Author Archives: Shana Karnes

3 Ways Notebooks Top Digital Writing

IMG_9111Has it already been two weeks since the last day of #UNHLit15?  Unbelievable.  Time is flying by, as it always does in the sweet summertime.  As I get older, I find myself wanting time to slow down…and that’s one of the perks of a writer’s notebook–it slows down a writer’s thinking.  At right is a note I jotted to myself during Tom Newkirk’s class two short weeks ago.  I’d been pondering the notion of length in my instruction–reading longer texts, writing longer pieces, sustaining an idea or a reflection for a longer period.  While brainstorming ways to do that, I realized notebooks were one way to add length to the thinking process.  They slow down a writer’s thinking, making it keep pace with the measured movement of a hand across a page, which is slower than the tapping of keys across a keyboard.  As Tom Newkirk writes in his credo, “I believe that slow reading runs counter to a media culture that stresses speed, distraction, and a loss of history.”  I believe the same thing of slow writing, in notebook form–it draws out thought in a way digital writing just can’t.

IMG_9110Notebooks also make thinking visual.  There is something about switching colors when revising, drawing lines to connect a tangled web of thoughts, or adding ideas to a pre-existing idea to show tangible growth that just can’t be done with a computer, voice recording, or video.  As I’ve pondered the theme of power–the overarching theme of my English 12 curriculum for this upcoming year–I’ve returned again and again to this page at my right, adding ideas, jotting inspirations, and connecting them to one another.  I’ve loved watching the page become more and more crowded, my thoughts finally spilling over onto the facing page before making it into my typed syllabus and curriculum map.  This visual map of my thinking is the most important part of my writing process, and without it, the typed pages I hand my students would lack coherence, focus, and quality.

Finally, notebooks illustrate volume in a way typed papers or blog posts just can’t.  Revisiting my old notebooks provides me a tangible location to mine ideas from–I can flip back to the summer of 2013 and find wild scrawls from my first class with Penny Kittle, or the fall of 2006 to see a plethora of hearts marking my budding courtship with my husband, or the spring of 2009 when I was frantically finishing my Masters thesis, evidenced by frantic scribbling and much crossing-out of ideas.  All of this evidence of my thinking takes up an entire bookshelf in my office, showing me proof that my thinking has evolved over time.  I want my students to feel that same sense of wonder and growth when they fill their second notebook by the end of our school year together.

Notebooks are a map, a timeline, a guide–to our lives, our minds, and our hearts.  They create a space for creative contagious concentration that is tangible and necessary, and which transcends the nebulous nature of digital writing.

#FridayReads: Books Boys Love

Bedtime_readingAt the conclusion of our course with Tom Newkirk at the University of New Hampshire Literacy Institutes, our class collaboratively created a list of books that boys love.

Please add your own suggestions for your male students’ favorite books in the comments!

  1. Into Thin Air, Into the Wild, and Where Men Win Glory by Jon Krakauer
  2. Peace Like a River by Leif Enger
  3. Unwind and others by Neal Shusterman
  4. Absolutely True Diary of a Part-Time Indian by Sherman Alexie
  5. Sleepers by Lorenzo Carcaterra
  6. Hellhound on His Trail by Hampton Sides
  7. Maze Runner by James Dashner
  8. Forgive Me, Leonard Peacock and BOY21 by Matthew Quick
  9. Mexican Whiteboy and others by Matt de la Pena
  10. I am the Messenger by Markus Zusak
  11. Start Something That Matters, Little Princes, and other inspiring memoirs
  12. Winger and 100 Sideways Miles by Andrew Smith
  13. Unbroken by Laura Hillenbrand
  14. A Child Called It by Dave Pelzer
  15. American Sniper, The Things They Carried, Ghost Soldiers, The Good Soldiers, No Easy Day, and other war books in general
  16. City of Thieves by David Benioff
  17. Boot Camp and others by Todd Strasser
  18. Stiff, Spook, etc. by Mary Roach
  19. Fight Club by Chuck Palahniuk
  20. Anything by Gary Paulsen or Jack Gantos
  21. Iron Man, Deadline, and others by Chris Crutcher
  22. The Discworld series by Terry Pratchett
  23. Warhammer novels by Ian Watson
  24. The First Stone, Running on Empty, and other books by Don Aker
  25. GRAPHIC NOVELS:
    • Walking Dead
    • Maus
    • Watchmen
    • A Dozen Demons
    • V for Vendetta
    • American Born Chinese
    • Chew 
    • Naruto
    • Pride
    • Persepolis
    • Burma Chronicles
    • My Friend Dahmer
    • Stitches
    • The Photographer: Into War-Torn Afghanistan With Doctors Without Borders
  26. Ice Time by Jay Atkinson
  27. Everything by Walter Dean Myers
  28. An Invisible Thread by Laura Schroff
  29. Crank, Rumble, and more by Ellen Hopkins
  30. 4021A by Joe Hill (Stephen King’s son)

