Andrew Clements, An Author for Boys (and Girls too :-) )

There are countless websites devoted to discussing boys and books.  There are numerous reasons for this (which I will discuss another day, as it is a very interesting discussion), but today I want to focus on an author who appreciates and understands boys.  He writes intelligently about their motivations, ideas, creativity, and experiences because he lived them himself, growing up in a traditional family in the 50's and 60's.

I love Clements' books not only because they appeal to boys, but also because they are not too edgy.  If today's "boy books" don't have poop and fart jokes or bad language and budding sexuality or fantasy-laden futurism, then authors seem to think boys won't want to read them.  Yes, boys like all those things, and I'm glad they do and that there are books that appeal to those interests.  But Andrew Clements seems to have found a way of communicating that isn't banal but still includes humor, technology, and hormones.  His genre of choice is usually realistic fiction, which means boys are reading about things that could really happen to them. 

Clements' first and most popular novel is Frindle, about a boy who provokes his teacher by creating a new word for "pen."  He encourages all of his classmates to join him in this mini-rebellion.  Boys love this book because it has some mutiny and a budding leader . . . but he's not too bad--just experimental.

Allow me to share a personal story.  When I was working in a cognitive training center last year, I was developing a curriculum for teaching reading comprehension to children who struggled academically.  Most of our students, no surprise, were boys.  One mom asked me for some suggested titles for her reluctant reader son, who "hated reading."  I gave her a short list (including Frindle) that he would work on at home and during his sessions with his trainer.

One day I was sitting at my desk, and a little whirlwind ran through the front door, past my desk, and to his trainer who was going through the program with him.  "Joe! Joe!  Guess what?  I LOVE READING!"  I had tears in my eyes, and Joe had a hard time keeping it together.  He asked this student, "What changed?  What has happened since last week?"  "This book," he announced, waving his copy of Frindle.  By then, his mom had met me at my desk.  She said, "I just ordered everything Andrew Clements has written.  I've never heard my son care about a book before."  That's what it takes with reluctant readers--finding THE book--the one that will draw them into the world of books.

So, Frindle saved this student's life, if you dont mind me being a little melodramatic.

My personal favorite of Clements' is Things Not Seen.  A 15-yr old boy awakes one day to discover that he is invisible.  It has elements of science fiction, but it is a beautiful relationship book, as the boy befriends a blind girl (who has no way of knowing he is invisible). This book was very meaningful to one of my sons, who read it when he was 15. There are a couple of sequels to this storyline (Things Hoped For and Things That Are).  These are great books for early teen boys who don't necessarily crave manga or futuristic technology.

As realistic fiction, these books are ones that boys can relate to.  Most of Clements' books star boys, which is an appealing element to boy readers.  They are clever and enjoy typical boy things. Clements' boys are "everyboy," in a good sense.  They are relatable and enjoyable, but they are not perfect.  Most of the stories take place in a school setting, also relatable to most boys. 

If you have or know of a reluctant reader boy, or if you just want an entertaining story to read to your kids or for them to add to their summer reading list, add Andrew Clements' titles to your list.  (Hint: The Clements' books that are early readers--ages 9-12--all have the same cover illustrator.  They are done by Brian Selznick--remember him?  The Invention of Hugo Cabret?  [see entry on 6/6].)  Here's a sampling:

Middle Grade Readers
Frindle
The Landry News
The Janitor's Boy
The Jacket
A Week in the Woods
The Report Card
The Last Holiday Concert
Lunch Money
Extra Credit
Trouble-Maker

Teen Readers
Things Not Seen
Things Hoped For
Things That Are


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The Magic of a Good Story--The Invention of Hugo Cabret

One of the reasons children (and adults!) are encouraged to read is that stories take the reader to other worlds. Escapism. Exploration.  It is a gift to readers when an author can truly help you leave your present reality and live in the pages of a good book. I am reading a book that does this in a magical way.

I love innovation in the arts. I've always loved three-dimensional art, movies that do something new, and even books that create an experience that is unique. (This is one of the reasons I loved The Book Thief--see the post on May 10.) Perhaps you saw the movie Hugo. It was a visual and storytelling treat. Scorsese was able to direct such a beautiful visual experience because of the uniqueness of Brian Seltznick's illustrative genius in the book, The Invention of Hugo Cabret.

