Literacy Now

Good readers know that a given word can have more than one meaning, and can lead or mislead readers in more than one direction. In fact, there are 464 of them used by the Oxford English Dictionary to define the single word “set.” Adding to the potential confusion for readers are the connotative and denotative meanings of a given word. When One-Directional Harry croons, “You’re my kryptonite,” he is not suggesting the object of his affections possesses a radioactive element from the planet Krypton, an element that keeps making him “weak, frozen,” and “unable to breathe.”

p: Eva Rinaldi via photopin cc

Interpreting kryptonite in this way would mean ascribing a literal or denotative meaning to the word. Instead, the singer implies the object of his adoration has mega-powers, enough to render him speechless. He is using the figurative, connotative, metaphoric allusion to her power with phrases such as “get out of my head” and “climbing the walls.”

Musical metaphors themselves may well be a way to reach reluctant readers given the following that popular singers have among the young. The following activity presents a means of enhancing comprehension skills via symbolic words that take readers to the level of abstraction necessary for full understanding and for faster reading.

In addition, the exercise hones research skills, teamwork skills, writing, creative, performance, and presentation skills as well. To get the most out of the exercise, follow these steps:

1. Begin by explaining that throughout literature, legendary iconic figures have been imbued with or affected by powerful objects. These magical objects, frequently the motivation for the hero’s or heroine’s quest, have been used for good, but often are used for evil purposes. Such is the case with Superman, who found his superpowers weakened by exposure to kryptonite. The objects symbolize the antithetical forces.
   
   Make copies of the provided list and distribute to students. Form teams and have them research the legends—one per team. Their reports, which will be delivered orally, should tell others about the historical or legendary figure, the object or symbol used in the story, and the type of power that object had.
   
   Encourage the use of props, questions, quotes, illustration, and audience-interaction as the reports are being prepared. Explain that the teams will be judged on a one to ten scale for the thoroughness, clarity, and interest conveyed in the oral report.

2. Have each team make its report and have the remaining students fill in the blanks pertaining to the research other teams have done. Assign a score on a scale of one to ten for each presentation.

3. Segue into the song-creation assignment part of the activity by discussing the examples below. (Cite, too, the One Direction explanation of the effect kryptonite has on the singer.)
   
   Then have the same student-teams that researched and presented their reports complete these metaphor starters—one per team. They are free to use the researched symbols/objects or other items of their own choosing. But they must give a rationale in the “Because” section for the selection of a particular metaphor. Use a metaphor starter template like this one to guide them.

   Examples:

   You are my palette
   Because you allow the colors of my personality to be expressed.   

   You are my school,
   Because I have learned so much from you.

   You are my pencil,
   Because you have made your mark upon my life.

4. Discuss literal versus symbolic (connotative/figurative/ metaphoric) meanings. Show the difference between denotative and connotative meanings via simple examples, such as “He’s very helpful,” versus “He’s an angel.” Or “She is a good friend,” versus “She’s my rock.”

5. Once students are clear on the difference between the two types of meaning they encounter in their reading, explain that good readers can tell the difference, whether they are listening to the lyrics of a song or reading stories from their literature books. Understanding the difference, of course, is one of the keys to full comprehension.
   
   Next, explain that teams will engage in a relay race, the winner of which will earn an additional ten points. The race depends on having an equal number of people on each team. (If there are one or two students “left over,” assign them the task of checking the answers and handing out the next cards to relay members.)
   
   The first person on each team is given a card and a pencil. He or she must decide if the song-excerpt is literal or figurative. If it is literal, the student circles that word. If it is figurative/symbolic/ metaphoric, the student will circle the actual reference. Once the card is handed to you (or to the student card-checker) and has been given correct-answer approval, the next card is given to the next person on the team.
   
   If the answer is wrong, the same person must answer the next card. He or she cannot hand off the pencil to the next person on the team until the correct answer is encircled.
   
   Using this example as a guide, print lyrics on cards—six cards for each team.

6. Have teams create a song of their own, using the lyrics from any of their favorite songs as a construct. Their songs, however, must contain a fully supported metaphor.

7. Have the teams perform their songs in front of an audience. Invite the school principal, librarian, and one other administrator or teacher to serve on the judging panel. Ask the judges, following each team performance, to offer feedback, based on these questions:
   
   Was the metaphor clear?
   Was there verbal support for the metaphor?
   Did the song make sense?
   Was the choice of words appealing to listeners?
   
