Essentials of Children's Literature

Carol G. Lynch-Brown
Carl M. Tomlinson Kathy G. Short
Seventh Edition
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 P E A R S O N C U S T O M L I B R A R Y

Table of Contents

1. Learning about Children and Their Literature

Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 1
2. Learning about Reading and Literature
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 15
3. Learning about Literature
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 31
4. Poetry
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 51
5. Picture Books
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 77
6. Traditional Literature
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 111
7. Modern Fantasy
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 127
8. Realistic Fiction
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 145
9. Historical Fiction and Biography
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 165
10. Informational Books
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 193
11. Literature for a Diverse Society
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 211
12. Planning the Curriculum
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 243
13. Engaging Children with Literature
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 277

I
 Appendix: Professional Resources
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 307
Appendix: Children's Magazines
Carol Lynch-Brown/Carl M. Tomlinson/Kathy G. Short 311
Index 313

II
Learning about Children
and Their Literature
Reading
. . . We get no good
By being ungenerous even to a book,
And calculating profits . . . so much help
By so much reading. It is rather when
We gloriously forget ourselves and plunge
Soul-forward, headlong, into a book’s profound,
Impassioned for its beauty and salt of truth__
’Tis then we get the right good from a book.

—Elizabeth Browning

From Chapter 1 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

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 Learning about Children and Their Literature

A child leans forward, head cupped in hands, eyes wide with anticipation, listening to a story:
This is an image for all time. Whether that child is seated beside an open fire in the Stone Ages,
on a rough bench in a medieval fairground, or in a modern-day classroom, the message of the
image is the same: Children love a good story.

Definition of Children’s Literature

This book is about literature for children from infancy to adolescence, written for you who will
be meeting and working with these children as teachers, librarians, and parents. In these roles,
your opportunities to lead children to literature will be unparalleled, if you have the prerequisite
knowledge.
Children’s literature is good-quality trade books for children from birth to adolescence,
covering topics of relevance and interest to children of those ages, through prose and poetry,
fiction and nonfiction. This definition contains several key concepts that will be explained in
the following sections. Understanding these concepts will help you find your way around the
more than 250,000 children’s titles published in the last decade and currently in print (Chil-
dren’s Books in Print, 2009, 2008) and the more than 25,000 new children’s titles being pub-
lished annually in the United States (Bowker Annual: Library and Book Trade Almanac [Bogart,
2008]), as well as the additional thousands of children’s books published worldwide each year in
English.

Content
Children’s books are about the experiences of childhood, both good and bad. Whether these ex-
periences are set in the past, present, or future, they should still be relevant to the child of today.
The content of children’s books includes amazingly diverse topics that are of interest to children,
such as dinosaurs, Egyptian mummies, world records, and fighter planes.
The manner in which content is treated also helps to define children’s books. Childhood
stories told in a forthright, humorous, or suspenseful manner are appropriate for young readers;
stories about childhood told in nostalgic or overly sentimental terms are inappropriate. Likewise,
when stories show children as victims of natural and human-made disasters, the stories should
emphasize the hope for a better future rather than the hopelessness and utter despair of the
moment.
The subject matter of children’s literature can be expressed in prose or poetry. If the literary
work is prose, it must be presented as fiction (a product of the imagination, an invented story),
nonfiction (factual), or a combination of the two.
Teachers and librarians distinguish between the terms textbook and trade book. A textbook, by
design and content, is for the purpose of instruction. The basal reader used in many classrooms for
reading instruction is an example of a textbook. In contrast, a trade book, by design and content,
is primarily for the purposes of entertainment and information. Trade books are often referred
to as library books and storybooks. The books that we will be discussing in this text will be trade
books, not textbooks.

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 Learning about Children and Their Literature

Quality
Not all trade books aimed at young readers are worth attention. Books ranging in quality from
excellent to poor are now readily available to parents, teachers, and children through bookstores and
libraries as well as online. Look around and you will see racks of children’s books in department
stores, drugstores, and even grocery stores. But the question is: Are they good children’s books?
Quality in writing has to do with originality and importance of ideas, imaginative use of
language, and beauty of literary and artistic style that enable a work to remain fresh, interest-
ing, and meaningful for many years. The best children’s books offer readers enjoyment as well
as memorable characters and situations and valuable insights into the human condition. These
books have permanent value.
This is not to say that books of good-but-not-great quality, such as series books, have no
value. These works win no literary prizes, but many young readers enjoy them, and because books
such as these encourage newly independent readers to read more, they have worth. However, you
will probably not want to select books of this calibre to read aloud to your students. Why deprive
them of the pleasure of reading such easy and enjoyable books independently?
Many so-called children’s books today are nothing more than advertisements for film and
television characters and associated products, such as candy, clothing, and toys. These books
represent the low end of the quality spectrum.

The Personal Value of Literature for Children

Literature for children leads to personal fulfillment and academic gains. Separating the values
into personal and academic is an intellectual distinction, because both types benefit the child
and are proper parts of a child’s schooling. The distinction is useful, however, because teachers
and librarians must often justify the benefits of literature in the classroom and find the academic
benefits to be the most convincing ones for administrators and parents.

Enjoyment
Go to Activity 1 in the Assign- The most important personal gain that good books offer to children is the
ments and Activities section of most obvious one—enjoyment. Those of you who read widely as children
Chapter 1 in MyEducationKit; will never forget the stories that were so funny that you laughed out loud,
view the video on the value of the poem that was so lilting that you never forgot it, or the mystery that was
good literature for children and
respond to the questions.
so scary that your heart thumped with apprehension. Such positive early
experiences often lead to a lifetime of reading enjoyment.

Imagination and Inspiration

By seeing the world around them in new ways and by considering ways of living other than their
own, children increase their ability to think divergently. Stories often map the divergent paths
that our ancestors might have taken or that our descendants might someday take. Through the

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vicarious experience of entering a world different from the present one, children develop their
imaginations. In addition, stories about people, both real and imaginary, can inspire children to
overcome obstacles, accept different perspectives, and formulate personal goals.

Knowledge and Insights

Good books offer both information and wisdom. Informational books provide factual knowledge,
whereas realistic fiction, fantasy, and poetry offer insights into life, and historical fiction and bi-
ography offer both. When a story is so convincingly written that readers feel as though they have
lived through an experience or have actually been in the place and time where the story is set, the
book has given them a valuable personal experience. Experiences such as these are broadening
for children because they, as readers, are taken to places and times that they could never actually
visit—and might not want to! Such experiences can also be good mental exercises for children,
because they are asked to view situations from perspectives other than their own.

Understanding and Empathy

Literature helps young people gain an appreciation of the universality of human needs across
history, which makes it possible for them to understand that all humans are, to some degree,
alike. Walking in someone else’s shoes often helps children develop a sense of social justice and a
greater capacity to empathize with others. All children can benefit from stories that explain what
life is like for people who are restricted by disabilities, politics, or circumstance or whose lives are
different from theirs because of culture or geography. Likewise, young people can relate on a more
personal level with the events and people of history when reading works of historical fiction told
from the point of view of a person their own age.

Heritage and Cultural Identity

Stories that are handed down from one generation to the next connect us to our past, to the
roots of our specific cultures, national heritage, and general human condition. Stories are the
repositories of culture. Knowing the tales, characters, expressions, and adages that are part of our
cultural heritage is part of being culturally literate. In addition, stories based on actual events in
the past help young people gain a greater appreciation for what history is and for the people, both
ordinary and extraordinary, who made history.

Moral Reasoning
Often, story characters are placed in situations that require them to make moral decisions. Young
readers naturally consider what they themselves would do in such a situation. As the story unfolds
and the character’s decision and the consequences of that choice are disclosed, readers discover
whether their own decisions would have had positive outcomes. Regular experience with these
types of stories can help young people formulate their own concepts of right and wrong.
Moral reasoning is an integral part of character education, a strand in the social studies
curricula of many elementary schools today that deals with the principles by which one lives.
Character education programs such as “Character Counts” are available for purchase, but reading
and discussing well-selected works of literature can serve the same purpose.

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 Learning about Children and Their Literature

Literary and Artistic Preferences

Another valuable result of children’s interacting with literature is that they quickly come to recog-
nize the literary and artistic styles of many authors and illustrators. Children who read regularly
from a wide variety of children’s books soon develop their own personal preferences for types of
books and select favorite authors and illustrators. Personal preference and interest as expressed
through self-selection of reading materials are powerful reading motivators.
The more children know about their world, the more they discover about themselves—who
they are, what they value, and what they stand for. These personal insights alone are sufficient
to warrant making good books an essential part of any child’s home and school experiences.
But literature is also valuable for its academic benefits, as will be discussed in the following
section.

The Academic Value of Literature for Children

In addition to the personal benefits of literature for young readers, there are important academic
benefits.

Reading
Many of you already may have reached the commonsense deduction that reading ability, like any
other skill, improves with practice. Many teachers and librarians believe that regular involvement
with excellent and appropriate literature can foster language development in young children and
can help them learn to read and value reading. This belief was supported in the landmark study
Becoming a Nation of Readers (Anderson, Hiebert, Scott, & Wilkinson, 1985), which concludes,
“The single most important activity for building the knowledge required for eventual success in
reading is reading aloud to children” (p. 23).
In 1997, the National Reading Panel (NRP) was formed, at the request of Congress, to as-
sess the status of research-based knowledge about reading, including the effectiveness of vari-
ous approaches to teaching children to read. The Report of the National Reading Panel (National
Reading Panel, 2000) was met with great controversy and skepticism because of its narrow defi-
nition of scientific research studies. In this report, the NRP identified the following components
of instruction considered to be essential to the teaching of reading: phonemic awareness (teach-
ing how to break apart and manipulate the sounds in words); phonics (teaching that sounds are
represented by letters of the alphabet that blend to form words); and reading comprehension
(teaching strategies to develop text recall, question generation, and summarizing of information
read), including fluency (teaching how to read orally with speed, accuracy, and proper expres-
sion) and vocabulary instruction (teaching the spelling and meaning of new words). Literature-
based research studies that support reading aloud to students and independent silent reading by
students were not included because they did not meet the NRP’s narrow definition of scientific
research.
In 2002, the Reading First program was established by the U.S. Department of Education
to implement the components of reading instruction approved by the NRP. By 2007, states had
awarded subgrants to 1,809 school districts, which had provided funds to 5,880 schools (Institute

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 Learning about Children and Their Literature

of Education Sciences National Center for Education Evaluation and Regional Assistance, 2008).
In 2008, the Institute of Education Sciences issued an interim report on the impacts of Reading
First on classroom reading instruction and student reading comprehension during the 2004–2005
and 2005–2006 school years. The report compared students’ reading comprehension scores to
estimates of what they would have scored with no Reading First intervention. Evaluators found
that, on average, Reading First did not have statistically significant impacts on student reading
comprehension test scores in grades 1–3 across the 18 study sites. This finding calls into question
Reading First and NRP’s prediction that a phonics-based approach to reading instruction would
produce better readers than other approaches.
Based on our personal and professional experience with children, we contend that reading
aloud to children by parents and caregivers and sharing literature with students in the classroom
greatly benefit children’s acquisition of reading skills and their attitudes toward reading. In ad-
dition, we contend that literature-based studies support not only the reading instruction strate-
gies endorsed by the NRP but also the important instructional practices that the NRP report
ignores.
Trends in research can be influenced by policy. Following the NRP report and the No Child
Left Behind Act of 2001, research in the areas of literature-based reading, literature across the
curriculum, and literature and writing decreased considerably from the pace established in the
two prior decades.
As educators, you should be aware of research findings about the
worth of literature for children. Research studies summarized in Tables
1.1 and 1.2 show that in teaching children to read, two procedures seem
Go to Activity 2 in the Assignments especially important: reading excellent literature aloud to children and si-
and Activities section of Chapter lent independent reading of free-choice material by children, both on a
1 in MyEducationKit; complete
the activity on literature-based
daily basis, if possible. For a more thorough discussion of literature and
research articles. the teaching of reading, see Chapter 2 and the section titled Approaches to
Teaching Reading with Literature in Chapter 12.

Writing
By listening to and reading excellent literature, children are exposed to rich vocabulary and ex-
cellent writing styles, which serve as good models for their own speaking and writing voices.
The acquisition of a larger vocabulary through reading offers young writers better word choices
for their own stories. Devices found in books such as the use of dialect, dialogue, and precise
description are often assimilated into students’ own writing. Research studies summarized in
Table 1.3 show that skill in reading and skill in writing go hand in hand.
As stated in the previous section, government policies established in the early twenty-first
century discouraged research in some literacy-related areas. Scharer, Freeman, and Lehman (2008)
found almost no research on the influence of quality children’s books on children’s writing in
their analysis of articles published from 2000 to 2005 in ten scholarly literature-related jour-
nals. This finding is supported by Cassidy and Cassidy (2009, 2005), whose annual surveys of
literacy leaders have identified writing in general as one of the research topics of least interest
to researchers in recent years. We, too, have found no recent notable research studies in this
area.

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 Learning about Children and Their Literature

Table 1.1 Landmark Studies on Literature and Reading

Researcher(s) Subjects Findings

Carlsen & Sherrill College students who had Conditions that promote a love of reading in
(1988) become committed readers childhood include:
■ Freedom of choice in reading material

■ Availability of books and magazines

■ Family members who read aloud

■ Adults and peers who modeled reading

■ Role models who valued reading

■ Sharing and discussing books

■ Owning books

■ Availability of libraries and librarians

Eldredge & Butterfield 1,149 beginning readers Use of children’s literature to teach reading has a
(1986) in fifty classrooms much greater positive effect on students’
achievement and attitudes toward reading than
does use of basal readers with traditional
homogeneous grouping.
Fielding, Wilson, & Middle-graders Students who read a lot at home show larger gains
Anderson (1986) on reading achievement tests.
Leinhardt, Zigmond, Elementary-grade children The amount of time children spend reading
& Cooley (1981) silently in school is associated with their
year-to-year gains in reading achievement.
Children improve their reading ability by
increasing their reading.
Applebee (1978) Children ages 2 to 17 Children’s sense of story grows as they mature.
Hearing and reading literature has a positive
effect on children’s language development.
Butler (1975) Cushla, severely disabled, from Reading aloud daily to the subject from children’s
ages 4 months to 3 years picture books enabled the child to learn to read.
Durkin (1966) Children who learned to read Children who learned to read before attending
before attending school school were read to regularly from the age of 3.
Early reading and early writing are often linked.

Content-Area Subjects
In reading about and discussing children’s literature, you will often hear the phrase literature across
the curriculum. This means using works of literature as teaching materials in the content areas of
social studies and history, science, health, and mathematics. Good teachers have always used litera-
ture across the curriculum. The logic for this practice is sound. Many trade books contain informa-
tion that is relevant to the topics studied in school. Moreover, this information is often presented
through captivating, sometimes beautifully illustrated, narratives that are interesting to students and

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Table 1.2 Important Studies on Literature and Reading, 1990–2005

Researchers(s) Subjects Findings

Arya, Martens, Wilson, 100 urban, low SES second- No significant difference was found in measures
Altwerger, Jin, Laster, & graders (not special ed. or ESL) of students’ phonics use within the reading
Lang (2005) in four classes from four schools; process and in isolation, reading accuracy, or
two classes used commercial, comprehension, regardless of instructional
phonics-based reading programs program. These findings contradict the National
(Reading Mastery and Open Reading Panel’s predictions that phonics-based
Court); two classes used reading programs would produce better readers.
literature-based instruction (an
adaptation of Fountas and
Pinnell’s Guided Reading and a
school-designed literature
curriculum)
Wilson, Martens, Arya, Eighty-four urban, low SES No significant difference was found in measures of
& Altwerger (2004) second-graders (not special ed. students’ phonics use, regardless of instructional
or ESL) taught reading with program. Guided Reading students could describe
three different reading settings and characters, retell stories cohesively,
programs: Direct Instruction form inferences, and make connections. These
and Open Court, both heavily findings contradict the National Reading Panel’s
scripted phonics-based predictions that phonics-based reading programs
reading programs; and Guided would produce better readers.
Reading, a literature-based
reading program
Worthy, Patterson, Twenty-four struggling, The most effective factor in increasing these
Salas, Prater, & Turner resistant readers in grades students’ motivation to read was a reading
(2002) 3 through 5 instructor who tailored instruction to each
student’s unique needs, found materials that
exactly fit each student’s needs and interests, and
took time to inspire each student to read.
Ivey & Broaddus 1,765 sixth-graders in twenty- When asked what made them want to read in the
(2001) three diverse schools in classroom, students ranked as most important:
mid-Atlantic and northeastern ■ Free reading time and teacher read-alouds of

United States literature as part of instructional time

■ Quality and diversity of reading materials and

a choice in selecting these materials

Anderson (1996) Elementary-grade students Even slight increases (10 minutes a day) in time
spent reading independently lead to gains in
reading achievement. Amount of free reading in
early grades helps determine reading ability in
grades 5 and 6.

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Table 1.3 Important Studies on Literature and Writing

Researcher(s) Subjects Findings

Barrs (2000) Eighteen fourth-graders in five elementary Children use in their own writing the
schools in London whose reading and language and writing styles of books they
writing were analyzed over one school read. “It seems unlikely that there can be
year any fundamental writing development
without reading development, and vice
versa” (p. 59).
Cantrell (1999) Forty third-graders—twenty-one in four In classrooms where teachers frequently used
classrooms where teachers adhered to children’s literature, integrated reading and
recommended literacy practices (both writing, and taught reading and writing skills
explicit skill instruction and meaning- in context, students developed reading and
centered literacy activities) to a high writing skills at higher levels than students in
degree and nineteen in four classrooms classrooms where teachers provided more
where teachers adhered to these practices isolated skill instruction.
to a low degree
Lancia (1997) Second-graders Good books are effective models for children’s
writing. Students “borrowed” plots, plot
elements, characters, stylistic devices, and
information from books to use in their own
writing.
Dressel (1990) Fifth-graders Student writing was directly affected by the
characteristics of the stories they heard and
discussed, regardless of the students’ reading
abilities. The better the quality of the
read-aloud, the better the quality of the
student writing. Which stories teachers read
aloud is important.

therefore are more comprehensible and memorable. When using literature across the curriculum,
teachers and students are not confined to the textbook as the sole resource. Using several sources
of information has always been considered prudent both in and out of school, because doing so
usually provides fuller factual coverage of topics and leads to wiser, more informed decisions on
issues. Using literature across the curriculum is particularly appropriate today, given the abundance
of masterfully written, information-relevant children’s trade books available to teachers and librar-
ians. Scharer and colleagues (2008), despite finding few research studies focusing on literature in
the content areas in the years 2000 to 2005, found much evidence in their analysis of classroom
experience and conceptual articles that teachers are involved in using literature in the content areas.
The articles indicated that teachers are using literature to support the teaching of mathematics and
science, using nonfiction with primary-age children, and pairing fiction with informational texts.

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Art Appreciation
Illustration in children’s picture books can be appreciated for its ability to help tell the story
(cognitive value) and for its value as art (aesthetic value). The cognitive value of illustration in
picture books will be dealt with in Chapter 5, but the point to be emphasized here is that if you
appreciate art for its own sake, there is much that you can do in your classroom to instill in your
students a similar appreciation. For example, call to your students’ attention particularly striking
and unusual picture book illustrations. By doing so, you show them that you value art. Discuss
the artist’s style, the medium used (watercolor, oils, pastels, etc.), the palette (range of colors),
and how the artist’s style compares to the styles of other artists. Suggest using picture book art as
a model for applied art lessons. By encouraging your students to use media, techniques, and top-
ics suggested by picture book illustrations in their own artwork, you make good use of a handy,
valuable resource and in yet another way show that you value this art.
From the foregoing discussion, it should be clear that students are not the only ones in schools
who can benefit from children’s literature. As a teacher or librarian, you will find that excellent
literature is rich in social, historical, and scientific information about the world and its people and
that it has great potential for developing the entire elementary and middle-school curriculum.

Children’s Development and Literature

In this section we will discuss types of books and general topics most likely to be appreciated
by children of different age levels. Children’s physical, cognitive, language, and moral develop-
ment are important considerations in book selection, as is their developing concept of story. By
overlaying this general information with the specific interests of any child, you can recognize and
make available literature that the children in your care will read with interest and enjoyment.

Ages 0 to 2
Infants can enjoy and benefit from good literature. In choosing books for them, consider the prac-
tical aspects of physical development, such as how well infants can see the illustrations and how
long they will sit still for a book experience. Most often, these books will be collections of nursery
rhymes, which are discussed in Chapter 4, and concept books, board books, and interactive books,
which are discussed in Chapter 5. Common features of these book types and formats are relative
simplicity of content or story; repetitive text or language patterns; clearly defined, brightly colored
illustrations, usually on a plain background; physical durability; and opportunities for the child to
participate or interact with the book.
A classic example of a book appropriate for children aged 0 to 2 is Dorothy Kunhardt’s interac-
tive book, Pat the Bunny (1962/2001). More recent examples are Harriet Ziefert’s (2002) Who Said
Moo?, illustrated by Simms Taback, an interactive board book with lift-the-flaps and language pat-
terns and Look at You! A Baby Body Book by Kathy Henderson (2007), illustrated by Paul Howard.
The best baby books, whether wordless or with brief text, invite the reader and listener to
“talk the book through.” In this way the books promote oral language development, which is the
child’s first step toward literacy.

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 Learning about Children and Their Literature

Ages 2 to 4
Many of the book types enjoyed by babies are also enjoyed by toddlers, but with slight differences
in emphasis. Nursery rhymes, for example, can be committed to memory by many toddlers. Con-
cept books can now include letters (ABC books), numbers (counting books), and more complex
concepts such as opposites. Word books, another type of concept book, promote vocabulary
development.
Picture storybooks featuring simple plots, illustrations that tell part of the story, and char-
acters who exhibit the physical skills (running, whistling, buttoning clothes, tying shoes) that
2- to 4-year-olds take pride in accomplishing are appropriate for this group. A perennial favorite,
Owen by Kevin Henkes (1993), and a more recent book, Will Sheila Share? by Elivia Savadier
(2008), feature protagonists who overcome problems typical of children aged 2 to 4. Other books
children enjoy at this stage are wordless books and folktales: the former because children can
“read” the pictures and enjoy the books independently, and the latter because of their relatively
simple plots, repetitive aspects, and two-dimensional, easy-to-understand characters.

Ages 4 to 7
Increasing independence and enthusiasm for finding out about the world are prominent character-
istics of 4- to 7-year-olds. Stories in which children interact with other children, spend time away
from home, begin school, and learn interesting facts are popular with this age group. Picture sto-
rybooks, folktales, and informational picture books will be at the heart of the literature experience
during these years. Rosemary Wells’s (2008) Yoko Writes Her Name and Marla Frazee’s A Couple of
Boys Have the Best Week Ever (2008) are excellent books for this age group. An informational book
that works well with 4- to 7-year-olds is What Do You Do with a Tail Like This? by Steve Jenkins
and Robin Page (2003).
From ages 4 to 7 most children will acquire the fundamentals of reading. Easy-to-read books
or books for beginning readers make use of familiar words, word patterns, illustration clues,
and, in some cases, rhyme to make the text easier to read. Often these books appear in series.
It is important that books selected for beginning readers precisely match their interests and
reading abilities so as not to bore or dishearten them. The classic, easy-to-read Frog and Toad
series by Arnold Lobel has been enjoyed by 4- to 7-year-olds for forty years. Also noteworthy
are Cynthia Rylant’s two more recent easy-to-read series, Henry and Mudge and Mr. Putter and
Tabby.

Ages 7 to 9
Most 7- to 9-year-old children become readers, begin to understand and accept others’ per-
spectives, recognize that life and people do not fit into neat “good” and “bad” categories, and
develop an understanding of past and future time. They begin to assert their growing abilities
to meet their own needs. With these skills they can read or listen to and enjoy books about the
lives of other children of the past, present, and future in picture books for older readers, tran-
sitional books, and later in novels. Fittingly, books for children aged 7 to 9 often center on the
adventures of young characters within their neighborhoods and communities. Jessica Kerrin’s

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(2005) Martin Bridge: Ready for Takeoff!, Lenore Look’s (2004) Ruby Lu, Brave and True, Sara
Pennypacker’s Clementine series, and Annie Barrows’ Ivy and Bean series will have great appeal
for children ages 7 to 9.

Ages 9 to 14
With their rapidly developing physical and mental skills and abilities, 9- to 14-year-olds are
ready for more complicated story plots, including such devices as flashback, symbolism, and
dialects of earlier times or different cultures. Both historical fiction and science fiction, which
are set in the distant past and the distant future, respectively, can be understood and enjoyed.
Equally interesting to this age group are stories about their peers who are growing up, assert-
ing themselves, using their new-found skills, moving toward independence, and experiencing
growth through meeting challenges, as in survival stories. Because their moral development al-
lows them to recognize the legitimacy of opinions, mores, and lifestyles different from their
own, these young people can enjoy stories that present alternative points of view, nontraditional
characters, and moral dilemmas. Some good examples include Esperanza Rising (historical fic-
tion, Hispanic culture) by Pam Muñoz Ryan (2001), The City of Ember (science fiction) by Jeanne
DuPrau (2003), and Red Kayak (realistic fiction with a moral dilemma) by Priscilla Cummings
(2004).
Teachers and librarians who are consistently successful in helping children find books they
like rapidly narrow the field of choices by first considering general factors such as age level and
types of books appropriate for children of that general age level. Then they consider more per-
sonal factors such as the child’s current reading interests and reading ability to select specific titles.
Knowing children’s general reading preferences provides some guidance in book selection, but
there is no substitute for knowing the child.

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ In Cushla and Her Books Dorothy Butler chronicles the positive impact of literature
on a child who is severely disabled. Read this book and reflect on the lessons it has
for you and other teachers.
■ For an overview of research on the effects of reading aloud to children and an
example of a school intervention program that works, see Wood and Salvetti (2001).
“Project Story Boost: Read-Alouds for Students at Risk” in The Reading Teacher,
55(1), 76–83.
■ Investigate responses of teachers, school administrators, parents, and children
to the controversial No Child Left Behind program. What is the nature of the
controversy?

12
 Learning about Children and Their Literature

References
Anderson, R. C. (1996). Research foundations to sup- Duprau, J. (2003). The city of Ember. New York: Random.
port wide reading. In V. Greaney (Ed.), Promoting Durkin, D. (1966). Children who read early. New York:
reading: Views on making reading materials acces- Columbia Teachers College Press.
sible to increase literacy levels (pp. 55–77). Newark, Eldredge, J. L., & Butterfield, D. (1986). Alternatives to
DE: International Reading Association. traditional reading instruction. The Reading
———, Hiebert, E. H., Scott, J. A., & Wilkinson, I. A. G. Teacher, 40, 32–37.
(1985). Becoming a nation of readers: The report of Fielding, L. G., Wilson, P. T., & Anderson, R. C. (1986).
the commission on reading. Washington, DC: Na- A new focus on free reading: The role of trade
tional Institute of Education. books in reading instruction. In T. Raphael (Ed.),
Applebee, A. N. (1978). The child’s concept of story. Chi- The contexts of school-based literacy (pp. 149–160).
cago: University of Chicago. New York: Random House.
Arya, P., Martens, P., Wilson, G. P., Altwerger, B., Jin, L., Frazee, M. (2008). A couple of boys have the best week
Laster, B., & Lang, D. (2005). Reclaiming literacy ever. New York: Harcourt.
instruction: Evidence in support of literature- Henderson, K. (2007). Look at you! A baby body book.
based programs. Language Arts, 83(1), 63–72. Illustrated by Paul Howard. Cambridge, MA:
Barrs, M. (2000). The reader in the writer. Reading, Candlewick.
34(2), 54–60. Henkes, K. (1993). Owen. New York: Greenwillow.
Bogart, D. (Ed.). (2008). Bowker annual: Library and Institute of Education Sciences National Center for
book trade almanac (53rd ed.). Medford, NJ: Infor- Education Evaluation and Regional Assistance.
mation Today. (2008). Reading First impact study: Interim re-
Browning, E. B. (1902). Reading. In K. D. Wiggins & port. Retrieved from http://ies.ed.gov/ncee/pubs/
N. A. Smith (Eds.), Golden numbers. New York: 20084016/execsumm_program.asp.
Doubleday. Ivey, G., & Broaddus, K. (2001). “Just plain reading”: A
Butler, D. (1975). Cushla and her books. Boston: Horn survey of what makes students want to read in
Book. middle school classrooms. Reading Research Quar-
Cantrell, S. C. (1999). The effects of literacy instruction terly, 36(4), 350–377.
on primary students’ reading and writing achieve- Jenkins, S., & Page, R. (2003). What do you do with a tail
ment. Reading Research and Instruction, 39(1), like this? New York: Houghton.
3–26. Kerrin, J. (2005). Martin Bridge: Ready for takeoff! To-
Carlsen, G. R., & Sherrill, A. (1988). Voices of readers: ronto, ON: Kids Can.
How we come to love books. Urbana, IL: National Kunhardt, D. (1962/2001). Pat the bunny. New York:
Council of Teachers of English. Golden.
Cassidy, J., & Cassidy, D. (2005). What’s hot, what’s not Lancia, P. J. (1997). Literary borrowing: The effects of
for 2006: Tenth annual survey examines key topics literature on children’s writing. The Reading
in reading and discusses trends over the decade. Teacher, 50(6), 470–475.
Reading Today, 23(3), 1, 3. Leinhardt, G., Zigmond, N., & Cooley, W. W. (1981).
———. (2009). What’s hot for 2009. Reading Today, Reading instruction and its effects. American Edu-
26(4), 1, 8, 9. cational Research Journal, 18, 343–361.
Children’s books in print, 2009. (2008). New Providence, Look, L. (2004). Ruby Lu, brave and true. New York:
NJ: R. R. Bowker. Simon & Schuster.
Cummings, P. (2004). Red kayak. New York: Dutton. National Reading Panel. (2000). Teaching children to
Dressel, J. H. (1990). The effects of listening to and read. NIH Publication No. 00-4769. Washington,
discussing different qualities of children’s litera- DC: U.S. Government Printing Office.
ture on the narrative writing of fifth graders. Re- Ryan, P. M. (2001). Esperanza rising. New York:
search in the Teaching of English, 24(4), 397–414. Scholastic.

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 Learning about Children and Their Literature

Savadier, E. (2008). Will Sheila share? New York: Roar- Wood, M., & Salvetti, G. P. (2001). Project story boost:
ing Brook. Read-alouds for students at risk. The Reading
Scharer, P. L., Freeman, E. B., & Lehman, B. A. (2008). Teacher, 55(1), 76–83.
Children’s literature in the classroom: Essential or Worthy, J., Patterson, E., Salas, R., Prater, S., & Turner,
marginal? In S. S. Lehr (Ed.), Shattering the looking M. (2002). “More than just reading”: The human
glass: Challenge, risk and controversy in children’s factor in reaching resistant readers. Reading
literature (pp. 15–26). Norwood, MA: Christopher- Research and Instruction, 41(2), 177–202.
Gordon. Ziefert, H. (2002). Who said moo? Illustrated by S. Ta-
Wells, R. (2008). Yoko writes her name. New York: back. Brooklyn, NY: Handprint Books.
Hyperion.
Wilson, G. P., Martens, P., Arya, P., & Altwerger, B.
(2004). Readers, instruction, and the NRP. Phi
Delta Kappan, 86(3), 242–246.

Now go to Chapter 1 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

14
Learning about Reading
and Literature
My Book!
I did it! And lie on the floor
I did it! And read by myself?
Come and look I really read it!
At what I’ve done! Just like that!
I read a book! Word by word,
When someone wrote it From first to last!
Long ago I’m sleeping with
For me to read, This book in bed,
How did he know This is the FIRST book
That this was the book I’ve ever read!
I’d take from the shelf
—David L. Harrison

“My Book” from Somebody Catch My Homework by David L. Harrison (Wordsong, an

imprint of Boyds Mills Press, 1993). Reprinted with the permission of Boyd Mills Press,
Inc. Copyright © 1993 by David L. Harrison.