Here are some of the unique elements of Seltznick's book:

1. The pages are black, not white. This gives a feel that I've never had while reading before.  Much of the book takes place at night or in the clock towers, so it is appropriate that black should be the background. The mood-making is perfect.  The black pulls you in and causes the reader to see the book differently than typical white pages would.

2. Most of the story is told through illustration. To say that Seltznick is an illustrator is almost minimizing his incredible talent. There should be a word for artists who can draw like paintings. It is such a remarkable gift. Reading the pages of this book is like slowly watching a movie--Seltznick will draw four or five illustrations of the same scene, bringing the reader in closer with each frame. It is very personal and makes the reading an experience. I find that I "read" the illustrations slowly, so as not to miss any details. The author will tell four or five pages of story through 2-page spreads of illustration, then two to four pages of text. The written story is wonderful, but the illustration is what pulls the reader in.

3.  Unlike most illustrated stories, The Invention of Hugo Cabret is told exclusively with black and white illustrations. I'm sure part of the reason Seltznick did this was because he was telling a story of early film and was reflecting that black and white motif. It also truly showcases his style of line pencil drawing.

Every year the Association  for Library Services to Children chooses a book to honor with the Caldecott Medal, awarded for outstanding illustrations. The honored book each year is usually a picture book--they are the ones filled with illustrations!  Hugo, however, is a middle reader book (7-12 year olds), with a more complex story that will appeal to children beyond the picture-book stage.  Brian Seltznick won the Caldecott Medal in 2008 for The Invention of Hugo Cabret, and if you read it, you will most certainly understand why. Pin It

A Look at The Book Thief

I have just finished perhaps the most interesting book I have ever read. I can't say it was my favorite, but there were so many unique things about it, that I appreciate it on a deeper level than "favoriting."

The Book Thief by Markus Zusak is not just another in the long list of young adult Holocaust books.  (Goodreads lists 183.)  The narrator of this unique story is Death. Yes, the Grim Reaper. When my daughter told me about this book a couple of years ago, that, itself, was enough to get me curious enough to read it.  More than any book I have ever read, this story had that elusive literary quality of "voice"--something so hard to explain but beautiful when it's done well.  The book has a mournful tone that could only be spoken by one who knows and understands death--even the parts that are not "sad" still feel melancholy.

So, why would one want to read a melancholy book like this?  Why would a person want to read about the horrors of history that overwhelmed the world in the early 1940's? 

Because The Book Thief is about so much more.  It is a different kind of coming of age book--lifechange, maturity, relationships; dealing with abandonment, guilt, and secrets.  It is about the power of words--infectious, inflammatory words and passionate, compassionate words. Written words, spoken words, and even unspoken words. 

Let me give you an excerpt to whet your appetite: " She was suddenly aware of how empty her feet felt inside her shoes. Something ridiculed her throat. She trembled. When finally she reached out and took possession of the letter, she noticed the sound of the clock in the library. Grimly, she realized that clocks don't make a sound that even remotely resembles ticking, tocking. It was more the sound of a hammer, upside down, hacking methodically at the earth." (p. 259)  This metaphorical speech is indicative of the book's interesting style. Here is the narrator speaking about his job: "Five hundred souls. I carried them in my fingers, like suitcases. Or I'd throw them over my shoulder.  It was only the children I carried in my arms." (p. 336)  Although the book is full of thoughts of the Grim Reaper, they are not morbid or graphic. You come away seeing the dichotomous position this character is in.

This is what historical fiction does for its readers--provides them with multidimensional characters, complex human emotions, against the backdrop of history.  Reading books like The Book Thief is a way to help children understand the pains of war, as well as the reality of events like the Holocaust.  And because they are reading about characters their own age, teens come away with a clearer reality of what that part of history felt like.

Not everyone should read this book.  I wouldn't recommend it for anyone younger than 13, and even then, it might not be appropriate. There is a considerable amount of bad language (although we are given the German form frequently, so it isn't the same as reading words you know to be socially unacceptable in your own language.) As a Christian, I don’t like the overuse of God's name in the inflammatory sense.  And, of course, with a narrator like Death, it destines to be a book with a considerable amount of death, so particularly sensitive teens would be wise to avoid it.