   The judges will rate the performances (using the 1–10 scale)—not so much on musical ability as on the clarity of the metaphor.

8. The winning team (with the highest number of points, 30 being a perfect score) can be given some academic boon—extra credit points, a phone call to their parents, or a treat of some sort.

9. If possible, videotape the performances and put them on YouTube. (Obtain parental and principal-ian permission before doing so.)

EXTENDED ACTIVITY

Excerpts from stories the class is reading or passages from newspapers and magazines can be used for relay races. Lyrical excerpts can be chosen from the music most popular among students of different ages.

Several years ago, CAST was collaborating with middle school teachers in thinking about how the Universal Design for Learning (UDL) framework might help maximize student learning in science. One of the teachers mentioned that helping students write scientific reports was one of her biggest challenges. That idea turned into a three-year research and development grant funded by the Office of Special Education Programs (OSEP) and the NEC Foundation, which resulted in a free interactive web-based instructional tool called Science Writer.

Science Writer is designed to lead students through the process of developing a scientific report. Research-based instructional supports are embedded into Science Writer, including:

• The report-writing process is separated in manageable components
• Steps of the writing process are scaffolded
• An organizational structure for report writing is provided
• Sentence starters help initiate writing throughout

Embedded animated coaches, Max, Sam, and Eko provide strategies and models as students move through the process of writing a scientific report.

Science Writer is helpful for teachers who have been trained to teach science and may not have much experience teaching writing. It also helps students who may struggle with “writing like scientists” by guiding them through the process of writing scientific reports as required by The Next Generation Science Standards (NGSS). These standards, now aligned with the Common Core State Standards (CCSS) for writing, acknowledge that writing is a critical skill for scientists who need to share their knowledge about concepts and findings. (See Appendix M, NGSS).

Stacey Reed, a seventh grade life science teacher in Wayland, Massachusetts, has been using Science Writer for four years and shares her implementation of Science Writer in her classroom:

"While perusing the NGSS, I was energized by the call to slow down, get students to design experiments, ask good questions, and communicate. I created a chart summarizing these practices.

Devoting time to laboratory experiences promotes these science practices, but the resulting writing process is a daunting prospect, especially with students in my classes who struggle with reading and writing. Lab report writing is a very specific type of technical writing, integral to the scientific field, that requires organization. It is not a genre that students read on their own time; therefore, they have few models on which to base their own writing.

Science Writer makes lab report writing far more accessible using UDL strategies, giving students a chance to choose the level of assistance on each task required to create the report. One student might find success when Science Writer chunks the tasks into more manageable pieces. Another student may write conclusions well, but is puzzled by what an analysis section entails. The Science Writer coaches provide model texts for students to learn what is expected.

For instance, a reluctant writer was excited that her gummy bear osmosed with water to 168% of the original volume. We opened Science Writer, and her hand reflexively shot up, asking what she should write. She could retell the directions, so she didn’t need the Eko coach. I suggested she check in with Sam to see a model. A penguin popped up showing his introduction and modeling his thinking process. While she was independently writing a quality introduction, I was able to coach another student who was deciding between sentence starters.

Once students completed the lab report, they displayed more ownership over the ideas they discovered in the lab. As we continue to use the program, I watch students grow beyond the need for the scaffolding supports as they develop a clearer understanding of the expectations of scientific writing and develop science practices."

Peggy Coyne is a Research Scientist at CAST, Inc.

Stacey Reed is a seventh grade life science teacher in Wayland, MA.

This article is part of a series from the International Reading Association Technology in Literacy Education Special Interest Group (TILE-SIG).

In 2006, a survey found that while only 24% of Americans could name two Supreme Court Justices, 77% could name two of Snow White’s dwarves.

I find that disturbing.

Not because the Supreme Court is more important than Snow White. I will, in fact, argue just the opposite.

No, I find that survey’s results disturbing because the dwarves in the original Snow White stories don’t have any names.

In this essay I will tell you the real story of Snow White; or rather, the real stories—for the Brothers Grimm published more than one version of the tale. Those versions are, as you might guess, rather bloody and rather grim. And so, once I’ve recounted the tale’s twisted history, I will explain why those bloody, grim incarnations of Snow White are exactly the ones that you should be sharing with your children and your students.

In 1806, the most famous folklorist in Germany was not named Grimm. His name was Clemens Brentano. He had recently published a collection of German folksongs, but was looking to start working with folk tales as well.

He was introduced to two young brothers who had recently graduated from law school, but found their passions flowing rather towards folklore than the law. Brentano asked for their scholarly assistance. Would they help him collect stories from the people of Germany, so that he might publish them?