From Chapter 2 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

15
 Learning about Reading and Literature

Teachers are fully aware that reading is the most important skill for the future success of the chil-
dren they teach. Yet some teachers are unsure of literature’s role in our schools and in the lives of
their students. In Chapter 1 we discussed benefits to be found in literature, but given the current
challenges in teaching students to read today, teachers worry that there is time for nothing else
but instruction in reading.
What is the intersection between reading and literature? Reading courses provide teachers with
instructional strategies that will help children learn how to read and understand what they are read-
ing. Courses in children’s literature will acquaint teachers with good-quality reading material and
strategies to motivate children to read widely for practice of their reading skills and for developing
into lifelong readers. Children need the reading strategies, the motivation, and the practice that
literature provides to develop fully in the area of literacy. For these reasons, students in elementary
education teacher preparation programs usually take coursework in reading and literature.
In this chapter we will discuss this intersection of reading and literature as it pertains to the
reading process, literature in the reading curriculum, accountability and reading, independent
reading, resistant readers, children’s book choices, children’s reading interests, difficulty of reading
materials, and reading incentive programs.

Reading Process
Children learn to read at different ages and in different ways, depending on their early experi-
ences with books, their innate abilities, and the quality of their early reading instruction. There
is no absolute, lockstep method for learning to read, although some would claim otherwise and
subscribe to one of the two prevailing approaches: phonics based and meaning based. Advo-
cates of phonics-based reading instruction believe that children learn to read by progressing from
letter names to letter sounds to words and, finally, to meaning. Emphasis is placed on decoding
more than comprehension. Advocates of meaning-based reading instruction believe that children
primarily use their oral language skills—including grammar, the structure of English, and knowl-
edge of the world—to make meaning of written text, and resort to phonetic decoding when other
meaning-making strategies fail.
We subscribe to an interactive model of reading that synthesizes aspects of both approaches.
Generally, whether they are consciously taught or learn on their own, children come to know that
stories can be found in books; that certain formalities, known as concepts of print, apply in read-
ing (front-to-back, left-to-right, top-to-bottom); that letters represent sounds (sound–symbol
relationships); that letters can be used to code spoken language (writing); that words convey
meaning; and that finding meaning in the text (comprehension) is the goal of reading.

Literature in the Reading Curriculum

Teaching literature and teaching reading are similar in some respects. Both use similar materi-
als (stories, poetry, plays, and informational texts); both have the purpose of making meaning
from texts; and both have the ultimate goal of a greater or deeper understanding of and response
to the written text. Because of these similarities, literature and reading can be, and often are,

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 Learning about Reading and Literature

taught simultaneously in the elementary and middle grades. Inservice and preservice teachers
will encounter two different approaches to literacy subscribed to in schools and teacher training
institutions: the basal reader approach and the literature-based reading approach. (These two phi-
losophies and how each may affect aspects of your teaching are outlined and described in Chapter
12.) Underlying the differences in these two approaches are the different learning theories on
which each is based. Your approach to literacy development will depend on your own philosophy
of teaching and learning, the ideas you believe in strongly enough to act on.

National Reading Panel Report

Using good, carefully selected literature in the classroom can support many of the findings of the
National Reading Panel report (2000) that was discussed in Chapter 1. For example, use of nurs-
ery rhymes, pattern books, and poems can help children develop phonemic awareness. Teacher
read-alouds, paired reading, readers’ theatre, and choral reading can increase children’s reading
fluency by giving them models of fluent reading. Shared reading, with its emphasis on repeated
oral reading, can teach children sound–symbol relationships and increase their reading fluency.
Independent silent reading of good literature, especially if followed up with some reflection on
what was read, can increase children’s meaning vocabulary and conceptual knowledge, as well as
develop their reading comprehension. For full descriptions and explanations of these strategies,
see Chapter 13.
Overemphasis of any one component of reading instruction, such as phonics, to the exclusion
of the others in beginning reading instruction would be detrimental to students who are learning
to read. Programs advocating heavy emphasis on phonics but no daily teacher read-aloud or daily
independent silent reading of excellent books of the students’ own choosing should be viewed
with suspicion. We strongly advocate daily read-alouds by the teacher and independent silent
reading because they give students models of fluency, build meaning vocabulary and conceptual
knowledge, offer reading practice, and improve students’ attitudes toward reading. As students’
reading ability grows, logic would suggest (despite the dictates of any scripted reading program
teacher’s manual) that teachers shift their emphasis from letter and word decoding toward strat-
egies that involve reading actual stories, poems, and plays. It is important to note that reading
aloud and independent silent reading are not substitutes for direct reading instruction, however.
Primary- and intermediate-grade schedules should include all three every day.

Accountability and Reading

Accountability is a demand by government agencies and the public for school systems and teach-
ers to improve students’ school achievement as demonstrated by test scores in the areas of reading,
writing, and mathematics. This trend began in the 1980s at the local school district level, then
expanded to the state level in many locations, and, with the enactment of the No Child Left Be-
hind Act (NCLB) in 2002, became an important part of federal policy in education. The NCLB
Act expanded the original notion of accountability in two important ways: Annual testing of
reading and mathematics achievement for all students in grades 3 to 8 became mandatory; and

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 Learning about Reading and Literature

performance data had to be disaggregated according to race, gender, income (as measured by free
and reduced-price lunch), and other criteria to demonstrate progress in closing the achievement
gap between disadvantaged students and other groups of students.
Under NCLB, each school is graded as Pass or Fail, depending on student achievement by
averages for the grade and by subgroups. Schools that receive failing grades are given a period of
time to improve student achievement. Failure of a school to do so can result in reduced federal
and state funding for the school, vouchers for students to attend another public school or charter
school in the case of repeated failures by the school, or replacement of administrators and teachers,
depending on state and local policies. States develop the actual tests used, the procedures for imple-
mentation of the policy, and timetables for implementation according to federal requirements.
From its inception, NCLB has garnered widespread criticism.
Critics claim that the law’s focus on complicated tallies of multiple-choice-test scores has dumbed
down the curriculum, fostered a “drill and kill” approach to teaching, mistakenly labeled success-
ful schools as failing, driven teachers and middle-class students out of public schools and harmed
special education students and English-language learners through inappropriate assessments and
efforts to push out low-scoring students in order to boost scores. Indeed, recent analyses have
found that rapid gains in education outcomes stimulated by reforms in the 1990s have stalled
under NCLB, with math increases slowing and reading on the decline. (Darling-Hammond,
2007, p. 11)

In light of such criticism, reauthorization of NCLB has been postponed until lawmakers can agree
on how to revise it. Although we too question the reliability of a score on a single test as the
predominant measure of a student’s progress or a teacher’s success over the course of a school
year, this is the reality educators currently face and within which they must operate. Because it
directly affects students, teachers, schools, and school systems, accountability is a high priority
issue in education.
The curricular area that is of most concern to parents, teachers, and school administrators is
reading, due to its importance for learning in all subjects and because reading scores have been in
general decline across the nation for the last twenty-five years, especially at fourth grade through
high school levels. The National Association of Educational Progress tracks these trends in reading
achievement and reports them in its “Nation’s Report Card.” Data showing these trends can be seen
at http://nationsreportcard.gov/reading_math_grade12_2005/s0203.asp. We believe that a major
reason for the decline in reading scores is a decrease in voluntary reading among our students.
Partially as a result of NCLB, a large of amount of class time is spent emphasizing basic beginning
reading skills, diminishing curricular efforts traditionally spent on other subjects, including the
enjoyment and appreciation of literature. Many young people have lost the reading habit.

Reading at Risk: A Survey of Literary Reading in America

Voluntary reading of literature in the United States has been monitored by the Research Division
of the U.S. Bureau of the Census and the National Endowment for the Arts (NEA) since 1982.
From then until 2002, NEA reports showed a steady decline in voluntary reading across all age
groups in the United States, but particularly among the youngest group surveyed, 18- to 24-year-

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 Learning about Reading and Literature

olds. Although the NEA’s 2008 report, “Reading on the Rise: A New Chapter in American Literacy”
(www.arts.gov/research/Research_brochures.php), has since then shown growth in voluntary
reading across all age groups (based on absolute numbers), it is important to note that when the
nation’s population growth from 2002 to 2008 is factored in, the percentage of 18- to 24-year-old
Americans who read declined from 52 percent in 2002 to 50.7 percent in 2008. Moreover, our
students do not compare favorably with those in other developed nations, as the Programme for
International Student Assessment (PISA; http://nces.ed.gov/surveys/pisa) 2000, 2003, and 2006
reports on the reading, mathematics, and science literacy of 15-year-olds have demonstrated.
The NEA’s 2004 report found a correlation between the decline in reading and increased
participation in a variety of electronic media, including the Internet, video games, and portable
digital devices (Bradshaw & Nichols, 2004, pp. xi–xii). Despite the 9 percent growth in reading
from 2002 to 2008 among 18- to 24-year-olds (based on absolute numbers) reported by the NEA
in 2008, we believe that it is too early to detect or claim a lasting trend toward more voluntary
reading, and we doubt that the use or appeal of electronic media will diminish. It is, nonetheless,
important to try to understand the reasons behind the growth in voluntary reading as reported
by the NEA in 2008. Dana Gioia, chairman of the NEA, offers the following explanation: “Faced
by a clear and undeniable problem, millions of parents, teachers, librarians, and civic leaders
took action (inspired by thousands of journalists and scholars who publicized the issues at stake).
Reading became a higher priority in families, schools, and communities. Thousands of programs,
large and small, were created or significantly enhanced to address the challenge” (www.arts.gov/
research/Research_brochures.php, p. 2).
Other findings of the 2008 NEA report of interest to teachers and librarians include the
following:
■ Young adults read books at a slightly lower rate than older adults, but they also did more
reading online than older Americans.
■ Greater reading of fiction was responsible for the new growth in adult literary readers.
Much more than falling reading scores and a loss of accountability is at stake when people
stop reading voluntarily. Commenting on the effects of a decline in literacy, Dana Gioia, NEA
chairman, states that “print culture affords irreplaceable forms of focused attention and con-
templation that makes complex communications and insights possible. To lose such intellectual
capacity—and the many sorts of human continuity it allows—would constitute a vast cultural
impoverishment.” He goes on to state that “readers play a more active and involved role in their
communities. . . . [A] decline in reading, therefore, parallels a larger retreat from participation in
civic and cultural life. The long-term implications of [a decline in literacy] not only affect litera-
ture but all of the arts—as well as social activities such as volunteerism, philanthropy, and even
political engagement.” He concludes by saying, “Advanced literacy is a specific intellectual skill
and social habit that depends on a great many educational, cultural, and economic factors. As
more Americans lose this capability, our nation becomes less informed, active, and independent-
minded. These are not qualities that a free, innovative, or productive society can afford to lose”
(Bradshaw & Nichols, 2004, p. vii).
It is little wonder that teachers feel pressured by the demands of accountability to improve
their students’ reading ability when the population in general is moving away from reading. How
do we inspire children to love reading and to become aware of its power to inform, entertain,
educate, and change? How do we instill in them the reading habit?

19
 Learning about Reading and Literature

Regardless of students’ reading ability, promoting reading is often a matter of helping stu-
dents select appropriate reading materials. Note the success of various television programs, from
Reading Rainbow to Oprah Winfrey, in convincing people to read books being discussed by saying,
“I read this book and loved it. I recommend it to you.” To be a successful promoter of reading,
you yourself must be a reader. Recommending a book that you have enjoyed is an effective read-
ing motivator. In light of the NEA’s “Reading on the Rise” report, there is hope that curricular
changes, programs, and strategies as outlined above may have positive results and that students
may regain the reading habit.

Independent Reading and Societal Changes

Independent reading—that is, free-choice reading, including sustained silent reading, done volun-
tarily in and out of school—has been in decline among children and young adults in this country
for several decades (Bradshaw & Nichols, 2004; McKenna, Ellsworth, & Kear, 1995; Shapiro &
White, 1991). Some national studies report that more than half of today’s young people do not en-
gage in independent reading (Bradshaw & Nichols, 2004). This trend is cause for concern, because
research findings show that time spent reading correlates with reading achievement (Anderson,
Wilson, & Fielding, 1988; Garan & Devoogd, 2008; Krashen, 2005; Moore, Bean, Birdyshaw, &
Rycik, 1999; Topping, Samuels, & Paul, 2007) and with attitudes toward reading (Yoon, 2002).
Research findings also show that reading practice helps to strengthen the skills learned through
reading instruction and that the reading skills of those who do not engage in recreational read-
ing, including good readers, often erode over time (Anderson et al., 1988; Mullis, Campbell, &
Farstrup, 1993; Stanovich, 1986).
By the time they are in intermediate and middle-school grades, many children have been
turned off from reading. Most often, these students cite irrelevance of teacher-selected reading
materials to their lives, disliked instructional practices, too little time, peer pressure, past failures, a
preference for electronic media, and a perception of reading as hard work as reasons for not read-
ing. Consequently, the greatest challenge for teachers and librarians who work in primary grades
is to provide solid skills instruction and inspire children to love to read and to read voluntarily
and regularly. Intermediate-grade teachers must continue these efforts and overcome students’
resistance to reading by locating materials appealing to them and by finding ways to get them to
read widely and intensively, both at school and at home. (See Padak & Rasinski, 2007.) Teachers
and parents need to convince young people of the importance of independent reading and be
determined and persistent in guiding them to read better and read more. This determination is
essential if we want students to become readers.

Resistant Readers
Children and adolescents resist or reject reading for many different reasons. We will use the term
resistant readers for young people who can read but choose not to. We have identified five main
groups of resistant readers.

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 Learning about Reading and Literature

Good to Average Readers Who Choose Not to Read

Some children who have good to excellent comprehension, few difficulties in decoding, and
average reading rates by third or fourth grade rarely read or do not like to read. They include
males and females of all ethnic, racial, and socioeconomic groups. With little or no reading prac-
tice, these children eventually lose their former reading achievement levels.
Reasons for this turn of events are multiple: Children perceive the books they must read in
school to be irrelevant to their lives and therefore boring. They lack encouragement at home to
read for recreational reasons. They seldom or never go to public or school libraries to select books
for their reading enjoyment, because the emphasis by their teachers and parents is almost exclu-
sively on improving their reading levels. Neither their parents nor their teachers serve as reading
role models, nor do they persist in their efforts to foster a love of reading in these children. Tests
and test scores take on tremendous importance to the detriment of other aspects of reading. Yet,
in the long run, a passing test score is only a starting point, not an end goal.

Struggling Readers
Struggling readers are those children who struggled with reading from the earliest grades and
became discouraged. Most of them can decode, but this skill remains a conscious cognitive act
rather than an automatic process. The act of concentrating on decoding words slows the reading
rate and fluency of these children, hampers their ability to recall what they have read to make
sense of the text, and tires them mentally. Others in this group are fluent decoders who have dif-
ficulty comprehending what they read. Experiencing ridicule by their peers and embarrassment in
class for their reading difficulties has taught them to avoid reading whenever possible. These are
the children for whom regular reading practice is especially important to maintain and improve
reading levels.

Ethnic and Racial Minorities Who Resist Reading

Some members of ethnic and racial minorities resist reading because of school instructional
practices, teacher perceptions, low socioeconomic status, and self-perceptions molded by a cultural
disbelief in the importance of intellectual development (Gilbert & Gilbert, 1998; Maynard, 2002;
Tatum, 2005). The National Assessment for Educational Progress, since its inception in 1992,
has reported a continuing reading achievement gap between whites and Asian Americans on
the one hand and American Indians, Hispanics, and African Americans on the other. In 2005,
the average reading scores for white and Asian-American eighth-graders was 271 versus 249 for
American Indians, 246 for Hispanics, and 243 for African Americans (Na-
tional Center for Education Statistics, 2005).

Go to Activity 1 in the Assign-

ments and Activities section of
English Language Learners Who Resist Reading
Chapter 2 in MyEducationKit; Students learning English as a second language sometimes encounter
view the video on English lan-
difficulties in reading. Because they lack strong vocabularies and well-
guage learners and respond to
the questions. developed sentence structures in English to draw on when encountering
English language texts, and because the texts they are asked to read often

21
 Learning about Reading and Literature

portray unfamiliar experiences and cultural norms, they have difficulty reading, so they avoid
it whenever possible. This group is large and growing. In 2000, about three and a half million
children between the ages of 5 and 17 in the United States spoke English less than “very well”
(U.S. Census Bureau, 2000).

Boys Who Resist Reading

Boys who resist reading may do so in part because of the preponderance of female teachers in
U.S. schools (75% in grades K–12) who tend to select reading materials that do not necessarily
appeal to boys, according to Brozo (2005) and Sullivan (2003). Their resistance to reading also
may stem from the perception that reading, because it is quiet and passive, is a female activity, or
at least not macho. On average, boys exhibit more difficulty in reading and other language areas
than girls (National Center for Education Statistics, 2005; Sullivan, 2003).
Not all young people who dislike reading school-based materials are resistant readers. Some,
in fact, are avid readers, but of materials that schools do not traditionally recognize, such as maga-
zines, Internet websites, and informational books (Taylor, 2004). Some boys, in particular, fit this
profile. Four informative sources about boys and their reading are Reading Don’t Fix No Chevys:
Literacy in the Lives of Young Men (Smith & Wilhelm, 2002); Teaching Reading to Black Adolescent
Males: Closing the Achievement Gap (Tatum, 2005); Reluctant Readers: Connecting Students and
Books for Successful Reading Experiences (Jobe & Dayton-Sakari, 1999); and Connecting Boys with
Books 2: Closing the Reading Gap (Sullivan, 2009).
How do we inspire young people to love reading and to become aware of its power to inform,
entertain, educate, and change? How do we instill in them the reading habit?

Assisting Students in Book Selection

The aim of teachers, librarians, and publishers is to bring students to the reading habit by plac-
ing in their hands reading materials that will interest and not intimidate them. Publishers, aware
of falling test scores in reading and the demand of the public and policymakers for schools to
reverse this trend, have produced books written specifically for low-level readers. These include
easy-to-read books for beginning readers and transitional books, generally short novels of about
100 pages with high-interest topics.
The points made about quality and content of literature at the beginning of Chapter 1 defi-
nitely play a part in any book selection for children. In addition, you will want to consider the
following suggestions.

Know the Books

Teachers and librarians who read children’s books regularly, who are familiar with a wide vari-
ety of genres, and who are informed about recently published books are likely able to interest
children in books. In Chapter 3, ways to interpret literature and the elements of fiction will be
reviewed in order to assist you in thinking about and evaluating the books you are reading. It is

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 Learning about Reading and Literature

advantageous to have read widely and to be able to share and compare your reactions to a book
with children. Other ways to become familiar with a variety of genres include sharing informa-
tion about books with your fellow teachers and reading book reviews. Chapter 3 lists the major
book review journals.
Your own reading program can be made more effective by focusing on award-winning
and notable books, as well as those selected for their appeal to individual children under your
care. After you have read a number of books from a genre, particularly notable examples, you
will develop a framework for thinking about books of that kind, whether or not you have read
an individual title. You will, of course, want to have read any book you plan to read aloud to
a class.

Know the Child

The best teachers know their students well. For instance, you will find it helpful to know your
students—their long-term and short-term interests, their home environment (family makeup,
siblings, pets), their friends and social activities, their hobbies, their skills (athletic, academic,
artistic), their hopes or plans for the future, and the kind of books they are currently selecting
in free-choice situations, such as during library visits and while perusing classroom collections
of trade books. Children’s interests have been shown to be one of the most powerful motivating
forces available to teachers. Because there are now books on almost every topic conceivable and
written at varying degrees of difficulty, you should be able to assemble a collection of books from
which your students can make satisfying selections.
You will also want to have a grasp of your students’ reading and listening levels. Often, chil-
dren’s abilities to read and listen are on different levels. Young children, in particular, are able to
listen to and comprehend more difficult material than they are able to read and comprehend.
This difference is one that teachers accommodate by reading aloud more challenging books and
providing a choice of easier reading material for students’ independent reading.

Research on Children’s Reading Interests

Research studies on reading interest, reading preference, and reading choice provide useful in-
formation to those who purchase books for children and those who encourage them to read the
books. Although the terms to describe the various studies and the procedures used in conducting
the studies may vary, the studies are trying to infer what students like to read. Generally, a reading
interest suggests a feeling one has toward particular reading material; a reading preference implies
making a choice from two or more options; a reading choice study investigates “print materials
selected and read from a predetermined collection” (Chance, 1999, p. 65). The studies do not always
provide an opportunity for students to express their interests. If, for example, the options do not
include illustrated books, then students will not be able to select illustrated books. Although the
findings from this body of research can be useful, it is important to realize that the results of these
studies are based on group data or aggregated data and reflect the reading interests of groups of
students, not individuals.

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 Learning about Reading and Literature

Many studies of children’s reading interests have been conducted during the past fifty years.
Differences in the choices offered to children and in the ways data were gathered from study
to study make extensive generalization difficult, but a few patterns have emerged from these
studies:

■ There are no significant differences between the reading preferences of boys and girls before
age 9.
■ The greatest differences in reading preferences of boys and girls occur between ages 10
and 13.
■ Boys and girls in the middle grades (ages 10 to 13) share a pronounced preference for mystery
and, to a lesser degree, humor, adventure, and animals.
■ Preferences of boys in the middle grades include nonfiction, adventure, sports, science fiction,
and fantasy stories.
■ Preferences of girls in the middle grades include fantasy stories, animal stories, romance, and
stories about people.

Certain characteristics of books may matter as much to a young reader as the topic. According
to reports (Carter & Harris, 1982; Langerman, 1990; Worthy, 1996; Worthy, Moorman, & Turner,
1999; Worthy, Patterson, Salas, Prater, & Turner, 2002; Worthy, Turner, & Moorman, 1998) and
our own observations in working with children, consideration needs to be given to the following
characteristics:

■ Short books or books with short sections or chapters

■ Picture books, illustrated books, comic books, and novels in which illustrations are inter-
spersed throughout the book
■ Cover illustrations that suggest the topic of the story
■ Episodic plots
■ Progressive chronological plots that can be easily followed
■ Quick start to the story with action beginning on the first or second page to hook the
reader
■ Rapid introduction to main characters and only a few main characters
■ Characters the age of the reader or slightly older
■ Books based on movies and television

In addition, trivia books such as the Guinness Book of World Records and The Dangerous Book for
Boys (Iggulden & Iggulden, 2007), sports statistics books, joke books, and game system guides for
video and computer games are very appealing to some boys. Although you will want to motivate
your students to enjoy books of excellent quality, the first step is to create an enthusiasm about
books and reading. Once they are willing readers, then you can find many opportunities to book-
talk and read aloud excellent books that they will come to love and want to read independently.
A teacher or librarian might use the foregoing information to make general predictions about
what types of books students of a certain age might enjoy. However, it is inadvisable to depend
on the findings of reading interest studies as the sole guide in making specific book recommen-
dations to individuals. General reading preferences do not capture individual reading interests.
Knowledge of children’s reading interests is personal and individual. Since most teachers and
school librarians work with particular groups of children over an extended time, they can learn

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 Learning about Reading and Literature

the interests of each child within the group. In doing this, they gain powerful, effective knowledge
to use in successfully matching children and books.

Discovering Reading Interests of Individual Students

Learning your students’ reading interests can be accomplished in several ways. One effective
method is observing your students’ choices of books from the classroom collection or from the
school library media center collection and then noting their choices by jotting down authors and
titles of books selected. These notes can give you insight to their preferences. Getting to know
your students by talking and listening to them in whole-class sharing and in one-to-one confer-
ences are other effective means. All people like to talk about themselves and what interests them,
and children are no exception. One or more of the following questions might start a productive
dialogue between you and a student:

1. Who is in your family? Tell me about each family member.

2. What are your favorite things to do?
3. Are you very good at doing something? Tell me about it.
4. What would you like to learn more about?
5. What do you like to spend most of your free time doing?
6. Do you like fiction (stories) or nonfiction (information books) better?
7. What kinds of stories do you like to hear?
8. Which subjects do you enjoy reading about in information books?
9. Are there some kinds of books you don’t enjoy reading? If so, why?
10. Tell me about a book that you especially enjoyed and why you enjoyed it.

You can also learn about children’s interests through their free-choice writing. Journal writing
is particularly helpful in this regard. A perfectly valid and more direct approach is to ask children
to list their interests or the type of books they like to read. Many teachers keep such lists in their
students’ writing folders to use during individual conferences.
Yet another way for teachers and librarians to keep current on students’ reading interests is
to conduct their own reading interest inventories several times a year. The following steps show
one way to conduct a classroom reading interest inventory:
1. Collect thirty to forty appropriate books that are new to your students and represent a wide
variety of genres and topics.
2. Number the books by inserting paper markers with numbers at the top.
3. Note on a master list the number and genre of each book.
4. Design a response form for students, such as the one in Figure 2.1.
5. Place the books in numerical order on tables and shelves around the classroom or media
center.
6. Give the students twenty to thirty minutes to make the circuit, peruse the books, and mark
their response forms.
7. Collect and tally the students’ responses and compare to your master list to arrive at the types
of books in which your students are currently most interested.

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 Learning about Reading and Literature

Figure 2.1 Sample Student Response Form for Reading Interest Inventory

Would You Like to Read This Book?

As you look at each book, answer this question by circling either YES or NO next to the
appropriate book number. Be sure to match the book number and the item number before
circling your answer. You will not be required to read the books, but your answers will help me
select books that you will like for our classroom.
1. YES NO
2. YES NO
3. YES NO
4. YES NO
5. YES NO

Classroom reading interest inventories as demonstrated here not only provide teachers and
librarians with helpful information about their students’ current interests, but they also have the
added advantage of introducing children to new genres, topics, and actual titles. Many students
will discover a book that they will want to read from the books set out in this manner. Teachers
and librarians help accomplish the fundamental tasks of guiding students to good books and
expanding their fields of interest and their knowledge bases.
Common sense tells us that children will apply themselves more vigorously to reading or
learning something that they are interested in than something that they find uninteresting or
boring. Interest generates motivation, and good teachers and librarians put that motivation to
work by guiding students to good books on topics that satisfy their individual interests.

Judging the Difficulty of Reading Materials

Two features of books for teachers and librarians to consider are the readability and conceptual
difficulty of books. Readability is an estimate of a text’s difficulty based on its vocabulary (common
versus uncommon words) and sentence structure (short, simple sentences versus long, complex
sentences). Conceptual difficulty pertains to the complexity of ideas treated in the work and
how these ideas are presented. Symbolism, abstraction, and lengthy description contribute to
the complexity of ideas, just as the use of flashback or shifting points of view contribute to the
complexity of plot presentation.
Students’ reading levels differ greatly in most classrooms, making it important to provide ma-
terials of varying difficulty. Being able to assess the difficulty of reading materials can be helpful to
teachers and librarians, especially when locating lower-level materials. However, for independent,
leisure reading, students should be encouraged to read books of interest to them regardless of the
level, so long as they are capable of comprehending the material and want to read it. As adults, we
do not decide to not read a book because it is too easy for us; we should accord the same courtesy
to young readers for their leisure reading if we wish to motivate them to be readers.

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 Learning about Reading and Literature

The long-standing system that has been used in education to assign reading levels to
books has been readability formulas, such as the Fry Readability Graph (http://school.discovery
education.com/schrockguide/fry/fry.html) and the Lexile Framework (www.lexile.com; Schnick,
2000). Readability is defined as “the ease of comprehension because of style of writing” (Harris &
Hodges, 1995, p. 203). Syntactic length and vocabulary difficulty are usually measured by a variety
of means that vary by readability formula. Generally, texts with shorter, less complex sentences
and a predominance of common, high-frequency words, such as because, little, and everyone, are
rated as easier to comprehend. Readability is expressed as a grade level (6.4 ⫽ sixth grade, fourth
month) or as an age level (11.5 ⫽ eleven years and five months) and refers to the approximate
grade or age at which an average individual will be able to read the text with comprehension. For
example, using the Fry Readability Graph, we estimate that the well-known classic, Charlotte’s
Web (White, 1952), is written at a 5.3 grade level and a 10.4 age level. Using the same formula,
we estimate that the Caldecott Award–winning picture book, The Stray Dog (Simont, 2001), is
written at a 2.1 grade level and an 8.0 age level.
Publishers sometimes place readability information on book covers; some databases also in-
clude reading levels. Basal reading programs and reading incentive programs, such as Accelerated
Reader, grade the books for student reading by such formulas. They tend to use different formulas,
however, depending on the publisher.
A teacher who looks carefully at a book can assess its difficulty without using a formula, and
most teachers do this with practice. Select a page of uninterrupted text, read the first sentence,
count the words in the sentence, then look to see if this length appears to be typical of the rest
of the page. Are the sentences generally short or long? Then read the page for word difficulty,
noting words your students will likely not know. Are there many or few such words? Readers can,
of course, figure out unknown words through context, if they are infrequent. You can estimate a
book’s difficulty in this way.
Readability is an issue only when the text is at such a high level that the reader cannot com-
prehend it. The challenge is to find materials for those students whose reading levels are lower.
For this, we return to the experts, individual students, in determining what they can read. The
teacher can help students decide whether books are too difficult for them by encouraging them to
open a book they are considering reading to a middle page and reading through it while count-
ing the number of words they do not understand or cannot read. If they count more than five
or six words they cannot read or do not know out of every 100 words, they may want to choose
a different book.
Readability formulas may be helpful to teachers, librarians, and parents in selecting books but
they are not without their drawbacks. Different readability formulas give different estimates for
the same book, so at best they give only a broad estimate of difficulty. Although the two factors of
syntactic complexity and word choice are important, other factors make an important difference.
A student’s prior knowledge on a particular topic cannot be factored into any formula, nor can a
student’s interest in a topic be measured by formula. Yet we know that students’ interest and back-
ground knowledge are central to their willingness to read and their ability to comprehend a text.
Conceptual difficulty is another factor not included in a readability formula. Conceptual
difficulty pertains to the complexity of the ideas treated in the work and to how these ideas are
presented. Symbolism, abstraction, and figurative language contribute to the complexity of ideas,
just as the use of nonlinear plots or shifting points of view contribute to the complexity of plot

27
 Learning about Reading and Literature

presentation. Consider Skellig (Almond, 1999), a work of magical realism in which two young
persons become involved with an otherworldly being who is hidden in a garage. The text, hav-
ing easy vocabulary and short sentences, has a readability of about grade 3.5. Yet the concepts
of spirituality, faith, and prejudice cast the conceptual level of this novel at a much higher level,
probably appropriate for students aged 11 to 15.

Reading Incentive Programs

Many elementary and middle schools have purchased commercially produced reading incentive
programs to motivate students to read more widely. Generally, these programs have computerized
management components to track students’ progress on the tests. These programs, such as Accel-
erated Reader, include a pretest for assigning a reading level to each student for a certain level of
books that have a predetermined number of points according to their difficulty as determined by
the program developers. After students finish reading a book silently, they
complete a multiple-choice test to assess literal comprehension of the book
and to earn points based on their score. Students earn prizes according to
Go to Activity 2 in the Assign- their performance.
ments and Activities section of Reports on the success of such programs are mixed. Many teachers and
Chapter 2 in MyEducationKit;
complete the activity on reading
schools report disappointment in the programs. Teachers need to be cau-
incentive programs. tious about whether such programs are having a positive impact on their
students’ interest in reading. Concerns include the following:
■ Students’ free choices of books for reading are limited.
■ Students value only books in the program’s database due to the reward system.
■ Extrinsic rewards can diminish the desire of students to read for the pleasure of reading.
■ Testing students’ literal comprehension can undermine the importance of reading books for
vicarious experiences.
■ Tests of literal comprehension often emphasize inconsequential material to the detriment of
the development of critical thinking in students.
■ Many students find ways to gain the rewards without reading the books—for example, by
asking other students for the answers, skimming the books for frequently tested details, and
seeing the movie.
■ Personal enjoyment of literature and reading is often deemphasized.
■ These programs are very costly and could be replaced by simply purchasing ample trade
books for classroom use and school libraries. The program selections can soon become dated,
necessitating additional expenditures.
Teachers can design their own reading incentive programs that avoid these drawbacks and still
help students develop as independent readers. In these teacher-developed programs, students usu-
ally keep a record of their own free-choice silent reading, have opportunities to respond to books
in a variety of ways on a regular basis, and work to achieve individual silent reading goals set by the
student and the teacher together. Rewards, such as a special celebration party, are provided for the
class for reading, as a group, more total pages or books than were read during the last grading period.
Such group rewards avoid the negative consequences of highly competitive programs.

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 Learning about Reading and Literature

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Conduct a reading interest inventory like one shown in this chapter. Analyze your
findings, then suggest to individual children appropriate titles for independent read-
ing from books available in the school.
■ Observe and document the reading habits and literary selections of three children
over a period of several weeks. Select one avid reader, one typical reader, and one
resistant reader for your observations.
■ Consider the effects of NCLB on the schools and education of students in your state.
What are the pros and cons of this federal policy in your area? How do you expect
this policy to affect you as a teacher?

