Showing posts with label classroom. Show all posts
Showing posts with label classroom. Show all posts

Friday, February 1, 2019

For Classroom Use: Black History Month and a Teen Poet

Teen poet Phillis Wheatley. (Photo courtesy of deutschlandreform.com)
Welcome to February 2019 -- designated as Black History Month for the year. Based on a recent school visit, I wrote up the "why" for celebrating Black History Month, and added material you might want to use in your own or your child's classroom. (If you're home schooling, it might also be a good fit.) I'd love to hear how you put it to use ...


Black History Month: February 2019

New England settlers from the year 1620 onward wrote a lot of things down: how they planned to make decisions together, who would own how much land, what the weather had been, and what the gardens and forests and hunting trips provided.

They passed this tradition to their children, who kept passing it on. As a result, lots of American history was written by people with roots in New England. They wrote about the world they saw and how they celebrated it.

What they wrote wasn’t complete. They left out things they didn’t care about, or didn’t trust. And of course they left out what they didn’t know about America and the world.

Missing from a lot of our written history is the history of people with dark skins in America. Whether they were Native Americans, or forced immigrants from Africa, their voices weren’t often heard in the pages of history here.

Two people who made early changes to that were named Phillis Wheatley and Frederick Douglass.

1. Phillis Wheatley was born in the beautiful lands of West Africa, probably in 1753. Find the countries of Gambia and Senegal on a map of Africa; that’s where she came from. When she was just eight years old, a local man sold her to a trader passing through, who took her on a ship to Boston, the biggest city of New England at the time. The trader sold her again, to make a profit, and she became a slave to Boston residents John and Susanna Wheatley. Their teen-aged kids Mary and Nathaniel began helping Phillis to read and write, and when she was 12, she could already read Greek, Latin, and the Bible.  At 14, she wrote her first poem, called “To the University of Cambridge, in New England.” Then she sent a poem to George Washington. Soon she began collecting her poems into a book. When she was 20, her book of poems was published, and the Wheatley family honored her by giving her freedom from enslavement.

I was sad to discover that as an adult, a hard marriage and a life of poverty followed for Phillis, and she died when she was only 31. But she still amazes us as a teenaged poet. You can find some of her poems in collections in books, and online.

Like Phillis Wheatley, you live in New England, and you have learned to read and write. What kind of poems might come from your life? Are there famous people you would like to share them with? Would you write differently if you thought your poem might last for 250 years? Who might read your poems?

2. Frederick Douglass traveled all around New England when he grew up, including visits to St. Johnsbury, Middlebury, Ferrisburgh, and Castleton. When he visited St. Johnsbury, he probably gave a talk at the St. Johnsbury Athenaeum – so when you walk up the stairs there, you are walking where he once stepped.

Mr. Douglass is celebrated as a Black American, and he had ancestors from Africa, as well as Native Americans and “white-skinned” settlers. He believed in the equality of all peoples, including women, recent immigrants, and people of various skin colors. He surprised many of his audience members with how sophisticated and elegant his speeches were. It was important for New Englanders to listen to Mr. Douglass this way, because it helped them remember that education and a desire to learn could make any person, of any gender or skin color or background, into a strong thinker and a good communicator.

He fought against racism all his life. But he also fought FOR people: for their freedom, and their right to vote. The last meeting he went to was about rights for women, in 1895, a few days before he died of a heart attack at about age 77. He didn’t know his real birthday, but he always celebrated it on February 14, which is now Valentine’s Day.

Black History Today

Written history still gives more pages to people who are famous, rich, and especially look important. We are still catching up with the life stories of people with darker skin.

You can find some exciting stories of the changes Black Americans have created, in their lives and in the world. Scientists George Washington Carver, Mae C. Jemison, and Neil deGrasse Tyson are considered Black Americans. So are musicians Marian Anderson, Louis Armstorng, Count Basie, and 50 Cent, plus of course Beyonce. You can look for Black American artists, writers, inventors, and explorers. Today there are also many Black American politicians, like former President Barack Obama and General Colin Powell. Local author Reeve Lindbergh wrote the story of pioneering airplane pilot Bessie Coleman, whose heritage was both African American and Cherokee. 

When you learn about Black Americans who have made a difference in our world, and tell their stories, you are helping to balance out the silence about Black Americans that Frederick Douglass and Phillis Wheatley found in the books they read. You are making a stronger, braver, more complete America with your own words about them.

One Special Note for Fiction and Poetry Authors

Because I write novels and poems, I am very interested in the idea called #ownvoices. You might recognize the label as a hashtag, like the ones you might see on Twitter or Facebook or other social media. #Ownvoices is a way to suggest that the best people to write about the experience of being different kinds of Americans are the people who really live that way. Like Black History Month, #ownvoices is helping to repair unfairness from the past, and to make the future more fair for people whose voices need to be heard. You might want to talk about this and think about how your own stories and poems reflect your own life – and what kind of imagined lives you’d like to write about, too.