Takeaways: Boys & Literacy

arts-graphics-2008_1128618aAt the conclusion of our course with Tom Newkirk at the University of New Hampshire Literacy Institutes, our class collaboratively created a list of implications from our learning.  Following a reading of Misreading Masculinity, a viewing of the documentary Raising Cain, and more, we used Google Docs to list the implications of our course for application in our classrooms.

Please add your own wisdom about boys and literacy in the comments!

  1. Provide choice: lots of options in topic, genre, etc. – Allow for different styles of storytelling
  2. Incorporate more visual literacy – Using mentor texts like Knucklehead, comics, etc.
  3. Encourage the writing of fiction as a fantasy outlet
  4. Acceptance of the content they bring/the choices
  5. Conversation: Ask about choices that seem uncomfortable – build trust
  6. Teachers: Recognize the difference between uncomfortable and threatening
  7. Respect that students can differentiate between fantasy and reality.
  8. Pay attention to the context of the violence in boys’ writing
  9. Encourage collaboration in writing and reading
  10. Make space for movement and conversation – too often, boys must sit and listen; reverse that
  11. Incorporate humor in the classroom and content/curriculum
  12. Grant students more autonomy in the classroom
  13. Use the note response method we used to have students respond to each other’s work
  14. Support social interactions between boys around literacy
  15. Question our own motives, preferences, and restrictions as we teach
  16. Create a place for non-fiction – demonstrate that non-fiction does not have to be boring
  17. Use technology as an alternative medium for both expression and sharing
  18. Learn the identities and passions of your students
  19. Recognize the importance of listening to students
  20. Realize that posturing is okay – it is “trying on a personality” in order to discover one’s own
  21. Provide positive role models of masculinity so male students don’t get caught in a bad one
  22. Encourage nurturing responsibilities in (ie, provide opportunities for) boys
  23. Have a wide diversity of types of male protagonists in available literature – celebrate the same strengths we applaud in female characters when we see them in male characters
  24. Be aware of the gender implications of language
  25. Open up the genre of analysis beyond literature, eg, new video game
  26. Allow and encourage drawing at all levels
  27. Expand your repertoire – having a team helps
  28. Encourage positive competition occasionally

Just Let Them Write: Boys and Autonomy

“Just let them be boys.”

This aphorism about dealing with boys is a long-standing one, but I learned last week in Tom Newkirk’s class on boys and literacy that it’s much easier said than done.

First, after reading a pretty fascinating article in The Atlantic, I realized that modern society doesn’t often let our boys be boys.  The economy, family structures, and workplaces of America have changed drastically in the past twenty years, and the traits and skills that used to make men successful and fulfilled have gone away.

Second, I listened to my fellow teachers discuss their classrooms this week at UNH, and I was struck by the language of control prevalent in teaching narratives:  “I make them;” “I let them;” “I shoot down their ideas;” “They have to;”…these were the words teachers used to describe their students’ activities.