These two young scholars, Jacob and Wilhelm Grimm, took up the challenge zealously. They invited acquaintances and amateur story-tellers from all walks of life—petty aristocrats and French Huguenot exiles and bankrupt soldiers—to their home and wrote down the stories they heard.

In 1810, the Brothers Grimm sent forty-nine tales to Clemens Brentano. Among them were the stories of Sleeping Beauty, Rumpelstiltskin, The Frog Prince, and Snow White.

Those stories were not seen again for more than a hundred years. Brentano, it seems, took them to a monastery in Alsace and left them there. Luckily, the Brothers Grimm, like the diligent scholars that they were, had backed up their work. They’d made copies.

So in 1812, once it became clear that Brentano was not following through on his project, the Brothers Grimm published their own editions of the fairy tales. They didn’t call them “fairy tales,” though, since there is not a single fairy in their book. In German, the Grimm tales are called Kinder- und Hausmärchen, which means “Children’s and Household Tales,” and is pronounced “KIN-der oont house-MYARE-cccccccchen.” That last syllable relies on you hocking a loogie while speaking. Good luck with that.

Over the next forty-five years the Brothers Grimm published a total of seven editions of the fairy tales, and their reputation steadily grew. In 1870, not long after the Brothers’ deaths, the Grimm’s fairy tales were incorporated into the teaching curriculum of Prussia. By the turn of the century, the Tales of the Brothers Grimm had become the second best-selling book in Germany, behind only the Bible—a distinction it holds to this day. In the English-speaking world, it had become wildly successful as well. In 1900, The Daily Mail of London named it one of the ten books all children must own. And in 1937 Walt Disney began his full-length motion picture empire with Snow White and the Seven Dwarves, breaking box-office records and winning a special Academy Award. It is no exaggeration to say that those two young German scholars changed the world.

But how? What did they do that was so special? There were folklorists before them (like Brentano) and after them. Why do their stories still take pride of place, two hundred years later?

The Brothers Grimm had a peculiar combination of scholarly brilliance and artistic flair. Jacob, the older brother, was the task-master and the father-figure. Wilhelm was the artist—though also a scholar in his own right. Together, they cast a wide net, bringing in hundreds of stories, and then choosing those they deemed the most typical of the German folk and the most satisfying for children and adults. Wilhelm in particular revised the stories that they heard, adding delicious and dark details and elevating the prose.

An excellent example of this process is the tale entitled “Schneewittchen” (SCHNAY-vitt-chen), or “Little Snow White.”

The final, 1857 edition of the tale has a great deal in common with the most famous retelling, Walt Disney’s Snow White and the Seven Dwarves. I’ll merely point out the major differences, assuming you remember the film.

In the 1857 version of Snow White, the step-mother does not ask the Huntsman to bring back the little girl’s heart, as she does in the film. She asks, rather, for Snow White’s lungs and liver. When the hunter fools her by bringing the lungs and liver of a young boar instead, she “boils them in salt” and she eats them. Which is awesome.

Little Snow White runs off to the dwarves, who, as I mentioned before, have no names. They also have no individuated personalities. The queen comes to the dwarves’ house not once, but three times, and each time she leaves with Snow White apparently dead. The third time, the queen returns with what the Brothers Grimm describe as “a poisonous, poisonous apple”—it’s so poisonous you have to say it twice. One face of the apple is deadly, the other is not, and she convinces her step-daughter to taste the apple by biting the wholesome side herself. Schneewittchen takes a bite and falls down dead.

The dwarves are unable to revive her, so they put her in a glass coffin, embossed with her name and birth. Many years later, a prince comes to the house and sees the dead girl. And he falls in love with her. Which, you have to admit, is kind of weird.

He asks to buy the girl from the dwarves, but they refuse. He tells them that he will die if he can’t see her every day for the rest of his life. As his servants are carrying her home, they drop her, and the jolt effectively performs the Heimlich maneuver on Snow White. A chunk of poison apple comes flying out of her mouth and she returns to life.

That’s right—there is no kiss. Just Snow White getting dropped.

Snow White and the prince get married, and the evil step-mother is invited to the wedding. Here’s my favorite part. When she sees Snow White, alive and marrying a prince, she is “so petrified with fright that she could not budge. Iron slippers had already been heated over a fire, and they were brought over to her with tongs. Finally, she had to put on the red-hot slippers and dance until she fell down dead.”

The End.