References
Almond, D. (1999). Skellig. New York: Delacorte. Harrison, D. L. (1993). My book! In D. L. Harri-
Anderson, R., Wilson, P., & Fielding, L. (1988). Growth son (Ed.), Somebody catch my homework. Il-
in reading and how children spend their time out- lustrated by Betsy Lewin. Honesdale, PA: Boyds
side of school. Reading Research Quarterly, 23(3), Mills.
285–303. Iggulden, C., & Iggulden, H. (2007). The dangerous book
Bradshaw, T., & Nichols, B. (2004). Reading at risk: for boys. New York: Morrow.
A survey of literary reading in America. Research Jobe, R., & Dayton-Sakari, M. (1999). Reluctant readers:
Division Report #46. Washington, DC: National Connecting students and books for successful reading
Endowment for the Arts. experiences. Markham, ON: Pembroke.
Brozo, W. G. (2005). Gender and reading literacy. Read- Krashen, S. (2005). A special section on reading
ing Today, 22(4), 18. research—Is in school free reading good for chil-
Carter, B., & Harris, K. (1982). What junior high students dren? Why the National Reading Panel Report is
like in books. Journal of Reading 26(1), 42–46. (still) wrong. Phi Delta Kappan, 86(6), 444.
Chance, R. (1999). A portrait of popularity: An analy- Langerman, D. (1990). Books and boys: Gender prefer-
sis of characteristics of novels from Young Adults’ ences and book selection. School Library Journal
Choices for 1997. The ALAN Review, 27(1), 65–68. 36(3), 132–136.
Darling-Hammond, L. (2007). Evaluating “No Child Maynard, T. (2002). Boys and literacy: Exploring the is-
Left Behind.” The Nation, 284(20), 11–21. sues. New York: Routledge.
Garan, E. M., & Devoogd, G. (2008). The benefits of McKenna, M., Ellsworth, R., & Kear, D. (1995). Chil-
sustained silent reading: Scientific research and dren’s attitudes toward reading: A national survey.
common sense converge. The Reading Teacher, Reading Research Quarterly, 30(4), 934–957.
62(4), 336–344. Moore, D. W., Bean, T. W., Birdyshaw, D., & Rycik, J.
Gilbert, R., & Gilbert, P. (1998). Masculinity goes to A. (1999). Adolescent literacy: A position statement.
school. New York: Routledge. Newark, DE: International Reading Association.
Harris, T. L., & Hodges, R. E. (1995). The literacy Mullis, I., Campbell, J., & Farstrup, A. (1993). NAEP
dictionary: The vocabulary of reading and writing. 1992: Reading report card for the nation and states.
Newark, DE: International Reading Association. Washington, DC: U.S. Department of Education.

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National Center for Education Statistics. (2005). The Tatum, A. (2005). Teaching reading to black adolescent
nation’s report card: Reading 2005. Retrieved from males: Closing the achievement gap. Portland, ME:
http://nces.ed.gov/nationsreportcard/pdf/main Stenhouse.
2005. Taylor, D. L. (2004). “Not just boring stories”: Reconsid-
National Endowment for the Arts. (2008). Reading on the ering the gender gap for boys. Journal of Adolescent
rise: A new chapter in American literacy. Retrieved from & Adult Literacy, 48(4), 290–298.
www.arts.gov/research/Research_brochures.php. Topping, K. J., Samuels, J., & Paul, T. (2007). Does prac-
National Reading Panel. (2000). Teaching children to tice make perfect? Independent reading quantity,
read. NIH Publication No. 00-4769. Washington, quality, and student achievement. Learning and
DC: U.S. Government Printing Office. Instruction, 17(3), 253–264.
Padak, N., & Rasinski, T. (2007). Is being wild about United States Census Bureau. (2000). Retrieved from
Harry enough? Encouraging independent reading www.census.gov.
at home. The Reading Teacher, 61(4), 350–353. White, E. B. (1952). Charlotte’s web. Illustrated by
Schnick, T. (2000). The Lexile framework: An introduc- G. Williams. New York: Harper.
tion for educators. Durham, NC: MetaMetrics. Worthy, J. (1996). Removing barriers to voluntary read-
Shapiro, J., & White, W. (1991). Reading attitudes ing: The role of school and classroom libraries.
and perceptions in traditional and nontraditional Language Arts, 73, 483–492.
reading programs. Reading Research and Instruc- ———, Moorman, M., & Turner, M. (1999). What
tion, 30(4), 52–66. Johnny likes to read is hard to find in school. Read-
Simont, M. (2001). The stray dog. New York: Harper- ing Research Quarterly, 34(1), 12–27.
Collins. ———, Patterson, E., Salas, R., Prater, S., & Turner, M.
Smith, M. W., & Wilhelm, J. D. (2002). Reading don’t (2002). “More than just reading”: The human fac-
fix no Chevys: Literacy in the lives of young men. tor in reaching resistant readers. Reading Research
Portsmouth, NH: Heinemann. and Instruction, 41(2), 177–202.
Stanovich, K. E. (1986). Matthew effects in reading: ———, Turner, M., & Moorman, M. (1998). The pre-
Some consequences of individual differences in carious place of free-choice reading. Language
the acquisition of literacy. Reading Research Quar- Arts, 75, 296–304.
terly, 21(4), 360–407. Yoon, J.-C. (2002). Three decades of sustained silent
Sullivan, M. (2003). Connecting boys with books: What reading: A meta-analytic review of the effects of
libraries can do. Chicago: American Library SSR on attitude toward reading. Reading Improve-
Association. ment, 39(4), 186–195.
Sullivan, M. (2009). Connecting boys with books 2:
Closing the reading gap. Chicago: American Library
Association.

Now go to Chapter 2 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

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 Learning about Literature

Learning about
Literature
A Book
I’m a strange contradiction; I’m new and I’m old,
I’m often in tatters, and oft deck’d in gold;
Though I never could read, yet letter’d I’m found;
Though blind, I enlighten; though loose, I am bound—
I am always in black, and I’m always in white;
I am grave and I’m gay, I am heavy and light.
In form too I differ—I’m thick and I’m thin,
I’ve no flesh, and no bones, yet I’m covered with skin;
I’ve more points than the compass, more stops than the flute—
I sing without voice, without speaking confute;
I’m English, I’m German, I’m French and I’m Dutch;
Some love me too fondly; some slight me too much;
I often die soon, though I sometimes live ages,
And no monarch alive has so many pages.

—Hannah More

From Chapter 3 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

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 Learning about Literature

This chapter provides background information on literature, including how to study and inter-
pret literature, and reviews the elements of fiction useful in literary evaluation. Also discussed
are sources available for identifying good books, including major children’s book awards, review
journals, and professional websites. The chapter ends with a discussion of the reasons to select a
varied and balanced array of literature for use with children.

Approaches to Studying and Interpreting Literature

The scholarly study of literature generally focuses on the meaning found in a work of litera-
ture and how readers construct that meaning. When readers subject a work to deep analysis
through exact and careful reading, it is referred to as New Criticism or structural criticism. In
this approach, the analysis of the words and structure of a work is the focus; the goal is to find
the “correct” interpretation.
Until the 1960s, structural criticism held sway in most literature classrooms. Many teachers
continue to use this method today. Most teachers using this approach take the view that there is
one correct interpretation of any work of literature. According to this view, reading is a process
of taking from the text only what was put there by the author. Young readers’ success with any
work of literature is determined by how closely their interpretations match the “authorized”
interpretation. Students’ responses to literature are thus limited to naming (or guessing) the
“right” answers to teachers’ questions.
In 1938, Louise Rosenblatt introduced reader response theory or the transactional view of
reading. She asserted that what the reader brings to the reading act—his or her world of experi-
ence, personality, and current frame of mind—is just as important in interpreting the text as
what the author writes. According to this view, reading is a fusion of text and reader. Consequently,
any text’s meaning will vary from reader to reader and, indeed, from reading to reading of the
same text by the same reader. Almost everyone has experienced reading a book only to discover
that a friend has reacted to or interpreted the same book quite differently. Although Rosenblatt
(1978) points out that the text of any book guides and constrains the interpretation that is made,
an important corollary to her view of reading is that personal interpretations, within reason, are
valid, permissible, and in fact desirable.
Beach and Marshall (1990) similarly point out the importance of students’ worlds of experi-
ence, including (1) knowledge of various genres and literary forms gained from previous reading
that can help them understand new, similar works; (2) social relationships that can help them
understand and evaluate book characters’ actions and motivations; (3) cultural knowledge that
influences one’s attitudes toward self and others (as in gender roles) and can help readers under-
stand their responses to story events; and (4) topic knowledge or knowledge of the world that can
deepen readers’ understanding of a text and enrich their response to it.
Another interesting aspect of Rosenblatt’s theory is that reading is done for two distinct pur-
poses: to take knowledge from the text (efferent reading) and to live through a literary experience,
in the sense of assuming the identity of a book character (aesthetic reading). Whether people
read efferently or aesthetically depends on what they are reading (e.g., a want ad versus a mystery
novel) and why they are reading it (e.g., for information versus for pleasure).

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 Learning about Literature

Rosenblatt’s view of reading has important implications for the way teachers will en-
courage their students to respond to the literature they share with them. Reader response
theory, in accepting different interpretations of the same literary work, accommodates both
traditional, genre-specific works as well as genre-eclectic, nonlinear literature with its mul-
tiple perspectives and plots and its demands on the reader to act as coauthor. (See Chap-
ter 13 for a detailed discussion, suggestions, and explanations of literature-related response
activities.)
Reading is a merging of text and reader, and each reading of a particular literary work re-
sults in a different transaction. But if the transaction is unique each time a book is read, how can
general assessments of literary merit be made? Rosenblatt believes that although the notion of a
single, correct reading of a literary work is rejected, “given agreed-upon criteria, it is possible to
decide that some readings are more defensible than others” (1985, p. 36). Although each reading
of a given literary work will be different, there are certain generally agreed-on interpretations of
that work by a community of educated readers.
Traditional literary elements are reviewed next in order to heighten your awareness of literary
criticism and to provide a more precise vocabulary for you to express your responses to children’s
books. Literary terms may also be considered as tools that your students can use to initiate and
sustain conversations about literature. In using these terms in the classroom you can help children
acquire a literary vocabulary.

Elements of Fiction
Learning to evaluate children’s books can best be accomplished by reading as many excellent
books as possible. Gradually, your judgment on the merits of individual books will improve.
Discussing your responses to these books with children, teachers, and other students and listening
to their responses will also assist you in becoming a more appreciative critic. Understanding the
different parts, or elements, of a piece of fiction and how they work together can help you become
more analytical about literary works; and this, too, can improve your judgment of literature. The
elements of fiction are discussed separately in the following sections, but it is the unity of all these
elements that produces the story.

Plot
The events of the story and the sequence in which they are told constitute the plot of the story. In
other words, the plot is what happens in the story. Plot is the most important element of fiction to
the child reader. Often, adults believe that a story for children needs only to present familiar, every-
day activities—the daily routines of life. Perhaps 2- and 3-year-olds will enjoy hearing narratives
such as this, but by age 4, children want to find more excitement in books. A good plot produces
conflict to build the excitement and suspense that are needed to keep the reader involved.
The nature of the conflict within the plot can arise from different sources. The basic conflict
may be one that occurs within the main character, called person-against-self. In this type of story,
the main character struggles against inner drives and personal tendencies to achieve some goal or

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 Learning about Literature

overcome a traumatic event. In Echo (2006) by Kate Morgenroth, Justin, who has witnessed his
younger brother’s fatal shooting accident, lashes out at family and friends while struggling with
his internal conflict. Stories about adolescence will frequently have this conflict as the basis of the
story problem. For example, in Ghost Boy (2000) by Iain Lawrence, 14-year-old Harold struggles
to find himself and to accept himself and others.
A conflict usually found in survival stories is the struggle the character has with the forces of
nature. This conflict is called person-against-nature. Worthy examples are Ice Drift (2004) by Theo-
dore Taylor, The Young Man and the Sea (2004) by Rodman Philbrick, and Hatchet (1987) by Gary
Paulsen.
In other children’s stories, the source of the conflict is found between two characters. Con-
flicts with peers, problems with sibling rivalries, and stories of children rebelling against an adult
are person-against-person conflicts. For example, in Bucking the Sarge (2004) by Christopher Paul
Curtis, 15-year-old Luther’s conflict is with his mother, whose views on right and wrong collide
with his own.
Occasionally, a story for children presents the main character in conflict with society. This
conflict in children’s stories is most often either about the environment being destroyed by new
technology or changing times or about children caught up in a political upheaval such as war.
The conflict is then called person-against-society. How I Found the Strong (2004) by Margaret
McMullan and Yellow Star (2006) by Jennifer Roy, both war stories, pose this type of conflict. In
the mystery Hoot (2002) by Carl Hiaasen, the conflict is between those who want to develop and
destroy natural areas and wildlife and those who want to preserve them.
In some stories, the protagonist faces multiple conflicts in which, for example, a character
may be in conflict with society and also in a conflict with self. In Jean Craighead George’s Julie
of the Wolves (1972), protagonist Julie/Miyax rebels against the societal changes that threaten the
wildlife in her native Alaska while at the same time seeking to resolve her own conflicting thoughts
about her Inuit traditions and modern society.
Plots are constructed in many different ways. The most common plot structures found in
children’s stories are chronological plots, which cover a particular period of time and relate the
events in order within the time period. For example, if a book relates the events of one week, then
Monday’s events will precede Tuesday’s, and so on. Lizzie Bright and the Buckminster Boy (2004)
by Gary D. Schmidt as well as the classic Charlotte’s Web (1952) by E. B. White have chronologi-
cal plots.
Two distinct types of chronological plots are progressive plots and episodic plots. In books
with progressive plots, the first few chapters are the exposition, in which the characters, setting,
and basic conflict are established. Following the expository chapters, the story builds through
rising action to a climax. The climax occurs, a satisfactory conclusion (or dénouement) is
reached, and the story ends. Figure 3.1 suggests how a progressive, chronological plot might be
visualized.
An episodic plot ties together separate short stories or episodes, each an entity in itself with
its own conflict and resolution. These episodes are typically unified by the same cast of characters
and the same setting. Often, each episode comprises a chapter. Although the episodes are usually
chronological, time relationships among the episodes may be nonexistent or loosely connected by
“during that same year” or “later that month.” Examples of short chapter books with an episodic
plot structure are Ramona Quimby, Age 8 (1981) by Beverly Cleary and My One Hundred Adven-

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 Learning about Literature

Figure 3.1 Diagram of a Progressive Plot

Climax
on Dénouement
Risin g acti

Conflict End of book

Exposition

tures (2008) by Polly Horvath. Because episodic plots are less complex, they tend to be easier to
read and lend themselves to the recounting of humorous escapades. Thus, the reader who is just
making the transition from picture books to chapter books may find these plots particularly ap-
pealing. Many easy-to-read books for the beginning reader are also structured in this way. Frog and
Toad Are Friends (1970) by Arnold Lobel and Mr. Putter & Tabby Feed the Fish (2001) by Cynthia
Rylant are good examples of an episodic plot in an easy-to-read book. Figure 3.2 suggests how a
chronological, episodic plot might be visualized.
Authors use a flashback to convey information about events that occurred earlier—for
example, before the beginning of the first chapter. In this case, the chronology of events is dis-
rupted, and the reader is taken back to an earlier time. Flashbacks can occur more than once
and in different parts of a story. The use of a flashback permits authors to begin the story in the
midst of the action but later fill in the background for full understanding of the present events.
Flashbacks in children’s books are mostly found in chapter books for older readers, because such
plots can confuse children younger than age 8 or 9. Teachers can help students understand this
plot structure by reading aloud good examples of this type of story, such as Jean Craighead
George’s My Side of the Mountain (1959) and Because of Winn-Dixie (2000) by Kate DiCamillo.
Class discussion can then focus on the sequence of events and why the author may have chosen

Figure 3.2 Diagram of an Episodic Plot

Climax 1 Climax 2 Climax 3

ction ction ction

inga inga inga .
Ris Ris Ris et c

Ending 1 Ending 2 Ending 3

Chapter 1 Chapter 2 Chapter 3

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 Learning about Literature

Figure 3.3 Diagram of a Flashback

Climax
Dénouement

End of
book

Exposition

Conflict

Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 12

Apr. 2008 Jan. 2008 Feb. 2008 Mar. 2008 May 2008 Nov. 2008 Dec. 2008

to relate the events in this manner. Figure 3.3 illustrates the structure of a flashback in a book in
which some events occurred before the beginning of the book.
With greater frequency, children’s novels are appearing with new plot formulations such as
complex multiple plots in which the traditional chronology is replaced by nonlinear plots that
occur simultaneously. In Louis Sachar’s Holes (1998), a humorous mystery and survival story,
two apparently unrelated stories set in two different time periods are developed, yet are gradually
revealed to be connected to one another through the unraveling of the mystery. Kathi Appelt’s
The Underneath (2008) relates the events of an animal story set in present-day Louisiana bayou
country, while interweaving a fantasy about a centuries-old story of love, betrayal, and revenge.
A stylistic plot device that prepares readers for coming events in a story is foreshadowing.
This device gives clues to a later event, possibly even the climax of the story. For example, in the
first chapter of Kenneth Oppel’s Airborn (2004), the cabin boy’s chance meeting and rescue of
a dying balloonist who shares his tales of strange flying creatures foreshadows events to come a
year later and prepares readers for the cabin boy’s pivotal role in these events. Also, in the classic
novel Tuck Everlasting (1975) by Natalie Babbitt, the detailed description of the long yellow road
in the first chapter foreshadows the long journey the Tuck family members must travel in their
lives. You can alert young readers to one of the subtle ways authors prepare them for the outcomes
of stories by discussing foreshadowing.
Plot is an important element to all readers, but especially to young readers, who enjoy fast-
moving, exciting stories. A well-constructed plot contributes substantially to children’s acceptance
and enjoyment of stories.

Characters
Memorable characters populate the world of children’s literature. Ferdinand the bull, Charlotte
the spider, Frances the badger, Little Toot the young tugboat, Karana the Native American girl,

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and Peter the African-American child with his dog, Willie, are all remembered fondly by genera-
tions of readers.
Characters, the “actors” in a story, are another element of fiction vital to the enjoyment of a
story. A well-portrayed character can become a friend, a role model, or a temporary parent to a
child reader. Although young readers enjoy exciting events, the characters involved in those events
must matter to the reader, or the events no longer seem important. How characters are depicted
and how they develop in the course of the story are important to the reader. Two aspects to con-
sider in studying a character are characterization and character development.
Characterization refers to the way an author helps the reader know a character. The most
obvious way an author can do this is to describe the character’s physical appearance and personal-
ity. Portraying the character’s emotional and moral traits or revealing her relationships with other
characters are more subtle and effective techniques. In the most convincing characterizations, we
see the character through a combination of his or her own actions and dialogue, the responses of
other characters to him or her, and the narrator’s descriptions.
Character development refers to the changes, good or bad, the character undergoes during
the course of events in the story. If a character experiences significant, life-altering events, we,
as readers, expect that the character will somehow be different as a result of those events. For
example, Matt, a boy of 11, who was left alone for months in the Maine territory to take care of
his family’s new cabin, becomes a stronger, more independent young man by the end of The Sign
of the Beaver (1973) by Elizabeth George Speare. Also, in Nancy Hull’s On Rough Seas (2008), set
in 1939, 14-year-old Alec Curtis decides to go to sea as a galley boy to forget his guilt over the
drowning of a cousin. However, when his ship joins the rescue at Dunkirk at the beginning of
World War II, Alec gradually recognizes what is important to him, showing his new maturity in
unexpected ways.
In a work of fiction for children there are usually one or two main characters and some minor
characters. Ideally, each main character, sometimes called the protagonist, will be a fully described,
complex individual who possesses both good and bad traits, like a real person. Such a character
is called a round character. For example, in the historical fiction novel Catherine, Called Birdy
(1994) by Karen Cushman, Birdy, the protagonist whose father is seeking a suitable husband for
her, is presented as a complex character with many strengths and weaknesses. In the realistic fic-
tion novel A Step from Heaven (2001) by An Na, young Ju, the protagonist whose Korean family
immigrates to America, is presented as a round, complex character dealing with the many chal-
lenges an immigrant must face.
Minor, or secondary, characters may be described in a partial or less complete manner. The
extent of description depends on what the reader needs to know about the character for a full
understanding of the story. Some of the minor character’s traits are described fully, whereas other
facets of the character’s personality may remain obscure. Because the purpose is to build the story
and make it comprehensible, fragmentary knowledge of a minor character may suffice. In the
novel The Ghost of Poplar Point (2007) by Cynthia DeFelice, Dub, a minor character, is portrayed
only as a loyal friend and faithful sidekick to Allie, the 12-year-old protagonist and ghost magnet
in this supernatural mystery based on an actual historical Native American massacre in 1779.
Another example can be found in Heat (2006) by Mike Lupica, in which the secondary character
Manny is depicted as the catcher and a loyal mate to talented pitcher Michael Arroyo, the protago-
nist in this sports novel that portrays a positive image of Hispanic teens competing athletically.

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Occasionally, an author will insert a flat character—that is, a character described in a one-
sided or underdeveloped manner. Although such people do not exist in real life, they may be
justified within the story to propel the plot. For example, in Susan R. Vaught’s Big Fat Manifesto
(2008), self-assured and overweight Jamie seeks to be taken seriously in a thin world by writing
in the school newspaper about her attitudes about her weight. Other students in the story lack
depth and appear as somewhat flat stereotypes. The current importance of the topic presented by
a character as well-developed as Jamie will make this an appealing book for many middle-school
readers. Sometimes the character is shown as an all-evil or all-frivolous person; for instance,
folktales present flat characters as symbols of good and evil. In some stories, a flat character plays
the role of character foil, a person who is in direct juxtaposition to another character (usually the
protagonist) and who serves to highlight the characteristics of the other individual. A character
foil may occur as a flat or round character. The character or force that is in direct opposition to
the main character is called the antagonist. In Avi’s The True Confessions of Charlotte Doyle (1990),
the ship’s captain is a frightening antagonist to Charlotte. And in the sports story Offsides (2004)
by Erik E. Esckilsen, protagonist Tom Gray, the star soccer player, challenges the school’s mascot
that stereotypes Native Americans and stands up to his coach, one of the antagonists.
The main characters in an excellent work of fiction for children are rounded, fully developed
characters who undergo change in response to life-altering events. Because children generally prefer
personified animals or children of their own age, or slightly older, as the main characters of their
stories, authors of children’s books often face a dilemma. Although in real life, children usually
have restricted freedom of action and decision making within the confines of a family, the author
can develop a more vivid and exciting story if the main characters are “on their own.” Thus, in
many children’s stories, parents are absent, no longer living, or no longer functioning. An example
of children on their own can be found in Jeanne Birdsall’s The Penderwicks (2005), in which four
sisters and their absentminded dad spend the summer in a cottage in rural Massachusetts. The
spirited, lovable girls’ many adventures and near-mishaps could not occur without a preoccupied
father. Furthermore, by making up situations, authors are able to focus on just one aspect of life,
thereby enabling young readers to see and understand this one facet of life more clearly.

Setting
The time and place in which the story occurs constitute the setting of a story. The setting’s im-
portance depends on the story. For example, in historical fiction the authentic re-creation of the
period is essential to the comprehension of the story’s events. In this situation, the setting, fully
described in both time and place, is called an integral setting. The story could not be the same
if placed in another setting. For example, in the historical fiction mystery novel The Case of the
Missing Marquess (2006) by Nancy Springer, 14-year-old Enola Holmes, the much younger sister of
Sherlock Holmes, unravels the disappearance of her missing mother. Historical facts, British dialect
and vocabulary, and Victorian customs create a believable work of historical fiction. The novel,
set in nineteenth-century England, also depicts the English countryside and the filth of Victorian
London through descriptive imagery.
By contrast, the setting in folktales is often vague and general. For example, “long ago in a
cottage in the deep woods” is meant to convey a universal, timeless tale, one that could have hap-
pened anywhere and almost anytime except the present or very recent past. This type of setting
is called a backdrop setting. It simply sets the stage and the mood.

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Theme
The literary theme of a story is its underlying meaning or significance. The term theme should not
be confused with topic or theme as used in the sense of a thematic unit. Although we sometimes
think of the literary theme as the message or moral of the story, it can just as likely be an aesthetic
understanding, such as an appreciation for nature or a viewpoint on a current societal issue. To
identify the theme, you may ask yourself what the author’s purpose was in writing the story or
what the author is saying through this story.
A theme is better expressed by means of a complete sentence than by a single word. For example,
students often suggest that a theme found in Charlotte’s Web (1952) by E. B. White is friendship. A
better statement of the theme is “Friendship is one of the most satisfying things in the world,” as
Wilbur the pig tells us in the story. The single word friendship may be a topic found in the story,
but it is not an expression of the theme. Similarly, the phrase “race relations during Reconstruction”
incompletely expresses the theme of When I Crossed No-Bob (2007) by Margaret McMullan. Set in
Mississippi ten years after the Civil War, 12-year-old Addy makes a difficult decision when faced with
the dilemma of testifying against her own father or keeping silent and letting someone else be hurt.
“Doing good is hard, doing nothing is the easiest of all” more clearly states the theme.
Themes in children’s books should be worthy of children’s attention and should convey
truth to them. Furthermore, the themes should be based on high moral and ethical standards. A
theme must not overpower the plot and characters of the story, however; children read fiction for
enjoyment, not for enlightenment. If the theme is expressed in a heavy-handed, obvious fashion,
then the pleasure of the reading experience is diminished. Likewise, overly “teachy” or didactic
themes detract from a reader’s enjoyment of a story. Certainly a well-written book may convey a
moral message, but it should also tell a good story from which the message evolves. In this way
the theme is subtly conveyed to the reader. For example, in the novel Smiles to Go (2008) by Jerry
Spinelli, 14-year-old, self-absorbed perfectionist Will, as a result of a serious accident involving
his little sister, discovers that it is worth risking love and friendship even if he can’t always be the
one in control.
Often, adults write stories not for children’s pleasure but to teach morality lessons. Although
we think of stories of this sort as the thinly disguised religious tracts found in the early history of
children’s literature, we must be alert to a tendency for some current authors to use children’s lit-
erature as a platform to preach about drug abuse, animal rights, and other issues of contemporary
interest. If the literary quality of these so-called problem novels is weakened, then the story and
characters become secondary to the issue or problem. However, when moral values are embedded
within the fabric of a powerful story, children can be led to develop a sense of right and wrong
without feeling as if they are being indoctrinated.

Style
Style is the way an author tells the story; it can be viewed as the writing itself, as opposed to the
content of the book. However, the style must suit the content of the particular book; the two are
intertwined.
Different aspects of style are considered in evaluating a work of fiction. Most obviously, you
can look at the words chosen to tell the story. Are they long or short, common or uncommon,
rhyming or melodic, boring and hackneyed or rich and challenging, unemotional or emotional,

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standard dialect or regional/minority dialect? The words should be appropriate to the story being
told. As an evaluator of books for children, you will want to ask the following questions as you
read: Why did the author choose these words? What effect was the author trying to achieve?
The sentences may also be considered. Do they read easily? Do they flow without the reader
needing to reread to gain the meaning of the text? Sometimes an author chooses to limit the
word choices to write a book that can be read by a beginning reader. Yet in the hands of a gifted
writer, the sentences will remain no less melodic, varied in length and structure, and enjoyable to
read and hear than sentences in the best books for the more advanced reader. Good examples of
well-written books for beginning readers are Arnold Lobel’s Frog and Toad Are Friends (1970), Mo
Willems’s I Will Surprise My Friend! (2008), and Annie Barrows’s Ivy and Bean (2006), illustrated
by Sophie Blackall.
The organization of the book may be considered by noting the paragraphs and transitions,
length of chapters, headings and chapter titles, preface, endnotes, prologue, epilogue, and length
of the book. For the beginning reader it is important whether a story is divided into chapters.
After years of looking at, listening to, and reading books without chapters, it is quite an accom-
plishment for a 6-year-old to move up to so-called chapter books, even if each chapter is only
three pages long.
Chapter titles can provoke interest in what will follow, as well as provide the reader with
clues to predict story events. Some books provide the readers with a prologue, an introductory
statement telling events that precede the start of the story. Some authors include an epilogue, a
concluding statement telling events that occur after the story has ended. Adeline Yen Mah, author
of Chinese Cinderella: The True Story of an Unwanted Daughter (1999), speaks directly to the reader
in an informative prologue about the Chinese language. She invites the reader to become interested
in a Chinese girl’s language, history, and culture. Another example is found in Yellow Star (2006),
in which Jennifer Roy places an author’s note and a time line of events in the epilogue.
In Kipling’s Choice (2005) by Geert Spillebeen, an epilogue has been included to provide
information on the historical context of World War I in France. Other times, an epilogue resolves
questions readers may have regarding what happened after the story’s conclusion, as in Marion
Dane Bauer’s A Bear Named Trouble (2005), a story of companionship between a wild bear cub
and a lonely boy.
Point of view is another aspect of an author’s style. If the story is told through the eyes and
voice of a third-person narrator (the use of he, she, it), then the reader can know whatever the
narrator knows about the events of the story. In many stories, the narrator is omniscient and can
see into the minds of all characters and be at many places at the same time. The reader of Lynne
Rae Perkins’s Criss Cross (2005) can understand and interpret the story from many different per-
spectives because of Perkins’s use of the omniscient point of view. In Loser (2002), Jerry Spinelli
also draws on the omniscient narrative point of view to relate the story of Donald Zinkoff, whose
enthusiasm and exuberance are unabated in spite of being seen as a loser by classmates.
Other stories are narrated from the perspective of only one character in the story. In this case,
the story is still told in the third person, but the reader knows only what that particular character
can see and understand. This latter technique is called limited omniscient point of view. Beverly
Cleary’s Dear Mr. Henshaw (1983) is a realistic story told from the perspective of Leigh, a boy
troubled by family difficulties and changes at school, who corresponds with Mr. Henshaw, an
author. In Clay (2006) by David Almond, disturbing events are told through the point of view of
altar boy Davie, who becomes part of those events.

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Other times, authors choose to tell the story through a first-person narrator (the use of I ),
generally the main character of the story. In such cases the reader gains a sense of closeness to
the main character but is not privy to any information unavailable to this character. As you read,
you will note that some authors have accomplished a first-person point of view by writing as
though their main character were writing a diary or letters, as in Flight to Freedom (2002) by Ana
Veciana-Suarez; or through narrative poems composed by the main character, as in Diamond Wil-
low (2008) by Helen Frost. The story is both an exciting survival adventure and dog story set in
Alaska and related through diamond-shaped concrete poems. Occasionally, a story is told in first
person through the eyes of a minor character. For example, We Can’t All Be Rattlesnakes (2009)
by Paul Jennings is a humorous animal fantasy about a boy, Gunnar, and his troubled life, told
through the point of view of a captured rattlesnake, Crusher.
A shifting point of view permits the reader to see events from different characters’ points of
view. This technique is demanding on young readers’ skill. When the point of view shifts, the author
must carefully cue readers to the changing point of view, as Avi does in Nothing but the Truth
(1991) by identifying sender, receiver, or discussants at the beginning of each letter, memorandum,
telephone call, or face-to-face conversation. Beverley Naidoo’s Web of Lies (2006), a sequel to her
award-winning The Other Side of Truth (2001) about two Nigerian refugee children, relates the story
of the children’s school experiences in London by shifting between their two points of view.
Symbolism is an artistic invention that authors use to suggest invisible or intangible meanings
by analogy to something else through association, resemblance, or convention. Often, a symbol—a
person, object, or situation—represents an abstract or figurative meaning in the story in addition to
its literal meaning. Some symbols are universal and can be found repeatedly in literary works; others
may be particular to the story. For example, a farm usually represents love and security in works of
literature. Children often read only on a literal level, but they can be helped by teachers to note more
obvious symbols existing in the books they are reading. If the symbolic feature recurs in the story, it
is referred to as a motif. The number 3 is a common motif in folktales, for example.
A story for children must be more than a plot and a character study; a story integrates all
the elements of fiction into a pleasing whole. In drawing together these elements, authors create
new worlds for young readers.