These are phrases of division, of separation, of a differentiation of teacher and student, expert and learner, master and subject.  Having just read Daniel Pink’s Drive, the phrase “The opposite of autonomy is control” has been stuck in my mind.  It seems that even in the academically enlightened setting of the New Hampshire Literacy Institutes, many teachers still practice a teaching philosophy of control and compliance, rather than one of equity and autonomy.  Further, many of these speakers were women–so this was an issue not just of control, but of furthering the claims of the Atlantic article mentioned above regarding emasculation.

Our class talked about violence a lot, and whether it was acceptable in writing.  Ralph Fletcher’s Boy Writers taught me that violence in boys’ writing was as natural as the sunrise.  Newkirk addresses this issue as well, defining violence in general as “the intentional infliction of pain…on another,” and specifying that “writing would be a violent act if it caused pain to others…for example, if it caused readers to feel threatened or humiliated.”  Too many teachers in our class had a strict no-kill, no violence, etc. rule about writing topics–the opposite of autonomy.

Most reading and writing boys do doesn’t involve intention to inflict physical pain or harm.  Their topics may be provocative, but most of the time, it’s just boys working out things that are on their minds–huge issues like death, love, violence, and sexuality.  Adults do this all the time too–these are issues many of us haven’t quite worked out, so why should we deny children an opportunity to explore them through writing or other means?

Thanks to reading texts like Boy Writers, Misreading Masculinity, and Peter Johnston’s excellent Choice Words, I feel like I understand and enjoy many themes in my boy students’ writing. In fact, the first time I met my husband was in my freshman English class, where I wrote a story about a serial killer who stole college students’ identities and test scores by ripping off their faces and stitches them over his own. My professor asked me to share it in front of the class and I still recall the nervous giggling that followed my sharing, including Jon’s wide eyes. As a writer, I was just proud of creating a fictional voice so creepy and plausible, but the embarrassment of that experience shamed me to a degree that I’ve shied away from all fictional writing since.

As a teacher, I don’t want to quash a student’s creativity, violent or not. I love my boy writers and respect the sanctity of their writer’s notebooks, in which their fantasy lives can be explored and reflected upon in private. For them to grant me access to those fantasy lives through writing is a sign of respect and trust, and I wouldn’t want to violate that by censoring their thoughts, showing them to administrators, or asking them to share with the class.

But most of all, I want to distinguish between feeling “uncomfortable” and feeling threatened or unsafe.  Hearing me read my serial killer story probably made some of my freshman English students feel uncomfortable, but no one felt scared–I did not threaten anyone in the room, nor did my fictional narrator.  In fact, the end of the story revealed that the killer’s actions were mostly motivated by justice, revenge for his victims’ pervasive academic dishonesty.

Feeling uncomfortable, though, is something I believe is essential to learning.  Disequilibrium is the space in which our worldviews are challenged, where we achieve the Vygotskyan zone of proximal development.  We are confronted with new knowledge and are close enough to it to assimilate it into our existing schema.  An open, unfettered workshop classroom is one place where this kind of development can (and should) occur.  Rules like no violence, no swear words, no sex, no freedom, prohibit the opportunity for disequilibrium–and real social learning–to occur.  We cannot fear our students’ inner minds.  We must acknowledge the distinction between fantasy and reality in books, in writing, and in our kids.

Further, we must value that chasm, and respect our students’ varied and important processing strategies.  Writing these issues out is a way to come to understand them, so we must forsake this antiquated notion of creating control and compliance in classrooms.  Given choice, given autonomy, our students will read and write their ways toward understanding beyond our classes and into their adulthood, as we do.  We are the same as our students, grappling with concepts in writing (like I am here, now) and are no better than or superior to them.  Eliminate authority, cultivate autonomy, and just let them write.