(I LOVE IT.)

So that’s the real, Grimm version of Snow White.

At least, the real, 1857 version. But already, Jacob and Wilhelm had made many revisions to the tale. Perhaps the most interesting is this: in the first published edition of the story, in 1812, there is no step-mother. In the 1812 version, the evil queen is HER MOM. How much scarier and more vivid is her jealous rage at the little girl’s beauty when that little girl is her daughter? Instead of merely telling the huntsman to kill Snow White and bring back her organs, this wonderful mother says, “Take her out into the woods to a remote spot, and stab her to death.” And then she eats her organs. (Or thinks she does.)

The ending is different, too. Not the iron-hot shoes—that happens in every edition (if it ain’t broke…!). In the 1812 edition of the story, the prince manages to get the coffin home without dropping it. He makes his servants carry it with him from room to room, so that he might gaze on his beloved. One of the servants eventually gets fed up having to lug this enormous glass box around, so he opens it and smacks the comatose girl. At which point, the chunk of apple flies from her throat, and she wakes up. Which is even more hilarious than dropping her.

Of all the editions, I’d have to say that 1812 is my favorite; that’s the one I’d share with kids. But better than sharing just one edition, I think, is sharing them all. For when we know the many layers of a story, our reading becomes as rich as its history.

So should you be sharing these gruesome stories with your kids at all?

Yes, I believe you should.

Fairy tales speak to children and adults on two levels simultaneously. The primary level is narrative—fairy tales are, in most cases, good stories that are well told. The other level, though, is deeper; it is the level of our most basic, oldest emotions.

Cinderella is not just about a girl who gets to go to a ball and marry a prince. It is about a hero who is unappreciated, who is more beautiful and more valuable than anyone recognizes. We have all felt unappreciated—by parents or siblings, classmates or coworkers. Most of us believe we are capable of great things, if only people would see us clearly. Children, more than adults, feel this way; and rightly so, for they have yet to achieve their enormous potential.

Snow White tells a different emotional tale. This is a story of competition. The (step-)mother loves her daughter—until the little girl threatens her position as the most beautiful in the land. Then the queen wants not only to kill her, but to eat her organs, as if ingesting her will allow the woman to take on the little girl’s beauty.

As children grow, parents sometimes feel competitive with them: the dad who resents that his son is growing stronger, faster, physically more talented than he; the mom who can’t bear to see her daughter’s sexuality eclipsing her own. But while this competition is sometimes harbored by the parent, it is always harbored by the child. Every boy wishes his mother would love him more than she loves his father. Every girl wants her father’s attention to stay glued upon her, even when her mother is around. Freud called this the Oedipus Complex, but I don’t see it as sexual; it’s about primacy of love.

Some of you are with me right now, and some of you are rolling your eyes. “My son doesn’t want me to love him more than I love my husband,” you’re thinking. You’re right. He doesn’t. But also, he does. At the same time. Minds are complex like that.

Children love their parents, and yet feel these competitive emotions intensely. The best fairy tales—and Snow White is among the very best—give children a way to fantasize about their difficult, darkest feelings, and to project them onto evil fathers and step-mothers, rather than their own parents, thereby working them out. Fairy tales give children the faith that those feelings do not make them evil and will not swallow them up. They will ultimately be integrated, and become a small part of the triumphant story of that child’s life.

Which this is the most important thing. Children are optimists. Fairy tales teach them that their optimism is well-founded.

This is why I write the books that I do, weaving Grimm narratives of my own. And this is why we should share Grimm stories with our kids, and with our students. To prove to them that though they pass through the darkest zones, they shall emerge stronger and wiser in the end.

Adam Gidwitz is the author of two ALA Notable, New York Times best-selling books A Tale Dark and Grimm and In a Glass Grimmly. His third book, The Grimm Conclusion, is out now. For more on the subject of real, scary fairy tales and why they’re good for children, read Adam Gidwitz’s In Defense of Real Fairy Tales, on the Wall Street Journal’s Speakeasy Blog or visit his website.

Whooo went the wind and out went the lights and the season of scare and dare is just around the corner, so beware, of all these fun, spooky, and ghoulish books to share.

For those who celebrate Halloween there are plenty of books with monsters, skeletons, witches, mummies, ghosts, devils, and even Bogles that eat children (to learn more about Bogles, you’ll need to read the book review). For those who don’t celebrate Halloween, there are books that don’t mention the holiday, but are scary. For the young reader, there is a scary book about a “Snatchabook” who steals books—“oh no!”—and a not so scary book about romping monsters. For the older reader, there is a scary book about a teenage boy who keeps seeing his dead brother, and there is another book that is mystery and packed-filled with romance and gore.

