Author Event Highlights: Veronica Roth & Phoebe North

Earlier this week, I took my eldest daughter to hear Veronica Roth (Divergent trilogy) & Phoebe North (Starglass) in conversation at one of our favorite independent bookstores – Schuler Books (@SchulerBooks). Here are some highlights:

It was amazing to see this many people in a small space (500 tickets all sold out!) because of excitement about books, reading, and authors. We talked with some people who had driven for more than 5 hours from Cincinnati, Ohio and heard of someone else who had come from Kentucky.

Seated tickets sold out in 14 minutes. This is standing room only crew...

Seated tickets sold out in 14 minutes. This is standing room only crew…

On their own characters:

Phoebe: I loved Tris. I loved that she is complicated and seemed like a real teenager. She was challenging sometimes to read but that’s what I liked about her.

Veronica (re. the relationship between Tris & Four): It was a rule for me that neither character would derive strength from the other

On “strong female characters”:

Veronica: Male characters get to be all of these different adjectives, and we think women characters should be the same thing.

Phoebe: I think it’s important to think about what we mean by strong. We can have physically strong, like Tris. But we can also have complex and real – that is strong too.

On anxiety and writing

Veronica: I find it problematic that in general if something is wrong with you “below the neck” that it’s acceptable to get help and go a doctor. But if something is “above the neck” like anxiety or depression, people are just supposed to suck it up. That’s wrong. These are things that can be about brain chemicals and it’s important to get help, from a doctor or counselor or therapist.

Phoebe: Therapy is like ‘leveling up’ in life instead of a video game.

On writing:

Veronica: It’s important to have people to work with that think differently than you do when sharing writing. It means that you have disagreements, but it also means it helps you think more deeply.

Phoebe: At the beginning I was I used to fly by the seat of my pants. I thought I should try to be more of a planner/plotter. Then I tried it, wrote 500 pages, and it was awful. Now I just do it the way that works for me.

Veronica: I have a different process for each book. I don’t know if I’ll ever have one process that works for every book. Sometimes you don’t have a process. Anything that helps you write is what you should do to write.

Thanks to Schuler Books for hosting. Whitney and the entire staff was amazing as always.
Thanks to Harper Collins – for every ticket sold at each of the events, they donated a new book to First Books.
Thanks to Veronica & Phoebe for coming to Lansing and sharing your time and selves with us. 

Schuler Books
website: http://www.schulerbooks.com/
twitter: @SchulerBooks

Phoebe North
website: http://www.phoebenorth.com/
twitter: @phoebenorth

Veronica Roth
website: http://www.veronicarothbooks.com/
twitter: @VeronicaRoth

 

Review: Brown Girl Dreaming by Jacqueline Woodson

Brown Girl Dreaming by Jacqueline Woodson

Words take my breath
Begging me to slowly reread
Savor each story

This is the review after I read it the first time. I was lent an ARC of this book from a #nerdybookclub friend and must pass it along to another reading friend. I can’t wait to get my own copy and read it again when it comes out in August. 

This is one of the most beautifully written books I’ve ever read. The poemic form helped me to slow down as I read. I read parts outloud. I reread. I want to reread it again. Put it on your list now and get it as soon as you can. Read it. Read it multiple times. 

Book Review: The Griffin and The Dinosaur

20140514-090335.jpg

I heard about this book from my good friend Donalyn at the Michigan Reading Association Conference. I’ve always admired Marc Aronson’s non-fiction books – the level of research and supporting information is always outstanding. This book continues in that tradition.

Chapter One introduces readers to young & curious Adrienne Mayor growing up on the prairies of South Dakota. The descriptions of Adrienne’s family history and childhood are brought to life with photographs, posters, and artwork. The book follows Adrienne’s curious mind and travels as she explores questions about how fossils might have inspired the Ancient Greek people to write about mythological creatures like the Griffin. Mayor’s instincts lead her to believe that perhaps there was a connection and that the griffin wasn’t just a myth.

Throughout the book, we are reminded of the importance of Mayor’s ability to notice and connect. She did it as a child on the prairie, and continued to explore and ask questions in the libraries of Greece, at archeological sites, and of professional archeaologists. Although not trained in either the classics or archeology, Mayor makes important discoveries. I appreciate that we experience the recursiveness of Mayor’s work. She would discover something in a book, go explore fossils or sites, discover something different that would send her back to books. Mayor’s understandings and discoveries did not happen in linear “straight line” but were at times messy and confusing. This made both Mayor and her work very real to me and also inspiring.