#PoetryChat – Boys & Poetry – Monday, August 3 8ET

IMG_8888This week, the writers of Three Teachers Talk are together in Durham, New Hampshire at the UNH Literacy Institutes.  For five days now, we’ve learned with Penny Kittle and Tom Newkirk about strengthening our practice and our thinking.

Newkirk’s class, centered around his Misreading Masculinity (2001), is focused on boys and literacy.  We’ve read and discussed issues of violence, humor, personality, sexuality, power, and more–all surrounding boy readers and writers.

Join us to continue this conversation on the topic of poetry.  The four of us will be together in Portsmouth, ready to chat on Monday at 8ET.

1. How do you notice your boys responding to poetry in your classroom?

2. Should boys write poetry in an English class?

3. How is poetry uniquely valuable for boys?

4. How do you hook boys into poetry?

5. What are your best poems, poets, or poetry resources to engage your boys?

Poetry Chat August 3

#ShelfieShare – Growing Your Library

FullSizeRender[1]Yesterday was our last real day of school, and it was a busy one.  My students spent our last class periods together sharing their final multigenre writings with one another, clearing out their writing portfolios, and packing up their notebooks.

They also flooded me with classroom library books and sheepish smiles.

“Sorry,” Riley said, as she entered my classroom with a shopping bag full of books.  “I didn’t realize I had like 12 of your books at home.”

“I opened a cabinet and found like 20 of your books!” Emily said.

“If I bring back all your books, can I borrow like five for the summer?” Jordan asked.

“I found The Book Thief and almost just kept it, for the irony,” Hailey explained.

Now that all the books that are usually on kitchen tables, under beds, and piling on nightstands have begun to find their way back onto my bookshelves, things are looking a little crowded:

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The five bookshelves in my classroom are mostly full of independent reading books–a class set of literature and grammar books, dictionaries, and book club collections provided by my department find their homes on the bottom shelves, but everything else has been a labor of love to build on my own.

FullSizeRender[4]I began building my library six years ago, and started with anything I could find at Half-Price Books.  I spent $20 a month in the clearance section, netting $1-2 finds that built my sci-fi and YA sections, and used my staff ID to get an extra 10% off.  During the holidays, HPB ran promotions for free $5 or $10 gift cards with the purchase of a $25 gift card, and I took advantage of those aggressively.

Next, I discovered Barnes & Noble‘s very generous 25% teacher discount, and shopped mainly in their clearance section, which was always well stocked with “former bestsellers.”  This was perfect, as a book had been out just long enough to generate buzz among my students.  I became a bit of a regular there, and began to ask the manager if he had any damaged, extra, or reject books he didn’t want.  He obliged, providing me with class sets of The Perks of Being a WallflowerWaiting to Exhale, and Tuesdays with Morrie–totally gratis.  I also got lots of hardcover books that were being replaced by paperback editions, again, for free.

Next, I discovered the generosity of my school’s PTA, which granted teachers up to $100 per year in classroom supplies.  Every year, my $100 was spent at Wal-Mart, Half-Price Books, or any other purveyor of cheap books.

FullSizeRender[3]By the time the summer of 2013 rolled around, my library was in decent shape–I had about 800 books, mostly paperback, mostly YA and general fiction.  I traveled to New Hampshire to take Penny Kittle’s course about informational writing, and fell in love with nonfiction.  I also met my amazing friends Amy, Jackie, Erika, and Emily, who told me about DonorsChoose.  I created, and funded, several projects–especially ones that helped me get lots of nonfiction–right away, which increased the number of books in my library up to about 2,000–all without a dime of my own money.

I also created DonorsChoose projects that were funded every October by U.S. Cellular, a partner of DonorsChoose.  Depending on your state, big businesses or even celebrities may fund your existing projects of up to $1000.  I used this partnership to fund two $1000 grants, growing my library up to about 3,000 books.