For those who want to incorporate the Common Core State Standards, there are books about the scientific method, historical fiction, and folklore. And for those who believe in common sense, there is even a book about safety. For more information about safety you can check out the Centers for Disease and Control Prevention website.

Whether you are trick-or-treating or just reading, enjoy the spooks and the books this Halloween season!

GRADES K – 2

Biedrzycki, David. (2013). Me and my dragon: Scared of Halloween. Watertown, MA: Charlesbridge.

What more can you ask for than book that has a dragon and Halloween? This story is about a boy who loves Halloween. Unfortunately, his pet dragon does not like trick-or-treating. How can it be that Dragon is afraid of Halloween creatures, such as zombies and mummies? Not to be deterred by Dragon’s angst, the boy explains that the creatures aren’t real, but to no avail. Next, they try to find a costume, such as a robot, but all of the costumes end in disaster. To comfort Dragon, the boy reads Dragon’s favorite book to comfort him, which prompts an idea for the perfect costume. This engaging story is enhanced by colorful and detailed illustrations that will captivate readers of all ages.

– Jane Kelley, Washington State University Pullman

Docherty, Helen. (2013). The Snatchabook. Illus. by Thomas Docherty. Naperville, IL: Sourcebooks, Inc.

There is nothing scarier for a child, an adult, and especially a bibliophile than not having a book to read at bedtime, but that is exactly what happens in the little animal village of Burrow Down. On a dark and windy night, while the forest animals are reading their bedtime stories, the storybooks disappear, and Eliza Brown decides to solve the mystery. One night she leaves a stack of books in her bedroom to lure the thief. Despite being scared, she waits and waits. Finally, a mysterious creature called a “Snatchabook” tries to snatch-a-book. While Eliza reprimands him, he explains that he has no one to read to him. Understanding his plight, Eliza helps him make amends, by returning the books and apologizing for his actions. Now the Snatchabook doesn’t need to steal books anymore; each night when stories are being read, the Snatchabook is always nearby.

– Jane Kelley, Washington State University Pullman

Noble, Trinka Hakes.  (2013). The legend of the Jersey Devil. Illus. by Gerald Kelley. Ann Arbor, MI: Sleeping Bear Press.

A dark, mysterious pine grove, with black swamps and murky bogs, close to the briny ocean in New Jersey has kept an ancient secret—the Jersey Devil! During a thunderstorm in 1735, Mother Leeds goes into labor to birth her thirteenth child. In pain, the frustrated mother screams for the devil to help her and an enormous creature emerges from her and flies up the chimney. Strange events– crops failed, chickens stopped laying eggs, horses got spooked – were all blamed on the devil. A traveling preacher, promising to get rid of the devil, held a prayer meeting. As his hat filled with coins, he felt hot breath on the back of his neck. Yikes! The devil was on his tail! People have avoided the forest since. The storyline and the pictures compliment each other perfectly. This book can be used in several content areas.

– Rani Iyer, Washington State University Pullman

Paquette, Ammi-Joan. (2013). Ghost in the house. Somerville, MA: Candlewick Press.

A not so scary story about a ghost, a mummy, a monster, a skeleton, and a witch written in a lyrical rhyme, is fun to read aloud as the words feel magical on the tongue. The story begins with a timid ghost in a creepy haunted house who “goes slip-slide with a swoop and a glide….” Next, the two creatures meet a mummy and a monster “… on the dark, spooky night, midnight black.” The creatures gather one by one until the innocent little boy who lives in the house unintentionally spooks the creatures. This book will become a favorite read aloud all year long.

- Jane Kelley, Washington State University Pullman

Peterson, Megan Cooley. (2014). Trick-or-treat safety. North Mankato, MN: Capstone Press.

Trick-or-treating door-to-door is a highlight on Halloween, but with this fun activity comes many dangers. Using simple text and informative photographs, this book teaches children how to be safe while walking around the neighborhood. Easy to follow recommended trick-or-treating tips include: costumes with reflective tape, face paint instead of masks so as not to obstruct one’s vision, trick-or-treating with adults, and asking an adult to check the treats before eating them. Young children will enjoy this informational text because it tells about a favorite holiday, and parents will enjoy the lessons about safety.

- Jane Kelley, Washington State University Pullman

Reynolds, Aaron. (2012). Creepy carrots! Illus. by Peter Brown. New York: Simon & Schuster Books for Young Readers.