-- Beth Kanell, author

Friday, February 21, 2014

Learning the Words: The Common Core Standards and Joyful Writing

"Scaffolding."
It's easy to think of the Common Core State Standards as something "for teachers" and not for the rest of us. The newspaper coverage emphasizing the standards as related to testing, for instance -- and if you're a writer who has finished your official schooling, testing is something you're probably not going to embrace.

On the other hand, there's an aspect of the Common Core that is making my heart leap with excitement. Yes, really. Here it is: As I understand them, the new standards are saying: "By the time students leave high school, they'll be reading and processing information at an adult level."

To me, that makes good sense -- I want the kids coming out of high school and going straight to the workforce to be able to do so as adults, and even more so, I hope that those teens entering college can do it as adults. When I think about the differences among the college students I know, in terms of who is making the most of the opportunity and who is blowing it off, it boils down to exactly this.

When I pair this idea with "scaffolding" -- a term I learned from a reading teacher, at a workshop maybe 20 years ago -- the role of "young adult" fiction in the classroom becomes more complex and interesting. Not only are we giving readers a chance to experience, vicariously, the challenges, fears, and courage of life; we are also helping them rise up, one grade at a time, to being effective and joyful participants in the world of adults. We build a "scaffold" the way house painters or skyscraper builders do, so we can boost readers upward from where they already stand.

How do we do this? Here's my vocab lesson for the day, teaching myself the ways that teachers are now talking about the process, within the Common Core standards, in terms of the writer's own favorite building blocks: words.
Tier 1 words: These words are basic vocabulary or the more common words most children will know. They include high-frequency words and usually are not multiple meaning words.

Tier 2 words: Less familiar, yet useful vocabulary found in written text and shared between the teacher and student in conversation. The Common Core State Standards refers to these as “general academic words.” Sometimes they are referred to as “rich vocabulary.” These words are more precise or subtle forms of familiar words and include multiple meaning words. Instead of walk for example, saunter could be used. These words are found across a variety of domains.

Tier 3 words: CCSS refers to these words as “domain specific;” they are critical to understanding the concepts of the content taught in schools. Generally, they have low frequency use and are limited to specific knowledge domains. Examples would include words such as isotope, peninsula, refinery. They are best learned when teaching specific content lessons, and tend to be more common in informational text. (a nice version, well spelled out, from a commercial website, http://www.learninga-z.com)
We who are writing YA fiction -- whether it's mysteries or "literary" -- are invited by these standards to play with "Tier 2 words," the words that my teaching friends call "rich vocabulary." What a gift! What a delight! These are the words I've used in my poetry, always; now I'm being invited to use them deliberately and with skill, in everything else I'm writing for grades K to 12, and especially for middle grades and young adults.

See why my Writer's Heart is singing?

Learning to Write Better, Because My Co-Author Teaches Third Grade

East Barnet Schoolhouse, courtesy Janice Boyko
--> I'm working on the second draft of CHARLIE'S PLACE, a book for third and fourth graders -- and my co-author, Sue Tester, is behind many of the details in this revision. (I wrote the first draft, based on our plotting and character sessions together.)
Sue teaches grade 3 now and has taught others, and she taught me some Common Core Standards vocabulary to go with what we're now doing to the text: working on rich vocabulary that takes readers into the text. On my own, I then poked into Bloom's Taxonomy of Learning, Webb's Depth of Knowledge, technology in classroom learning ... 

I also took a course this January on the "arc of the story," and it helped me zoom through my plot twists and focus on character in fresh ways. But Sue and I are writing the kind of book where every word matters. Partly that's because it's for younger readers. Partly it's because I care about words as a poet does. And now it's also because Sue is showing me how to carry this into her classroom effectively.

Some of this is new names and frames for what good writers/storytellers do, and all of it is pushing me to dig deeper, think harder, write better. Here's a small example of the changes happening, as we take 8-year-old Charlie into school for his first time, around 1956:
First draft: Charlie looked around. Big windows made the schoolhouse very bright inside. Two windows had small screens at the bottom of them. Air from outside came to Charlie through the window screens.

Second draft: Charlie looked around. Big windows made the schoolhouse very bright inside. Two windows had small screens at the bottom of them. Charlie noticed the late summer breeze slipping into the room. Some of the outdoors came inside this way. 
Good.  It's exciting for me to see my own writing and revision process as part of what's happening in US classrooms where teachers are using the new Common Core standards. I like this chart from teaching coach Tracy Watanabe (http://wwwatanabe.blogspot.com), showing the deliberate changes that teachers are aiming for.