FullSizeRender[2]For my next brainstorm, I began to write letters to local big-box businesses, asking for donations of gift cards to purchase books.  Target, Sam’s Club, Kroger, and Wal-Mart all granted me gift cards, nearly monthly, of up to $50 per month.  Target in particular was wonderful, as their website offers a wide variety of books, especially great nonfiction finds, and free shipping on purchases of $50 or more.

When I finally got an iPhone in October of 2014, I joined Instagram and followed lots of bookish accounts.  Through these book fanatics, I learned about Book Depository, which offers discounted books with free shipping to anywhere in the world; Books-a-Million, which has a wonderful bargain section and an awesome used books market; and the glorious world of GoodReads giveaways, where free ARCs can be won by one and all.

This summer, I’ll take a week of rest, then begin to write book donation request letters, a DonorsChoose grant, and a variety of Morgantown-specific grants.  I’ll focus on replacing lost or stolen books, getting newly-paperback titles, and building shelves I think are a little weak.  I hope you’ll use this slew of resources to build your library, and your readers’ choices, too!

What are your favorite strategies for building your library?

Cinder by Marissa Meyer

cinder

“Even in the future, the story begins with Once Upon a Time.”

Are you looking for a good old fashioned dystopian YA series to start your summer?

How about a modernization of a classic fairy tale?

Or, have you been craving a story about a cyborg mechanic, trying to avoid a plague, who’s got secret mental powers, a really crappy stepmother, and is actually a lost princess?

Well, if any or all of those books sound good to you, then look no further–this one will grant all your wishes.  Cinder by Marissa Meyer is book one of the Lunar Chronicles, a series incorporating futuristic versions of Cinderella, Little Red Riding Hood, Rapunzel, and more.  But it’s not just a book that retells a classic fairy tale–my boy readers love it too, because Cinder is a mechanic who works on androids in a post-WWIII future.  Complete with hovercrafts, bizarre medical technology, and sinister political plots, this story really has it all.

“But if there was one thing she knew from years as a mechanic, it was that some stains never came out.”

As a narrator, Cinder is complex, likable, sarcastic, and the embodiment of different.  In her society, cyborgs are considered less than human, and she battles this stereotype throughout the story.  Still, she responds to her critics with dry humor that made me guffaw as I read, and an unapologetic bent that made me know she’d be a great role model for my students.  Cinder defies convention in every way–a female mechanic, a plain princess, a cyborg in a human society–and yet her bioelectric backbone keeps her standing tall through it all.  I truly fell in love with her character by the heartbreaking, humiliating end of this first book, and immediately ordered the next two on Amazon.

“It is easier to trick others into perceiving you as beautiful if you can convince yourself you are beautiful. But mirrors have an uncanny way of telling the truth.”

Marissa Meyer crafts an incredible, fascinating future in the Lunar Chronicles, and writes with a style and flair that lend personality to the dystopian drama that unfolds in this series.  I highly recommend Cinder and its sequels for the science fiction shelf of your classroom library–scoop it up to enjoy before the magic wears off at midnight!

A Yearlong Community

The sense of camaraderie and fellowship in our workshop classroom has ebbed and flowed this year.  Some days, I watch with pride as the readers and writers in the room help guide each other to a higher level of understanding, appreciation, or excitement.  Other days, I see disengaged students annoyed with one another’s antics.

Getting this community established at the beginning of the year takes time, but once the foundation is laid, it’s easy to keep it in place.

…Until you have 15 snow days in a row.

Or a student teacher.

Or a six-day block of testing.

Or 75-degree weather with sunshine, just out the window.

All of those common interruptions can derail a classroom community.  This year, though, I feel as close to my students as ever, and they are as tight-knit a group as can be.  Here are four reasons why.

Passion.  I’ve written before about how fangirling helps create a community of readers.  But it’s not just being excited about books that helps a classroom community develop–it’s passion about the work we do here as a whole.