Jasper Rabbit is a carrot fanatic. Every day he eats carrots, especially the ones from Crackenhopper Field. One day, he senses the carrots stalking him, because he sees carrots everywhere – carrots in the kitchen, in the bathroom, in his bedroom, and even on his way to school. Frightened, he decides to build a wall around Crackenhopper Field, so the carrots can’t escape from the field. As Jasper is proud of what he did, carrots, peeping from the field, are ecstatic for not being eaten anymore. This book is presented as a scary movie that creates a mysterious and suspenseful atmosphere, which is accentuated by the orange and black colors. The vivid facial expressions of Jasper Rabbit will make readers understand Jasper’s fear, and they will enjoy this creepy, spooky, yet humorous book.

– Ying-Hsuan Lee, Washington State University Pullman

Yolen, Jane. (2013). Romping monsters, stomping monsters. Illus. by Kelly Murphy. Somerville, MA: Candlewick Press.

Colorful, cute, and multi-eyed monsters play in a park that resembles an almost typical city park, with monster children doing typical park activities such as: playing with balls, riding bikes, jumping rope, and playing hopscotch. The rhyming text and simple illustrations with muted bright colors will enchant the emergent reader. At first it seems this is just a magical place for monsters to run and play; however, there is a lesson about manners in the book. One little monster pokes another monster’s eye at the water fountain and laughs, but even little monsters are reprimanded for being naughty and must say “sorry.”

– Jane Kelley, Washington State University Pullman

GRADES 2 – 5

Celenza, Anna Harwell. (2013). Saint-Saëns’s Danse Macabre. Illus. by JoAnn E. Kitchel. Watertown: Charlesbridge.

At midnight on January 24, 1875 over two thousand people gathered in the Châtelet Theater for the debut of Danse Macabre presented by the composer, Camille Saint-Saën. Once Danse Macabre was played, the theater was filled with a gloomy and spooky atmosphere. Saint-Saën’s creation of such a spooky piece of music was inspired by his visit to the underground cemetery in Paris. Saint-Saën used various instruments with a mix of waltzes and funeral tunes to compose the eerie Danse Macabre. The watercolor illustrations give this book a vintage look, and readers will notice the joyful skeletons as they jump and dance jubilantly with Saint-Saën’s music. It is recommended to read this story while listening to Danse Macabre, and a CD recording conveniently accompanies the book. Teachers could use this book for social studies and music appreciation to let students know that great music comes with a great story!

– Ying-Hsuan Lee, Washington State University Pullman

Dahl, Michael. (2013). Laff-O-Tronic monster jokes! Illus. by Daryll Colins and Michael Frederick Laughead. North Mankato, MN: Stone Arch Books.

What brings monsters, zombies, vampires, and aliens together in a book? Jokes! In this funny book, the author takes children on a journey with jokes, cartoons, brain twisters, quick comics, and stand-up comedies. In one section, the book offers a way for readers to animate the pictures. For example, if readers flip one page really quickly, it will give the illusion that a vampire is popping out of a coffin. Although the majority of characters in the book are monsters, zombies, vampires, and aliens, their scary looks along with their hilarious acts make this book attractive to children. Moreover, when the book is read aloud, children will be surprised and amused by the lyric and rhythmic texts. This is a book that will make children laugh and giggle during the Halloween season!

– Ying-Hsuan Lee, Washington State University Pullman

Green, D. L. (2013). Zeke Meeks vs the horrendous Halloween. Illus. by Josh Alves. North Mankato, MN: Picture Window Books.

A cool costume, plus lots of candies, plus trick-or-treating with best friends equals a fun and fabulous Halloween; however, Halloween did not start that way for Zeke. First, he has to dress up as a pirate to avoid wearing an uncool beach ball costume and Cursed Mongrel costume. Then, he feels horrible for getting pencils instead of candies as he trick-or-treats with his younger sister, Mia. To turn the lousy Halloween around, Zeke persuades his older sister, Alexa, to take him to Hector’s neighborhood and enjoy trick-or-treating with his best friend. Many children can relate to Zeke’s desire for a wonderful Halloween. Sometimes it doesn’t matter whether you have the coolest costume in the world; what does matter is having fun with your best friends on Halloween night! A vocabulary list included in the book can satisfy children who want to use big words like Zeke!

– Ying-Hsuan Lee, Washington State University Pullman

Krohn, Katherine. (2014). The unsolved mystery of haunted houses. North Mankato, MN: Capstone Press.