Changes in Traditional Fictional Forms

Following World War II, the traditional way of telling stories began to change; some works
that no longer fit well-known and accepted patterns of fiction appeared and gained recogni-
tion, especially in adult fiction. The postmodern movement in literature emerged. According to
Merriam-Webster’s Encyclopedia of Literature, postmodern refers to “any of several artistic move-
ments that have challenged the philosophy and practices of modern arts or literature since about
the 1940s. In literature this has amounted to a reaction against fixed ideas about the form and
meaning of texts” (Kuiper, 1995, p. 899). Although it began as a trend in adult literature, post-
modernism in works for children and young adults is increasing.
Nikolajeva (1998) points out the defining characteristics of the postmodern literary work,
the most recognized of which is genre eclecticism—writing that has aspects of more than
one genre and ready acceptance of elements of popular culture such as film and television.

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Postmodern literature is also characterized by narrative structures that mirror life. That is, there
are not necessarily distinct beginnings, middles, and endings; stories can be emotion driven rather
than event driven; and stories may include multiple protagonists, perspectives, and narrators.
Some postmodern stories include multiple plots or realities with parallel times and places. Au-
thors of postmodern works encourage readers to take a more active role in the storytelling. Post-
modernism has helped broaden the types of literature accepted into the mainstream, including
graphic novels, novels in verse, docudramas, and novels of mixed genres.

Balance and Variety in Book Selections

In addition to evaluating the various literary elements that are central to the issue of quality,
the child’s age and development and the balance and variety among books are also important
considerations. Because children in any elementary-grade class have a wide range of reading
abilities and reading interests, you need to provide many different types of books, including
picture books, easy-to-read books, short chapter books, longer books, and books of prose,
poetry, fiction, and nonfiction. Thus, balance among the genres of literature as well as variety
in topic are essential.
Which stories teachers choose to read aloud to students is important. Varying choices for
read-alouds will challenge students and enhance the resulting academic benefits for their language
and cognitive development, as discussed in Chapter 1. In sharing books with students the mood
of the books must also be varied to include stories that are sad, humorous, silly, serious, reflective,
boisterous, suspenseful, or even a little scary. A steady diet of light, humorous books might appeal
to students at first, but eventually, the sameness will become boring. For a teacher to read aloud
over many months works of literature with the same predominant emotion
is to ignore the rapid change and growth in personal lives and choices that
are the hallmark of youth.
Go to Activity 1 in the Assign- A balance between male and female main characters over the course
ments and Activities section of of a year is necessary if you are to meet the needs of children of both sexes
Chapter 3 in MyEducationKit;
and to help members of each sex understand more fully the perspectives,
view the video on developing a
classroom library and respond to
problems, and feelings of members of the opposite sex. Classroom and
the questions. school library collections need to have a wide range of topics with a balance
of male and female main characters.
In addition, understanding and empathy for people with physical, emotional, mental, and
behavioral disabilities can be gained through portrayals in books of children and adults with
impairments. A positive image of people with disabilities needs to be conveyed in these books.
Furthermore, children with disabilities need to see characters like themselves in books.
The representation of minorities as main characters is also essential if you are to present a
realistic view of society and the world. Through well-written multicultural literature, children
can see that someone from a different race, ethnic group, or religion has many of the same basic
needs and feelings that they themselves have. Literature by and about people different from
oneself can help develop an understanding and appreciation for all peoples. Minority children
will enjoy reading books in which children from backgrounds similar to their own play the
leading, and sometimes heroic, roles. Characters with whom one can identify permit a deeper

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involvement in literature and at the same time help children understand situations in their
own lives.
International literature, literature from other nations and regions of the world, needs to be
included in read-aloud choices and in classroom and library collections in order to guide students
toward global understanding. Through reading or listening to the favorite books of children from
other nations, your children will experience cultural literacy on a worldwide basis.
Classroom libraries are usually limited in scope; therefore, school libraries are necessary to
provide adequate balance and variety of books for students’ research needs and independent
reading. Frequent visits to the library by the class and by individual students need to be arranged
by the teacher and librarian.

Book Awards
Several book award programs have been established for the purposes of elevating and maintaining
the literary and artistic standards of children’s books and for honoring the authors whose work
is judged by experts in the field to have the greatest merit. These awards provide teachers and
librarians with one source for selecting excellent works of literature to share with children. Table 3.1
lists what are considered to be the major awards for children’s books in the United States, Canada,
and Great Britain. Lists of actual winners of these major children’s book awards listed in Table 3.1
and other awards, such as awards for a specific genre or topic, can be found in Appendix A.
Some book award programs involve children in the selection process. The Children’s Choices
Project, sponsored by the International Reading Association/Children’s Book Council Joint Com-
mittee, features newly published books selected by children around the country. The list of win-
ners appears each October in The Reading Teacher and is available at www.reading.org.
Most states also have their own state children’s choices award and programs. Usually a ballot
of book titles is generated for certain age ranges, such as 5–8 and 9–12, from teachers’, librarians’,
or children’s nominations. The list is circulated across the state for children to vote on their favor-
ites. Balloting usually occurs in the spring to permit reading time over the course of a school year.
More information on state children’s book awards and programs, including websites for many of
the state programs, can be found at www.childrensbooks.about.com/cs/stateawards.
Another book award program, Teachers’ Choices Project, sponsored by the International
Reading Association, also develops an annual list of winners. Teachers read and vote for recently
published books worthy of use in the classroom, then develop the Teachers’ Choices Booklist. The
list appears in the November issue of The Reading Teacher and is available at www.reading.org.

Review Journals
Journals that review children’s books and feature current topics in the field of children’s litera-
ture are an important source of information for teachers and librarians. Language-related profes-
sional teacher journals to which elementary teachers often subscribe, such as The Reading Teacher
(www.reading.org) and Language Arts (www.ncte.org), have columns devoted to reviewing new

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Table 3.1 Major U.S., Canadian, and British Children’s Book Awards
Award/Country Period For/Year Established

Newbery Medal/United States Annual The most distinguished contribution to

children’s literature published in the previous
year. Given to a U.S. author. Established 1922.
Caldecott Medal/United States Annual The most distinguished picture book for children
published in the previous year. Given to a U.S.
illustrator. Established 1938.
National Book Award for Young Annual Outstanding contribution to children’s literature,
People’s Literature/United States in terms of literary merit, published in the previous
year. Given to a U.S. writer. Established 1996.
Coretta Scott King Awards for Annual, Outstanding inspirational and educational
writing and for illustration/ two awards contribution to literature for children and
United States young people by an African-American author/
illustrator published in the previous year.
Established 1970/1974.
Pura Belpré Awards for writing Biennial, Writing and illustration in a work of
and illustration/United States two awards literature for youth published in the previous
two years by a Latino writer and illustrator
whose work best portrays, affirms, and celebrates
the Latino cultural experience. Established 1996.
Governor General’s Literature Annual Best book for children published in the
for Children Award for previous year. Separate prizes for works in
Writing/Canada English and French. Established 1987.
Governor General’s Literature Annual Best illustration in a children’s work published
for Children Award for in the previous year. Separate prizes for works
Illustration/Canada in English and French. Established 1987.
Carnegie Medal/Great Britain Annual The most distinguished contribution to
children’s literature first published in the United
Kingdom the previous year. Given to an author.
Established 1936.
Kate Greenaway Medal/ Annual The most distinguished picture book for
Great Britain children first published in the United Kingdom
in the previous year. Given to an illustrator.
Established 1956.

children’s books in each monthly issue. The Journal of Children’s Literature (www.childrens
literatureassembly.org), a journal dedicated solely to children’s literature and those involved in it,
also has review sections of newly published children’s books. In addition, these journals contain
articles discussing effective strategies for incorporating literature into reading and content-area
instruction and for bringing children and books together.

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 Learning about Literature

The review journals listed here offer evaluative annotations and suggested grade-level ranges
for books reviewed. These journals are readily available in most university libraries as well as some
school and public libraries.
■ Booklist (www.ala.org). This journal reviews current print and nonprint materials for chil-
dren and adults that are worthy of consideration for purchase by public libraries and school
media centers.
■ The Bulletin of the Center for Children’s Books (http://bccb.lis.illinois.edu). This publication
reviews current children’s books, assigning a recommendation code to each.
■ The Horn Book Magazine (www.hbook.com). This magazine includes detailed reviews of
children’s books deemed worthy in children’s literature. The Newbery and Caldecott accep-
tance speeches are featured in the July/August issue.
■ Kirkus Reviews (www.kirkusreviews.com). This publication annually reviews approximately
5,000 titles of prepublication books for adults and children.
■ School Library Journal for Children’s, Young Adult, and School Librarians (www.school
libraryjournal.com). This journal prints both negative and positive reviews of most children’s
books published. It also includes articles of interest to school librarians.

Professional Associations and Websites

Major professional associations of benefit to individuals involved in the field of children’s litera-
ture are listed below.
Association for Library Service to Children (ALSC): www.ala.org/alsc
This professional group is a division of the American Library Association and provides
services primarily to librarians and media specialists.
International Reading Association (IRA): www.reading.org
This professional organization offers services primarily to teachers
of language, literacy, and literature.
Go to Activity 2 in the Assign-
ments and Activities section of National Council of Teachers of English (NCTE): www.ncte.org
Chapter 3 in MyEducationKit; This professional membership addresses teaching and research in
complete the activity on explor- language and literature from preschool through college.
ing professional websites.
Children’s Literature Association (ChLA): www.childlitassn.org
This professional group has many members from the field of English
and addresses criticism, research, and teaching of children’s literature.

The following websites are helpful in locating professional information about children’s literature:
Carol Hurst’s Children’s Literature Site: www.carolhurst.com
This educational consultant’s site provides a collection of book reviews, curriculum ideas,
themes, and professional topics for teachers.
Children’s Book Council (CBC): www.cbcbooks.org
This nonprofit association of children’s book publishers offers book-related literacy
materials for children. It also provides updates on National Children’s Book Week.

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 Learning about Literature

Children’s Literature Comprehensive Database: www.childrenslit.com

Founded in 1993, this independent review-media site includes information about authors
and illustrators, special monthly features, recommended book lists, and announcements of
book events.
Cooperative Children’s Book Center: www.education.wisc.edu/ccbc
This children’s literature examination and research library site provides information about
its collections, upcoming events, and publications.

Categories of Literature
In Chapters 4 to 11, the main categories of children’s books will be defined and explained,
followed by book titles recommended for reading in each of the categories. Chapters 4 and 6
through 10 focus on the literary genres, as presented in Table 3.2 (the number of the chapter in
which each genre of literature is discussed is noted next to the genre). For the purposes of this
textbook, a genre organization—a traditional, though admittedly imperfect, way of grouping
literature—is the most practical choice. It is easy for teachers and librarians to organize learning
and to demonstrate the wide spectrum of ideas and emotions that can be found in children’s
literature. Many students seek and select books for their independent reading by topics, such
as mystery, adventure, sports, or friendships. For this reason we have also included subheadings
of topics within each genre chapter and have arranged the recommended books by these genres
and by the topical subheadings.
Understanding genre characteristics builds a frame of reference for readers of a particular
genre and can ease the task of comprehension. Furthermore, as readers encounter postmodern
works of literature, which go beyond the traditional boundaries of a genre, knowledge of the
traditional literary forms may help them understand what the authors are doing and help them
gain new understandings from this shift.
Authors of children’s literature have been experimenting with works that blend charac-
teristics of several genres, and, as a result, genre boundaries are increasingly blurred (Kaplan,
2005; Laminack & Bell, 2004). As discussed earlier in this chapter, novels for children written
in the style of free verse and other verse forms are being seen with greater frequency. These
are referred to in this text as novels in verse, a form of literature narrated in free verse or other
verse forms. An example is Karen Hesse’s Out of the Dust (1997), awarded the Newbery Medal
and the Scott O’Dell Award for Historical Fiction in the same year. Novels in verse form are
listed in this textbook under their particular narrative genre, such as historical fiction, rather
than in the chapter about poetry. Works of magical realism, a literary mode that combines
realism and fantasy, such as those of Virginia Hamilton (Sweet Whispers, Brother Rush, 1982)
and David Almond (Skellig, 1999), offer their reader new ways to perceive the world. Works
of magical realism appear and are discussed in Chapter 7. Historical fantasy blends histori-
cal fiction and modern fantasy, as Mary Hoffman does in Stravaganza: City of Masks (2002).
These works also appear and are discussed in Chapter 7. Other blended genres include

46
 Learning about Literature

Table 3.2 Genres and Topics of Children’s Literature

Poetry (4) Prose
FICTION NONFICTION (10)
FANTASY REALISM
Traditional Modern Realistic Historical Fiction
Literature (6) Fantasy (7) Fiction (8) and Biographies (9)
Nursery Myths Modern folktales Families Beginnings of Informational
rhymes Epics Animal fantasy Peers civilization books
Lyric Legends and Personified toys Physical, Civilizations of the
poems tall tales and objects emotional, ancient world
Narrative Folktales Unusual mental, and Civilizations of the
poems characters and behavioral medieval world
Fables challenges
situations Emergence of
Religious stories Communities modern nations
Worlds of little
people Animals Development of
Supernatural Sports industrial society
events and Mysteries World wars in the
mystery fantasy twentieth century
Moral choices
Historical fantasy Post–World War II
Romance and
Quest stories sexuality
Science fiction Coming of age
and science
fantasy Adventure and
survival

works of fictionalized biography and informational books that contain elements of both fic-
tion and nonfiction, as in Russell Freedman’s Confucius: The Golden Rule (2002) and David
Macaulay’s Mosque (2003); these works appear in Chapters 9 and 10. These blended-genre
works offer readers new ways to perceive the world and often provide heightened interest for
readers.
Chapter 11 diverges from the organization of genre and presents books organized by cul-
ture. Although multicultural and international books have been placed in a separate chapter for
emphasis and ready access, many multicultural and international titles are also recommended in
the genre chapters.
An overview of the genres, subtopics, and their relationships to one another is displayed in
Table 3.2. These genres can be used in making balanced choices for library and classroom reading
collections and for choosing books to read aloud.

47
 Learning about Literature

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Find and read a book with each of the following characteristics: progressive chrono-
logical plot, episodic plot, and plot with flashbacks. Describe each book’s plot struc-
ture and the age-appropriate target audience for the book.
■ Find and read a literary work written from one of the following points of view: third-
person omniscient, limited omniscient, first person, or shifting. In your opinion, what
effect does the point of view have on the literary work and on the reader? Describe
the writing style and your response to the style as a reader.
■ Locate your state’s children’s choices book award and read some of the current nomi-
nees or recent winners of the award. Evaluate them for student appeal, literary qual-
ity, complexity, curricular value, and illustration quality (if a picture book).

References
Almond, D. (1999). Skellig. New York: Delacorte. Esckilsen, E. (2004). Offsides. Boston: Houghton.
———. (2006). Clay. New York: Delacorte. Freedman, R. (2002). Confucius: The golden rule. Illus-
Appelt, K. (2008). The underneath. New York: trated by Frédéric Clément. New York: Arthur A.
Atheneum. Levine.
Avi. (1990). The true confessions of Charlotte Doyle. Frost, H. (2008). Diamond willow. New York: Farrar.
New York: Orchard. George, J. C. (1959). My side of the mountain. New York:
———. (1991). Nothing but the truth. New York: Dutton.
Orchard. ———. (1972). Julie of the wolves. Illustrated by
Babbitt, N. (1975). Tuck everlasting. New York: Farrar. J. Schoenherr. New York: Harper.
Barrows, A. (2006). Ivy and Bean. Illustrated by S. Black- Hamilton, V. (1982). Sweet whispers, Brother Rush.
all. San Francisco: Chronicle. New York: Philomel.
Bauer, M. D. (2005). A bear named Trouble. New York: Hesse, K. (1997). Out of the dust. New York: Scholastic.
Clarion. Hiaasen, C. (2002). Hoot. New York: Knopf.
Beach, R. W., & Marshall, J. D. (1990). Teaching literature Hoffman, M. (2002). Stravaganza: City of masks. New
in the secondary school. Belmont, CA: Wadsworth. York: Bloomsbury.
Birdsall, J. (2005). The Penderwicks. New York: Knopf. Horvath, P. (2008). My one hundred adventures. New
Cleary, B. (1981). Ramona Quimby, age 8. Illustrated by York: Schwartz & Wade.
A. Tiegreen. New York: Morrow. Hull, N. L. (2008). On rough seas. New York: Clarion.
———. (1983). Dear Mr. Henshaw. Illustrated by P. O. Jennings, P. (2009). We can’t all be rattlesnakes. New
Zelinsky. Orlando, FL: Harcourt. York: HarperCollins.
Curtis, C. P. (2004). Bucking the Sarge. New York: Kaplan, J. (2005). Young adult literature in the 21st cen-
Random. tury: Moving beyond traditional constraints and
Cushman, K. (1994). Catherine, called Birdy. New York: conventions. The ALAN Review, 32(2), 11–18.
Clarion. Kuiper, K. (Ed.). (1995). Merriam Webster’s encyclopedia
DeFelice, C. (2007). The ghost of Poplar Point. New York: of literature. Springfield, MA: Merriam-Webster.
Farrar. Laminack, L. L., & Bell, B. H. (2004). Stretching the
DiCamillo, K. (2000). Because of Winn-Dixie. Cam- boundaries and blurring the lines of genre. Language
bridge, MA: Candlewick. Arts, 81(3), 248–253.

48
 Learning about Literature

Lawrence, I. (2000). Ghost boy. New York: Delacorte. ———. (1985). The transactional theory of the liter-
Lobel, A. (1970). Frog and toad are friends. New York: ary work: Implications for research. In C. R. Coo-
Harper. per (Ed.), Researching response to literature and the
Lupica, M. (2006). Heat. New York: Philomel. teaching of literature: Points of departure (pp. 33–53).
Macaulay, D. (2003). Mosque. Boston: Houghton. Norwood, NJ: Ablex.
Mah, A. Y. (1999). Chinese Cinderella: The true story of Roy, J. (2006). Yellow star. New York: Marshall Cavendish.
an unwanted daughter. New York: Delacorte. Rylant, C. (2001). Mr. Putter & Tabby feed the fish. Illus-
McMullan, M. (2004). How I found the strong. Boston: trated by A. Howard. San Diego, CA: Harcourt.
Houghton. Sachar, L. (1998). Holes. New York: Farrar.
———. (2007). When I crossed No-Bob. Boston: Schmidt, G. D. (2004). Lizzie Bright and the Buckminster
Houghton. boy. New York: Clarion.
More, H. (1961). A book. In W. Cole (Ed.), Poems for sea- Speare, E. G. (1973). The sign of the beaver. Boston:
sons and celebrations. Cleveland: World Publishing. Houghton.
Morgenroth, K. (2006). Echo. New York: Simon & Spillebeen, G. (2005). Kipling’s choice. Illustrated by
Schuster. T. Edelstein. Boston: Houghton.
Na, A. (2001). A step from heaven. Asheville, NC: Front Spinelli, J. (2002). Loser. New York: HarperCollins.
Street. ———. (2008). Smiles to go. New York: Joanna Cotler.
Naidoo, B. (2001). The other side of truth. New York: ———. (1997). Wringer. New York: HarperCollins.
HarperCollins. Springer, N. (2006). The case of the missing marquess.
———. (2006). Web of lies. New York: HarperCollins. New York: Philomel.
Nikolajeva, M. (1998). Exit children’s literature? The Taylor, T. (2004). Ice drift. Orlando, FL: Harcourt.
Lion and the Unicorn, 22(2), 221–236. Vaught, S. R. (2008). Big fat manifesto. New York:
Oppel, K. (2004). Airborn. Toronto, ON: Harper- Bloomsbury.
Collins. Veciana-Suarez, A. (2002). Flight to freedom. New York:
Paulsen, G. (1987). Hatchet. New York: Bradbury. Orchard.
Perkins, L. R. (2005). Criss cross. New York: Greenwillow. White, E. B. (1952). Charlotte’s web. Illustrated by G.
Philbrick, R. (2004). The young man and the sea. New Williams. New York: Harper.
York: Blue Sky Press. Willems, M. (2008). I will surprise my friend! New York:
Rosenblatt, L. (1978). The reader, the text, the poem. Car- Hyperion.
bondale: Southern Illinois University.

Now go to Chapter 3 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

49
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Poetry
What’s a Poem?
A whisper, A rhythm,
a shout, a rhyme,
thoughts turned a moment
inside out. caught in time.

A laugh, A moon,
a sigh, A star,
an echo a glimpse
passing by. of who you are.

—Charles Ghigna
“What’s a Poem?” from A Fury of Motion: Poems for Boys by Charles Ghigna (Wordsong,
an imprint of Boyds Mills Press, 2003). Reprinted with the permission of Boyds Mills
Press, Inc. Copyright © 2003 by Charles Ghigna.

From Chapter 4 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

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 Poetry

Poetry, in the form of nursery rhymes, is a natural beginning to literature for young children and
an enjoyable literary form for all ages. In their earliest years, children acquire language and knowl-
edge of the world around them through listening and observing. Poetry, primarily an oral form
of literature that draws heavily on the auditory perceptions of the listeners, is ideally suited to
young children. Throughout the elementary- and middle-school years, poetry that relates to top-
ics and issues being explored in the classroom can be shared orally, providing a flash of humor
or a new perspective.

Definition and Description

Poetry is the concentrated expression of ideas and feelings through precise and imaginative words
carefully selected for their sonorous and rhythmical effects. Originally, poetry was oral, recited by
minstrels as they traversed the countryside, sharing poems and songs with listeners of all ages.
The musicality of poetry makes it an especially suitable literary form for teachers to read aloud
and, at times, to put to music.
Children often believe that rhyme is an essential ingredient of poetry, yet some types of
poetry do not rhyme. What, then, distinguishes poetry from prose? The concentration of thought
and feeling expressed in succinct, exact, and beautiful language, as well as an underlying pulse or
rhythm are the traits that most strongly set poetry apart from prose.
Not all rhyming, rhythmical language merits the label of poetry. Verse is a language form in
which simple thoughts or stories are told in rhyme with a distinct beat or meter. Mother Goose
and nursery rhymes are good examples of well-known, simple verses for children. And, of course,
we are all too aware of the jingle, a catchy repetition of sounds heard so often in commercials.
The most important feature of verses and jingles is their strong rhyme and rhythm. Content is
often light or even silly. Although verses and jingles are enjoyable and engage children, poetry
enriches children’s lives by giving them new insights and fresh views on life’s experiences and by
bringing forth strong emotional responses.
The term poetry is used in this chapter both to refer to a form of language that can evoke
great depth of feeling and provoke new insights through imaginative and beautiful language and
to refer to favorite verses of childhood.

Types of Poetry Books

Poetry touches our minds and hearts by drawing on all five senses. Children, too, are reached by
poetry, even though the subjects that move them may differ from those that move adults. A wide
variety of poetry books is available today for use by students and teachers. Selecting books of
poetry for use in the classroom as bridges between classroom activities, as materials for reading,
and as literature for enjoyment will require teachers to review and evaluate the many types of
poetry books: anthologies, Mother Goose and nursery rhyme books, nursery songbooks, books
of poems on special topics and by favorite poets, and single illustrated poems in picture book
formats.

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 Poetry

Mother Goose and Nursery Rhyme Books

Mother Goose and nursery rhyme books are heavily illustrated collections of traditional verse.
Tomie dePaola’s Mother Goose, collected and illustrated by Tomie dePaola, is a good example.
Often, a familiar illustration is all a child needs to get her or him to recite one of these well-loved
verses. Collected nursery rhymes first appeared in editions of Charles Perrault’s Tales of Mother
Goose in France in the early eighteenth century. These verses are now part of children’s literary
heritage and are a wonderful introduction to the world of literature for young children. In Western
societies in which countless allusions are made every day to the characters and situations found
in nursery rhymes, knowledge of this literature is a mark of being culturally literate.
Because so many of these verses exist, the better collections include large numbers of rhymes
organized thoughtfully around themes or topics and indexed by titles or first lines. Favorites in-
clude Marguerite de Angeli’s Book of Nursery and Mother Goose Rhymes and The Arnold Lobel Book
of Mother Goose. These cultural connections can be expanded by collections from other traditions,
such as Rhymes ’Round the World, selected by Kay Chorao, and Arrorró, mi niño: Latino Lullabies
and Gentle Games, collected by Lulu Delacre.

Nursery Songs
Nursery songs are heavily illustrated collections of traditional and modern verses with musical
notation. Melody emphasizes the innate musicality of these verses and turns some verses into
games (“Ring around the Roses”) and others into lullabies (“Rock-a-Bye Baby”) and finger plays
(“Eensy, Weensy Spider”). Collections of songs, like Jane Yolen’s Trot, Trot to Boston and José-Luis
Orozco’s Diez Deditos and Other Play Rhymes and Action Songs from Latin America, are essential
for teachers working with young children. Single illustrated versions of familiar songs provide
innovative interpretations, such as the two picture book versions of Hush, Little Baby by Brian
Pinkney and Marla Frazee.

Anthologies of Poetry
A large, comprehensive anthology of poetry for children is a must in every classroom. Anthologies
should be organized by subject for easy retrieval of poems appropriate for almost any occasion.
In addition, indexes of poets and titles or first lines are usually provided in these texts. Works by
contemporary and traditional poets can be found in most of these anthologies; they appeal to a
wide age range, providing nursery rhymes for toddlers as well as longer, narrative poems for older
readers. Examples include The Random House Book of Poetry for Children, edited by Jack Prelutsky,
and The Bill Martin Jr. Big Book of Poetry, edited by Bill Martin Jr. and Michael Sampson.

Specialized Poetry Books

Specialized poetry books, in which the poems are all by one poet, on one topic, for one age group,
or of one poetic form, are readily available. These specialized collections support teachers and
children in exploring specific topics, poets, and types of poetry. Beautifully illustrated collections
are especially enjoyed by children for independent reading of poetry. Examples include Dinothe-
saurus: Prehistoric Poems and Paintings by Douglas Florian and Jazz by Walter Dean Myers.

53
 Poetry

Single Illustrated Poems

Single illustrated poems that are narratives are frequently presented in picture book formats. These
editions make poetry more appealing and accessible to many children, but in some cases the il-
lustrations may remove the opportunity for children to form their own mental images from the
language created by poets. My People, with photographs by Charles Smith, and The Negro Speaks
of Rivers, illustrated by E. B. Lewis, provide compelling visual metaphors of classic poems by Langs-
ton Hughes.

Elements of Poetry
Just as with a work of fiction, the elements of a poem should be considered if the reader is to
understand and evaluate the poem. Each of these parts—meaning, rhythm, sound patterns,
figurative language, and sense imagery—work together to express ideas and feelings.

■ Meaning. Meaning is the underlying idea, feeling, or mood conveyed through the poem. As

with other literary forms, poetry is a form of communication; it is the way a poet chooses to
express emotions and thoughts through the choice and arrangement of words.
■ Rhythm. Rhythm is the beat or regular cadence of the poem. Poetry, usually an oral form of

literature, relies on rhythm to help communicate meaning. A fast rhythm is effected through short
lines; clipped syllables; sharp, high vowel sounds, such as the sounds represented by the letters a, e,
and i; and abrupt consonant sounds, such as the sounds represented by the letters k, t, w, and p. A
fast rhythm can provide the listener with a feeling of happiness, excitement, drama, and even tension
and suspense. A slow rhythm is effected by longer lines, multisyllabic words, full or low vowel sounds
such as the sounds represented by the letters o and u, and resonating consonant sounds such as the
sounds represented by the letters m, n, and r. A slow rhythm can evoke languor, tranquility, inevi-
tability, and harmony, among other feelings. A change in rhythm during a poem signals the listener
to a change in meaning.
In the following poem, the rhythm exhibits the dizzy and increasing speed of a merry-go-
round. “Slowly,” in contrast, proceeds more slowly in communicating the calm and quiet of
summer.

MERRY-GO-ROUND
I climbed up on the merry-go-round.
And it went round and round
I climbed up on a big brown horse
And it went up and down.
Around and round
And up and down.
Around and round
And up and down.
I sat high up

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 Poetry

On a big brown horse

And rode around
On the merry-go-round
And rode around
On the merry-go-round
I rode around
On the merry-go-round
Around
And round
And
Round.
—Dorothy Baruch

SLOWLY
Slowly the tide creeps up the sand,
Slowly the shadows cross the land.
Slowly the cart-horse pulls his mile,
Slowly the old man mounts the stile.
Slowly the hands move round the clock, “Slowly” by James Reeves from Complete
Slowly the dew dries on the dock. Poems for Children (FaberFinds).
Copyright © James Reeves. Reprinted by
Slow is the snail—but slowest of all
permission of the James Reeves Estate.
The green moss spreads on the old brick wall. Anthology available at www.faber.co.uk/
—James Reeves faberfinds.

■ Sound Patterns. Sound patterns are made by repeated sounds and combinations of sounds in the

words. Words, phrases, or lines are sometimes repeated in their entirety. Also, parts of words may be
repeated, as with rhyme, the sound device that children most recognize and enjoy. Rhyme occurs
when the ends of words (the last vowel sound and any consonant sound that may follow it) have the
same sounds. Examples of rhyming words are vat, rat, that, brat, and flat, as well as hay, they, flay,
stray, and obey. Assonance is another pattern poets use for effect. In this case, the same vowel sound
is heard repeatedly within a line or a few lines of poetry. Assonance is exemplified in these words:
hoop, gloom, moon, moot, and boots. Alliteration is a pattern in which initial consonant sounds are
heard frequently within a few lines of poetry. Examples are ship, shy, and shape. Consonance is simi-
lar to alliteration but usually refers to a close juxtaposition of similar final consonant sounds, as in
flake, chuck, and stroke. Onomatopoeia is the device in which the sound of a word imitates its real-
world sound. Examples are buzz for the sound of a bee and hiss for the sound a snake makes.
■ Figurative Language. Figurative language takes many different forms, but it involves compar-

ing or contrasting one object, idea, or feeling with another one. A simile is a direct comparison,
typically using like or as to point out the similarities. The familiar poem “The Star” includes a
simile to compare a star to a diamond.

55
 Poetry

THE STAR
Twinkle, twinkle little star,
How I wonder what you are!
Up above the world so high,
Like a diamond in the sky.
—Jane Taylor

A metaphor is an implied comparison without a signal word to evoke the similarities. In the
poem “The Night Is a Big Black Cat,” the metaphor implies a comparison between the night sky
and a black cat.

THE NIGHT IS A BIG BLACK CAT

The Night is a big black cat
The Moon is her topaz eye,
The stars are the mice she hunts at night,
In the field of the sultry sky.
—G. Orr Clark

Personification is the attribution of human qualities to animals or to inanimate objects for the
purpose of drawing a comparison between the animal or object and human beings. In “The Crocus,”
the flower is personified by human actions and a personal pronoun.

THE CROCUS
The golden crocus reaches up
To catch a sunbeam in her cup.
—Walter Crane

Hyperbole is an exaggeration to highlight reality or to point out ridiculousness. Children

often delight in hyperbole because it appeals to their strong sense of the absurd. To show a boy’s
reluctance to go to school John Ciardi uses hyperbole with good effect in the following stanza
from “Speed Adjustments.”
Why does a boy who’s fast as a jet “Speed Adjustments” from The Monster Den by John
Take all day—and sometimes two— Ciardi (Wordsong, an imprint of Boyds Mills Press, 1991).
To get to school? Reprinted with the permission of Boyd Mills Press, Inc.
Text copyright © 1963, 1964, 1966 by John Ciardi.

■ Sense Imagery. A poet will play on one or more of the five senses in descriptive and narrative

language. Sight may be awakened through the depiction of beauty; hearing may be evoked by the
sounds of a city street; smell and taste may be recalled through the description of a fish left too
long in the sun; and finally, touch can be sensitized through describing the gritty discomfort of a
wet swimsuit caked with sand from the beach. After listening to a poem, children can be asked to
think about which of the senses the poet is appealing to.

These elements of poetry may be considered to select varied types of poems and to group them
for presentation. However, little is gained by teaching each of these elements as a separate item to

56
 Poetry

be memorized or analyzed. Poetic analysis has caused many students to dislike poetry. On the
other hand, students whose teachers love poetry, select it wisely, read it aloud well, and share it
often and in many enjoyable ways will come to appreciate poetry.