Jordan, a student who joined our class in September, told me yesterday, “I still remember the first time I came to this school.  Yours was the first class I came into.  You were yelling and all excited and stuff.  I thought, ‘Wow, is this how this school is?’  Then I went to the rest of my classes and I was like, awww, where’s the excitement at?”

The passion I brought to teaching stuck with Jordan for nine months, especially when he contrasted it to his other teachers’. Communicating our genuine excitement to our students models for them the lasting value of our content.  Without that enthusiasm, a classroom community may not seem worth building.  With it, students come to class ready to learn, which creates the first condition for a strong community.

Vulnerability.  Around my birthday in early September of each year, I share with my students a song my friend Joey wrote and recorded for me.  About a month after he gave it to me, he passed away.  I play the song for the students and we write, then, the soundtrack of our lives–which song it would be and why.  I write about Joey, my guilt and sadness over his suicide, how I slept with the lights on for months after his death.

Chelsea recently told me that at first, she wasn’t quite sure about me.  “Then you wrote that piece with us about your friend Joey, and that’s when I started to think differently about you.”  Modeling my vulnerability with my students encouraged them to do the same–they began to write about topics they once considered very private, and to share their writing in small groups, which I rotate monthly.

Sharing this story with my students, crafting and refining it alongside them, modeled for them not just vulnerability, but the writing process when it relates to a difficult subject.  I became, in their eyes, not just a model writer–but a model thinker, with emotions and difficult memories just like them.  Shifting from not just an English geek to a real human is the second condition for a strong community.

Guts.  This spring, I had a student teacher for eight weeks.  When she left, state testing began almost immediately.  After those two lengthy periods of disruption to our established routine, my students were sluggish and disinterested–frequently unprepared for class, slacking off on their reading, unenthused about their final multigenre projects.

Then, I shared with them my own multigenre piece for this year, about the miscarriage I suffered on Mother’s Day.  As I showed them my writing, the classroom became eerily quiet.  The stillness and silence was deafening.  After lots of hugging and passing around of tissues, the students worked with energy and reverence on their own writing once again.  Their enthusiasm was back.

“I thought it was cool that you would put that out there for the students to know,” Madison told me the next morning. “I was shocked that you wrote about it.”  The fact that I not only shared such a tough subject with them, but had the guts to write about it, was powerful.  This gave many students the boost of confidence they needed to confront a difficult issue and create beautiful writing about it–the third condition for keeping that sense of community strong right up to June.

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Two of my funniest students, Troy and Logan, smirk at me over lunch.

Humor.  We’re not morose all the time–we have lots of fun.  Whether it’s a humorous booktalk, a funny poem, or just a celebration of a student’s silliness, there is lots of laughter in our classroom.

A small whiteboard on one wall of our classroom is full of quotes that have made us laugh.  A word like “clementime” can crack us all up, remembering when Troy bemoaned the book Columbine‘s length but accidentally said, “Oh boy, Clementine, here we go.”  Or “overalls,” which calls to mind Kristen’s claim that “I woke up, put on my overalls, and everything just got really weird.”  These simple one-word phrases memorialized on the whiteboard can bring a smile to our faces when we need a lift, and remind me that my students aren’t just learners–they’re people, and pretty darn cool ones, too.

Talk.  Talk is such a foundation of workshop, but it’s important to talk outside of conferences, small groups, or minilessons.  Isaac, a student who has struggled with academic success in the past, has been sitting in my room during his lunch period all this month, working on his multigenre paper.  He chats at me as he writes, asking whatever questions come to mind, writing-related or not.  As a result, he is soaring.

“This is probably the first project in school I’ve ever worked this hard on,” Isaac keeps telling me. “This project is so awesome.”  I told our principal how hard he’d been working lately, and he complimented Isaac when he saw him in the hall.

“Oh my god, I can’t believe teachers talk about students outside of class!” Isaac exclaimed later.  I could tell by his little smile that he was secretly pleased that we had said nice things about him.  Talk has an impact far beyond its transient initial utterance.