Using prints & sketches created by Mayor herself, along with photographs, maps, and gorgeous artwork by Chris Muller, this is a non-fiction book that is both interesting and visually appealing. A description by Aronson of his journey in meeting and working with Mayor provides helpful insight along with suggestions for further reading and a detailed glossary.

The notion that what has always been considered myth is actually based in scientific discovery by the ancients is fascinating. When I finished this book, it left me wanting to read more of Mayors work, but it also left me with a desire to be more curious.

The Griffin and The Dinosaur: How Adrienne Mayor Discovered a Fascinating Link Between Myth and Science
Written by Marc Aronson and Adrienne Mayor
Illustrations by Chris Muller
Published by National Geographic, 2014
ISBN: 978-1-4263-1108-6
Checked out from East Lansing Public Library

Genres/Subjects:
Nonfiction, informational, mythology, dinosaurs, women scientists, Ancient Greece, scientific method, archeology,

#WeNeedDiverseBooks

I Love this so so much…. head on over to Grace Lin’s Blog for a description of the #WeNeedDiverseBooks event.

Then head to Kate Messner’s blog for more information, a giveaway, and an opportunity to support your local independent bookstore. I’m heading over to the fabulous Schuler Books in East Lansing to preorder a copy of The Great Greene Heist by Varian Johnson this afternoon.

There are so many reasons why we need diverse books… here are just a few of my own personal reasons….

WE NEED DIVERSE BOOKS BECAUSE:

  • people are NOT all the same; which is wonderful, amazing, and needs to be acknowledged and celebrated.
  • not everyone can travel physically, but everyone can travel through reading and/or listening to books
  • while we can never understand someone else’s experiences, we can develop empathy. 
  • Every human deserves to see multiple aspects of themselves represented in books. This includes the uncommon and common, the invisible and visible, the negative and the positive. ALL. OF. IT. makes us who we are. 

Check out #WeNeedDiverseBooks on Facebook and Twitter and share your thoughts – and head to your local independent bookstore to preorder The Great Greene Heist! Tell your local bookstores and libraries that #WeNeedDiverseBooks

 

Relatability?

Every semester that I have taught children’s literature courses, I hear and read the phrase
“I really related to this character/book.” or “That book is so relatable.” It has always bothered me a bit, not because relating is bad but because I see people thinking about NOT relating as a negative thing. I sometimes hear preservice teachers talk about children’s literature as if the goal of matching books to readers is about finding a book that is relatable. This is problematic.

Yes, it is important to read books where the reader can “see themselves” but this isn’t the only type of book we should read – regardless of age.

One thing that bothers me about the idea of “relatability” is that I see students shut down and disengage with a book if they can’t relate to it (their language, not mine). I also hear students say a book is “so good” ONLY because they can relate to it – without any further exploration into what exactly they mean by that term. I encourage the students in my class to be honest in what they think about a book – like/dislike, love/loathe – but that they also need to explore WHY they are having that response. So if they don’t like something, I want them to explore those negative feelings more deeply. Negative doesn’t have to mean disengage. I’ve been asking them to think more deeply about articulating what pushes them away or makes them feel like something isn’t “relatable”. This requires have a sense of ourselves as readers, but also have a sense of literary elements, literary devices, and genre because they give us language to articulate our thinking more clearly in writing.

In class this week, I talked to my students about using “connect” instead of “relate”. I’m trying this language because of the way that the term “connect” implies a more tangible thing. The hope is that by more explicitly considering not only WHEN readers make a connection but also HOW they do or do not make a connection they will be able to articulate more of their response.

 

Books that are difficult to describe

Yesterday’s blog post about GRASSHOPPER JUNGLE has really got me thinking about the idea of labels. It’s interesting that so much of what I do as a literacy and children’s literature instructor involves defining concepts, genres, literary elements, strategies, and more. And yet, at the end of the day what I hope that the students in my classes do is take those concepts and think beyond them. This is one of the tricky things about walking the literacy/literature tightrope… while I teach students about text factors and reader factors because we know explicit instruction is important, I also don’t want students to be so tied down by understanding genre that they dismiss a book.