Evaluation and Selection of Poetry

The criteria to keep in mind in evaluating a poem for use with children are as follows:

■ The ideas and feelings expressed are authentic, fresh, and imaginative.
■ The expression of the ideas and feelings is unique, often causing the
reader to perceive ordinary things in new ways.
Go to Activity 1 in the Assign-
■ The poem is appropriate to the experiences of children and does not
ments and Activities section of
Chapter 4 in MyEducationKit; preach to them.
complete the activity on evaluat- ■ The poem presents the world through a child’s perspective and focuses
ing a poem you love. on children’s lives and activities as well as on activities to which people
of all ages can relate.
■ Poetry collections should be judged on the quality of the poetry choices first and illustrations

and the appearance of the book second. Beautiful illustrations do not ensure a good collection
of poems within the covers.
■ Children report a preference for narrative poems, and so these poems are a good choice for

classroom sharing.
■ Although certain poets may be favored by your students, they will also enjoy the poetry of

many other writers. Thus, be sure to share poems by a variety of poets.

In selecting poems to read to students, the Golden Age poets listed in the Milestones fea-
ture in this chapter, the list of notable poets on page 63, and the list of poets who have won
the National Council of Teachers of English (NCTE) Award are good starting points. The
NCTE Award was established in 1977 in the United States to honor living U.S. poets whose
poetry has contributed substantially to the lives of children. This award is given to a poet for
the entire body of writing for children ages 3 through 13 and is now given every three years.
In addition, a recent reference book, Young Adult Poetry: A Survey and Theme Guide (Schwedt
& DeLong, 2002), can be a useful tool for students and teachers in upper elementary and
middle grades for locating poems to support the curriculum and to address student inter-
ests. This bibliography annotates 198 poetry books and identifies themes in more than 6,000
poems.

NCTE Excellence in Poetry for Children Award Winners

1977 David McCord 1991 Valerie Worth
1978 Aileen Fisher 1994 Barbara Juster Esbensen
Go to Activity 2 in the Assign- 1979 Karla Kuskin 1997 Eloise Greenfield
ments and Activities section of 1980 Myra Cohn Livingston 2000 X. J. Kennedy
Chapter 4 in MyEducationKit;
1981 Eve Merriam 2003 Mary Ann Hoberman
complete the activity on evalu-
1982 John Ciardi 2006 Nikki Grimes
ating the poetry of an NCTE
award–winning poet.
1985 Lilian Moore 2009 Lee Bennett Hopkins
1988 Arnold Adoff

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 Poetry

Although more poetry for children is being written, published, and enjoyed by many teachers
and their students, some teachers report that they do not share poetry because of their uncertainty
about selecting poems for their students. By learning about students’ preferences in poetry and
some of the best-loved poems and most respected poets, a teacher can become more skillful at
selecting poems that engage students.

Children’s Poetry Preferences

The findings from surveys of children’s poetry preferences can be helpful to teachers in selecting
poems for a new group of students. Fisher and Natarella (1982) surveyed primary-grade children
and their teachers, and Terry (1974) studied intermediate-grade children. The two age groups
were similar, although not identical, in their preferences.
■ Both age groups preferred narrative poems over lyric poems.
■ Limericks were the favored poetic form of both age groups; free verse and haiku were not
well liked by either age group.
■ Children of both age groups preferred poems that had pronounced sound patterns of all
kinds, but especially enjoyed poems that rhymed.
■ Rhythm was an important element to students of both age groups; they preferred poems with
regular, distinctive rhythm.
■ Children of both age groups liked humorous poems, poems about animals, and poems about
enjoyable, familiar experiences.
■ The subjects most preferred by primary-grade children were strange and fantastic events,
animals, and other children; the older children preferred the realistic contents of humor,
enjoyable, familiar experiences, and animals.
■ Children in both age groups often found figurative language in poetry confusing.
A study by Kutiper and Wilson (1993) was conducted to determine whether an examination
of school library circulation records would confirm the findings of the earlier poetry preference
studies. Their findings indicated that the humorous contemporary poetry of Shel Silverstein and
Jack Prelutsky dominated the students’ choices. The collections of poetry written by the NCTE
award winners did not circulate widely; nor were they widely available in the school libraries
studied, even though these poets reflect a higher quality of language and usage than is found in
the light verse so popular with students. Kutiper and Wilson stated that real interest in poetry
must go beyond Prelutsky and Silverstein. This interest needs to be developed by teachers who
provide an array of poetry that builds on students’ natural interests.
Children’s appreciation of poetry can be broadened and deepened by a good teacher, but you
may be wise to proceed with caution on less-liked aspects of poetry until your students become
fans of poetry. Thus, a good selection of rhyming, narrative poems with distinct rhythms about
humorous events, well-liked familiar experiences, and animals is a good starting point for students
who have little experience with poetry.

Historical Overview of Poetry

Poetry for children began centuries ago in the form of nursery rhymes that were recited to babies
and toddlers by caregivers. These verses were passed along via the oral tradition. The earliest

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Notable Authors
of Poetry

Arnold Adoff, recipient of the National Council of Paul B. Janeczko, contemporary poet and anthol-
Teachers of English (NCTE) Award for Excel- ogist of poetry that especially appeals to young
lence in Poetry for Children. Many poems adults. Dirty Laundry Pile: Poems in Different
about relating to people across racial groups. Voices; A Poke in the I: A Collection of Concrete
All the Colors of the Race. www.arnoldadoff.com Poems; Worlds Afire. www.pauljaneczko.com
Paul Fleischman, winner of the Newbery Medal X. J. Kennedy, a favorite creator of nonsense
for his Joyful Noise: Poems for Two Voices; in it and humorous verse about contemporary
and Big Talk, the poems are composed and themes. Fresh Brats; Exploding Gravy. www
printed for two or four readers to read lines in .xjanddorothymkennedy.com
unison and solo. www.paulfleischman.net Naomi Shihab Nye, a poet and anthologist whose
Douglas Florian, poet and illustrator, blends irre- meditative poems offer global perspectives and
sistible wordplay, free-flowing poems, interest- whose edited collections include Mexican, Na-
ing facts, and vibrant collage art to create tive American, and Middle Eastern poetry. This
picture book poetry collections. Dinothesaurus; Same Sky: A Collection of Poems from around
Comets, Stars, the Moon and Mars; Mammal- the World; 19 Varieties of Gazelle: Poems of the
abilia. www.douglasflorian.com or see his blog, Middle East.
http://floriancafe.blogspot.com Joyce Sidman, an award-winning poet of picture
Kristine O’Connell George, noted for several book collections who uses a range of poetic
poetry collections of interest to children from forms from riddles to concrete poems in cele-
preschool to middle school in which she uses bration of nature. Song of the Water Boatman
many different poetic forms. Little Dog Poems; and Other Pond Poems; Butterfly Eyes and
Swimming Upstream: Middle School Poems; Other Secrets of the Meadow; Meow Ruff; Red
Fold Me a Poem. www.kristinegeorge.com Sings from Treetops. www.joycesidman.com
Nikki Grimes, African-American poet whose po- Gary Soto, a writer whose poetry captures the
etry celebrates children and their friendships experiences of growing up in a Mexican
and families. 2006 recipient of the NCTE neighborhood in California’s Central Valley.
Award for Excellence in Poetry. Meet Danitra Neighborhood Odes; Worlds Apart: Traveling
Brown; A Pocketful of Poems. www.nikkigrimes with Fernie and Me. www.garysoto.com
.com Janet Wong, a poet who writes about contempo-
Mary Ann Hoberman, recipient of the NCTE rary American culture and creates free-verse
Award for Excellence in Poetry, known for poems based on life experiences, ranging from
her humorous, colorful poetry. Fathers, dreams to growing up Asian-American. Good
Mothers, Sisters, Brothers: A Collection of Luck Gold and Other Poems; A Suitcase of Sea-
Family Poems; You Read to Me, I’ll Read to weed and Other Poems; Night Garden. www
You. www.maryannhoberman.com. .janetwong.com

published collection of nursery rhymes that survives today is Tommy Thumb’s Pretty Song Book
(1744), which is housed in the British Museum (Gillespie, 1970). This songbook contains familiar
rhymes such as “Hickory Dickory Dock” and “Mary Mary Quite Contrary.” These rhymes and
others like them came to be called Mother Goose rhymes, but the term Mother Goose was first used
in France by Charles Perrault in his Stories and Tales of Past Times with Morals; or, Tales of Mother
Goose (1697) to refer to his collection of fairy tales. Later editions contained nursery rhymes,
which became so popular that Mother Goose became a general name for nursery rhymes. For

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 Poetry

MILESTONES in the Development of Poetry

Date Poet Landmark Work Country Characteristic
1846 Edward Lear A Book of Nonsense England Father of nonsense
poetry, limericks
1864 Lewis Carroll “Jabberwocky” England Nonsense verses, such as
those in Alice’s Adventures
in Wonderland
1872 Christina Rossetti Sing Song England Poems on children and
the small things around
them
1885 Robert Louis A Child’s Garden of England Descriptive poems
Stevenson Verses of childhood memories
1888 Ernest Thayer “Casey at the Bat” United States Famous ballad on
baseball
1890 Laura E. Richards In My Nursery United States Poems with
hilarious situations,
wordplay, and strong
rhythm
1896 Eugene Field Poems of Childhood United States Poems reflecting on
children and child life
1902 Walter de la Mare Songs of Childhood England Musical and imagi-
native poetry
1920 Rose Fyleman Fairies and Chimneys England Imaginative poems
about fairies
1922 A. A. Milne When We Were Very England Poems of fun in
Young which the child’s
world is observed
1926 Rachel Field Taxis and Toadstools United States Poems about city
and country through
the child’s eyes

many, nursery rhymes and poems were the first forms of literature experienced and came to
symbolize the reassuring sounds of childhood.
Poems of a moral and religious bent were shared with obvious didactic intent, reflecting the
strict attitude toward the rearing of children that held sway in the Western world from the Middle
Ages to the late nineteenth century. Fear of death and punishment was instilled as a means of
gaining obedience to authority. Ann and Jane Taylor’s Original Poems, for Infant Minds, by Several
Young Persons (1804) provided verse of this kind. Some titles of poems from this early collection
are “The Idle Boy,” “Greedy Richard,” “Meddlesome Matty,” and “The Church-Yard.”

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 Poetry

Poetry for children flourished from the middle of the nineteenth century through the 1920s,
a period that can be considered the Golden Age of Poetry for Children. The accompanying Mile-
stones feature lists the poets, countries, landmark works and dates, and characteristics. The Golden
Age of Poetry moved away from moralistic poetry and instead provided children with poems
describing the beauty of life and nature, with poems of humor, nonsense, and word fun, and with
imaginative poems that interpreted life from the child’s perspective. Much of the Golden Age
poetry retains its appeal for today’s children; for example, A Child’s Garden of Verses (1885) by
Robert Louis Stevenson remains a favorite collection of poems among parents and children. This
positive shift remains the standard for children’s poetry today.
In the 1960s and 1970s, the general trend toward realism in children’s literature was also
reflected in poetry. More topics were considered suitable for the child audience, resulting in pro-
test poetry, poems about girls in nontraditional roles, and irreverent poems. For example, parents,
teachers, and other adults became fair game for ridicule and mockery. Minority poets were more
frequently published, and their poetry gained in popularity.
Popularity of poetry in the classroom began in the 1980s and continues to the present day.
Developments in the publishing industry attest to this popularity. For example, Boyds Mills Press
has a division devoted to children’s poetry, called Windsong. Publishers continue to present both
single poems and collections of poems in beautifully illustrated book formats. In the 1980s, Nancy
Willard’s A Visit to William Blake’s Inn: Poems for Innocent and Experienced Travelers and Paul
Fleischman’s Joyful Noise: Poems for Two Voices received Newbery Medals, indicating greater rec-
ognition of poetry for young people in the United States. An increase in the publication of an-
thologies of poems by and about minorities, such as Pass It On, edited by Wade Hudson, and Cool
Salsa, edited by Lori Carlson, has been noted in the 1990s. This increased publication has also
resulted in greater attention to earlier African-American poets, such as Paul Laurence Dunbar,
Countee Cullen, and Langston Hughes. A current trend practiced by authors such as Karen Hesse,
Helen Frost, Sharon Creech, Jacqueline Woodson, and Margarita Engle involves using poetry to
create novels in verse for older children.

Poetry Types and Forms

Poetry can be classified in many ways; one way is to consider two main types that generally differ
in purpose: lyric and narrative poetry. Lyric poetry captures a moment, a feeling, or a scene and
is descriptive in nature, whereas narrative poetry tells a story or includes a sequence of events.
From this definition, you will recognize the following selection to be a lyric poem.

GIRAFFES
Stilted creatures,
Features fashioned as a joke,
Boned and buckled,
Finger painted,
They stand in the field “Giraffes” by Sy Kahn from Reflections on a Gift of Watermelon
On long-pronged legs Pickle, edited by S. Dunning, E. Lueders, and H. Smith (1967).
As if thrust there. Reprinted with the permission of Sy M. Kahn.

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 Poetry

They airily feed,

Slightly swaying,
Like hammer-headed flowers.
Bizarre they are,
Built silent and high,
Ornaments against the sky.
Ears like leaves
To hear the silken
Brushing of the clouds.
—Sy Kahn

The next selection is an example of a narrative poem:

AFTER THE PARTY

Jonathan Blake
Ate too much cake,
He isn’t himself today;
He’s tucked up in bed
With a feverish head,
And he doesn’t much care to play.
Jonathan Blake
Ate too much cake,
And three kinds of ice cream too—
From latest reports
He’s quite out of sorts,
And I’m sure the reports are true.
I’m sorry to state
That he also ate
Six pickles, a pie and a pear;
In fact I confess
It’s a reasonable guess
He ate practically everything there.
Yes, Jonathan Blake
Ate too much cake,
So he’s not at his best today; “After the Party” by William Wise. Copyright © 1956 by
But there’s no need for sorrow— William Wise. First appeared in Jonathan Blake, published
If you come back tomorrow, by Alfred A. Knopf. Reprinted by permission of Curtis
I’m sure he’ll be out to play. Brown, Ltd.
—William Wise

Poetry can also be categorized by its poetic form, which refers to the way the poem is structured
or put together. Couplets, tercets, quatrains, and cinquains refer to the number (two, three, four,

62
 Poetry

and five) of lines of poetry in a stanza—a set of lines of poetry grouped together. Couplets, tercets,
quatrains, and cinquains usually rhyme, though the rhyme scheme may vary; these poetic forms
may constitute an entire poem, or a poem may be comprised of a few stanzas of couplets, tercets,
and so on. “Higglety, Pigglety, Pop!” is an example of the cinquain poetic form found in a
traditional nursery rhyme.

HIGGLETY, PIGGLETY, POP!

Higglety, pigglety, pop!
The dog has eaten the mop.
The pig’s in a hurry,
The cat’s in a flurry,
Higglety, pigglety, pop!
—Traditional

Other specific poetic forms frequently found in children’s poetry are limericks, ballads, haiku,
sijo, free verse, and concrete poetry.
A limerick is a humorous, one-stanza, five-line verse form (usually a narrative), in which lines
1, 2, and 5 rhyme and are of the same length and lines 3 and 4 rhyme and are of the same length
but shorter than the other lines. The following is an example of a limerick by Edward Lear, the
poet who popularized this poetic form in the nineteenth century.

LIMERICK
There was an Old Man with a beard
Who said, “It is just as I feared!—
Two Owls and a Hen
Two Larks and a Wren
Have all built their nests in my beard!”
—Edward Lear

A ballad is a fairly long narrative poem of popular origin, usually adapted to singing. These
traditional story poems are often romantic or heroic, such as “Robin Hood” or “John Henry.”
Haiku is a lyric, unrhymed poem of Japanese origin with seventeen syllables, arranged on
three lines with a syllable count of five, seven, and five. Haiku is highly evocative poetry that
frequently espouses harmony with and appreciation of nature. Here is an example.

Pigeons masquerade
“Pigeons Masquerade” from A Pocketful of Poems by Nikki
As wildlife. They can’t fool me.
Grimes. Text copyright © 2001 by Nikki Grimes. Reprinted
We’re all city folk. by permission of Clarion Books, an imprint of Houghton
—Nikki Grimes Mifflin Company. All rights reserved.

Sijo is a traditional Korean poetry form with three lines, each with fourteen to sixteen syl-
lables. The first line introduces the topic, the second develops the topic, and the third contains

63
 Poetry

some kind of twist. Unlike haiku, sijo is written about a wide range of topics, including relation-
ships and everyday moments.

POCKETS
What’s in your pockets right now? I hope they’re not empty;
Empty pockets, unread books, lunches left on the bus—all a waste.
In mine: One horse chestnut. One gum wrapper. One dime. One hamster.
—Linda Sue Park

“Pockets” from “October” from Tap Dancing on the Roof by Linda Sue Park. Text copyright © 2007 by
Linda Sue Park. Reprinted by permission of Clarion Books, an imprint of Houghton Mifflin Harcourt
Publishing Company. All rights reserved.

Free verse is unrhymed poetry with little or light rhythm. Sometimes words within a line will
rhyme. The subjects of free verse are often abstract and philosophical; they are always reflective.

AUTUMN LEAVES
gather in gutters,
pile on walks,
tumble
from the tips
of toes,
crunching
“Autumn Leaves” from In the Spin of Things: Poetry of Motion
fall hellos
by Rebecca Kai Dotlich (Wordsong, an imprint of Boyds Mills
to back-to-school feet. Press, 2003). Reprinted with the permission of Boyds Mills
—Rebecca Kai Dotlich Press, Inc. Copyright © 2003 by Rebecca Kai Dotlich.

Concrete poetry is written and printed in a shape that signifies the subject of the poem. Concrete
poems are a form of poetry that must be seen as well as heard to be fully appreciated. These poems
do not usually have rhyme or definite rhythm; they rely mostly on the words, their meanings and
shapes, and the way the words are arranged on the page to evoke images. In “Concrete Cat” you will
note through the position of the word that the mouse appears to have met with an accident.
CONCRETE CAT
eA r eA r
stripestripestripestripe
a
t

wh
isk eYe eYe er stripestripestripe i l “Concrete Cat” by Dorthi
er isk
wh stripestripestripestripe
t a i l
Charles from Knock at a
r mo h wh
iske t isk stripestripestripe Star: A Child’s Introduc-
wh U er
stripestripestripestripe tion to Poetry (Little,
paw paw paw paw
mouse
Brown and Company).
Copyright © 1999 by X. J.
dishdish litterbox and Dorothy M. Kennedy.
litterbox Reprinted by permission
—Dorthi Charles of the editors.

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 Poetry

Poetry in the Classroom

Young children delight in the sounds and language play of poetry—yet by fifth grade, students
typically indicate that poetry is their least favorite genre. What happens to cause this huge shift?
School. Poetry is the most misused genre in classrooms, often chosen for memorization and
handwriting practice. Poetry tends to be neglected, seldom shared until the dreaded poetry
unit comes along and bombards students with abstract poems that they are expected to ana-
lyze in order to uncover the “hidden meanings.” The result is that students often build a life-
long dislike of poetry, instead of being provided with experiences that create a lifelong love of
poetry.

Students’ Listening to and Saying Poems

Teachers and librarians can begin by providing even very young students with many opportunities
to hear and say poems. Later, when students have developed a love of poetry and an affinity for
the language play in poems, students can read poetry by fine poets and by their classmates and
can begin to write poems themselves. In other words, poetry needs to be
shared in both oral and written forms.
Poetry should be introduced first and often to children in an oral form.
Go to the Conversations section Because poetry was originally an oral form of literature, it still relies heavily
of Chapter 4 in MyEducationKit on the auditory perceptions of listeners. Moreover, children’s oral language
to read the interview with Lee
is the basis for their later acquisition of literacy. These two facts combine
Bennett Hopkins.
nicely to make listening to and saying poems a natural early introduction
to literature for children. Some teachers report that they do not share poetry with their students
because of their uncertainty about how to read it aloud. By practicing the poems ahead of time
and by reading poetry frequently, a teacher can overcome this reluctance. The rewards to both
students and teachers are worth the effort.

Reading Poetry Aloud to Children

Poetry should be read aloud to students on a daily basis. Elster and Hanauer (2002), in examin-
ing how kindergarten to fourth-grade teachers shared poems with their students, found that
reading poetry aloud with expression is effective in drawing children’s attention to literate lan-
guage. Brief, positive encounters with one to three poems at a time are best. Too many poems
in one sitting may overwhelm students or make the reading tedious. Introduce the poem to the
class before reading it aloud, either by tying the poem in with something else or by briefly telling
why you chose this poem. Then state the title of the poem and begin to read. After reading the
poem, be sure to announce the name of the poet so that students discover the writers they es-
pecially enjoy. In addition, the following points will help you to read poetry well:

■ Keep in mind that poetry should be read for its meaning. Stress the meaning elements of the

poem just as you do when reading prose. The pauses must be determined by the meaning units
of the poem, not by the end of the lines.

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■ A reader should not overemphasize the beat of the poem. Doing so results in an annoying

singsong effect. Let the poetic language provide the rhythm.

■ Poetry should be enunciated clearly. Each sound and each syllable of a poem are important

and must be heard to be appreciated. You may need to slow down your normal reading pace to
give full value to each sound.
■ Poetry begs to be performed and dramatized. Try out different ef-

fects (using different voices, elongating words, singing, shouting, whis-

pering, pausing dramatically, and so on) as you read poems aloud. Your
Go to Activity 3 in the Assign- voice is a powerful tool: You may change it from louder to softer to only
ments and Activities section of a whisper; you may start at a deep, low pitch and rise to a medium and
Chapter 4 in MyEducationKit; eventually high pitch; you may speak very quickly in a clipped fashion
view the artifact on responding to
poetry through art and respond
and then slow down and drawl out the words. Sara Holbrook’s Wham!
to the question. It’s a Poetry Jam: Discovering Performance Poetry (2002) offers good sug-
gestions for performing poetry and running a poetry contest.
■ Some poems may need to be read aloud a number of times for the meaning to be fully un-

derstood by listeners. Also, favorite poems can be enjoyed again and again, as teachers and stu-
dents savor one more reading.
■ Consider recording poems for the listening center and making them available along with the

poem in print, on a chart or in a book, for the student to listen to and read. Commercially made
recordings of popular poets reading their works, accompanied by music, are available and quite
popular with children. Some teachers have asked parents to peruse a poetry anthology, select a
favorite poem, and then record their reading of the poem for use in the listening center.
■ After reading a poem aloud, some form of response is usually enjoyed. Some poems warrant

discussion, and students can take the opportunity to tell how the poem made them feel or what
it made them think about. Ask, “What meaning does the poem have for you?”

Choral Poetry
A time-honored technique for providing opportunities to say and hear poems over and over again
is given by choral poetry. Choral poetry consists of interpreting and saying a poem together as a
group activity. These poems may be practiced and recited or read aloud. Students enjoy this way
of experiencing poetry because they have a participatory role in the activity. Most poetry, intended
to be listened to, is suitable for choral presentation. The following sections explain how to select
choral poems and teach them to students.
1. Selection. At first, select a short poem (from one to four stanzas) until your students develop
some skill in memorizing, reciting, and performing poems. Humorous narrative poems are good
first choices. Later, you will want to experiment with longer poems. Provide students with a copy
of the poem.
2. Arrangements. Options for reading a poem chorally include unison, two- or three-part, solo
voices, cumulative buildup, and simultaneous voices.
■ In unison choral speaking, the students recite the poem together as a group. Two-part
or three-part choral poetry is usually based on arranging students into voice types (for
example, high, medium, and low) to achieve different effects and by selecting lines of
the poem for each group to recite or read.

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 Poetry

■ Solo voices can be added to either of these presentations and are sometimes used for
asking a question or making an exclamation.
■ Some poems lend themselves to cumulative buildup presentations. A cumulative buildup

is effected by having, for example, only two voices say the first line, then two more join
in on the second, and then two more, gradually building to a crescendo until the entire
class says the last line or stanza.
■ Poems can be presented by simultaneous recitation, which forms a presentation similar

to a musical round. In this case, group one begins the poem and recites it all the way
through. When group one begins the third line, then group two starts the first line, and
the two groups recite simultaneously until the end. Other groups can, of course, be
added.
■ Poetry selected and arranged for dramatic choral readings on a particular theme infuses

an interesting variation into choral poetry. Paul Fleischman’s Joyful Noise: Poems for Two
Voices, I Am Phoenix: Poems for Two Voices, and Big Talk: Poems for Four Voices are col-
lections of poetry written in a manner that is already suitable for choral reading. These
collections were written to be read aloud by two readers at once, one reading the left half
of the page and one reading the right half, as well as certain lines simultaneously. Pairs
of students may each take a different poem from the collection.
Many other variations can be developed for use in choral readings. Let imagination be
your guide. Words and lines can be spun into ghostly moans, or barked, or sung, or repeated.
Choreography adds visual impact, as do simple props. As soon as children learn that poems
do not have to be read sedately through exactly as written, they will begin to find excitement
and deeper meaning in poetry.
3. Performance. Incorporating action, gestures, body movements, and finger plays can produce
more interesting and enjoyable presentations. Many of these performances will be informal, with
a focus on playing with various arrangements of a poem in a small group or class. More formal
peformances involve memorizing a well-loved poem, trying out various arrangements, and then
rehearsing the final arrangement for presentation to an audience.

Students’ Reading and Writing Poems

Learning to Read Poetry
Children enjoy reading poetry silently and aloud to others. The classroom library corner should
have one or two comprehensive poetry anthologies for students to browse through for general
purposes. In addition, specialized collections by a single poet, such as A Pocketful of Poems by Nikki
Grimes, and books of poems on a single topic, such as Around the World in Eighty Poems edited by
James Berry, are needed as well. Students can be encouraged to make copies of their favorite poems
from these various collections to develop personal, individual anthologies. Many students choose
to illustrate these and arrange the poems in new and inventive ways. Rotating the poetry books oc-
casionally over the course of the school year will spark renewed interest in reading poetry.
Other activities to encourage the reading of poetry by students follow:
■ Place students in pairs to take turns reading favorite poems to one another. Make videotapes
or audiotapes of these readings and permit students to listen to or watch their own and other
students’ readings of poetry.

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 Poetry

■ Ask each student to select three poems by one poet (for example, a Golden Age poet or an
NCTE poet) and find something out about the poet; then place students in groups of five or
six to tell briefly about the poet and read the three poems aloud. Paul B. Janeczko’s The Place
My Words Are Looking For: What Poets Say about and through Their Work (1990) and Sylvia
Vardell’s Poetry People (2007) are excellent resources for this purpose. Information about
children’s authors can also be found on many websites, including www.childrenslit.com.
■ Have students find three poems on the same topic, such as dinosaurs, baseball, or friendship;
then read them aloud in small groups.
■ Encourage students to find poems that are of the same poetic form (cinquains, limericks,
etc.), or that exhibit similar poetic elements (rhyme, alliteration, onomatopoeia, etc.), or that
have fast or slow rhythms. These poems can then comprise the poems for reading aloud that
day or week.

Do Don’t
Read poetry aloud every day Limit poetry choices to one or two poets or
types of poems
Practice reading a poem before reading it Read poems in a singsong style
aloud for the first time to students
Choose poetry the students will like Choose all poems from one anthology
Have a variety of poetry anthologies and Have poetry marathon days or weeks to make
specialized poetry books available in up for not sharing poetry regularly
the classroom
Encourage students to recite and write poems Force students to memorize and recite poems
Direct choral poetry presentations Make analysis the focus of poetry study
Invite responses to poetry through art, music, Have students copy poems for handwriting
and movement practice
Feature a notable poet each month Make the main emphasis of poetry be the
writing of formula poems
Begin and end each day with a poem

Learning to Write Poetry

A rich poetry environment stimulates children’s interest in writing their own poems. Children need
to be very familiar with poetry of many kinds and by many poets before they should be expected
to compose poems. The collection of poems Inner Chimes: Poems on Poetry,
selected by Bobbye S. Goldstein, may be a natural starting place for helping
students to think about poetry and what it is. This collection contains po-
Go to Activity 4 in the Assignments
ems by various renowned children’s poets writing about creating poetry.
and Activities section of Chapter 4 Other books that provide suggestions on how to include poetry in the class-
in MyEducationKit; view the video room are Awakening the Heart (1999) by Georgia Heard and Poetry Aloud
on encouraging students to attend Here! (2006) by Sylvia Vardell.
to word choice in writing poetry
Teachers often start the writing of poetry as a collaborative effort. The
and respond to the question.
class brainstorms ideas and composes the poem orally as the teacher writes

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it on the board or on chart paper. As students become comfortable with writing group poetry,
they can branch off and compose poems in pairs or individually.
Children should be reminded that poetry is a form of communication and that they should
think of an idea, feeling, or event to write about in their poems. They should be reminded that
poetry does not have to rhyme and that they may write about something of interest to them.
Children’s poetry follows no absolute rules; perfection of form should not be a goal. Other sug-
gestions to foster poetry writing include the following:

■ Have students compile personal and class anthologies of their own poems or their favorite
poems.
■ Design bulletin boards with displays of students’ own poems as well as copies of poems by
favorite poets. Students may also design posters, individually or in groups, to illustrate a fa-
vorite poem that is displayed around the school for a few weeks.
■ Encourage students to model the works of professional poets by attempting imitation of a
whole poem or of specific techniques.
■ Read aloud many poems of one poetic form; then analyze the form with the students to reveal
the characteristics of its structure. Quatrains, cinquains, haiku, concrete poems, and limer-
icks can all be used as models with students once they have an appreciation for poetry and for
the specific poetic form.
Some poets have suggested other models and patterns for students to follow in writing
poetry. Kenneth Koch’s Wishes, Lies, and Dreams: Teaching Children to Write Poetry (1999/1970);
M. K. Glover’s A Garden of Poets: Poetry Writing in the Elementary Classroom (1999); Myra Cohn
Livingston’s Poem Making: Ways to Begin Writing Poetry (1991); Paul Janeczko’s How to Write
Poetry (1999) and Poetry from A to Z: A Guide for Young Writers (1994); Ralph Fletcher’s Poetry
Matters: Writing a Poem from the Inside Out (2002); and Jack Prelutsky’s Pizza, Pigs, and Poetry:
How to Write a Poem (2008) are useful resources for teachers who want to encourage students to
compose poems.

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Create a self-portrait anthology by collecting poems that celebrate and explore the
different aspects of who you are and what you are doing, thinking, and feeling. Open
the anthology by selecting a signature poem for yourself.
■ Research the history of Mother Goose or other nursery rhymes within a particular
culture.
■ Some children see poetry as sentimental and irrelevant to their lives. One way to chal-
lenge this viewpoint is to read and discuss poetry that provokes feelings and ideas
about issues of social justice. Consider this possible role for poetry by reading about
the experiences of children in a classroom (Damico, 2005) and collecting poems that
address complex social issues.