This nonfiction book is a gentle introduction to the phenomenon of haunted homes. Squeaky doors, strange noises, seeing something…are these real or imaginary? The logical explanations in the book include true or false statements with explanations. The book also introduces ghost hunters, the equipment they use, and paranormal phenomena. This book has many vocabulary words and website links and a great spooky read for young readers!

– Rani Iyer, Washington State University Pullman

GRADES 6 – 7

Brimingham, Maria.  (2013). Weird zone: Sports – The strangest, funniest, and most daringest events from the world of athletics and beyond! Ills. by Jamie Bennett. Toronto, Ontario: Owlkids Books Inc.

This Halloween kids can indulge in real dare games—ride a round bottom pan, play underwater golf, or participate in the underwater bicycle race! Races from all over the world are described in this book. The pages are filled with quirky, weird sports and games and with facts, humor, and “gazillion” records. Not all sports are exotic, however. Consider the entry on Stone Skipping which records that Russell Byars skipped a stone across a river in Pennsylvania an astonishing 51 times! Some sports are dangerous, such as the North Pole Marathon and some are extreme, such as Downhill Ice Cross. Others are modifications of existing games, such as hangboarding (that combines snowboarding and hang gliding). This amazing book entertains, informs, and boosts the imagination of kids. It can be used across several content areas. So, which games will the kids dare to play?

– Rani Iyer, Washington State University Pullman

Harbo, Christopher. (2014). Frankenstein's monster and scientific methods. Illustrated by Carlos Aon. Minnesota, MN: Capstone Press.

The scientific method involves asking a question, gathering information, making a prediction, designing an experiment to test the question, collecting data, analyzing data, drawing conclusions, and communicating results and that is exactly what Frankenstein and Igor do in this book. Graphic pictures enliven the narrative with humor sprinkled in the context. Each chapter follows the typical steps in the scientific method as well as warning the reader that the scientific method does not always work. Sidebars provide useful information regarding the use of graphs and type of graphs, the way to organize a well-written lab report, and how to create presentations. The busy teacher will appreciate that the book is aligned to the Common Core Science Standards. Overall, students interested in knowing more about science or the scientific method will find this book interesting and it is a good addition to a science classroom or laboratory collection.

– Rani Iyer, Washington State University Pullman

Jinks, Catherine. (2013). How to catch a Bogle. Illustrated by Sarah Watts. New York, New York: Harcourt Children’s Books.

Set in Victorian England, Birdie, like other orphans, is inducted into unsavory jobs for survival. Birdie’s life is better since she has become the apprentice for Alfred the Bogler, the man who traps the monsters. Alfred sets up Birdie as live bait and asks her to sing. When the Bogle comes to grab her, Birdie races away and Alfred spears the Bogle. The team has been successful for a while, when Miss Eames with interest in spirits and Bogles joins them as a bystander to watch them on field. Miss Eames faints! She makes an offer to Birdie—in exchange for stopping the dangerous act, she would provide Birdie with housing, voice lessons, and to learn how to read and write. This book is a part of trilogy and has excellent use of the Victorian language. The prolific author’s website provides more reads for those interested in spooky reads .

–Rani Iyer, Washington State University Pullman

Klise, Kate. (2013). 43 Old Cemetery Road: Hollywood dead ahead. Illustrated by M. Sarah Klise. New York, NY: Harcourt Children's Books.

43 Old Cemetery Road is the story of Olive C. Spence (owner of the house), Mr. Ignatius Grumply (an author with a huge writer's block) and Seymour Hope (10-year old boy living alone). In their first book, Mr. Grumply is faced with a deadline by his publisher and does not have a word on the page, Seymour needs a home, and Olive needs company. Four books later, Olive and Ignatius have adopted Seymour. However, they are an odd family, for, Olive is a ghost! Their story is now world famous and has caught the attention of Hollywood director Moe Block Busters who wants to make a movie based on the book. Thus, the family temporarily moves to Hollywood and nothing is the same. The book will engage readers and provide opportunities to study different types of writing. This is a great everyday book and it is not just the season of spook.

– Rani Iyer, Washington State University Pullman

Rhatigan, Joe. (2013). Ouch! The weird & wild ways your body  deals with agonizing aches, ferocious fevers, lousy lumps, crummy colds,  bothersome bites, breaks, bruises & burns & makes them feel better. Ills. by Anthony Owsley. Waterton, MA: Charlesbridge Publishing.