On facebook yesterday, my friend Katherine Sokolowski (@katsok) commented,

I’m finding the books I love the most are the hardest to summarize.

I agree, and would add that it isn’t always books that I love, but also books that make me think. That have a complexity that is both engaging and pushes me as a reader. I worry that as teachers, we don’t share these books enough with students – particularly young students. I’m not advocating sharing Grasshopper Jungle with elementary kids, but I am asking us to be more aware of how our own thinking can sometimes prevent us from sharing sometime with students. I don’t think every book is right for everyone or every time. But a discussion about genre is so much more interesting when it is with a book that blurs the lines – it makes us work to articulate our questions and our thinking. And that’s a good thing.

Grasshopper Jungle by Andrew Smith

NOTE: Contains some spoilers.    I’ve been doing book-talks for the students in my children’s literature course this semester. Book-talks serve 2 purposes in my class: 1) as a modeling strategy and 2) students are welcome to borrow any books from me to read for their independent reading project or for pleasure. Two weeks ago I book talked Grasshopper Jungle – more accurately, I tried book talking GRASSHOPPER JUNGLE. Granted I hadn’t finished reading it yet, but one of the reasons that I think I stumbled was because of how this book defies easy definition or description – which is one of the things I love about it. At the MRA conference, Cheryl Mizerney (@CherylTeaches) referred to it as “Kurt Vonnegut meets Stephen King.” Now that I’ve finished the book and talked about it, I think I can articulate my thoughts more clearly.

Character is almost always my favorite part of anything I read – this book is no different. The main character Austin is a clear and unapologetic narrator. There are aspects of his life that he is clear about (his love for his dog and his friends, his loathing for the bullies from the public school) but he also is confused about other parts of life. This felt so authentically “teenage” to me – perhaps because there is a teenager living in my house. 

Austin spends most of his time (while not in school at Curtis Crane Lutheran Academy) hanging out with his best friend Robby and his girlfriend Shann. It sounds like a “typical young-adult” book (whatever that is) when I say it like that. But add in bullies from the public school that beat up Austin & his friend, breaking into the local consignment store, and a plague strain; and you have a book that defies typical anything. Not to mention family history vignettes, a brother stationed in Afghanistan, the Tipsy Cricket Liquor Store, a house with doors leading nowhere, and an underground bunker frozen in time.  I could go on… 

Ultimately, for me one of the themes of this book is about wrestling* with labels. For example, Austin wrestles with his own emotions and feelings. He is in love with Shann, he wonders if he is in love with Robby. Although he rarely (if ever) uses these terms – he is wrestling with wondering if he is gay, straight, or bisexual. We don’t know the extent of Austin & Robby’s physical relationship – other than a kiss on the roof of From Attic to Seller Consignment Store. But do we need to know it? Does physical intimacy define if Austin is gay or straight? I think that the vagueness is part of the point – that sometimes labels are more limiting than helpful. 

I also think that the book itself defies labels. In terms of genre, it is part contemporary realistic fiction, part historical fiction, part science fiction. Taking away any of these genres changes the story, it is all three at the same time – and also something completely different. There are gay characters and straight characters. There are family dynamics and a town struggling financially. There are enormous bug that eat humans. But none of these make it a “gay book” or a “friend book” or a “contemporary issue book”. It is all of these things, with enormous, human-eating insects. It defies a genre label – much like Austin does. So maybe this isn’t as clear as I thought it would be, I’m still wrestling with my thinking about the book – which I love. Ultimately, Smith has written characters and a story that is intriguing, thought-provoking, hysterically funny, poignant, and engaging.

Andrew Smith’s website
Follow Smith on Twitter: @marburyjack

*I prefer the term wrestling to struggling. Struggling implies a negativity and need for resolution. Wrestling implies something that is more fluid and doesn’t require being “solved”. 

Thinking about didactic (and not) books in classrooms

Higher Higher by Leslie Patricelli

I love the book Higher Higher by Leslie Patricelli for many reasons. The rich colors, full bleed illustrations, and double page spreads invite readers to join in on the adventure of the main character. The repetitive text as she swings (“higher, higher”) provides an opportunity for pre-emergent readers to read along, but also doesn’t limit opportunities for readers of all ages to fill in gaps and add to the story on their own. It presents the possibilities of imagination when doing something as seemingly simple as playing on a swing set.

