationships and
conflicts, to analyzing more subtle themes and subtexts in the work.  They become aware of the author’s craft
and purpose, and are able to critique them. 

Due to
popular demand from students, this time every class continues discussing for
four days straight.  We could have
gone on even longer, but it was time to work on portfolio projects—students
wrote essays on the novel, based on the ideas from our discussions. 

To close, I
gave students a quick anonymous survey that asked, What was it like to be
part of the discussion groups this week? Describe the experience.
  The responses were all favorable, and some were especially
telling of why:

·      It was good.  I got to say what I think.

·      It was a good experience because
we all got to express what we feel about the book.

·      It was great and controversial.

·      It was interesting because we got
to see what each was thinking.

·      It was good because I got to hear
others’ thoughts about the book and know they are thinking the same thing I’m
thinking.

·      It was fun and cool that people
actually got to hear what I had to say.

·      It was like being in a meeting,
cooperating with others, talking about a girl our age.

·      It was good because it was just an
open conversation.

·      It feels like I am making progress
100%.

These
comments remind me that it’s not every day that we allow kids to really say
what they think in school and be heard. 
Adolescents will tell you if they don’t like your outfit, and some will
tell you if they’re bored.  But
when it comes to academic material, even the most outspoken students have been
trained for years to look for the answer that pleases the teacher. 

The success
of this process for discussion of literature makes it clear that if we really
want our students to think for themselves, we have to be open to what they will
say.  I may want to discuss the
symbolism of the cowry shell in chapter 10, but this does nothing anything for
the students  We cannot be the one
thinker in a room full of followers! 
Instead, we must be charged with devising ways to create space and
opportunities for our students to share and pursue their own thoughts. 

It can be
hard to resist the traditional role of teacher as chief thinker, which is as
ingrained in teachers and schools as it is in our students.  Letting go of it, however, is
liberating, and the rewards for students are even greater.  Finally, no one spends class waiting
for the bell to ring. 

[image credit: fhscrystalg.googlepages.com/]

At the school where I taught for my first three years, I had two classes: one class of seventh graders and one of eighth graders. My seventh graders would move on to become my eighth graders the next year, so I taught them for a wonderful two years in a row.  (This was only true for English classes for some reason.)  
By the time my students reached eighth grade, we already knew each other well.  We did not have to spend a few months testing each other and building trust.  By eighth grade, my students also had formed a strong group dynamic and knew how to work together.  I remember one September a new student came to my class as an eighth grader and groaned when she saw one of the school's most troublesome students, Maurice, in line for the class.  Her friend said to her in Spanish, "Don't worry, he doesn't act out in English class." I attribute this to the fact that we had already developed a positive group dynamic in the class; Maurice felt comfortable in the environment we had worked for a whole year to create. 
My second-year students were also accustomed to the type of assignments I designed. They knew I would ask them to reflect on their experiences, and they knew what that meant. They were also accustomed to drawing their own conclusions from their experiences, and listening to the ideas of their classmates, rather than constantly deferring to me for the "correct" response.  This gave them great confidence in their work.