I have always said that Schindler's List is so much more than a movie--it is an experience. I would have to equate The Book Thief to that, as well.  Not a fun read, but a rich one.

Again, there are many very well written books about the Holocaust. Here are a few that you might find interesting.  I have ordered them by age-appropriateness.

Number the Stars (Lois Lowry)

The Diary of a Young Girl (Anne Frank)

The Boy in the Striped Pajamas (John Boyne)

The Devil's Arithmetic (Jane Yolen)

I Am David (Anne Holm)

Night (Elie Weisel)

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Go Ahead . . . Judge a Book by Its Cover!

While you were growing up, how many times did you hear, “Don’t judge a book by its cover”?  Innumerable times, no doubt.  The expression appropriately encourages us to look beyond the exterior to what is underneath.

It is obvious to me that this expression has seen its time, at least in the literal sense.  Yes, it used to be that book covers were pretty generic and unvarying.  Most of these dull book covers would lead readers, especially children, to make assumptions about the stories that may not necessarily be true. But now, covers add personality to books that would otherwise be nondescript. 

Illustrators are some of the most famous artists of our day.  They are paid greatly for their bookcover contributions.  And they are guided by savvy editors who know what markets they are trying to reach with each book.

What can a cover tell you?

            1. What age group this book is appropriate for.

            2. What gender (if there is a specific gender) it is targeted to.

            3. The tone of the story--if it is silly or serious.

You can see that the Snow White story (Jarrell) is a more serious, artistic take on the fable.  Snowballs, by Lois Ehlert, is fun for young children.

How do illustrators and editors do this?

            1. Selecting a font that fits the mood of the story.

            2. Choosing the color scheme that will draw potential readers in.

            3. Deciding on a specific character, item, or scene to highlight on the cover.

By the tone and font, the reader can see that Andrew Clements' Frindle is a friendly book for kids.  The serious tone of Number the Stars (Lowry) hints to its plotline during the Holocaust.

We are a visual people, aren’t we!  We appreciate color and shape and texture.  And since we all have different tastes, it is perfectly appropriate to let your initial reaction to a cover be something that guides you (although not exclusively) to or away from a book.  If a book has a rugged font for the title and dark colors covering the front, I will shy away from it.  (I realize I have just described an entire section of Young Adult literature--science fiction fantasy!) And that is perfectly appropriate!  A book designed with that look is probably not going to appeal to me, and it wasn’t intended to. 

e.e. cummings' Little Tree, illustrated by Deborah Kogan Ray

When I saw this book displayed a number of Christmases ago, I was immediately drawn to the fact that it was a picture book of a famous poem by e.e. cummings.  But I don’t think I would have picked it up if not for the dreamy, wistful cover by Deborah Cogan Ray.  I knew immediately that I had to have it—it’s a visceral response that we often have to books. If you feel you have to have it, it is not because the book has meaning to you yet or even because it was so cleverly titled (although many books are); it is because the cover and title font have done their job of speaking to your heart.

Certainly, a cover illustration should not be the only prerequisite for choosing a book, but don’t feel guilty if you are drawn to specific things!  Books you will probably enjoy should look like you would enjoy them. 

So the next time you warn someone not to judge a book by its cover, just be sure you aren’t talking about a real book!

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5 Steps to Doing a Good Read Aloud

Remember those storytimes you grew up with? Remember sitting next to a warm parent at night before bed . . . or with a rambunctious crowd at the library . . . or mesmerized at your desk with the teacher reading aloud?

All children need to be read to--to introduce them to quality literature, to help them with early reading development, to familiarize them with advanced vocabulary and sentence structure, and to learn the love of hearing stories.

There are no shortage of lists of recommended books for children. Unfortunately, there is not a lot of information for parents on how to read aloud, which is equally as important! It seems so simple, doesnt it? You just open and read! But for a child to get the most out of a book, there are things you can do that will make the experience even more meaningful to your child. Here are a few steps that will soon become a natural part of your read aloud habits if you practice them every day.