This weekend I discovered a newer book by the same author, No No Yes Yes.  Even though it is written and illustrated by the same person, it is a very different kind of book.

No No Yes Yes by Leslie Patricelli

In this picture book, a diaper-clad baby is told “no no” to things s/he shouldn’t do and “yes yes” to things s/he should do instead. For example, drawing on the walls is “no no”,  but drawing on paper is “yes yes”. My 18-month-old niece loved the book, as do her parents. It has given them language to help her not hit the dog or dump food on the floor.

While both of these books could be read with an 18-month old or a preschooler, No No Yes Yes is a great example of a didactic book. It is a book that I would use in my children’s literature class to help students to understand that a didactic book has a clear and distinct lesson. This is does not mean that No No Yes Yes is a “bad book” and that Higher Higher is a “good book”. But understanding how didacticism can function in books (for children or adults) is important for teachers to consider when selecting books. This means that if you are looking for a book that is going to foster interesting, open-ended, and authentic discussion focused the book, you wouldn’t want to use a text that is strongly didactic. The discussion will usually fall flat, or move into other responses about the “lesson”.

Students who are more advanced thinkers often prefer more open-ended books because they allow for a wider range of interpretations and thinking. Ultimately, didactic books fill a need, but it’s important to have (and use) a variety of types of books in our classrooms.

Living Bookshelves

Like many of my book loving friends, I own lots of books. I think of them very much as “living bookshelves” because the books don’t just sit there. I read them, my daughters read them, I lend them, I teach with them, I share them with students, and sometimes I just sit near them for inspiration. I used to have them organized so that I when I would teach certain subjects, it was relatively easy to grab them by genre. This didn’t last though. Because when they are “living” bookshelves, things get moved around for very good reasons (or because it’s and hour before teaching and I remember a book that I know one particular student will enjoy).

Work in Progress

Work in Progress

So I decided to reorganize my shelves, but how? Should I try and organize them again by genre – this is completely driven by the children’s literature course that I am currently teaching. We spend about half the semester using genres to help us divide and organize our study. Except that I don’t just use them to teach children’s literature.semester I’m going to be teaching a language arts methods course. I’ve taught it before and I’m looking forward to the opportunity to incorporate children’s literature into the course as a way to model for students the connections across their children’s literature and subject area course work.

so many stacks of books...

so many stacks of books…

And what about when my family and friends ask to borrow books? Sometimes they don’t ask, but i discover a book that makes me think of my eldest daughter who loves mysteries and wants to be a writer. Or I read a book with a fabulously non-stereotypical female character that my friend Jon may want to read to include in his course next semester. Or I’m participating in a #titletalk and want to find a book that would match a description someone is asking for. You get the idea.

So what to do? While I was sitting on the floor surrounded by piles of books and staring at the wall of shelves, my husband asked me an interesting question.

Which children’s literature hat are you wearing right now? Your teacher hat, librarian hat, or reader hat?

First of all, I love that he knows me and my work well enough to ask this question. It actually relates to my interdisciplinary dissertation. Interestingly, I ended up organizing them with what I think of as “my librarian hat”. There are is a shelf just for poetry, shelves for non-fiction, informational, and biography. Historical fiction picture books, graphic novels, and “transition readers” are separated for very practical purposes – I don’t have many of any of them and often need to pull them quickly for examples. The rest of the picture books, young adult books, and “chapter books”* are arranged alphabetical by author’s last name.

*I don’t really like the term “chapter books” but there isn’t another one that I like better.

As I was shelving them and thinking about teaching and recommending books, I was reminded of something. If I am going to effectively make recommendations to my students and also thoughtfully select books for instruction, I must know the books on my shelves – and more. There are definitely books on my shelves that I haven’t read yet. And there are books that aren’t on my shelves that I will recommend.

When I am clear about the purpose or goal when looking for a book (e.g.fostering reading engagement, literacy instruction, content area instruction, etc.) AND when I know my students (or friends, colleagues, etc.) AND when I know the books that are available (and where to find them) — that is when I am most effective as a teacher and children’s literature specialist. That’s what makes my bookshelves live.

Finished!

Finished!