They also had been through my "Whole Novels" program for an entire year.  Without going into great detail here, this method has students reading a number of whole class novels almost entirely on their own, and then coming together to discuss them in student-centered seminars.  Each novel builds on the previous one in complexity, but similar themes run through them all.  By 8th grade, my students know how this process works and how rewarding it is.  They trust my choice of novels, because they recognize that nothing in my curriculum is random and everything is connected and carefully planned with them in mind.  They take pride in formulating their own opinions and interpretations of the book, and look forward to expressing them in discussions.  
Recently, I've been wondering why my 8th grade students at my new school, whom I meet for the first time in September, seem to have less confidence in their own reading and their own thinking than my old 8th graders did.  Although my new students actually have higher literacy skills than my previous ones, they struggle more to trust their own thinking, to relate positively to one another, and to take on challenges.  There are many possible reasons for this, but I'm certain that part of it is because they have not--as my old students did--spent seventh grade building a foundation as a group, with me as their leader, for our work this year.  Much of the work I used to do with my seventh graders now has to be done in the first half of the school year with my current eighth graders.  It's still rewarding and I see a lot of progress, but the net effect seems to be less than when I looped.  
Enter the NY State ELA Test.  It is given every year in January, after just 4 months of eighth grade.  I have always resisted "teaching to the test," preferring to think that good teaching is good teaching, and if my students are learning, they will perform well on the test.  Well, many do, but there has been a lot of variation over the years.  In four years of testing every January (I haven't gotten the results for this year yet), there were two classes that made huge, startling gains.  By now you can probably guess which classes those were--the two 8th grade classes I had taught the year before as seventh graders.  
I remember puzzling over why my seventh graders never improved as much and as reliably as my eighth graders did, even though I believed they were learning a lot, and they seemed to feel that way too.  I had concluded that it was developmental; that seventh graders just didn't do as well as eighth graders.  But looking at my 8th graders' scores from last year, the level of improvement is very similar to that of my previous seventh graders: not bad, but not striking, with some serious question marks about a number of students.  
My conclusion at the moment is that the deep learning I design my teaching around takes time to achieve. Four months is not enough to see the long term benefits of the work, at least on the standardized test. It requires a substantial amount of work on the social-emotional level [that includes their understanding of what learning is and how they do it], both for students individually and for the group as a whole before the class really begins to take off.  
So what I believe is good teaching is not good teaching as far as the test is concerned, if I only have 4 months to prepare.  The good news, it would seem, is that with one year plus four months, good teaching begins to pay off quite a lot on the state test.  
After seeing last year's scores, I'll admit, this year I spent a good month and a half before the test preparing my students--hard core--for the type of formulaic responses and tricks they'd need to do to excel on the test. I felt good about it at the time.  But now, I'm watching them struggling to dig in to a challenging novel, and I'm thinking again.  We broke up the flow of the year for that test. More significantly, I broke the commitment I had to helping them as critical thinkers, readers, and writers, in favor of standardization of thinking. Sure, it was only a month and a half, but as my father once said, "Whatever doesn't help hurts."  I see now, we are paying for this decision.
Maybe looping is the way to go.  I'd imagine most teachers and students would benefit from this, especially in the middle school years, because you don't have to spend the first few moths of the year getting to know one another, building trust, and assessing academic needs.  You can say hello, and take off full speed.
[image found at www.coaster-net.com]


I'm hitting a point where the digital divide is becoming painfully awkward for me in my teaching. In this case, I'm talking about students who have or don't have reliable internet access at home, and I'm also talking about the difference between what we can do with technology in school vs. out of school because of Department of Education blocks on networking sites and electronic equipment.

This year, for the first time, I teach a CTT class, and get to collaborate with a wonderful special education teacher, so that my students with IEP's get the extra help they need. For a few years, in March I've had students read The Ear, the Eye and the Arm as a whole class as part of an in depth study of the journey motif in literature (I blog about this here.)  It is a 300 page adventure story set in the future, but is much heavier on detail, description and back-story, and slightly less formulaic than other fantasy books some of my students have read, such as Harry Potter.  I expected it to be a challenge for my students, and at this point in the year, most of them are hungry for it. Nonetheless, my CTT and I were worried about a few of our struggling students and wanted to come up with way to support them without removing them from the whole experience.  It's easy for us to help students read in groups during class time, but the book is simply too long to read only in class--we'd be reading it until June.
We wanted to create a way for certain students to listen to the story as they read at home.  We found an audio recording on cassette available for order, but we realized our students today hardly even know what a cassette is--much less own tape players at home! When it comes to listening to music, our students are pretty much fluent in the use of mp3s, Youtube and MySpace.
We decided to record ourselves reading the chapters using GarageBand, and make the tracks available to students on the internet.  My CTT partner created a networking site for our class using Multiply.com. It is similar to Myspace, but with much less traffic and inappropriate content; also the age limit is 12 years old.  We figured for the students without internet access, we could burn the tracks onto cds.
We signed out the LCD projector and a laptop at school ready to demonstrate the site, only to realize, duh, the site is not accessible through school internet!  For the next day, we took still shots of the site at home and showed them to students the next day, and passed out detailed instructions for them to sign up and access the site.  
The kids were very excited about this, but only some of them have been able to access the site at home. Some have internet access, but needed help going through the steps of signing up, which of course, I can't help them with at school.  I have helped some students by phone.  For those that have entered the site, it has been great.  They are creating their own profiles and commenting on each others and on the reading!  Every comment is visible to me, so I can keep tabs on these interactions.  It creates another level of interaction for the class and it is based on academic work.  For some reason, it feels like a relief to me, and the kids are looking at us teachers differently--with some kind of added interest or respect! 
The problem is that so many students can't participate. That part of it seems unfair.  As it turns out, many students don't even own CD players, just mp3 players.  The craziest catch 22 yet is that...drumroll...students are not allowed to bring mp3 players into school!  They get taken from them by school safety officers when they go through scanning.  I do appreciate that students can't have their cellphones buzzing or headphones on during my class, and I also appreciate that students cannot go on Myspace when using school computers.  But it seems like we are cutting off too many valuable learning resources in order to keep kids "on task."  
And when will we get to the point where all students have internet at home?  Lately I've spoken to parents about this particular reading assignment.  When I mention the audio option online, they sound like they've already heard about it from their kids... They sigh, "No we don't have internet right now," almost ashamed.  
So right now, all this means is that children in my class with no internet at home need to do their reading homework the old-fashioned way.  No big deal for most.  But as we move forward, this divide is going to become more and more painful.  I'd like to see the government step in and make internet free for parents who send their children to public schools, and provide a laptop--or an easy, affordable pathway to getting one--for all public school students.  Once this is the case, schools need to get with the times and create safe and attractive networking programs for teachers and classes to use.  