Passion, vulnerability, guts, humor, and talk–all year long–make for a beautiful classroom community I’ll enjoy ending this year with.  What do you do to keep your learners unified?

What I Didn’t Teach This Year

The end of the year is upon us (finally!), and I’ve been reflecting as I always do.  This year, though, I’m thinking about something I’ve rarely considered before–not just what I taught, what worked, or what I want to do next year.  I’m thinking about all the things I didn’t teach this year.

There are 180 precious days in a school year, and the way my school is structured means I spend 90 days with each set of students.  That seems so fast.  There was no time to waste, so here’s what I didn’t fill that time with:

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As Sabra stepped up for her reading ladder picture, she said, “This is pretty good for someone who didn’t finish a book until your class!”

Whole class novels.  This was a controversial choice for me, given that I love so many authors of American literature–Mark Twain, Walt Whitman, Nathaniel Hawthorne, etc.  But, no matter what novels I’ve chosen in the past, there’s always a student that book isn’t right for.  Fahrenheit 451, The Absolutely True Diary of a Part Time Indian, The Glass Castle, Maus–none of them is a perfect match for every child.  I’ve used a wide variety of strategies to get students to be able to read those books, and every ounce of passion I can muster to get them to want to read those books, but still–students have been conditioned to not read, to just get on SparkNotes, or ask an older sibling, or use Wikipedia.  When the stacks of matching novels come out, groans abound and engagement tangibly disappears.  I’ve seen this.  I’ve battled it.  No more.

So, I scratched whole class novels altogether.  Students worked in book club groups twice, and engaged in independent reading challenges two other times.  We read tons of short stories, articles, essays, and middle-length writings together.  But we didn’t read a single whole-class novel, and my readers still thrived.

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“I found myself as a reader this year,” Jordan writes.

Did my students grow as readers this year?  Yes.  I watched students who hated reading come to love it.  I watched students who couldn’t read well at all increase their stamina, passion, and skills related to reading.  I watched students who were good readers but bored with books fall in love with nonfiction, poetry, graphic novels, or award winners as they discovered new genres.  I watched students who loved to read flourish and challenge themselves with complex texts and childhood favorites alike.  Most of all, I watched a community of real readers spring up in my classroom–students recommending books to one another, self-selecting books and keeping long to-read lists, telling me all about their finds at Barnes & Noble.  These readers have become truly independent.  “Now,” Taylor writes, “I think I can read anything that’s put in front of me…and enjoy it.”

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Isaac performs a poem for Nathan on poem-in-your-pocket day.

A movie.  As I’ve walked the halls this last week or so, I hear the unmistakeable sounds of cinema from behind closed classroom doors and darkened rooms.  I have no doubt that students are watching relevant films–movie adaptations of Romeo and Juliet in English, Forrest Gump in History, etc.  But this year, I felt I had absolutely no extra time…there was SO MUCH I wanted to do!  I used to love showing O Brother Where Art Thou with The Odyssey, and my students really delved into the symbolism of both texts.  But this year, my SmartBoard was full of YouTube videos, slam poets, or the still, quiet images of a document camera showing some writing.

I didn’t have time to show a movie, but I also wasn’t pressured by the crush of hours of grading that usually prompted me to show films in the past.  I’ve taken Kelly Gallagher’s rule about student work to heart–students should be doing four times as much reading and writing as we could ever grade.  So, I’ve read and responded to about a quarter of my students’ work, and let self-evaluations, peer conferences, and notebook passes do the rest.

Most of what I taught last year.  Last year was great, don’t get me wrong–but this year, my students were a new batch.  They’re different kids than last year’s group, so the same things won’t work for them.  After seven years in teaching, I know that.  I didn’t waste time trying to figure that out…I just started fresh.  I know I’ll do the same thing next year…out with the old, and in with the new.

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Shailyn read almost all of my YA fiction, and wrote reviews about nearly every book for our school newspaper.