PS to Barnet, Vermont, and Ben's Mill readers and fans: The East Barnet schoolhouse photo is a good one, a bit earlier than the time when this story takes place.  I'm actually picturing for the story the West Barnet schoolhouse, which, when I moved to town in 1986, was the home of K&M Sales and I believe had been a Grange hall as well. If you have photos, I'd love to see them! 

Friday, February 14, 2014

Picturing World War I: Getting Ready for June 2014

Tank on Main St, St Johnsbury, 1970
June 29, 2014, will mark 100 years since the day Archduke Franz Ferdinand was killed by a shooter in Sarajevo -- touching off what would become known as the Great War, the War to End All Wars, and (ironically) World War I, since the peace at the end of this war failed to hold. In many ways, it marks the start of "modern history." And, for me, it's also the war that Claire's father returns from in 1921 in my Vermont adventure novel Cold Midnight, handicapped by the psychological illness then called "shell shock" (and rarely treated). It's also a war in which one of my great-grandfathers, Ludwig Ollendorf, was a soldier in Europe.

Regina and Ludwig Ollendorf
[TEACHERS: How far do you need to go in your life history or your family history to find a connection to World War I? How can you help your students "picture" when this happened?]

So I'm thinking about Sarajevo more this year, trying to get a sense of where it was and what made it the trigger point for this enormous conflict. I found the city's own current website, http://www.sarajevo.ba/en; then I browsed the Wikipedia entry for a first look at context: http://en.wikipedia.org/wiki/Sarajevo -- wow, this city really exemplifies a quality I think of as especially American, the determination to be independent and control your own fate ... but it hasn't had a lot of time to do that!

Somewhat to my surprise, I rediscovered that a book on my shelf, People of the Book by Geraldine Brooks, involves Sarajevo -- I'll have to go back to it and think again about what this means to me.

But for today, I want to focus on learning and remembering exactly where Sarajevo is now: It's the capital of the linked nations of Bosnia and Herzegovina. And that body of water showing in the map here is the Adriatic Sea -- which runs along the "right-hand side" of Italy on the world map. It looks like the city is surrounded by gorgeous terrain, full of rivers and mountains ... and right next to Montenegro, for which mystery fans of the Rex Stout/Nero Wolfe books will have their own inner image! Another book I loved that's associated with this region is Lawrence Durrell's White Eagles Over Serbia.


This is how I build "memorable history" for myself: I investigate for a bit, and find the parts of my life and my reading that connect to what I'm learning. Is that the way you do it, for yourself? If you are a parent or teacher or librarian, how do you show others the ways to "get history inside you"?

Sunday, March 18, 2012

"Write Like a Writer": Strong Sentences

Pussywillows and forsythia rooting at the east window.
Many thanks to students and teachers at the St. Johnsbury (VT) school, where three groups joined me last week for a session of "Write Like a Writer" focusing on strong opening and closing sentences. Students prepared ahead of time, using their writing notebooks to pull this together:
Consider yourself a collector of important sentences. Please bring ON PAPER to our workshop:

A. Two "chapter opening sentences" that you like -- one from The Secret Room and one from another book that you like.

B. Two "chapter ending sentences" that give you a hint of what's coming next -- one from The Secret Room and one from another book that you like.

C. Two sentences from a piece of your own writing that you'd like to make stronger.

D. A three-sentence description of what breakfast was like at your house recently. You can be "factual" or "fictional" in your description, but it should be interesting in some way! We won't get to look at all of these, but we'll do our best. [We only did this in one classroom, and we turned it inside out to create fiction instead, around the idea of foreshadowing the rest of the story, which would involve a sibling leaving for military service. Thanks, Mr. Shepley!]
After sharing readers' choices of strong opening and chapter-ending sentences, we used a "white board" (actually we used "smart boards," my first experience of them -- need some practice to have better handwriting on these!) to test a couple of sentences that students suggested as "needing to be stronger."


Among the techniques we used were testing adverbs to see whether they could be replaced with more detailed material; looking at "weak" verbs like forms of "to be" and "to go"; and an exercise called "See the Puppy."


You can try "See the Puppy" yourself: Present your (imaginary) puppy to an onlooker or group of students. React to what the puppy is doing in ways that make it clear there's a live, squirmy, adorable animal there. Recruit students to name the puppy and to describe its appearance. Amazing how quickly these details mount up!

And this is ... exactly the process for developing a character in your writing that you can "see."

By the way, this set of exercises can be adapted to writing nonfiction, too. The underlying idea is: As a writer, you're looking for an effect on the reader. It's OK if the reader is the teacher, or your BFF.  But this isn't a diary that's just for the writer -- it's part of a communication process. And it's fun!


[PS -- Special thanks to librarian Beth Mallon, who pulled everyone together and made the schedules work!]

School Days, School Days -- in Poetry School

Although I've lived in the Green Mountain State for almost half a century (!), I didn't grow up in Vermont.  My father, an industria...