[image credit: http://eppsnet.com/2004/10/into-the-digital-abyss]


You know that class.  Every teacher who teaches multiple classes in a day--especially in middle school--knows that class. You've planned an excellent lesson; maybe you've used it successfully for years. It goes over swimmingly with 810 and 812--these students exclaim how they love your class. Then comes 813. You brace yourself as they enter the classroom, because you never know what to expect with them. For whatever reasons, students in that class respond differently. Some days they are great, but on others, they don't settle down and it's a struggle just to begin class--they seem content to socialize while you wait or dole out detentions. Sometimes they start out cooperative and engaged, and then devolve into petty quarrels with each other. They often fall behind the other classes, or the classroom environment is so full of distractions that students have trouble being productive. The usual strategies seem to work one day and not the next. You find yourself shortening lessons to make up for lost time. Students often ask you to teach even though kids are having side conversations, but you know this is a trap and refuse.

You ask yourself, why is this happening?  There are some students with challenging behavior in this class, but there are challenging students in all of your classes.  This class doesn't even have any students with diagnosed special learning or emotional needs.  What's more, you spoken with students individually and met with their parents, but the progress is almost always temporary. Is it you? But your lessons and teaching style seem to work in the other classes. And other teachers report similar experiences with the same class. Is something just off with 813?
Last week I made some progress in my thinking about my 813 (a pseudonym). It started when I was absent for a day to score NY State ELA tests.  I left a movie for the students to watch. The film, "Smoke Signals," is actually an important piece of my curriculum, and I told the substitute that I needed the students to really watch the movie. If students were talking, I said, he should pause it and ask them not to talk during the movie, and continue when they are quiet. I also left a worksheet for students to make observations as they watched, and which explained that we would be discussing the movie when I got back, so they should pay close attention. As you might imagine, 810 and 812 watched the movie with no problems. But 813 talked so much, the substitute eventually turned it off altogether.  
When I got back, the students of 813 were upset. "But we weren't even being bad! I mean for 813, we weren't bad. No one was disrespectful. We were just talking," they said. I took a good 15 minutes to hear multiple renditions of the story and discuss the situation with them. I explained that I had instructed the sub to pause the movie if they were talking. I also asked them if they would be able to understand the movie if they were also talking to one another about other things... After a little while, they seemed to understand.  
We put the movie on. They started talking a little bit, then a little more. I paused the movie. They protested! We discussed the reasons behind my expectation that they watch silently again. They got quiet. I put the movie on again. They started to get into it! Someone made a comment in response to the movie. This provoked a string of comments that got loud. They were missing important dialogue. I paused it again. They got annoyed. Then they got quiet. I turned the movie on...and so forth.
The other classes finished the film in 2 class periods--one with the substitute and one with me--and loved it. We had brilliant student-centered discussions the following day, which were so interesting that the students asked for another day to continue (and we did).  
Meanwhile, after 2 days of the film, 813 was only halfway through it. I had a dilemma. Should I give the class extra periods on the movie? How much time? What about the discussions? A colleague recommended not finishing the movie, canceling discussions, and giving them a test on the entire film. Alternatively, I thought of allowing them to finish the movie, but forgoing the discussions. Or, I could allow them to discuss the half of the movie they had seen. But all of these options would defeat the purpose of having them watch the film in the first place: to get experience analyzing an entire work of "literature," its conflicts and the resolutions of those conflicts, its themes, and the craft decisions made by the screenwriter and director to achieve the effects the movie has on the viewer. This would build story understanding and discussion skills that we would put to further use in discussions of an entire novel.   