69
 Poetry

References
Baruch, D. (1932). Merry-go-round. In D. Baruch, I like Holbrook, S. (2002). Wham! It’s a poetry jam: Discover-
machines. New York: Harper. ing performance poetry. Honesdale, PA: Boyds
Charles, D. (1982). Concrete cat. In X. J. Kennedy & Mills.
D. M. Kennedy (Eds.), Knock at a star. Illustrated Janeczko, P. B., Selector. (1990). The place my words are
by K. A. Weinhaus. Boston: Little, Brown. looking for: What poets say about and through their
Ciardi, J. (1996). The monster den. Philadelphia: work. New York: Bradbury.
Lippincott. ———. (1994). Poetry from A to Z: A guide for young
Clark, G. O. (1983). The night is a big black cat. In J. writers. New York: Bradbury.
Prelutsky (Ed.), The Random House book of poetry ———. (1999). How to write poetry. New York:
for children. Illustrated by A. Lobel. New York: Scholastic.
Random House. Kahn, S. (1967). Giraffes. In S. Dunning, E. Lueders, &
Crane, W. (1983). The crocus. In J. Prelutsky (Ed.), The H. Smith (Eds.), Reflections on a gift of watermelon
Random House book of poetry for children. Illus- pickle. New York: Lothrop, Lee and Shepard.
trated by A. Lobel. New York: Random House. Koch, K. (1999/1970). Wishes, lies, and dreams: Teaching
Damico, J. (2005). Evoking hearts and heads: Exploring children to write poetry. New York: Random.
issues of social justice through poetry. Language Kutiper, K., & Wilson, P. (1993). Updating poetry pref-
Arts, 83(2), 137–146. erences: A look at the poetry children really like.
Dotlich, R. K. (2003). Autumn leaves. In R. K. Dotlich The Reading Teacher, 47(1), 28–35.
(Ed.), In the spin of things: Poetry of motion. Illus- Lear, E. (1946). The complete nonsense book. New York:
trated by Karen Dugan. Honesdale, PA: Boyds Dodd, Mead.
Mills. Livingston, M. C. (1991). Poem making: Ways to begin
Elster, C. A., & Hanauer, D. I. (2002). Voicing texts, writing poetry. New York: HarperCollins.
voices around texts: Reading poems in elementary McKean, B. (2000–2001). Speak the speech, I pray you!
school classrooms. Research in the Teaching of Preparing to read aloud dramatically. The Reading
English, 37(1), 89–134. Teacher, 54(4), 358–360.
Fisher, C. J., & Natarella, M. A. (1982). Young children’s Park, L. S. (2007). Pockets. In L. S. Park, Tap dancing on
preferences in poetry: A national survey of first, the roof: Sijo (poems). Illustrated by I. Banyai. New
second and third graders. Research in the Teaching York: Clarion.
of English, 16(4), 339–354. Prelutsky, J. (2008). Pizza, pigs, and poetry: How to write
Fletcher, R. (2002). Poetry matters: Writing a poem from a poem. New York: Greenwillow.
the inside out. New York: HarperCollins. Reeves, J. (1963). Slowly. In E. Blishen (Ed.), Oxford
Ghigna, C. (2003). What’s a poem? In C. Ghigna (Ed.), book of poetry for children. Illustrated by B. Wild-
A fury of motion: Poems for boys. Honesdale, PA: smith. Oxford: Oxford University Press.
Boyds Mills. Schwedt, R., & DeLong, J. (2002). Young adult poetry:
Gillespie, M. C. (1970). Literature for children: History A survey and theme guide. Westport, CT: Green-
and trends. Dubuque, IA: Wm. C. Brown. wood.
Glover, M. K. (1999). A garden of poets: Poetry writing Taylor, J. (1983). The star. In J. Prelutsky (Ed.), The Ran-
in the elementary classroom. Urbana, IL: National dom House book of poetry for children. Illustrated
Council of Teachers of English. by A. Lobel. New York: Random House.
Grimes, N. (2001). Pigeons masquerade. In N. Grimes Terry, A. C. (1974). Children’s poetry preferences: A
(Ed.), A pocketful of poems. Illustrated by J. Steptoe. national survey of upper elementary grades. Urbana,
New York: Clarion. IL: National Council of Teachers of English.
Heard, G. (1999). Awakening the heart: Exploring poetry Vardell, S. (2006). Poetry aloud here! Sharing poetry
in elementary and middle school. Portsmouth, NH: with children. Chicago: American Library Asso-
Heinemann. ciation.

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 Poetry

———. (2007). Poetry people: A practical guide to Wise, W. (1931/1932). After the party. In W. Wise, Jon-
children’s poets. Santa Barbara, CA: Libraries athan Blake. New York: Knopf.
Unlimited.

Recommended Poetry Books

Because poetry is usually of interest to a broad age Orozco, José-Luis, selector and translator. Diez Deditos
group, entries of poetry books indicate age only for and Other Play Rhymes and Action Songs from
books mainly suitable for older readers. Latin America. Illustrated by Elisa Kleven. Dutton,
1997.
Mother Goose and Nursery Rhyme Books Pinkney, Brian. Hush, Little Baby. Greenwillow, 2006.
Yolen, Jane, editor. Trot, Trot to Boston: Lap Songs, Fin-
Chorao, Kay, compiler. Rhymes ’Round the World. Dut-
ger Plays, Clapping Games, and Pantomime
ton, 2009.
Rhymes. Illustrated by Will Hillenbrand. Candle-
Crews, Nina. The Neighborhood Mother Goose. Green-
wick, 2005.
willow, 2004. Illustrated with photographs in a city
setting.
de Angeli, Marguerite. Marguerite de Angeli’s Book of Anthologies of Poetry
Nursery and Mother Goose Rhymes. Doubleday,
1954. Driscoll, Michael. A Child’s Introduction to Poetry.
Delacre, Lulu, selector. Arrorró, mi niño: Latino Lulla- Illustrated by Meredith Hamilton. Black Dog &
bies and Gentle Games. Lee & Low, 2004. Leventhal, 2003. Ages 9–14. Poetic forms and indi-
dePaola, Tomie, compiler. Tomie dePaola’s Mother vidual poets, with examples.
Goose. Putnam, 1985. Ferris, Helen, compiler. Favorite Poems Old and New.
Dillon, Leo, and Diane Dillon, compilers. Mother Illustrated by Leonard Weisgard. Doubleday,
Goose: Numbers on the Loose. Harcourt, 2007. 1957.
Lobel, Arnold, selector. The Arnold Lobel Book of Hall, Donald, editor. The Oxford Illustrated Book of
Mother Goose. Knopf, 1997. American Children’s Poems. Oxford University,
Opie, Iona, editor. Here Comes Mother Goose. Illus- 1999.
trated by Rosemary Wells. Candlewick, 1999. Kennedy, X. J., and Dorothy Kennedy, editors. Knock at
———. Mother Goose’s Little Treasures. Illustrated by a Star: A Child’s Introduction to Poetry, rev. ed.
Rosemary Wells. Candlewick, 2007. Illustrated by Karen Lee Baher. Little, Brown, 1999.
Martin, Bill Jr., and Michael Sampson, editors. The Bill
Martin Jr. Big Book of Poetry. Simon & Schuster,
Nursery Songs
2008.
Baum, Maxie. I Have a Little Dreidel. Illustrated by Ju- Prelutsky, Jack, editor. The Random House Book of
lie Paschkis. Scholastic, 2006. Poetry for Children. Illustrated by Arnold Lobel.
Frazee, Marla. Hush, Little Baby. Harcourt, 2003. Random House, 1983.
Katz, Alan. Smelly Locker: Silly Dilly School Songs. Illus- ———, editor. The 20th Century Children’s Poetry Trea-
trated by David Catrow. M. K. McElderry, 2008. sury. Illustrated by Meilo So. Knopf, 1999.
Krull, Kathleen. I Hear America Singing! Folk Songs for Yolen, Jane, and Andrew Peters, collectors. Here’s a Little
American Families. Illustrated by Allen Garns. Poem: A Very First Book of Poetry. Illustrated by
Knopf, 2003. Polly Dunbar. Candlewick, 2007.
Larrick, Nancy, compiler. Songs from Mother Goose:
With the Traditional Melody for Each. Illustrated
Specialized Poetry Books
by Robin Spowart. Harper, 1989.
Nelson, Kadir. He’s Got the Whole World in His Hands. Poetry books by a single poet and thematic poetry
Dial, 2005. books are included.

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 Poetry

Adoff, Arnold. All the Colors of the Race. Illustrated by ———. Mammalabilia. Illustrated. Harcourt, 2000.
John Steptoe. Lothrop, 1982. Franco, Betsy. Mathematickles. Illustrated by Steven
———. Touch the Poem. Illustrated by Lisa Desimini. Salerno. Simon & Schuster, 2003.
Scholastic, 2000. George, Kristine O’Connell. Fold Me a Poem. Illustrated
Agee, Jon. Orangutan Tongs: Poems to Tangle Your by Lauren Stringer. Harcourt, 2005.
Tongue. Disney/Hyperion, 2009. ———. Hummingbird Nest: A Journal of Poems. Illus-
Appelt, Kathi. Poems from Homeroom: A Writer’s Place trated by Barry Moser. Harcourt, 2004.
to Start. Holt, 2002. Ages 12–18. Includes a bibli- ———. Little Dog Poems. Illustrated by June Otani.
ography of adult books on writing poems and Clarion, 1999.
stories. ———. Toasting Marshmallows: Camping Poems. Il-
Ashman, Linda. The Essential Worldwide Monster lustrated by Kate Kiesler. Clarion, 2001.
Guide. Illustrated by David Small. Simon & Schus- ———. Up! Illustrated by Hiroe Nakata. Clarion,
ter, 2003. 2005.
Berry, James. A Nest Full of Stars: Poems. Pictures by Ghigna, Charles. A Fury of Motion: Poems for Boys.
Ashley Bryan. New York: Greenwillow, 2004. Boyds Mills, 2003. Ages 12–18.
Everyday Caribbean language and culture. Giovanni, Nikki, editor. Grand Fathers: Reminiscences,
———, editor. Around the World in Eighty Poems. Il- Poems, Recipes, and Photos of the Keepers of
lustrated by Katherine Lucas. Chronicle, 2002. Fifty Our Traditions. Holt, 1999. Ages 13–18. Also
countries represented and many narrative poems. Grand Mothers: Reminiscences, Poems, Recipes,
Brooks, Gwendolyn. Bronzeville Boys and Girls. Illus- and Photos of the Keepers of Our Traditions. Holt,
trated by Faith Ringgold. HarperCollins, 2007. 1994.
Carlson, Lori, editor. Cool Salsa: Bilingual Poems on ———, editor. Hip Hop Speaks to Children: A Celebra-
Growing Up Latino in the United States. Holt, tion of Poetry with a Beat. Illustrated by K. Ba-
1994. louch. Sourcesbooks, 2008.
Clinton, Catherine, editor. I, Too, Sing America: Three Goldstein, Bobbye S., editor. Inner Chimes: Poems on
Centuries of African-American Poetry. Illustrated Poetry. Illustrated by Jane Breskin Zalben.
by Stephen Alcorn. Houghton, 1998. Wordsong/Boyds Mills, 1992.
———, editor. A Poem of Her Own: Voices of American Grandits, John. Technically, It’s Not My Fault: Concrete
Women Yesterday and Today. Illustrated by Stephen Poems. Clarion, 2004. Ages 9–13.
Alcorn. Abrams, 2003. Ages 10–16. Greenberg, Jan, editor. Heart to Heart: New Poems In-
Cullinan, Bernice E., editor. A Jar of Tiny Stars: Poems spired by Twentieth Century American Art.
by NCTE Award–Winning Poets. Boyds Mills, Abrams, 2001. Ages 11–15.
1995. Grimes, Nikki. Meet Danitra Brown. Illustrated by
Dunbar, Paul Laurence. Jump Back, Honey: The Poems Floyd Cooper. Morrow, 1994.
of Paul Laurence Dunbar. Hyperion, 1999. ———. A Pocketful of Poems. Illustrated by Javaka
Fleischman, Paul. Big Talk: Poems for Four Voices. Il- Steptoe. Clarion, 2001.
lustrated by Beppe Giacobbe. Candlewick, 2000. Hoberman, Mary Ann. Fathers, Mothers, Sisters, Broth-
Ages 9–14. ers: A Collection of Family Poems. Illustrated by
———. I Am Phoenix: Poems for Two Voices. Illustrated Marylin Hafner. Little, 1991.
by Eric Beddows. Harper, 1985. Holbrook, Sara. By Definition: Poems of Feelings. Il-
———. Joyful Noise: Poems for Two Voices. Illustrated lustrated by Scott Mattern. Boyds Mills, 2003.
by Eric Beddows. Harper, 1988. Hopkins, Lee Bennett, selector. America at War. Illus-
Florian, Douglas. Autumnblings. Greenwillow, 2003. trated by Stephen Alcorn. McElderry, 2008.
One of his cycles of seasons, including Hand- ———, selector. Behind the Museum Door: Poems to
springs, 2006; Summersaults, 2002; and Winter Celebrate the Wonders of Museums. Illustrated by
Eyes, 1999. Stacey Dressen-McQueen. Abrams, 2007.
———. Comets, Stars, the Moon, and Mars: Space Po- ———, editor. My America: A Poetry Atlas of the United
ems and Paintings. Harcourt , 2006. States. Illustrated by Stephen Alcorn. Simon &
———. Dinothesaurus: Prehistoric Poems and Paint- Schuster, 2000. Ages 9–14. Poems evocative of seven
ings. Atheneum, 2009. geographical regions of the United States.

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 Poetry

Hudson, Wade, editor. Pass It On: African American Liu, Siyu, and Orel Protopopescu. A Thousand Peaks:
Poetry for Children. Illustrated by Floyd Cooper. Poems from China. Illustrated by Siyu Liu. Pacific
Scholastic, 1993. View Press, 2001. Ages 10–18.
In Daddy’s Arms I Am Tall: African Americans Cele- Mak, Kam. My Chinatown. Illustrated by Kam Mak.
brating Fathers. Illustrated by Javaka Steptoe. Lee HarperCollins, 2002.
& Low, 1997. Morrison, Lillian, compiler. It Rained All Day That Night:
James, Simon, editor. Days Like This: A Collection of Autographs, Rhymes & Inscriptions. Illustrated by
Small Poems. Illustrated. Candlewick, 2000. Christy Hale. August House, 2003.
Janeczko, Paul B., editor. Dirty Laundry Pile: Poems in Myers, Walter Dean. Blues Journey. Illustrated by Chris-
Different Voices. Illustrated by Melissa Sweet. topher Myers. Holiday, 2003. Ages 10–15.
HarperCollins, 2001. ———. Here in Harlem: Poems in Many Voices.
———, editor. A Foot in the Mouth: Poems to Speak, Holiday, 2004. Ages 12–18.
Sing, and Shout. Illustrated by Chris Raschka. ———. Jazz. Illustrated by Christopher Myers. Holi-
Candlewick, 2009. day, 2006.
———, selector. A Kick in the Head: An Everyday Nye, Naomi Shihab, editor. A Maze Me: Poems for Girls.
Guide to Poetic Forms. Illustrated by Chris Ra- Illustrated by Terre Maher. Greenwillow, 2005.
schka. Candlewick, 2005. Ages 9–14. Poems of Ages 11–18.
various forms with brief explanations of each ———. Come with Me: Poems for a Journey. Illustrated
form. by Dan Yaccarino. Greenwillow, 2000.
———, editor. A Poke in the I: A Collection of Concrete ———, editor. 19 Varieties of Gazelle: Poems of the
Poems. Illustrated by Chris Raschka. Candlewick, Middle East. HarperCollins, 2002. Ages 11–18.
2000. ———, editor. The Space between Our Footsteps:
Katz, Bobbi, editor. Pocket Poems. Illustrated by Mary- Poems and Paintings from the Middle East. Simon
lin Hafner. Dutton, 2004. & Schuster, 1998.
———. We, the People. Illustrated by Nina Crews. ———, editor. This Same Sky: A Collection of Poems from
Greenwillow, 2000. First-person poems focused around the World. Four Winds, 1992. Ages 11–18.
on U.S. history; use as dramatic monologues. ———, and Paul B. Janeczko, editors. I Feel a Little
Katz, Susan. Looking for Jaguar and Other Rainforest Jumpy around You: A Book of Her Poems and His
Poems. Illustrated by Lee Christiansen. Greenwil- Poems Collected in Pairs. Simon & Schuster, 1996.
low, 2005. Ages 12–18.
Kennedy, Caroline, editor. My Favorite Poetry for Chil- Park, Linda Sue. Tap Dancing on the Roof: Sijo (Poems).
dren. Illustrated by Jon J. Muth. Hyperion, 2005. Illustrated by Istvan Banyai. Clarion, 2007.
Kennedy, X. J. Exploding Gravy. Little, Brown, 2002. Pearson, Susan. The Drowsy Hours: Poems for
Ages 6–12. Bedtime. Illustrated by Peter Malone. Harper-
———. Fresh Brats. Illustrated by James Watts. Mac- Collins, 2002.
millan, 1990. Peters, Lisa Westberg. Earthshake: Poems from the Ground
Kurtz, Jane. River Friendly, River Wild. Illustrated by Up. Illustrated by Cathie Felstead. Greenwillow,
Neil Brennan. Simon & Schuster, 2000. 2003. Ages 9–12. Poems about geology.
Kuskin, Karla. Green as a Bean. Illustrated by Melissa Prelutsky, Jack. Behold the Bold Umbrellaphant and
Iwai. HarperCollins, 2007. Other Poems. Illustrated by Carin Berger. Harper-
Lewis, J. Patrick. Doodle Dandies: Poems That Take Collins, 2006.
Shape. Illustrated by Lisa Desimini. Simon & ———. If Not for the Cat. Illustrated by Ted Rand. Green-
Schuster, 1998. willow, 2004. Different animals described in haiku.
———. Freedom Like Sunlight: Praisesongs for Black ———, editor. Read a Rhyme, Write a Rhyme. Illus-
Americans. Creative Editions, 2000. trated by Meilo So. Knopf, 2005.
———. Vherses: A Celebration of Outstanding Women. Rex, Adam. Frankenstein Makes a Sandwich. Harcourt,
Illustrated by Mark Summers. Creative, 2005. Ages 2006. Ages 9–12.
9–14. Rochelle, Belinda. Words with Wings: A Treasury of
Lillegard, Dee. Wake Up House! Rooms Full of Poems. African-American Poetry and Art. HarperCollins/
Illustrated by Don Carter. Knopf, 2000. Amistad, 2001.

73
 Poetry

Roessel, David, and Arnold Rampersad, editors. Langston Weatherford, Carole Boston. Remember the Bridge:
Hughes. Illustrated by Benny Andrews. Sterling, Poems of a People. New York: Philomel, 2002. Ages
2006. Ages 10–18. 10–16.
Ruddell, Deborah. Today at the Bluebird Cafe: A Branch- Willard, Nancy. A Visit to William Blake’s Inn: Poems
ful of Birds. Illustrated by Joan Rankin. M. K. for Innocent and Experienced Travelers. Illustrated
McElderry, 2007. by Alice and Martin Provensen. Harcourt, 1981.
Scieszka, Jon. Science Verse. Illustrated by Lane Smith. Wong, Janet. Good Luck Gold and Other Poems. M. K.
Viking, 2004. McElderry, 1994.
Sidman, Joyce. Butterfly Eyes and Other Secrets of the ———. Night Garden: Poems from the World of Dreams.
Meadow. Illustrated by Beth Krommes. Houghton Illustrated by Julie Paschkis. M. K. McElderry,
Mifflin, 2006. 2000.
———. Meow Ruff. Illustrated by Michelle Berg. ———. A Suitcase of Seaweed and Other Poems. M. K.
Houghton Mifflin, 2006. McElderry, 1996.
———. Red Sings from Treetops: A Year in Colors. Il- Worth, Valerie. Animal Poems. Illustrated by Steve Jen-
lustrated by Pamela Zagarenski. Houghton Miff- kins. Farrar, 2007.
lin, 2009. Zolotow, Charlotte. Seasons: A Book of Poems. Illus-
———. Song of the Water Boatman and Other Pond trated by Erik Blegvad. HarperCollins, 2002. Easy-
Poems. Illustrated by Beckie Prange. Houghton, to-read book.
2005.
Siebert, Diane. Tour America: A Journey through Poems Single Illustrated Poems
and Art. Illustrated by Stephen T. Johnson. Chron-
icle, 2006. Ages 9–13. Note the distinction between poems and stories told in
Silverstein, Shel. Where the Sidewalk Ends: The Poems verse. Heavily illustrated poems are listed here. Illus-
and Drawings of Shel Silverstein. Harper, 1974. trated stories told in verse are included under the head-
Singer, Marilyn. Central Heating: Poems about Fire and ing of Picture Storybooks in Chapter 5.
Warmth. Illustrated by Meilo So. Knopf, 2005. Ages
9–14. Bates, Katharine Lee. America the Beautiful. Illustrated
Soto, Gary. Neighborhood Odes. Illustrated by David by Chris Gall. Little, Brown, 2004.
Diaz. Harcourt, 1992. Ages 10–15. Life in a Carroll, Lewis. Jabberwocky. Illustrated by Christopher
Mexican-American neighborhood. Myers. Jump at the Sun/Hyperion, 2007.
———. Worlds Apart: Traveling with Fernie and Me. Hughes, Langston. My People. Photographs by Charles
Illustrated by Greg Clarke. Putnam, 2005. Ages R. Smith Jr. Atheneum, 2009.
9–13. ———. The Negro Speaks of Rivers. Illustrated by E. B.
Strickland, Dorothy S., and Michael R. Strickland, edi- Lewis. Disney/Jump at the Sun, 2009.
tors. Families: Poems Celebrating the African Janeczko, Paul, and J. Patrick Lewis. Birds on a Wire: A
American Experience. Illustrated by John Ward. Renga ’Round Town. Illustrated by Gary Lippin-
Wordsong/Boyds Mills, 1994. cott. Wordsong, 2008.
Tadjo, Véronique, editor. Talking Drums: A Selection of Longfellow, Henry Wadsworth. Paul Revere’s Ride: The
Poems from Africa South of the Sahara. New York: Landlord’s Tale. Illustrated by Charles Santore.
Bloomsbury, 2004. Ages 9–14. A collection of 75 HarperCollins, 2003. Ages 9–14. Dramatic illustra-
poems from 16 African countries arranged by tions accompany this classic poem.
themes. Nelson, Marilyn. Fortune’s Bones: The Manumission
Thomas, Joyce Carol. Crowning Glory: Poems. Illus- Requiem. Front Street, 2004. Ages 12–16. An illus-
trated by Brenda Joysmith. Joanna Cotler, 2002. trated poetic memorial of an enslaved man who
Updike, John. A Child’s Calendar. Illustrated by Trina died in 1798.
Schart Hyman. Holiday, 1999. ———. A Wreath for Emmett Till. Illustrated by
Vecchione, Patrice, editor. Truth and Lies. Holt, 2000. Philippe Lardy. Houghton, 2005. Ages 12–18. An
Ages 12–18. A multicultural anthology of 70 illustrated memorial to the lynched teen through
poems. interlocking sonnets.

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 Poetry

Shange, Ntozake. Ellington Was Not a Street. Illustrated Thayer, Ernest L. Casey at the Bat. Illustrated by Joe
by Kadir Nelson. Simon & Schuster, 2004. Ages Morse. Kids Can, 2006. Ages 9–13. An urban
9–13. Memories of a Harlem childhood. setting.
Shore, Diane, and Jessica Alexander. This Is the Dream. ———. Casey at the Bat: A Ballad of the Republic Sung
Illustrated by James Ransome. Amistad, 2006. in the Year 1888. Illustrated by C. F. Payne. Simon
Siebert, Diane. Motorcycle Song. Illustrated by Leonard & Schuster, 2003.
Jenkins. HarperCollins, 2002. Willard, Nancy. The Tale I Told Sasha. Illustrated by
Stevenson, Robert Louis. The Moon. Illustrated by David Christiana. Little, Brown, 1999.
Tracey C. Pearson. Farrar, 2006.

Now go to Chapter 4 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Learn how authors and illustrators apply their craft by reading the written interviews in the
Conversations section for the chapter.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

75
This page intentionally left blank
Picture Books
In the Library
You’re right:
I am too old for THIS.
But I like pictures in my book,
And lots of color, easy words—
You needn’t give me such a look!
You’re wrong:
I am too young for THAT.
The words are long, the type’s too small.
I don’t find any pictures there—
I’d never get through that at all!

—Michael Patrick Hearn

“In the Library” by Michael Patrick Hearn. From J. Cole (ed.), A New Treasury of Chil-
dren’s Poetry. Copyright © 1981 by Michael Patrick Hearn. Reprinted with permission
of McIntosh & Otis, Inc.

From Chapter 5 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

77
 Picture Books

In an era when picture books abound and provide many children with a delightful introduction
to the world of books, it is difficult to imagine a time when books had no illustrations. Nonethe-
less, the picture book as we know it is a product of the twentieth century. The development of
different types of picture books over the last century can be seen as a response to our developing
awareness of the importance of early learning.

Definition and Description

Picture books are profusely illustrated books in which both words and illustrations contribute to
the story’s meaning. In a true picture book, the story would be diminished, and in some cases
confusing, without the illustrations, and so we say that illustrations in picture books are integral,
or essential, to the story. Picture books are written in all genres; they have illustrations on every
page or every other page; and, as a general rule, they are thirty-two pages long. A good example
of a picture book is Officer Buckle and Gloria by Peggy Rathmann.
Books with occasional illustrations that serve to break up or decorate the text, add interest,
or depict isolated incidents are called illustrated books. Illustrations in these books are said to be
incidental, or nonessential, to the content. Illustrated books are not picture books. In The Curious
Adventures of the Abandoned Toys by Julian Fellowes (2007), illustrated by S. D. Schindler, full-
page, full-color illustrations occur about every seventh page and pen-and-ink vignettes (small
illustrations with no definite border) appear about every other page. The illustrations faithfully
represent what is given in the text, but do not add new information to the story.

Evaluation and Selection of Picture Books

Children’s first experiences with books must be enjoyable or they will soon not want to be involved
with books. Negative experiences could mean that they may never learn to read or to enjoy reading.
Over a period of time, evaluation and selection of picture books become a matter of achieving a
good balance between what children naturally enjoy and what you want to lead them to enjoy.
The following criteria will help you to identify the best picture books:
■ The ideas in picture books should be original or presented in an original way. Picture books
on topics that children enjoy and find interesting are preferable to books about childhood, in
the sense of nostalgia for or reminiscence of childhood. Books of the latter sort are for adults,
not children.
■ Picture books should avoid racial, ethnic, or sexual stereotyping in text and illustrations.
■ Language and writing style should be rich and varied but not so complicated as to be incom-
prehensible to the child. It is desirable to feature new or unusual vocabulary within the
context of interesting situations and complementary illustrations. Avoid books with overly
sentimental and trite language.
■ Illustrations should be appropriate in complexity to the age of the intended audience. In
picture books for infants, look for relatively uncomplicated pages showing outlined figures
against a plain background. Unusual perspectives or page designs in which only parts of a

78
 Picture Books

figure are shown may not be readily understood or appreciated by children younger than
age 2.
■ Children prefer color in illustrations, but color is not essential in picture book illustrations.
The more important point to consider is whether color or black and white is right for the
story.
■ When a book is to be shared with a large group, the illustrations must be large enough to be
seen from a distance.
■ Picture books selected for reading aloud, especially by parents and preschool and kindergar-
ten teachers, should offer something to both listener and reader and promote interactive
discussion between them (Brabham & Lynch-Brown, 2002). Multiple layers of meaning, child
and adult perspectives, and humor are sources of enjoyment found in books that adults will-
ingly read and reread to children. Generally, picture storybooks lend themselves to being read
aloud. The titles in the Excellent Picture Books to Read Aloud list provide examples of the
sort of book that works well as a read-aloud.
■ The amount of text on the pages of a picture book determines how long it will take to read. Gen-
erally, the longer the text, the older the intended audience. Note that children’s willingness to
listen to stories grows with experience, which may result in a younger child who has been read to
regularly having a much longer attention span than an older child with no story experience.
Teachers and librarians often rely on the professional judgment of committees that choose
what they consider to be the most outstanding picture books published each year in this country
and abroad. The most prestigious picture book award in the United States is the Caldecott Medal,
sponsored by the Association for Library Service to Children division of the American Library
Association. The equivalent award in Great Britain is the Kate Greenaway Medal; in Canada, the
Governor General’s Award for Illustration; and in Australia, the Picture Book of the Year Award.

E xce l l e n t P i c t u re B o o k s to READ ALOUD

Agee, Jon. Terrific. Ages 5–8.

Cole, Brock. Good Enough to Eat. Ages 4–8.
DiCamillo, Kate. Louise, the Adventures of a Chicken. Illustrated by Harry Bliss. Ages 5–8.
Kasza, Keiko. The Dog Who Cried Wolf. Ages 4–7.
Kimmel, Elizabeth C. The Top Job. Illustrated by Robert Neubecker. Ages 5–8.
Larochelle, David. The End. Illustrated by Richard Egielski. Ages 4–8.
Lloyd, Sam. Mr. Pusskins: A Love Story. Ages 4–7.
MacLennan, Cathy. Chicky Chicky Chook Chook. Ages 3–6.
Mayo, Margaret. Choo Choo Clickety Clack! Illustrated by Alex Ayliffe. Ages 2–5.
McCarthy, Meghan. Aliens Are Coming! The True Account of the 1938 War of the Worlds Radio
Broadcast. Ages 8–12.
Melling, David. The Scallywags. Ages 5–8.
San Souci, Daniel. Space Station Mars. Ages 6–9.
Willems, Mo. Knuffle Bunny: A Cautionary Tale. Ages 3–5.
———. Leonardo, the Terrible Monster. Ages 4–6.
Willis, Jeanne. Tadpole’s Promise. Illustrated by Tony Ross. Ages 5–9.

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(See Appendix A for lists of award winners.) Another reliable source of information about good
quality picture books is “The New York Times Best Illustrated Children’s Books of the Year,”
published in early November as a part of The New York Times Book Review Supplement.

Visual Elements
In many children’s books the story is told through both text and pictures.
This is particularly true of picture books but is also true of other books for
children in which pictures serve an important function. Understanding
Go to Activity 1 in the Assign- and assessing the contributions of illustrations in books for children begin
ments and Activities section of with knowing the visual elements, or basic elements with which artists and
Chapter 5 in MyEducationKit; illustrators work. These visual elements are line, color, shape, texture, and
view the video on gaining insight
into the making of a picture book
composition. Understanding them will help you become more observant
and respond to the questions. of illustrations and more discerning in your selection of picture books to
share with children.

Line
The stroke marks that form part of a picture and often define its outline are the lines. The line of
a picture generally defines the objects within the picture. Artists may choose to use lines that are
dark or pale, heavy or light, solid or broken, wide or thin, straight or curved, or have combinations
of these elements. The lines may be mostly vertical, horizontal, or on a diagonal. In pictures of
the ocean and open prairies, the lines are predominantly horizontal; the impression is one of calm
and tranquility. If the ocean is stormy, then the lines are more likely diagonal and upward moving,
suggesting action or emotion or both. Each of these choices results in a different visual effect and
can help to set a different mood. In evaluating the element of line within a picture, you may ask
yourself whether the lines of the picture help to create and convey both the meaning and the
feeling of the story. David Shannon’s jagged, diagonal lines in No, David! convey the constant
motion of an exuberant male toddler and the resulting chaos. (See Illustration 1.) The horizontal
lines in Song of the Water Boatmen & Other Pond Poems by Joyce Sidman, on the other hand, sug-
gest peace and tranquility. (See Illustration 9.)