Does the sight of blood, even fake, make some students quiver? Well, then here is a book for you! This Halloween the students can use the book to learn about the human body. The book is divided into two parts. The first part concerns the basic body function that introduces the readers to the human body in a very friendly and conversational tone. The pain scale is introduced with a series of smiley faces and the captions introduce the degree of pain, such as “Well, this is slightly annoying” and  “Ow, that really, really, hurts.” The second part of the book introduces the readers to the injuries, infections, and other things that can go wrong including fevers, chills, and aches. For all such conditions, the smiley face and the pain level is introduced. This engaging book will enrich biology lessons on pain levels and the human body.

– Rani Iyer, Washington State University Pullman

GRADES 8 – 12

Rodman, Sean. (2013). Night terrors. Custer: Orca Book Publisher.

Dylan has been haunted by the witness of his brother’s drowning accident, which gives him nightmares all the time. To escape from such night terrors, Dylan decides to work in a five-star resort, Ravenslake Lodge, during the summer. As the resort closes for the winter, Dylan and his colleagues stay longer to help. However, what troubles Dylan is that he sees visions of his brother at times! Dylan wonders: Is he dreaming? Is that a ghost or a real person? Is this all caused by his illusion or does he miss his brother too much? This is a short chapter book that is easy to read and grabs readers’ attention from the very beginning. Readers will enjoy the mysterious and suspicious atmosphere within the story!

– Ying-Hsuan Lee, Washington State University Pullman

Tucholke, April Genevieve. (2013). Between the devil and the deep blue sea. New York, NY: Dial Books.

Violet White and her twin brother live in the luxurious mansion, Citizen, in a small town on the East Coast. Born rich, but currently poor, they have run out of money. Her parents, who are famous artists, are in Europe. Violet advertises their guesthouse as a rental. River, an attractive youth, answers the call. From the beginning Violet bonds deeply with him. Soon, Violet realizes he has a ‘spark’ that makes him both attractive and wicked. As summer unfolds, Violet learns more family secrets than she cares for. She also begins to hate River for the extraordinary power he carries and the manner in which he easily hurts people. River’s brother Neely and his half-brother Brodie appear on the scene, changing Violet’s life forever. The dramatic ending leaves open room for a sequel. The book has elements of romance, suspense, a perfect read for the Halloween week.

– Rani Iyer, Washington State University Pullman

These reviews are submitted by members of the International Reading Association's Children's Literature and Reading Special Interest Group (CL/R SIG) and are published weekly on Reading Today Online. The International Reading Association partners with the National Council of Teachers of English and Verizon Thinkfinity to produce ReadWriteThink.org, a website devoted to providing literacy instruction and interactive resources for grades K–12.

In my article "Six Recommendations for Implemeting State- or District-Created CCSS Curriculum Units" in the October/November 2013 issue of Reading Today, I discussed that many state departments of education have devoted resources to providing curriculum units for educators to use. Here are some examples:

• New York State, on its comprehensive EngageNY.org website (www.engageny.org/common-core-curriculum), offers curriculum that local districts may adopt or adapt.  These curriculum modules are designed PreK-12 and offer curriculum maps, unit plans, lesson plans, materials, and professional development guidance.

• Massachusetts (http://www.doe.mass.edu/candi/model/) provides model curriculum units that include an overview, standards, curriculum-embedded performance assessment, and lesson plans, written in an Understanding By Design (UBD) template (Wiggins & McTighe, 1998).

• Colorado has created a template and curriculum process for translating standards into curriculum, (http://www.cde.state.co.us/standardsandinstruction/SampleCurriculum-Resources.asp) based on the work of Dr. Lynn Erickson and her book, “Concept-Based Curriculum and Instruction for the Thinking Classroom” (2007).

These selections are just illustrative of the work that has been done across the country. Many other states have also produced model curriculum and curriculum maps and curriculum guides.

References

Wiggins, G. & McTighe, J. (1998). Understanding by Design. Alexandria, VA: Association for Supervision and Curriculum Development.

Erickson, H. L. (2007). Concept-Based Curriculum and Instruction. Thousand Oaks, CA: Corwin Press.

Lori DiGisi is Director of Curriculum and professional Development for the Farmingham Public Schools, Farmingham, MA. She was formerly on staff at the Massachusetts Department of Education, ldigisi@gmail.com.

This article is an addendum to an article from the October/November 2013 issue of Reading Today. IRA members can read the interactive digital version of the magazine here. Nonmembers: join today!