1. EXAMINE the cover together. Then, ask the child what he or she thinks the story will be about. This is called making predictions, which experts now know all good readers do automatically. Good readers make and revise their predictions constantly while reading. It is one way the brain stays actively involved in the story. (By the way, there is no wrong prediction. If the child was wrong, he or she just revises the prediction! It's very liberating.)

2. READ THE TITLE (again) and then the AUTHOR AND ILLUSTRATOR names. Knowing the author and illustrator is so important. First, it teaches children that books just don't appear--someone had to create them. Reading their names shows respect for the people and their hard work. Another good reason to know the author and illustrator is for recognizability. My boys quickly learned that they liked Jan Brett's style, so library searches were easier--I sent them to the B's and let them bury themselves in books until they found another Jan Brett.

3. READ THE STORY. Always read slowly. I say this as a reminder to people like me who tend to talk fast naturally! Remember that an author and editor chose every word to be in that book, so respect the wording the author has used. If the book has a couple of lines of text per page, it is good to move your finger along under the words. This shows children the patterns of reading that will be foundational as they learn to read.

One of my young adult children recently told me that he loved how I read aloud to him. He said, "You made the voices for characters and you did different things with your voice to move the story along." So, in that vein, read extra slowly at suspenseful parts, speed up when Peter is being chased my Mr. MacGregor, and whisper when he is hiding under the pot. Reading with energy and purpose will engage your children in the story. 

Don't stop to answer a lot of questions or explain material, but if there is a question in the text, have your child answer it! 

4. WRAP UP. Encourage some dialogue after the story: "Wow, I sure didn't expect it to end that way! " or "What was your favorite part?" or "Should we read this one again tomorrow night?"

5. ASK QUESTIONS. Only do this if the child is still interested. "When we were reading, I heard an interesting word. [Turn back to the page, point to the word, and say it.]. Do you know what that means? Let me read that sentence again and maybe we can figure it out." Or "Do you think this story could have ended differently?" Children will often have questions while you are reading, and if you don't answer them during the story (which is best because things are often explained in the course of the story or context will make things clearer), this is a good time to say, "What was that question you had back on page [x]?"

One thing we did with our children while they were growing up was to discuss the art medium the illustrator used, which led to a lot of creativity in their own artistic expressions.

It is fine, of course, if the child is done with that book for the day and doesn't want to do any "vocabulary development" or "analysis." Children don't learn to love books by analyzing them to death.

These five steps, with any age child and any genre of story, will get you started in a very enriching reading time together! Pin It

Let's Be Real

One of my great passions is using literature in lesson plans. When I was growing up, all stories were in the language text book, all history came from the history textbook, and all science was from the science textbook.  Fortunately for students, much has changed.  Students are no longer subjected to only short stories, excerpts from great literature, and stories created to fit into the state standards and that fit within the boxy corners of a textbook.

Children deserve more than contrived literature that looks like it belongs on the back of a cereal box.  They deserve excellent literature in every part of the school day.  About twenty years ago, the trend for using "real books" came about.  Although it has continued to grow in acceptance, there is so much more teachers can do.

Real books are literature--real literature--that students will enjoy, be moved by, and read again and again.  A good book is like a friend--you return to it over and over, it moves you, it isn't stagnant but changes as you read it at different stages.

After Disney comes out with a movie, the market is flooded with merchandise using that motif.  In book form those Disney stories have cheap paper, colorful but flat and uninteresting illustrations, and boring text.  They are there just to tell the retell the story.  Although I love Disney and Pixar movies, the blasé books that they develop are an embarrassment to literature. 

So how do you know a real book from a blasé book?

1. Real books have reputable authors. 
    Blasé books often have no author name but just list a publisher.  (There are plenty of blasé books that do have authors--either pseudonyms, made up, or entry-level writers.)

2. Real books have beautiful, inspiring illustrations. 
    Blasé books look like an imitation.  They are flat and uninteresting.

3. Real books stand alone. 
    They are not meant to be a part of some marketing campaign or educational standard. 

4. Real books come before the movies! 
    Almost always after a movie comes out, a book will follow.  These are written quickly, just to capitalize on the timing of the movie's release.  Truly blasé.