Color
Color may be observed for its hue and intensity. The predominant colors may be from the cool
end of the spectrum (the blues, greens, and gray-violets) or from the warm end (the reds, oranges,
and yellows). The colors may be intense or pale (that is, more or less saturated) and may range
from diaphanous to opaque. The colors used must first complement the text. For example, the
still, quiet mood and cold, dark setting of the story in Polar Bear Night by Lauren Thompson are
projected in the cool, muted blues, grays, black, and white of the illustrations. (See Illustration
7.) In contrast, the use of bright, loud colors in Officer Buckle and Gloria project a jovial, emotion-
ally warm mood and help create the noisy school setting. (See Illustration 10.) If the events and
mood of the text change during the course of the story, then the colors will change to reflect and
signal the shift occurring in the story. Sometimes illustrations in a picture book will be noteworthy

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Notable Authors and Illustrators
of Picture Books

Eric Carle, author/illustrator. Unusually formatted easy-to-read series involving people and their ani-
picture storybooks and concept books about in- mals. Henry and Mudge series; Mr. Putter and
sects and animals. The Grouchy Ladybug; The Tabby series; Annie and Snowball series.
Very Busy Spider. www.eric-carle.com Jon Scieszka, author. Fractured folktales and books
Bryan Collier, illustrator. Signature watercolor and for reluctant readers. The Stinky Cheese Man and
collage illustrations in picture books with urban Other Fairly Stupid Tales.
settings and predominantly African-American Laura Vaccaro Seeger, author/illustrator. Creator of
characters. Uptown; Martin’s Big Words. www concept and beginning reader books character-
.bryancollier.com ized by bold lines, bright colors, and die-cuts.
Lois Ehlert, author/illustrator. Bold color, use of col- First the Egg; One Boy. www.studiolvs.com
lage, and engineered pages characterize her infor- Brian Selznick, author/illustrator. Attention to period
mational and concept books. Color Zoo; Leaf Man. detail and unusual perspectives are artistic trade-
Denise Fleming, author/illustrator. Creates pattern marks in his groundbreaking picture books for
books of handmade paper. In the Small, Small older readers. The Dinosaurs of Waterhouse Hawk-
Pond; Mama Cat Has Three Kittens. www.denise ins (by Barbara Kerley); The Invention of Hugo
fleming.com Cabret. www.theinventionofhugocabret.com
Kevin Henkes, author/illustrator. Creator of family Maurice Sendak, author/illustrator. Explores the
situation animal fantasies featuring mice and dreams and imagination of children in complex
simple yet touching picture books about the won- picture storybooks. Where the Wild Things Are;
der of life. Lilly’s Purple Plastic Purse; A Good Day; Outside Over There.
Kitten’s First Full Moon. www.kevinhenkes.com Uri Shulevitz, author/illustrator. Rich but subtle
Steven Kellogg, creator, reteller, and illustrator of a watercolor illustrations create long-ago settings
wide range of enduring picture books. Known and exemplify interplay between text and
for his whimsical, action-filled, richly colored il- pictures. Snow; The Treasure.
lustrations. Pinkerton, Behave!; If You Decide to Peter Sís, author/illustrator. Noted for intricate pen
Go to the Moon. www.stevenkellogg.com and ink and watercolor illustrations in picture
Barbara Lehman, illustrator. Uses an uncluttered book biographies for older readers. Starry Messen-
cartoon style in wordless picture books in which ger; Tibet through the Red Box. www.petersis.com
real and imagined worlds blend. The Red Book; David Small, illustrator. Two-time Caldecott medalist
Museum Trip; Rainstorm. known for his loose style and narrative-rich water-
Kadir Nelson, author/illustrator. Best known for colors. The Gardener; So You Want to Be President?
emotional, realistic portrayals of historic African- Chris Van Allsburg, author/illustrator. Uses shadow
Americans rendered in oils and other media. We and unusual perspectives to create mysterious
Are the Ship: The Story of Negro League Baseball; moods in picture storybooks for intermediate-
Henry’s Freedom Box. www.kadirnelson.com grade readers. Jumanji; The Garden of Abdul
Helen Oxenbury, author/illustrator. British. Water- Gasazi. www.chrisvanallsburg.com/flash.html
colorist. Best known for baby books in board Rosemary Wells, author/illustrator. Creator of pic-
book format. Ten Little Fingers and Ten Little Toes; ture books, concept board books, baby books,
Baby Max and Ruby series of concept books. and beginning readers featuring personified ani-
Brian Pinkney, illustrator. Uses distinctive scratch- mals. Max’s ABC; Max and Ruby’s Snowy Day;
board technique in folktales and biographies Yoko Writes Her Name. www.rosemarywells.com
featuring African Americans. Duke Ellington: David Wiesner, author/illustrator. Creator of
The Piano Prince and His Orchestra (by Andrea wordless fantasy stories. Tuesday; Sector 7.
Davis Pinkney). www.houghtonmifflinbooks.com/authors/
Chris Raschka, illustrator. Spare, expressionist wa- wiesner/home.html
tercolors and brief texts elegantly capture mood. Mo Willems, author/illustrator. Creator of picture
Yo! Yes?; Mysterious Thelonious. books for preschoolers featuring minimalist,
Cynthia Rylant, author. Author of Newbery, New- childlike art, much humor, and action. Don’t Let
bery Honor, and Caldecott Honor Award– the Pigeon Drive the Bus!; Knuffle Bunny: A Cau-
winning books and most recently known for her tionary Tale. www.mowillems.com

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for their lack of color, which can be very effective. In Baseball Hour by Carol Nevius, illustrated
by Bill Thomson, the reader’s attention is focused on the brilliant white and red baseball sur-
rounded with muted shades of gray and cream. (See Illustration 4.)

Shape
Shape, or the spatial forms of a picture, is produced by areas of color and by lines joining and inter-
secting to suggest outlines of forms. Shapes can be evaluated for their simplicity or complexity, their
definition or lack of definition, their rigidity (as in geometric shapes) or suppleness (as in organic
shapes), and their size. It is easy to see how this visual element can help to create moods or carry
messages. Distinctly outlined figures can project security, reality, or permanence, whereas broken or
thin outlines might suggest instability, make-believe, or transience. The proportion of one object in
an illustration to another and the spaces surrounding the shapes are noteworthy for the nonverbal
messages they carry—the bigger, the more important. The use of negative space or blank space may
also be observed for its ability to highlight an object or to show isolation or loneliness. For example,
consider the proportions of the baseball relative to the human figure in the illustration from Baseball
Hour, and note that the artist has placed the pitcher on a blank background—all to emphasize the
importance of the ball. (See Illustration 4.)

Texture
The tactile surface characteristics of pictured objects comprise the texture of a picture. More
simply, the impression of how a pictured object feels is its texture. Textures may be rough or slick,
firm or spongy, hard or soft, jagged or smooth. Textural effects generally offer a greater sense of
reality to a picture, as happens in Barbara Reid’s illustrations for The Subway Mouse, which feature
slightly rounded and textured plasticine for the mice’s furry bodies and found objects such as a
feather, scraps of newspaper, buttons, and old food labels in their nests. (See Illustration 11.)

Composition
Composition includes the arrangement of the visual elements within a picture and the way in which
these visual elements relate one to the other and combine to make the picture. Many artists arrange
each illustration around a single focal point, which is often a key to understanding composition.
The artist decides on proportion, balance, harmony, and disharmony within the various elements
to produce the desired visual impact. The total effect should not overpower the story but rather
extend and enrich the meaning and mood of the text. In the illustration from Knuffle Bunny: A
Cautionary Tale by Mo Willems, the artist places the main characters at the center of the illustration
and then further emphasizes them by using color against a nearly monochromatic sepia back-
ground. He draws the pair holding hands and sharing a loving look, and he places them in a calm,
sunny, urban setting (a digitally-altered photograph). (See Illustration 5.) Although it is not men-
tioned in the text, the little girl is clutching her stuffed rabbit. This composition indicates to the
reader that the story will be about a happy little girl who trusts her father and that whatever hap-
pens to them might actually happen in the real world.
Obviously, the details in the illustrations must not conflict with those in the text. Surprisingly,
many examples can be cited in which the illustrator was not true to the text in all details. Children

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are keenly observant of these contradictions and find them distracting. Although children accept
illustrations that are varied in all visual elements and artistic styles, they have little tolerance for
inaccuracies.

Artistic Styles
Children come to note the distinctive features that identify the work of their favorite illustrators.
Although the style of a picture is individual to each artist, artwork in general can be grouped by
style similarities. Five broad categories of artistic styles recognized in the Western world are real-
istic, impressionistic, expressionistic, abstract, and surrealistic. Although an artist’s works seldom
fit neatly into one single art style, facets of these styles may be merged into the artist’s personal
expression of the world.
Realistic art represents natural forms and provides accurate representations without idealiza-
tion. Bill Thomson’s almost photographic paintings and Mo Willems’s use of actual photographs
as backgrounds are excellent examples of realistic art. (See Illustrations 4 and 5.)
Impressionistic art depicts natural appearances of objects by rendering fleeting visual impres-
sions with an emphasis on light. Chris Raschka’s rendering of the house in Norton Juster’s The
Hello, Goodbye Window, with its extensive use of white space to create light and lack of detail to
suggest a fleeting image, exhibits these qualities. (See Illustration 8.)
Expressionistic art communicates an emotional experience more than an external reality. The
intent of the artist is to draw attention to the central message by exaggeration and by eliminating
competing details. David Shannon, in the illustration from No, David!, distorts the figure of the boy to
emphasize his noisy exuberance and keeps background details to a minimum. (See Illustration 1.)
Abstract art uses intrinsic geometric forms and surface qualities with little direct representa-
tion of objects to emphasize mood and feeling. Stephen Savage’s economy of line and emphasis
on elemental triangles and circles in Polar Bear Night perfectly suggest the harsh, barren, frozen
landscape of the Arctic in winter. (See Illustration 7.)
Surrealistic art emphasizes the subconscious by juxtaposing incongruous dreamlike and fantasy
images with realistic ones. In the illustration from Chester, Ayano Imai juxtaposes the relatively re-
alistic images of a dog and two humans against the fantasy of flowers growing out of the table
(suggesting a positive outcome and a bright future) and smoke coming from the chimney of the
dog’s house (a visual metaphor for his having found his happy home). (See Illustration 3.)
Folk art, usually seen in picture books set in the distant past or about rural and pre-industrial
societies, is supposed to be representative of the artistic style prevalent in the culture featured in
the story. Folktales are sometimes illustrated in folk art style to give a sense of the culture and the
ancient setting of the story. Folk art is sometimes referred to as naïve, in the sense of “untrained.”
The illustration from Chris Smith’s One City, Two Brothers, a story based on a folktale shared by
Israelis and Palestinians, has this quality. (See Illustration 2.)
Cartoon art features rounded figures, exaggerated action, and simplified backgrounds. Peggy
Rathmann’s humorous illustrations for Officer Buckle and Gloria are reminiscent of those found in
comic books and are a good example of cartoon art style. (See Illustration 10.) Nathan Hale uses a
slightly more sophisticated cartoon style in the graphic novel Rapunzel’s Revenge, but the hallmarks of
this style are still evident. (See Illustration 6.)

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Artistic Media
The artistic media refer to the materials and technical means used by artists to create pictures.
Although the variety of techniques and materials used by book illustrators is virtually unlimited,
some of the more common media found in children’s books are listed here.
■ Drawing: Pen and ink, colored pencils, pastels (colored chalk), charcoal pencils
Two excellent examples of drawing are Peter Sís’s autobiographical The Wall: Growing Up
behind the Iron Curtain, in which he uses pen and ink and colored markers extensively, and
Brian Selznick’s The Invention of Hugo Cabret, in which he uses charcoal pencil.
■ Collage: An assemblage of different forms such as real objects and pieces of cut or torn paper
to construct an illustration
The illustration from Barbara Reid’s The Subway Mouse includes found objects—a feather,
torn newspaper, a crayon, fabric, twine, a button. (See Illustration 11.) Steve Jenkins uses cut
papers to assemble his dazzling animal collages in such books as How Many Ways Can You
Catch a Fly? (by Robin Page) and Living Color.
■ Print making: Woodcuts, linoleum prints, block prints, lithography
Beckie Prange’s hand-colored woodcuts in Song of the Water Boatman & Other Pond Poems
by Joyce Sidman perfectly capture the woodsy spirit of nature and wetland wildlife. (See Il-
lustration 9.) The linocut technique used by Stephen Savage to make the illustrations in Polar
Bear Night resembles that of woodcuts, except that linoleum is used instead of wood as the
relief surface. (See Illustration 7.)
■ Photography: Black and white, color
The large, close-up photographs Walter Wick uses to illustrate his book, A Drop of Water: A
Book of Science and Wonder, support the factual nature of its contents by saying, in effect,
“This is real.” (See Illustration 12.)
■ Painting: Oils, acrylics, watercolors, gouache, tempera
Oils, acrylics, tempera, and gouache paints produce an opaque surface with the possibility of
brilliant, rich colors and a solid appearance. Watercolors are more transparent and prized for
the luminosity achieved by the white paper surface shining through the paint. Of course, the
tools with which the artist applies the paint will affect its look. Tools as varied as brushes, air-
brushes, and sponges are used for applying paint. The bold colors in David Shannon’s acrylic
illustration from No, David! enhance the chaotic scene and the character’s ebullient personality—a
close look at the painting will reveal the artist’s actual brush strokes. (See Illustration 1.)
■ Computer: Digital painting, digital application of color to hand-drawn art, digital manipula-
tion of images such as photographs
Using software and machines such as scanners, artists can achieve unique artistic effects. In
Knuffle Bunny: A Cautionary Tale, Mo Willems used a computer to color his hand-drawn
characters, create the sepia tone of the background photographs, and even remove some
unwanted items from the photographs. (See Illustration 5.)
Artists will generally use one predominant medium in a picture book, drawing from other media
for special effects. Occasionally, an artist will choose to combine media more liberally to achieve the
desired effect. Brief explanations of the artist’s techniques and materials have recently begun to be
included on the publishing history page of children’s picture books. See the column in the Guide to
Illustrations headed “Artistic Style; Media” for examples of illustrations created with mixed media.

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Book Design
Book design is the artful orchestration of all components of a book into a coherent whole. Chil-
dren’s books are more than text or text and pictures combined. In this section we will discuss the
other features that are a part of book design.
The dust jacket is a removable paper cover wrapped around the book; it serves as protection
against soiling. It also attracts purchasers and readers as well as informs them about the book, its
author, and its illustrator. The covers of a book are usually made of two boards, which make the
book more durable and allow it to stand on a shelf. When no dust jacket is on a book, the front
cover provides the reader with a first impression of the story. The title, an important part of the
text—usually first seen by the reader on the dust jacket or front cover—combines with the il-
lustrations of the dust jacket or cover to communicate the nature of the story to young readers
who choose books primarily by title and cover. Many titles suggest the topic of the story and can
assist readers in deciding whether to read the book. Other titles and covers may not offer as much
information about the story. In such cases, some explanation by a teacher or librarian in the form
of a booktalk may prove invaluable to young readers seeking just such a book.
The endpapers are the pages glued to the inside front and back boards of the cover, and the
flyleaf is the page facing each endpaper. In many well-designed books, the endpaper and flyleaf
are used to provoke curiosity in the reader for what follows, to set a mood, to evoke an affective
response in preparation for the story, or to act as a visual prologue and epilogue, as in Emily
Gravett’s Orange Pear Apple Bear and Alan Madison’s Velma Gratch and the Way Cool Butter-
fly, illustrated by Kevin Hawkes.When readers turn the flyleaf, they are further prepared by the
artist for the story by viewing the title page. The title page tells the book’s full title and subtitle,
if there is one; the names of the author(s) and illustrator(s); and the name and location of the
publisher. Occasionally, a book will include a frontispiece, an illustration facing the title page,
which is intended to establish the tone and to entice the reader to begin the story.
On the reverse side of the title page, often referred to as the verso of the title page, is the
publishing history of the book. On this page is the copyright notice, a legal right giving only the
holder permission to produce and sell the work. Others who wish to reproduce the work in any
way must request permission from the copyright holder. The copyright is indicated by the inter-
national symbol ©. This symbol is followed by the name of the person(s) holding the copyright
and the date it takes effect, which is the year the book is first published. Later publications are
also listed. The country in which the book was printed, the number assigned to the book by the
Library of Congress, the International Standard Book Number (ISBN), and the edition of the
book are also included on this page. Many publishers now include on this page cataloguing in-
formation for libraries, a very brief annotation of the story, and a statement on the media and
techniques used in the illustrations.
The title page typically presents the typeface, the style of print to be used throughout the
book. The size and legibility of the typeface must be suited to the book’s intended audience. In
children’s books this can be extremely important. Books for the young child who is just learning
to read should have large, well-spaced print for easy eye scanning. The print style for an easy-
to-read book should be a somewhat larger-than-average standard block print with easily distin-

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guishable and recognizable uppercase and lowercase letters. In children’s trade books produced
in “big book” size for whole-class or small group reading activities, the print needs to be large
enough to be readily seen from a minimum of 10 to 12 feet. Legibility is diminished when back-
ground colors are used behind the text, leaving insufficient contrast for easy reading.
The size, shape, and darkness of the print type may vary from book to book. The lines may
be heavy and strong or light and willowy. The choice of print type should enhance the overall
visual message of the illustrations and fit with the illustrations in style and mood. Note also that
the placement of the print on the pages in relation to the illustrations can subtly guide the reader
and become a functional part of the story.
Unusual print styles are sometimes selected for a children’s book. In a book with a diary for-
mat, the use of script print gives the impression of handwriting. In this case, the amount of script
print is usually brief, and standard block print is used throughout most of the book for greater
ease of reading. In place of print some illustrators choose to hand-letter the text. An example of
lettering as part of the illustrative component of a book is found in the classic Millions of Cats by
Wanda Gág. A more recent example is found in David Larochelle’s The End, illustrated by Richard
Egielski.
The page layout is also worth observing. You will notice that illustrations are variously placed
one on a page, on facing pages, on alternating pages, or on parts of pages. When the picture extends
across the two facing pages, it is called a doublespread. A doublespread gives the effect of motion,
because the eye is drawn to the next page. It can also give a feeling of grandeur, openness, and
expansiveness. Sometimes, a picture will begin on a right-hand page and spill over to the following
page, the reverse side. This offers a strong sense of continuity from one part of the story to the next.
Some pictures have a frame. Framing an illustration can work to distance the reader from the ac-
tion, lend a sense of order to the story, or make the mood more formal. The frame itself may be
anything from a simple line to a broad, ornately decorated ribbon of information. Decorations on
a frame may repeat certain images or symbols to reinforce the meaning of the story.
Pages are another part of the book makeup. In evaluating pages, you should note whether
the paper is thick enough to be durable and whether textured or colored paper reflects or enhances
the story. Similarly, the shape of the pages should be in keeping with the story or concept, particu-
larly if they are unique or unusual (in the shape of a concrete object, fold-out, or engineered, for
example).
The size of the book is an important design feature. Large picture books are well suited for
reading aloud to a class. Smaller picture books are usually not satisfactory choices for read-alouds,
unless, of course, you are reading to only one child or to a small group of children.
Book binding, or the way the pages are held together, is important because it helps determine
a book’s durability. Books may be bound in hardcover, paperback, or in some special-purpose
material. For example, books for babies are frequently bound in sturdy cardboard or vinyl to
withstand the dual role of toy and book. When buying a hardcover book, determine whether the
binding is glued or sewn by carefully opening the book at its midpoint. If the book binding is
sewn, you will be able to see the stitches in the gutter of the book. Sewn bindings last much longer
than glued ones. Durability relative to cost is the usual trade-off you must weigh in selecting paper
or hardcover bindings for classroom or school libraries. Generally speaking, the cost of hardcover
books is justified when you expect fairly heavy use.

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Observing the Role of Illustrations in Picture Books

The role of illustrations in picture books can best be understood in terms of the literary elements,
as defined in Chapter 3, and the visual elements, artistic styles, and artistic media as discussed
earlier in this chapter. These roles vary in importance, depending on the type of picture book. In
wordless picture books, the illustrations tell the whole story; in picture storybooks, they tell part
of the story; in illustrated books, they may serve as mere breaks in the narrative or as decoration.
The Guide to Illustrations found at the beginning and end of the color insert gives a brief
analysis of each illustration and how it contributes to the story. To better understand the examples,
it would be wise to read the books from which the illustrations were taken
and then use the guide as an aid to understanding how artistic styles, visual
elements, and elements of fiction found in the illustrations contribute to
Go to Activity 2 in the Assign- each story’s meaning. For example, in the illustration from David Shan-
ments and Activities section of non’s No, David! (Illustration 1), a pajama-clad little boy, instead of quietly
Chapter 5 in MyEducationKit;
complete the activity on examin-
preparing for sleep, careens off his bed imagining that he is a superhero.
ing the relationship between His mother’s presence is found only in her words, “Settle down!” For child
illustrations and text in a picture and adult reader alike, the boy’s exaggerated expression and motion pro-
storybook. vide humor. Artist David Shannon’s use of an expressionistic style, bold
colors, and jagged, diagonal lines emphasize the child’s wild energy, mo-
tion, and zest for life. Seen from his mother’s perspective, however, these same artistic attributes
could be interpreted as emphasizing the child’s naughtiness.
The key to understanding and appreciating the role of illustrations in picture books is to
observe them carefully. Look at the illustrations for the messages they contain, in the way children
who cannot read words “read” illustrations. Table 5.1 offers tips in what to look for as you read
picture storybooks.

Historical Overview of Picture Books

Orbis Pictus (The World in Pictures), an ABC book written and illustrated by John Amos Comenius
in Moravia and published in 1657, is considered to be the first children’s picture book. Comenius’s
emphasis on using pictures to explain and expand the meaning of the text in books for young
people was an important first. But since early books were rare and prohibitively expensive, they
were seen by very few children. Moreover, until well into the nineteenth century, Europeans and
Americans believed that books were for the serious business of educating and soul saving, not for
enjoyment! Today’s full-color, extravagantly illustrated, highly amusing picture book is the prod-
uct of the following important developments.
■ Technological advances in color printing made high-quality illustrations in books more
affordable.
■ A more understanding attitude toward childhood evolved. During the nineteenth century,
society began to accept the notion of childhood as a time for playing and learning. At the
same time, the general economy began to be able to afford the average child the leisure time
these activities require.

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Table 5.1 How Illustrations Contribute to Picture Book Stories: A Summary

Artistic and Literary Aspects Examples of Illustrations’ Contributions to Stories

Literary Plot Convey story events not included in the text.

Elements Character Show characters not mentioned in the text; contribute to characterization by
showing characters’ physical descriptions and actions not mentioned in the text.
Setting Show the setting (e.g., era as indicated by clothes, cars, architecture).
Indicate the passing of time (time of day, seasons, etc.).
Theme Underscore the book’s theme.
Indicate the book’s theme (in wordless books).
Style Show the author’s stance toward the protagonist by viewing the world from
the protagonist’s perspective. Support a book’s literary style to faithfully
represent an era or culture.

Visual Line Indicate motion or action, story mood (e.g., calm vs. agitated),
Elements aspects of plot (e.g., real vs. dreamed), and character (e.g., fragile vs. strong).
Color Indicate characters’ emotions and personalities, story mood, and aspects of
setting (e.g., lush vs. arid, cold vs. warm).
Shape Indicate what is most important by relative size.
Emphasize contrast by juxtaposing large and small objects.
Texture Intensify a sense of character or setting by indicating the feel of objects
or surroundings.
Composition Focus the eye on what is most important (usually in the center).
Indicate a character’s perspective (how the character sees the world).

Artistic Realistic Emphasize the idea that information in works of nonfiction is

Styles factual and that realistic works of fiction could be true or based on fact.
Impressionistic Contribute to settings through light-filled scenes of nature.
Expressionistic Express characters’ feelings and emotions through exaggeration.
Abstract Emphasize basic, shared traits of characters; create a nonspecific setting,
whether ancient, futuristic, or timeless.
Surrealistic Help connect characters’ conscious and unconscious thoughts, emotions, and
concerns.
Folk or naïve Establish and develop settings in the past.
Cartoon Provide humor through exaggeration of characters’ physical appearance and
actions.

Artistic Pen and ink Help define outlines and distinguish figure from ground in books for the
Media very young; underscore the simplicity of some stories by simplicity of line
and absence of color; help explain complicated scientific and technological
concepts through precise, detailed drawings.
Pastels Contribute to the creation of strong emotions and lush settings with saturated
colors.
Graphite pencils Focus attention on characters, mood, and actions due to absence of color.
(continued)

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Table 5.1 Continued

Artistic and Literary Aspects Examples of Illustrations’ Contributions to Stories

Colored pencils Help create a lighter mood due to transparency of the medium.
Wax crayons Lend a childlike perspective by using an artistic medium popular with children.
Collages Contribute to settings and characterization through use of objects with
tactile feel; lend a sense of reality through the use of real-world objects.
Woodcuts Help establish outdoor settings with rough-hewn look; lend a sense of
character strength through bold lines.
Photographs Create a sense of the real world with contemporary photographs; create
a sense of the past with period photographs.
Oil paints, Establish a somber or serious mood due to opaqueness of the medium.
gouache
Watercolors Establish a lighter mood because of transparency of the medium and
consequent amount of light reflected.

■ Higher standards of excellence in picture book illustrations developed. The beauty, charm, and
humor of the illustrations of nineteenth-century illustrators Randolph Caldecott, Kate Green-
away, and Walter Crane brought children’s book art to the attention of the general public.
■ The establishment of national awards for excellence in children’s book illustration in the
twentieth century encouraged more artists to enter the children’s book field.
■ Because of the growth of public school systems and public and school library systems, the
demand for books grew. In addition, reading came to be recognized as one of the child’s best
tools for learning and for gaining a worthy source of entertainment.
Today, the picture book genre is well established, with an ever-widening audience, more
multicultural themes, a greater number of bilingual picture books (especially English–Spanish),
and more realistic themes such as the effects of war, poverty, immigration, and disabilities on the
lives of children. Greater diversity in formats and more illustrated retellings of folktales are avail-
able. A trend of the 1990s was to publish picture books with high levels of conceptual difficulty
and artistic sophistication intended for middle-grade students. The twenty-first century has wit-
nessed the growth of the graphic novel, a novel-length comic book, originally created for adults,
that now includes books for elementary- and middle-grade students.

Types of Picture Books

Today’s picture books differ in intended audience, purpose, format, and relative amount of text
and illustration. These differences are not absolute, however; quite often, one will find a picture
book having characteristics of several specific types. With the understanding that overlap between

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MILESTONES in the Development of Picture Books

Date Event Significance
1484 Publication of Aesop’s Fables, illustrated One of the first-known illustrated books
by William Caxton enjoyed by children
1657 Publication of Orbis Pictus, written and Considered to be the first picture book
illustrated by John Amos Comenius for children
1860–1900 Golden Age of children’s book illustration Increased awareness, stature,
in Great Britain, led by Randolph Calde- popularity, and appreciation of
cott, Walter Crane, and Kate Greenaway children’s picture books
1902 Publication of The Tale of Peter Rabbit by Early important modern picture storybook
Beatrix Potter in English
1928 Publication of Millions of Cats by Early important modern American
Wanda Gág picture storybook
1938 Establishment of the Caldecott Award Promoted excellence in illustrating for
for illustration in children’s books in the children and encouraged talented
United States artists to illustrate children’s books
1940 Publication of Pat the Bunny by Dorothy One of the first books for babies; began
Kunhardt the move to supply different types of
picture books for different child audiences
1957 Publication of The Cat in the Hat, Introduced the easy-to-read genre of
written and illustrated by Dr. Seuss, picture books
and Little Bear, written by Else Minarik
and illustrated by Maurice Sendak
1967 Publication of A Boy, a Dog, and a Frog, Popularized the wordless book genre
illustrated by Mercer Mayer
1972 Publication of Push Pull, Empty Full by Signaled the growing popularity of the
Tana Hoban concept picture book
1974 Publication of Arrow to the Sun: A Pueblo Signaled the emergence of picture books for
Indian Tale by Gerald McDermott older readers as a distinct type of picture
book
1981 Publication of “The Baby Board Books” Established baby books as a distinct and
by Helen Oxenbury important type of picture book
1990 Color Zoo by Lois Ehlert wins a Caldecott Recognition of the engineered book genre
Honor Award
1991 Black and White by David Macaulay wins Denoted influence of postmodernism
Caldecott Medal and acceptance of nontraditional picture
book formats
2006 Henry and Mudge and the Great Grandpas Promoted excellence in books for beginning
by Cynthia Rylant, illustrated by Suçie readers
Stevenson, wins the first Theodor Seuss
Geisel Award for Beginning Reader Books

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types is inevitable, you will want to learn to recognize the following kinds of picture books
(organized by the intended age of the audience from youngest to oldest). Note that poems,
nursery rhymes, and songbooks in picture book format are detailed in Chapter 4, folktales in
picture book format are discussed in Chapter 6, and informational picture books are covered in
Chapter 10.

Baby Books
Baby books are simply designed, brightly illustrated, durable picture books that are intended for
use with children aged 0 to 2. Safety is ensured by rounded corners, nontoxic materials, washable
pages, and no loose attachments. An example is Global Babies by Maya Ajmera in conjunction
with the Global Fund for Children. The types of baby books actually denote the material used in
their construction. Board books are constructed of heavy, laminated cardboard and are either
bound as a book with pages or made to fold out in an accordion fashion. Vinyl books and cloth
books are also types of baby books. These books have little or no text. Their content, which deals
with the objects and routines that are familiar to the infant and toddler, is presented mainly by
the illustrations. The best baby books, such as those produced by Helen Oxenbury, are intelligently
designed to emphasize patterns and associations to promote dialogue between the caregiver and
the young child, who will often look at these books together.

Interactive Books
Interactive books are picture books that stimulate a child’s verbal or physical participation as the
book is read. These books ask the child direct questions, invite unison recitation of chants or
repeated lines, encourage clapping or moving to the rhythm of the words, or require the child to
touch or manipulate the book or find objects in the illustrations. The intended audience is usually
children aged 2 to 6, and the books are seen as an extension of their world of play. One classic
example of this type of book that is still greatly enjoyed by toddlers today is Dorothy Kunhardt’s
Pat the Bunny. A more recent interactive book worth noting is Mem Fox’s Ten Little Fingers and
Ten Little Toes, illustrated by Helen Oxenbury.

Toy Books
Sometimes called engineered or mechanical books, toy books use paper that has been engineered
(i.e., cut, folded, constructed) to provide pop-up, see-through, movable, changeable, fold-out, or
three-dimensional illustrations. Toy books can be found for all ages, but only those that have the
simpler types of engineering, such as pages of varying widths or drilled holes for see-through
effects (as in Eric Carle’s classic, The Very Hungry Caterpillar, or Laura Seeger’s First the Egg),
would be appropriate for most young children. Toy books with fragile or elaborate pop-up fea-
tures, such as Robert Sabuda’s amazing pop-up version of Alice’s Adventures in Wonderland,
would not last in the hands of a very young child, but would delight older children (and
adults).

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Wordless Books
The wordless book depends entirely on carefully sequenced illustrations to present the story. There
is no text, or the text is limited to one or two pages in the book, so the illustrations must be highly
narrative. An outstanding example is Barbara Lehman’s The Red Book, a fantasy about finding
friends in books—literally. Wordless books are generally intended for prereaders, usually children
aged 4 to 6. More sophisticated wordless books for older readers, such as David Weisner’s Sector
7, are also available. When children “read” these illustrations in their own words, they benefit from
the book’s visual story structure in several ways:
■ They develop a concept of story as a cohesive narrative with a beginning and an end.
■ They use language inventively, which promotes language development.
■ They learn the front-to-back, left-to-right page progression in reading.
■ They begin to understand that stories can be found not only in books but in themselves.

Alphabet Books
The alphabet, or ABC, book presents the alphabet letter by letter to acquaint young children with
the shapes, names, and, in some cases, the sounds of the twenty-six letters. For example, see ABC:
A Child’s First Alphabet Book by Alison Jay. Almost all ABC book authors and illustrators choose
a theme (animals, elves, fruit, etc.) or device (finding the many objects in the accompanying il-
lustration beginning with the featured letter) to give their books cohesion. In choosing an ABC
book, consider the appropriateness of the theme or device for students,
whether both uppercase and lowercase letters are displayed, and the use of
a simple, easy-to-read style of print.
Most ABC books are intended for the nonreader or beginning reader.
Go to Activity 3 in the Assign-
ments and Activities section of
Some authors and illustrators use the alphabet itself as a device for present-
Chapter 5 in MyEducationKit; ing information or wordplay. In these cases, the intended audience already
complete the activity on gaining knows the alphabet. In Superhero ABC, Bob McLeod presents imaginative
experience in evaluating ABC and and wacky superheroes whose names and descriptions begin with the fea-
counting books.
tured letter, inviting readers to invent such characters of their own.

Counting Books
The counting book presents numbers, usually 1 through 10, to acquaint young children with the
numerals and their shapes (1, 2, 3, . . . ), the number names (one, two, three, . . . ), the sense of
what quantity each numeral represents, and the counting sequence. Teeth, Tails, & Tentacles: An
Animal Counting Book by Christopher Wormell, with its bold linocut prints clearly depicting the
numerals and the objects to be counted, presents lessons in counting and zoology simultaneously.
As with alphabet books, authors and illustrators of counting books employ themes or devices to
make them more cohesive and interesting. Specific considerations in evaluating a counting book
include the appeal to children of the theme and objects chosen to illustrate the number concepts,
and the clarity with which the illustrator presents the concept of number.

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Illustrators often fill their alphabet and counting books with unusual and intriguing objects for
children to name and count, such as aardvarks, barracudas, and chameleons. Children pick up a
great deal of interesting information and vocabulary in this way. You will be in the best position to
decide whether the novelty of these objects will be motivating or confusing to your students.

Concept Books
A concept book is a picture book that explores or explains an idea or concept (e.g., opposites), an
object (e.g., a train), or an activity (e.g., working) rather than telling a story. Many concept books
have no plot but use repeated elements in the illustrations and text to tie the book together. Laura
Seeger combines a simple format, well-known but unexpected objects, and paper cut-outs to
create an interesting book about color in Lemons Are Not Red. Limited text and clearly understood
illustrations in the best concept books stimulate children’s exploratory talk about the concepts,
objects, and activities presented.
Alphabet and counting books are considered types of concept books. Another variety of the
concept book that is popular with 2- to 4-year-olds is the naming book, which presents simple,
labeled pictures of people, animals, and objects for young children to identify. My First Word Book
by Angela Wilkes is an example of a naming book.