I spent a while thinking about who was responsible for the fact that 813 hadn't seen the whole film--me or them. I didn't want to enable irresponsible behavior by giving them unlimited time on anything. But the discussion experience had been so rich for the other classes and so well-timed in the curriculum, I hated for this class to miss the opportunity.  
Then I thought, does it even matter who's at fault? Here we are, either way. Maybe this class is just slower than the others. Not slow intellectually--in fact they are some of the most insightful students in the grade when they apply themselves. They are behind in terms of their group process. I teach a CTT class and give that class extra academic supports when they need them. Maybe 813 needs some extra social-emotional supports that the other classes, for whatever reasons, don't require. Though somewhat counterintuitive, maybe spending time learning how to watch a movie carefully together might be the most productive thing for this group. 
I remembered my mentor at Bank Street College, Madeleine Ray, telling a story about a class she taught years ago in Harlem. As the story went, she always kept bread and butter in the room for the students. When, on occasion, they broke out the bread, one boy in the class always tried to eat more than his share. When the students reported it to Mrs. Ray, she said, "It's okay. Let him eat. We can always get more." Contrary to everyone's expectations, every time they ate bread, she let him eat until he was full.
Then one day, just as she predicted, the student stopped eating extra bread. His need had been filled and, more importantly, he made the decision on his own to limit himself. Sometimes we make the mistake of trying to control everything, and ration everything when it comes to our students, even when it's not working. Afraid to take risks, we ignore the real problem and continue to do what's already not working. Often, we deny our students the opportunity to make important decisions for themselves.      
There was no real reason for me to limit 813's time, when they clearly needed it to reach the learning objective I had for them. Like Madeleine had done with the bread, I let my class take as much time as they needed to finish the movie. I explained to them that they were two days behind the other classes, and that I had debated over how to handle it. When I told them that it was necessary to finish the movie before having the discussions, and the discussions were necessary for their education, they seemed to feel some urgency. 
By the forth day, they were watching silently. They finished with fifteen minutes left in the period and elected--without my input--to begin discussions right away. They listened to one another and even stayed voluntarily for part of lunch to continue the discussion.  
Mind you, day two of discussion we were back to starting and stopping, starting and stopping. But I'm coming to see this as the practice they need. My patience and persistence are more valuable to them than my instinct to control them or cover up their weaknesses. For now, I'm content to slow dance.   [image credit: http://carcino.gen.nz/images/index.php/5922d576/6faaad84]

Preface: Crawling out from the mind-cave where I’ve been reading and responding to my students’ stories for the past two weeks, I devote this post to reflecting on the process that brought me to this celebratory moment. My eighth graders and I have just brought to a close an in depth study of the journey motif in literature, culminating in their writing ten page journey stories. The stories serve as a summative assessment of my students’ learning, which will represent them in their final portfolios. Additionally, they've turned out to be truly memorable and affecting pieces of literature from young writers.

Chapter 1: (Setting the Scene, Often With a Hint of Conflict)

The journey began with reading. My students--who came to me with very little reading experience in middle school, and even less enthusiasm for the endeavor—have been reading novels all year. Some I assign to the whole class or specific groups, and others the students select for themselves. By the spring, they realize that it is impossible to pass eighth grade English without really reading whole novels. They’ve seen me modify assignments for certain students based on their needs and allow extra time for those who slacked off initially; they’ve witnessed me enter the school carrying giant bags from Barnes and Noble full of books I know they will want to eat up, but they’ve never seen me bend on the basic requirement of reading.