Tests or formal essays.  Tom Romano likes to call the typical English essay a “five-paragraph you-know-what,” and it truly is a dirty little assignment.  At an NWP workshop I attended, each teacher was asked to bring some samples of student writing.  All around me emerged typed, double-spaced, Times New Roman, size 12, thesis-at-the-end-of-the-first-paragraph essays.  From my own bag came photocopies of messy scrawls in notebooks, multimedia This I Believes, strongly-voiced commentaries, poetic musings developed from quickwrites, and lengthy, involved, multigenre research papers.  No two pieces looked alike, and they certainly looked nothing like most other teachers’ samples.

I’d be lying if I said I didn’t feel a faint nostalgia for my own high school days, when I took pride in being able to punch out a perfectly formatted five paragraph essay in just under an hour, and which made absolutely no sense but looked great, and which constantly netted me As.  But I listened to my neighbors rant about poorly integrated in-text citations and incoherent thesis statements, I dismissed that nostalgia and read my own students’ work for what truly matters–good writing, heart and soul on a page, and authenticity at work.  As my husband said when he saw me dwarfed behind a pile of multigenre papers to grade, “I could read some of those for you.” “You wouldn’t know what to look for,” I said.

“Good writing is just good writing,” he replied, and he is right.  As the year ends, my students are good writers and good readers–not all of them are great, and there are kids I feel I could’ve pushed harder, but all are certainly better than they were when the year began.  I’ll look forward to our last day of class, when I’ll gift them each a new composition notebook and a pile of classroom library books to read over summer…and to months beyond, when I get to hear their stories of summer literacy in the fall.

#PoetryChat Tonight, 8ET

poetry-prompts-rantLet’s talk poetry.

A few months ago, a pre-service teacher I know asked me to give her some feedback on a poetry unit she’d written.  Her mini-unit, a 25-page document filled mostly by her professor’s formatting requirements, troubled me for a few reasons.

First, as Amy established, poetry is more than a unit–it’s a powerful way of teaching linguistic precision, the art of writing, and the freedom of expression.  It shouldn’t be a two-week item to scratch off a curricular checklist.

Further, pre-planning a unit in such a detailed way takes the power out of learning. “You’re doing too much of the thinking in this unit, and your students aren’t doing enough,” I wrote to her. She had selected every poem, every genre, and every skill for her students to learn–in doing so, she took away a valuable opportunity for her students to seek out, evaluate, and share found and original poetry.

Second, this teacher’s unit was full of contradictions.  I loved seeing her ideas about including slam poetry, spine poems, blackout poetry, and other engaging, unique poetry possibilities.  However, I was confused by what seemed to be an obligation she felt to teach every literary and poetry term ever.  “Focus on getting your students to learn how to WRITE poetry by studying other AUTHORS of poetry,” I advised. “When Dickinson was writing poems, it wasn’t because she was like ‘oooh I love metaphors’–it was because she had a broken heart.”

In teaching poetry, it seems like too many of us are yoked to an antiquated view of poetry–metaphors, dactyls, metric feet.  We are focused too much on the HOW of poetry, and not enough on the WHY.  As we teach our students, let’s focus on them as poets, not simple readers of poems.

Join us tonight at 8ET for a #poetrychat about ways to transform our students into poets by getting poetry off our shelves and into their hands, introducing them to mentor authors, and encouraging play with nontraditional poetry forms.

#PoetryChat Questions:

Warm-Up: Your favorite line or phrase from a loved poem

1. Why do you think many students find poetry intimidating or inaccessible?

2. When you teach poetry, how do you balance the students’ READING of poetry and WRITING of poetry?

3. What are your favorite genres of nontraditional poetry (prose poetry, spine poems, etc.)?

4. Who are your favorite mentor poets? How do you use them to teach your students?

5. What can our students gain from novels in verse? What are your favorite in-verse titles?

6. Let’s finish by sharing our most successful poetry teaching stories. What’s yours?