5. Real books are the ones you remember from your childhood. 
    Although it is possible, it is very unlikely you remember the books that were take offs on movies or TV shows from your childhood.  You probably don't remember much from your language textbook, either.  And if you read from Dick and Jane readers (although they are seeing a resurgence for their art's sake), you were definitely NOT moved by the riveting storyline. 

The question becomes then, how to incorporate real books into the curriculum.  If this is the best of literature and we want our children exposed to quality, not depressing readers, how can teachers use literature inspiringly in their classrooms?  The best thing about real books is that they are not intended to teach a curriculum subject, but they can be used to do so! 

Real books are being used in the classroom to supplement the content areas.  Literature becomes more authentic because students are able to see that stories apply to history, science, and even math!  Books like Elinor Pinczes' One Hundred Hungry Ants and A Remainder of One (illustrated by Bonnie Mackain), take math concepts like grouping, number sense, and division and show children how fun math can be--They can start to imagine looking at life through math-glasses. 

In language, there are beautiful poetry books that help children understand grammar!  Ruth Heller is an expert at explaining grammar, even the exceptions to the rules!, in books like Kites Sail High, Behind the Mask: A book about prepostions, and Many Luscious Lollipops: A book about adjectives.  Another possibility is using quality children's literature to teach writing concepts like dialogue, characterization, and voice. 

In science, teachers and parents can use a book like The Snowy Day (Keats) to demonstrate concepts like weather, solid-to-liquid, and temperature.  It's a real book, and in a very real way it demonstrates those concepts by story.

The best and easiest use of real literature is for history.  Studying the Civil War with 4th graders?  Choose My Brother Sam Is Dead.  Studying immigration?  Try Esperanza Rising.  Looking at the African-Americans struggle during the 20th century? Roll of Thunder, Hear My Cry will teach more than a lecture can--or certainly make a lecture come to life.  These are all novels, but storybooks abound for history, as well. 

Fortunately, students aren't stuck just with textbooks anymore.  They can see how the concepts they are learning have been lived out or can be interesting and entertaining.  This is just one more way to make school relevant to real life!

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Location! Location! Location!

I've gotten off my schedule this week, but I don't think any of you is married to my blog schedule, so I will just feel the freedom to change it up every now and then.  Soon, there will be more literature-related blog posts, but I am so excited about what happened today!

I decided to overcome my fear and take a look at the magical spot I have reserved (in my mind only) for Once Upon a Storybook.  It has been available since November 2011, and I have seen the inside twice.  It is PERFECT for my needs--almost like it was made just for me :-)  I haven't gone to see the space in awhile because my projected opening date keeps getting extended farther and farther out.  Although I am praying the spot will stay available for me, it just doesn't seem like that's likely for so long.

Below you will see some pictures of this darling spot.  And if you look carefully, you will see a lease sign in the window!  It is still available!  So, if you are the praying sort, please ask the Lord to hold it for me. 

Someday, where it says "Sugar Press," it will say "Once Upon a Storybook"!

That little parking spot in front of the door is just for you!

You can see Sugar Press on the right . . . on the left are many other darling shops!  Wouldn't you want to shop here?

The outside is darling with the little gable window that will always be filled with great displays.  Inside is even more amazing!  The cash wrap area is already built in, with white beadboard and a beautiful wood countertop.  On the other side of the cash wrap area is where I will have my storytime corner.  My friend and professional children's illustrator, Priscilla Burris, has offered to make a mural for me.  I know just what I want it to look like: a huge shade tree with lots of animals around the trunk, peeking in to listen at storytime.  The main wall on the left will be all white bookshelves, and there will be some shelving and display tables in the middle.  There will be children's beanbags, a small white picnic table, and two padded benches--plenty of seating for moms and kids. 

One of my favorite things about this shop is that, although it appears small (which is really what I want), behind the wall in the back is a room, perfect for a craft and party room!  I knew that wherever I leased, I would put one in, but in this location, it is here already! 

So, here it is, the beginnings of what Once Upon a Storybook will look like.  I hope you will soon be able to come visit me at Plaza Lafayette, on the corner of Newport and Irvine Blvds in Tustin!
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