Chapter 2: (Conflict—A Call to Action)

The final and longest book in our cycle of novels that all deal with the theme of adolescent coming of age is The Ear, the Eye, and the Arm by Nancy Farmer. It is a 300-page saga, taking place in Zimbabwe in the year 2194, in which the military general of Zimbabwe’s three children escape from their sheltered existence, where they are home-schooled and robots do everything for them; they are kidnapped four different times, before they finally, heroically, make it home. It is also the book that, superficially, is least familiar to my mostly Brooklyn-born West Indian-American students. In past years when I worked with mostly English language learners from Latin America, this book was a clear favorite. I am surprised when my new students fuss over the book and fight hard not to read it. While some begin to enjoy it as they progress through the book, others count it among their least favorite books ever! Nonetheless, the discussions are heated and quite interesting. I allow any and all criticism—just as long as a student can find evidence for it in the text. (8th graders are often better than I am at policing that!)

Chapter 3: (The Plot Thickens--New Setting)

In my previous work with ELL's, I found that the complicated saga of The Ear, the Eye and the Arm, could be more easily comprehended if the students understood and were able to anticipate its basic plot structure. I used two classic picture books I had studied in a Children’s Literature course at Bank Street taught by Madeleine Ray: Where the Wild Things Are by Maurice Sendak and Sylvester and the Magic Pebble by William Steig. Both books are journey stories with conflicts and plot structures that parallel those of The Ear, the Eye and the Arm. They are also complex works of art by master writers that bring about high-level discussions among students of any age. I have my students graph the intensity of the story of Where the Wild Things Are in order to teach exposition, conflict, rising action, climax and resolution/denouement. I have them diagram Sylvester’s journey in groups in order that they connect the movement of the journey with the intensity of the story. Everyone loves a good story, and these activities pull the more reluctant readers in.

Chapter 4: (Climax, Point of Highest Intensity)

After the picture book studies, and as students are almost finished reading the novel, I bring in some theory. I show a clip from Bill Moyers’ interview of the late Joseph Campbell about his theory of The Hero With a Thousand Faces. Campbell breaks down the “hero sequence of actions,” connecting this with both the journey motif and the universal coming of age story. I pause the DVD incessantly, so students can take notes on every word. My colleague jokes with me, “They are really on the edge of their seats watching this old white guy talk about stories!” Indeed they were. By the end of the interview clip, my students have reached an “Aha” moment that we have been working toward all year long in our studies of literature. They’ve finally moved beyond the simplistic notion that all stories can be broken down into a “problem” and a “solution,” which is taught widely at the elementary school level in New York City. They replace this with the concept of a character “leaving in one condition,” facing hardship, and returning with newfound experience and wisdom. The original conflict may never fully resolve itself, but the character is now better equipped to deal with it.

Chapter 5: (Resolution/Denouement--Character Returns Home)

I assign the journey story. I have students create an bare bones outline with me, based on what we’ve learned from the novel, the picture books, and Joseph Campbell. I type up the outline and provide it for each student, along with a folder and loose-leaf paper. Each student is charged with using the outline to create an original fictional journey story with five chapters, each one approximately two pages. Students already have practice writing fictional scenes that balance description, dialogue and action in a past unit (connected to a different novel study), so we only review the rules for punctuating dialogue and add a lesson on interior monologue. Students write fervently, creating main characters with compelling conflicts…the stories that emerge are well crafted and exciting to read. They are structurally sound, and with a few exceptions [main character drops dead or everyone suddenly moves to Pennsylvania and lives happily ever after], the endings are not forced. They demonstrate understanding of that most important piece of the journey story—the main character matures, not miraculously, but through experience.

Afterward: I realize that the sweat and tears involved in pushing my students to read, both inside and outside of their comfort zones, was worth it. They have transformed into real writers. They can create suspense, irony, and vivid characters; many of them naturally use symbolism, balance dialogue with interior monologue, and description with action. Have I explicitly taught all of these things? No. They have learned many of them through the experience of reading fiction, responding honestly, and investigating how both successful and unsuccessful stories are made.

In addition to the pride I feel for my students’ success with writing, reading their stories helps me to know them better. I thought I knew my students well before, but now [taking some symbolic license here] I know who they imagine themselves to be, where they want to go, and some of the challenges they must overcome along the way. And they have taken the significant step of imagining the journey and allowing it to play out on paper.

[First image taken from http://www.nlpu.com/Hero's%20Journey3.jpg. Second image taken by me.]

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