Picture Storybooks
The picture storybook is a book in which a story is told through both the words and pictures. Text
and illustration occur with equal frequency in these books, and on most double spreads, both are
in view. This is the type of book most people associate with the term picture book and is the most
common type of picture book. An enduring favorite picture storybook is Chris Van Allsburg’s
The Polar Express. A highly regarded recent example is Kevin Henkes’s Kitten’s First Full Moon.
The information and tips found in Table 5.1 are particularly applicable to picture storybooks.
The text of most picture storybooks is meant to be read aloud to the intended audience of 4- to
7-year-olds, at least for the first time or two, and often includes challenging vocabulary. Many of the
best picture storybooks are also read and enjoyed independently by children 8 years old and up.

Pattern Books
Picture books that strongly emphasize word patterns are called pattern books. They are also called
decodable books because of their language regularities in which certain phonological features are
repeated, as is the line, “Is this the bus for us, Gus?” in Suzanne Bloom’s The Bus for Us. In addi-
tion, predictable books, such as Bill Martin Jr. and Eric Carle’s perennial favorite Brown Bear,
Brown Bear, What Do You See? and its companion books, Polar Bear . . . and Panda Bear . . . , are
sometimes included in this category because of meaning and illustration clues.

Easy-to-Read Books
Easy-to-read books are created to help the beginning reader read independently with success.
These books have limited text on each page, large print, double spacing, short sentences, and often

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occur in series. There is usually an illustration on every other page. Language is often, but not
always, controlled, and words are short and familiar. Laura McGee Kvasnosky’s Zelda and Ivy: The
Runaways, with its emphasis on familiar family situations and gentle humor, is a good example.
Another is Mo Willems’s Are You Ready to Play Outside? with its theme of friendship and its story
told in dialogue balloons. Easy-to-read books can be used with children whenever they want to
learn to read, but the audience for this type of book is usually 5- to 7-year-olds.
The easy-to-read book differs in appearance from the picture storybook in several obvious
ways. Because they are intended for independent reading, they do not have to be seen from a
distance and may be smaller, the text takes up a greater proportion of each page, and the text is
often divided into short chapters.
The importance of the easy-to-read book genre was recognized in 2004 with the establish-
ment of the Theodor Seuss Geisel Award. This annual award, named for the renowned Theodor
Geisel, or Dr. Seuss, and sponsored by the American Library Association, is given to the author(s)
and illustrator(s) of the most distinguished American book for beginning readers published in
English in the United States during the preceding year. The first award was given in 2006.

Picture Books for Older Readers

Picture books for older readers are generally more sophisticated, abstract, or complex in themes,
stories, and illustrations and are suitable for children aged 10 and older. This type of picture book
began to appear in the 1970s, perhaps in response to our increasingly visual modes of commu-
nication, and now artists such as Anthony Browne, D. B. Johnson, David Macaulay, and Peter Sís
are known for their work in this area. Peter Sís’s autobiographical The Wall: Growing Up behind
the Iron Curtain has aspects of both picture book and graphic novel. Its serious content and fac-
tual, historic base are aimed squarely at middle- and high-school students, making it an excellent
example of a picture book for older readers.
Picture books for older readers lend themselves well to use across the middle-school curriculum,
including social studies, science, language arts, mathematics, art, music, and physical education. Con-
sider the advantages of using picture books for older readers in middle and secondary schools:
■ They can be used as teacher read-alouds for introductions and supplements to textbook-
based units of instruction.
■ They can be used in text sets (several books on the same topic) for small group in-class read-
ing, analysis, and discussion.
■ They can be used by individual students as models of excellent writing.
■ They can inject humor and stimulate interest in a topic, and possibly provoke discussion,
which would result in a deeper understanding of the content (Albright, 2000, 2002), as David
Macaulay’s The Way We Work could do for the topic of how the human body functions.
■ They can demonstrate practical applications of concepts (Alvermann & Phelps, 1998), as
D. B. Johnson’s Henry Climbs a Mountain does for the concept of civil disobedience.
■ They often have factual content that reinforces or adds to that found in textbooks, as Margot
T. Raven’s Night Boat to Freedom, illustrated by E. B. Lewis, could do for a history unit of
instruction on slavery—as the book is based on narratives from the Federal Writers’ Project
Slave Narrative Collection.

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■ They offer different perspectives on issues, such as the Chinese-American perspectives on

immigration to the United States after the passage of the 1882 Chinese Exclusion Act, as
recounted in Milly Lee’s Landed, illustrated by Yangsook Choi.
The traditional notion that picture books are only for younger children no longer applies.
Although some adults may persist in guiding older children away from picture books, as Gontarski
(1994) found, today’s teachers and librarians would be wise to make picture books for older read-
ers an option in any learning situation.

Graphic Novels
The last decade has seen the emergence of graphic novels as a book format related to picture
books. These novel-length books feature text written in speech bubbles or as captions similar to
comic-book illustrations. The term graphic refers to stories told through images and does not
refer to the nature of the content.
The popularity of these books has grown exponentially in the last decade. Features of graphic
novels that appeal to young people and especially to reluctant readers are that they are visually
oriented, emphasize dialogue, often occur in series, and have close ties to popular culture such as
films and comic-book superheroes. For instance, Shannon and Dean Hale and illustrator Nathan
Hale, the creators of the graphic novel featured in the color insert, Rapunzel’s Revenge (Illustration
6) generate reader interest by recasting the demure folktale heroine as a proactive superwoman
and change the setting to the outlaw-ridden U.S. Wild West. A graphic novel appropriate for
intermediate-graders is Babymouse: Queen of the World! by Jennifer L. Holm and illustrated by
Matthew Holm.

Transitional Books
Transitional books are a special type of book for the child who can read but has not yet become
a fluent reader. They are not picture books, but lie somewhere between picture books and full-
length novels. Characteristics of transitional books are an uncomplicated writing style and
vocabulary, illustrations on about every third page, division of text into chapters, slightly en-
larged print, and an average length of 100 pages. A good example of a transitional book is Ruby
Lu, Brave and True by Lenore Look, illustrated by Anne Wilsdorf. Often, books for the transi-
tional reader occur in series, as Donald J. Sobol’s much-loved Encyclopedia Brown books and
the more recent Ivy and Bean series by Annie Barrows and Martin Bridge series by Jessica
Kerrin.
The Center for Children’s Books and the Graduate School of Library and Information Science
of the University of Illinois at Urbana–Champaign established the Gryphon Award for transi-
tional books in 2004. A $1,000 prize is given annually to the author of the English-language work
of fiction or nonfiction published in the preceding year that best exemplifies qualities that suc-
cessfully bridge the gap in difficulty between picture books and full-length books.

During the twentieth century the picture book was begun and developed as a genre, diversified to
meet the demands of an ever-expanding audience and market, and improved as a result of new
and refined printing technology. As researchers came to realize the connections between positive

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early experiences with good literature, reading, and school success, new types of picture books were
developed. Today, high-quality picture books on nearly every imaginable topic can enrich the lives
and imaginations of young children and the classrooms and libraries where they learn.

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Investigate the topic of visual symbolism in art. One possible online source is www
.umich.edu/~umfandsf/symbolismproject/symbolism.html/index.html. Following your
research, read a book noted for its use of visual symbols, such as the Grimm brothers’
Snow White and the Seven Dwarfs, translated by Randall Jarrell and illustrated by
Nancy Ekholm Burkert (1972). How does awareness of visual symbolism enhance a
reader’s appreciation of stories presented in picture storybook format?
■ Select a picture storybook appropriate for the ages of the students you teach. Read
the book aloud to the students and then guide them in a discussion of how the illus-
trations contribute to the story. Use Table 5.1 for ideas.
■ Picture books are sometimes viewed as appropriate for primary-graders only. Investi-
gate the pros and cons of using picture books as independent reading options and
read-aloud selections in grades 3 and up.
■ Investigate the topic of graphic novels for elementary- and middle-grade students in
such articles as Brenner’s (2006) “Graphic Novels 101: FAQ” and Rudiger’s (2006)
“Graphic Novels 101: Reading Lessons,” both in The Horn Book Magazine.

References
Albright, L. K. (2000). The effects on attitudes and Brenner, R. (2006). Graphic novels 101: FAQ. Horn
achievement of reading aloud picture books in Book Magazine, 82(2), 123–125.
seventh-grade social studies classes. Unpublished Fellowes, J. (2007). The curious adventures of the aban-
doctoral dissertation, Ohio University, Athens. doned toys. Illustrated by S. D. Schindler. New York:
———. (2002). Bringing the Ice Maiden to life: Engag- Holt.
ing adolescents in learning through picture book Gontarski, M. (1994). Visual literacy as it relates to
read-alouds in content areas. Journal of Adolescent picture book use by selected fifth grade students.
and Adult Literacy, 45(5), 418–428. Unpublished doctoral dissertation, Florida State
Alvermann, D. E., & Phelps, S. F. (1998). Content read- University, Tallahassee.
ing and literacy: Succeeding in today’s diverse class- Grimm, J., & Grimm, W. (1972). Snow White and the
rooms (2nd ed.). Boston: Allyn & Bacon. seven dwarfs. Translated by Randall Jarrell. Illus-
Brabham, E. G., & Lynch-Brown, C. (2002). Effects of trated by Nancy E. Burkert. New York: Farrar.
teachers’ reading aloud styles on vocabulary Hearn, M. P. (1984). In the library. In J. Cole (Ed.), A new
acquisition and comprehension of students in the treasury of children’s poetry. New York: Doubleday.
early elementary grades. Journal of Educational Rudiger, H. M. (2006). Graphic novels 101: Reading les-
Psychology, 94(3), 465–474. sons. Horn Book Magazine, 82(2), 126–134.

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 Picture Books

Recommended Picture Books

Ages indicated refer to approximate concept and Kunhardt, Dorothy. Pat the Bunny. Golden, 2001
interest levels. (1940). Ages 2–4.
Ljungkvist, Laura. Follow the Line through the House.
Viking, 2007. Ages 3–7.
Baby Books
Nedwidek, John. Ducks Don’t Wear Socks. Illustrated by
Ajmera, Maya, and Global Fund for Children. Global Lee White. Viking, 2008. Ages 3–7.
Babies. Charlesbridge, 2007. Ages 1–3. Schwartz, Amy. What James Likes Best. Simon & Schus-
Ashman, Linda. Babies on the Go. Illustrated by Jane ter, 2003. Ages 3–5.
Dyer. Harcourt, 2003. Ages 2–4. Slater, Dashka. Baby Shoes. Illustrated by Hiroe Nakata.
Burningham, John. Hushabye. Knopf, 2001. Ages Bloomsbury, 2006. Ages 1–3.
1–3. Whybrow, Ian. The Noisy Way to Bed. Illustrated by
Frazee, Marla. Walk On! A Guide for Babies of All Ages. Tiphanie Beeke. Scholastic, 2004. Ages 2–4.
Harcourt, 2006. Ages 1–2. Yee, Wong H. Who Likes Rain? Holt, 2007. Ages 3–6.
Henderson, Kathy. Look at You! A Baby Body Book. Il- Yolen, Jane, editor. This Little Piggy: Lap Songs, Finger
lustrated by Paul Howard. Candlewick, 2007. Ages Plays, Clapping Games, and Pantomime Rhymes.
2–4. (Also an interactive book) Illustrated by Will Hillenbrand. Candlewick, 2006.
Henkes, Kevin. Owen’s Marshmallow Chick. Harper- Ages 2–4.
Collins, 2002. Ages 2–5. (Board book) Zane, Alexander. The Wheels on the Race Car. Illus-
Lobel, Anita. Hello, Day! Greenwillow, 2008. Ages 2–4. trated by James Warhola. Orchard, 2005. Ages
Nye, Naomi Shihab. Baby Radar. Illustrated by Nancy 4–7.
Carpenter. Greenwillow, 2003. Ages 2–4.
Oxenbury, Helen. I Can. Walker, 2000. Ages 0–3. (See
others in the series: I See, I Touch, I Hear) Toy Books
Suen, Anastasia. Toddler Two. Illustrated by Winnie Baum, L. Frank. The Wonderful World of Oz: A Com-
Cheon. Lee & Low, 2002. Ages 1–3. Also available memorative Pop-Up. Illustrated by Robert Sabuda.
in Spanish (Dos años) and English/Spanish edi- Simon & Schuster, 2000. Ages 6–9.
tions. (Board book) Carle, Eric. The Very Hungry Caterpillar. World, 1968.
Uff, Caroline. Lulu’s Busy Day. Walker, 2000. Ages 0–2. Ages 4–6.
(See also Happy Birthday, Lulu.) Crowther, Robert. Opposites. Candlewick, 2005. Ages
Wheeler, Lisa. Jazz Baby. Illustrated by R. Gregory 4–8. (Also a concept book)
Christie. Harcourt, 2007. Ages 2–4. Ehlert, Lois. Leaf Man. Harcourt, 2005. Ages 5–8.
Ziefert, Harriet. Who Said Moo? Illustrated by Simms (Engineered)
Taback. Handprint Books, 2002. Ages 1–3. (Board Polhemus, Coleman. The Crocodile Blues. Candlewick,
book) 2007. Ages 3–7. (Also a picture storybook)
Sabuda, Robert. Alice’s Adventures in Wonderland.
Simon & Schuster, 2003. Ages 8–12.
Interactive Books
———, and Matthew Reinhart. Encyclopedia Prehis-
Beaumont, Karen. I Ain’t Gonna Paint No More! Illus- torica: Dinosaurs. Candlewick, 2005. Ages 5–9.
trated by David Catrow. Harcourt, 2005. Ages 3–7. (Pop-up)
Fleming, Denise. The Cow Who Clucked. Holt, 2006. Seeger, Laura V. First the Egg. Roaring Brook, 2007.
Ages 3–6. Ages 3–5. (Also a concept, pattern, and easy-to-
Fox, Mem. Ten Little Fingers and Ten Little Toes. Illus- read book)
trated by Helen Oxenbury. Harcourt, 2008. Ages ———. One Boy. Roaring Brook, 2008. Ages 3–8. (Also
3–5. a counting and easy-to-read book)

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 Picture Books

Yorinks, Arthur. Mommy? Illustrated by Maurice Lear, Edward, and Suse MacDonald, adapter. A Was
Sendak. Paper engineering by Matthew Reinhart. Once an Apple Pie. Illustrated by Suse MacDonald.
Scholastic, 2006. Ages 5–10. (Pop-up) Orchard, 2005. Ages 3–7.
Zelinsky, Paul O., adapter. Knick-Knack Paddywhack! A Martin, Bill, Jr., and John Archambault. Chicka Chicka
Moving Parts Book. Dutton, 2002. Ages 5–8. Boom Boom. Illustrated by Lois Ehlert. Simon &
Schuster, 1989. Ages 3–6.
Wordless Books McLeod, Bob. Superhero ABC. HarperCollins, 2006.
Ages 4–8.
Faller, Régis. The Adventures of Polo. Roaring Brook, Seeger, Laura Vaccaro. The Hidden Alphabet. Roaring
2006. Ages 4–8. (International/France) Brook, 2003. Ages 4–7.
———. Polo: The Runaway Book. Roaring Brook, Spirin, Gennady. A Apple Pie. Philomel, 2005. Ages
2007. Ages 4–7. 4–7.
Fleischman, Paul. Sidewalk Circus. Illustrated by Kevin Wells, Rosemary. Max’s ABC. Viking, 2006. Ages 3–7.
Hawkes. Candlewick, 2004. Ages 5–10. Wood, Audrey. Alphabet Mystery. Illustrated by Bruce
Geisert, Arthur. Lights Out. Houghton, 2005. Ages Wood. Scholastic, 2003. Ages 3–6.
5–10.
Lee, Suzy. Wave. Chronicle, 2008. Ages 5–8.
Lehman, Barbara. Museum Trip. Houghton, 2006. Ages Counting Books
5–8. Brown, Ruth. Ten Seeds. Knopf, 2001. Ages 3–5.
———. Rainstorm. Houghton, 2007. Ages 3–7. Carle, Eric. 10 Little Rubber Ducks. HarperCollins,
———. The Red Book. Houghton, 2004. Ages 4–9. 2005. Ages 3–6.
McCully, Emily Arnold. Four Hungry Kittens. Dial, Falwell, Cathryn. Turtle Splash! Countdown at the
2001. Ages 4–7. Pond. Greenwillow, 2001. Ages 3–6.
Newgarden, Mark. Bow-Wow Bugs a Bug. Illustrated by Hines, Anna G. 1, 2, Buckle My Shoe. Harcourt, 2008.
Megan M. Cash. Harcourt, 2007. Ages 6–8. Ages 2–5.
Varon, Sara. Chicken and Cat. Scholastic, 2006. Ages 4–7. Jay, Alison. 123: A Child’s First Counting Book. Dutton,
Vincent, Gabrielle. A Day, a Dog. Front Street, 1999. 2007. Ages 4–7.
Ages 6–8. McMullan, Kate. I’m Dirty. Illustrated by Jim McMul-
Wiesner, David. Flotsam. Clarion, 2006. Ages 4–7. lan. HarperCollins, 2006. Ages 4–7.
———. Sector 7. Clarion, 1999. Ages 6–10. Reiser, Lynn. Hardworking Puppies. Harcourt, 2006.
Yum, Hyewon. Last Night. Farrar, 2008. Ages 3–6. Ages 3–7.
Seeger, Laura V. One Boy. Roaring Brook, 2008. Ages
Alphabet Books 3–8. (Also a toy and easy-to-read book)
Cronin, Doreen. Click, Clack, Quackity-Quack: An Al- Wells, Rosemary. Max Counts His Chickens. Viking,
phabetical Adventure. Illustrated by Betsy Lewin. 2007. Ages 3–5.
Atheneum, 2005. Ages 3–6. Wong, Janet S. Hide and Seek. Illustrated by Margaret
Ernst, Lisa Campbell. The Turn-Around, Upside-Down Chodos-Irvine. Harcourt, 2005. Ages 4–8.
Alphabet Book. Simon & Schuster, 2004. Ages 3–6. Wormell, Christopher. Teeth, Tails, & Tentacles: An
Fleming, Denise. Alphabet under Construction. Holt, Animal Counting Book. Running Press, 2004. Ages
2002. Ages 4–7. 3–8.
Floca, Brian. The Racecar Alphabet. Atheneum, 2003.
Ages 4–8. Concept Books
Inkpen, Mick. Kipper’s A to Z: An Alphabet Adventure.
Harcourt, 2001. Ages 5–7. Alexander, Claire. Lucy and the Bully: A Concept Book.
Jay, Alison. ABC: A Child’s First Alphabet Book. Dutton, Whitman, 2008. Ages 4–7.
2003. Ages 4–7. Bang, Molly. When Sophie Gets Angry—Really, Really
Kalman, Maira. What Pete Ate from A to Z (Really!). Angry. . . . Scholastic, 1999. Ages 3–6.
Putnam, 2001. Ages 5–8. Ehlert, Lois. Color Zoo. Lippincott, 1989. Ages 3–6.

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Fox, Mem. Where Is the Green Sheep? Illustrated by Arnosky, Jim. Grandfather Buffalo. Putnam, 2006. Ages
Judy Horacek. Harcourt, 2004. Ages 2–5. 5–8.
Freymann, Saxton, and Joost Elffers. Fast Food. Illus- Bean, Jonathan. At Night. Farrar, 2007. Ages 5–7.
trated by Saxton Freymann. Scholastic, 2006. Ages Best, Cari. Three Cheers for Catherine the Great! Illus-
3–7. trated by Giselle Potter. DK Ink, 1999. Ages 6–9.
———. Food for Thought: The Complete Book of Billingsley, Franny. Big Bad Bunny. Illustrated by
Concepts for Growing Minds. Scholastic, 2005. G. Brian Karas. Atheneum, 2008. Ages 4–7.
Ages 3–5. Bloom, Suzanne. A Splendid Friend, Indeed. Boyds
Gravett, Emily. Orange Pear Apple Bear. Simon & Mills, 2005. Ages 2–5.
Schuster, 2007. Ages 2–4. Brown, Peter. Chowder. Little, Brown, 2006. Ages 4–7.
Henkes, Kevin. Old Bear. Greenwillow, 2008. Ages Browne, Anthony. Voices in the Park. DK Ink, 1998.
3–5. Ages 6–10.
Hutchins, Hazel. A Second Is a Hiccup: A Child’s Book ———. Willy the Dreamer. Candlewick, 1998. Ages
of Time. Illustrated by Kady MacDonald Denton. 7–10.
Scholastic, 2007. Ages 3–7. Burningham, John. Edwardo: The Horriblest Boy in the
Jenkins, Emily. Five Creatures. Illustrated by Tomek Whole Wide World. Knopf, 2007. Ages 4–8.
Bogacki. Farrar, 2001. Ages 4–7. Carle, Eric. The Grouchy Ladybug. Crowell, 1971. Ages
Mayo, Margaret. Choo Choo Clickety Clack! Illustrated 5–7.
by Alex Ayliffe. Carolrhoda, 2005. Ages 2–5. ———. The Very Busy Spider. Philomel, 1984. Ages
Pittau, Francesco, and Bernadette Gervais. Elephant, 5–7.
Elephant: A Book of Opposites. Abrams, 2001. Ages Charlip, Remy. A Perfect Day. Greenwillow, 2007. Ages
3–8. (Also an international book) 4–7.
Prince, April Jones. What Do Wheels Do All Day? Il- Child, Lauren. But Excuse Me That Is My Book. Dial,
lustrated by Giles Laroche. Houghton, 2006. Ages 2006. Ages 4–6.
3–7. ———. Snow Is My Favorite and My Best. Dial, 2006.
Rohmann, Eric. A Kitten Tale. Knopf, 2008. Ages 2–4. Ages 3–5.
(Also a pattern book) Chodos-Irvine, Margaret. Best Best Friends. Harcourt,
Rosenthal, Amy Krouse. Cookies! Bite Size Life Lessons. 2006. Ages 3–6.
Illustrated by Jane Dyer. HarperCollins, 2006. Ages Coffelt, Nancy. Fred Stays with Me! Illustrated by Tricia
4–7. Tusa. Little, Brown, 2007. Ages 5–7.
Savadier, Elivia. Will Sheila Share? Roaring Brook, 2008. Cohen, Miriam. My Big Brother. Illustrated by Ronald
Ages 3–5. Himler. Star Bright, 2004. Ages 4–7.
Seeger, Laura Vaccaro. Black? White! Day? Night! Roar- Cole, Brock. Good Enough to Eat. Farrar, 2007. Ages 4–8.
ing Brook, 2006. Ages 3–7. (Also a toy book) Cole, Henry. On Meadowview Street. Greenwillow,
———. First the Egg. Roaring Brook, 2007. Ages 3–5. 2007. Ages 5–8.
(Also a toy, pattern, and easy-to-read book) Cooper, Elisha. A Good Night Walk. Orchard, 2005.
———. Lemons Are Not Red. Roaring Brook, 2004. Ages 3–6.
Ages 3–7. (Also a toy book) Cordsen, Carol Foskett. The Milkman. Illustrated by
Wilkes, Angela. My First Word Book (3rd edition). DK, Douglas B. Jones. Dutton, 2005. Ages 3–7.
2002. Ages 3–5. Cottin, Menena. The Black Book of Colors. Illustrated
by Rosana Faria. Translated by Elisa Amado.
Groundwood, 2008. Ages 5–8. (Also an interna-
Picture Storybooks
tional book)
Agee, Jon. Milo’s Hat Trick. Hyperion, 2001. Ages 5–8. Cronin, Doreen. Click, Clack, Moo: Cows That Type.
———. Nothing. Hyperion, 2007. Ages 4–8. Illustrated by Betsy Lewin. Simon & Schuster,
———. Terrific. Hyperion, 2005. Ages 5–8. 2000. Ages 4–7.
Ahlberg, Allan. The Pencil. Illustrated by Bruce Ing- ———. Diary of a Fly. Illustrated by Harry Bliss.
man. Candlewick, 2008. Ages 4–7. HarperCollins, 2007. Ages 3–8.

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 Picture Books

———. Wiggle. Illustrated by Scott Menchin. Simon & Goode, Diane. The Most Perfect Spot. HarperCollins,
Schuster, 2005. Ages 2–5. 2006. Ages 5–7.
Cruise, Robin. Little Mama Forgets. Illustrated by Sta- Graham, Bob. Benny, An Adventure Story. Candlewick,
cey Dressen-McQueen. Farrar, 2006. Ages 3–7. 1999. Ages 5–8.
(Also a multicultural book) ———. Dimity Dumpty: The Story of Humpty’s Little
Cunnane, Kelly. For You Are a Kenyan Child. Illustrated Sister. Candlewick, 2007. Ages 4–7. (Also an inter-
by Ana Juan. Atheneum, 2006. Ages 5–8. national book)
D’Amico, Carmela. Ella Takes the Cake. Illustrated by ———. “Let’s Get a Pup!” Said Kate. Candlewick,
Steven D’Amico. Scholastic, 2005. Ages 4–6. 2001. Ages 3–6.
Deacon, Alexis. Beegu. Farrar, 2003. Ages 3–6. ———. Max. Candlewick, 2000. Ages 4–7.
DiCamillo, Kate. Great Joy. Illustrated by Bagram Iba- Gravett, Emily. Wolves. Simon & Schuster, 2006. Ages 6–8.
toulline. Candlewick, 2007. Ages 5–7. Grey, Mini. Traction Man Is Here! Knopf, 2005. Ages
———. Louise, the Adventures of a Chicken. Illustrated 5–7.
by Harry Bliss. HarperCollins, 2008. Ages 5–8. ———. Traction Man Meets Turbodog. Knopf, 2008.
Dillon, Leo, and Diane Dillon. Jazz on a Saturday Night. Ages 4–7.
Scholastic, 2007. Ages 5–9. Haas, Irene. Bess and Bella. Simon & Schuster, 2006.
Dodds, Dayle Ann. The Prince Won’t Go to Bed! Illus- Ages 4–7.
trated by Krysten Brooker. Farrar, 2007. Ages 3–6. Hamilton, Kersten. Red Truck. Illustrated by Valeria
Duval, Kathy. The Three Bears’ Christmas. Illustrated Petrone. Viking, 2008. Ages 3–5.
by Paul Meisel. Holiday, 2005. Ages 3–6. Harper, Charise M. When Randolph Turned Rotten.
Falconer, Ian. Olivia. Atheneum, 2000. Ages 4–7. Knopf, 2007. Ages 3–7.
———. Olivia Saves the Circus. Atheneum, 2001. Ages Harrington, Janice N. The Chicken-Chasing Queen of
3–7. Lamar County. Illustrated by Shelley Jackson. Far-
Feiffer, Jules. Bark, George. HarperCollins, 1999. Ages rar, 2007. Ages 5–7.
3–5. Henkes, Kevin. A Good Day. Greenwillow, 2007. Ages
Flatharta, Antoine Ó. Hurry and the Monarch. Illus- 3–5.
trated by Meilo So. Knopf, 2005. Ages 4–7. ———. Kitten’s First Full Moon. Greenwillow, 2004.
Fleming, Candace. Muncha! Muncha! Muncha! Illus- Ages 3–5.
trated by G. Brian Karas. Simon & Schuster, 2002. ———. Lilly’s Big Day. Greenwillow, 2006. Ages 4–7.
Ages 3–7. ———. Lilly’s Purple Plastic Purse. Greenwillow, 1996.
Foley, Greg. Thank You, Bear. Viking, 2007. Ages 3–6. Ages 5–7.
Ford, Bernette. First Snow. Illustrated by Sebastian ———. So Happy! Illustrated by Anita Lobel. Green-
Braun. Holiday, 2005. Ages 3–7. willow, 2005. Ages 6–9.
Frazee, Marla. A Couple of Boys Have the Best Week ———. Wemberley Worried. Greenwillow, 2000. Ages
Ever. Harcourt, 2008. Ages 5–8. 5–8.
———. Roller Coaster. Harcourt, 2003. Ages 4–7. Hest, Amy. The Dog Who Belonged to No One. Illus-
———. Santa Claus: The World’s Number One Toy trated by Amy Bates. Abrams, 2008. Ages 3–6.
Expert. Harcourt, 2005. Ages 5–7. Hurst, Carol Otis. Terrible Storm. Illustrated by S. D.
Freeman, Don. A Pocket for Corduroy. Viking, 1978. Schindler. Greenwillow, 2007. Ages 5–7.
Ages 3–5. Imai, Ayano. Chester. Penguin, 2007. Ages 4–6.
Friend, Catherine. The Perfect Nest. Illustrated by John Isadora, Rachel. Yo, Jo! Harcourt, 2007. Ages 4–7.
Manders. Candlewick, 2007. Ages 5–7. Jacobson, Jennifer Richard. Andy Shane and the Very
Gág, Wanda. Millions of Cats. Coward-McCann, 1928. Bossy Dolores Starbuckle. Illustrated by Abby
Ages 4–6. Carter. Candlewick, 2005. Ages 5–8.
George, Kristine O’Connell. Up! Illustrated by Hiroe Jarrett, Clare. Arabella Miller’s Tiny Caterpillar. Can-
Nakata. Clarion, 2005. Ages 1–4. dlewick, 2008. Ages 4–7.
Gerstein, Mordicai. The Man Who Walked between the Jeffers, Oliver. The Incredible Book Eating Boy. Philo-
Towers. Millbrook, 2003. Ages 5–8. mel, 2007. Ages 4–8.

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Jenkins, Emily. That New Animal. Illustrated by Pierre MacDonald, Ross. Bad Baby. Roaring Brook, 2005.
Pratt. Farrar, 2005. Ages 3–7. Ages 5–8.
———. What Happens on Wednesdays. Illustrated by Madison, Alan. Velma Gratch and the Way Cool But-
Lauren Castillo. Farrar, 2007. Ages 4–6. terfly. Illustrated by Kevin Hawkes. Random, 2007.
Juan, Ana. The Night Eater. Scholastic, 2004. Ages 4–7. Ages 5–8.
Juster, Norton. The Hello, Goodbye Window. Illustrated Markes, Julie. Shhhhh! Everybody’s Sleeping. Illustrated
by Chris Raschka. Hyperion, 2005. Ages 4–7. by David Parkins. HarperCollins, 2005. Ages 4–6.
Kasza, Keiko. The Dog Who Cried Wolf. Putnam, 2005. McCarty, Peter. Moon Plane. Holt, 2006. Ages 3–5.
Ages 4–7. McClintock, Barbara. Adèle and Simon. Farrar, 2006.
Kellogg, Steven. Pinkerton, Behave! Dial, 1979. Ages 6–8. Ages 5–8.
Kimmel, Elizabeth C. The Top Job. Illustrated by Robert
———. Dahlia. Farrar, 2002. Ages 5–7.
Neubecker. Dutton, 2007. Ages 5–8.
McElmurry, Jill. I’m Not a Baby! Random, 2006. Ages
Kinsey-Warnock, Natalie. Nora’s Ark. Illustrated by
4–7.
Emily Arnold McCully. HarperCollins, 2005. Ages
5–8. McFarland, Lyn Rossiter. Widget. Illustrated by Jim
Kleven, Elisa. The Apple Doll. Farrar, 2007. Ages 4–7. McFarland. Farrar, 2001. Ages 4–6.
Kloske, Geoffrey. Once Upon a Time, The End (Asleep McMillan, Bruce. The Problem with Chickens. Illus-
in 60 Seconds). Illustrated by Barry Blitt. Simon & trated by Gunnella. Houghton, 2005. Ages 4–8.
Schuster, 2005. Ages 5–8. McMullan, Kate. I Stink! Illustrated by Jim McMullan.
Knudsen, Michelle. Library Lion. Illustrated by Kevin HarperCollins, 2002. Ages 4–7.
Hawkes. Candlewick, 2006. Ages 4–7. McNulty, Faith. If You Decide to Go to the Moon. Il-
Kohara, Kazuno. Ghosts in the House! Roaring Brook, lustrated by Steven Kellogg. Scholastic, 2005. Ages
2008. Ages 3–7. 5–8.
Kolar, Bob. Big Kicks. Candlewick, 2008. Ages 4–8. Meddaugh, Susan. The Witch’s Walking Stick. Hough-
Krauss, Ruth. The Growing Story. Illustrated by Helen ton, 2005. Ages 5–7.
Oxenbury. HarperCollins, 2007. Ages 3–5. Melling, David. The Scallywags. Barron’s, 2006. Ages
Kulka, Joe. Wolf’s Coming! Carolrhoda, 2007. Ages 3–7. 5–8.
Kvasnosky, Laura McGee. Zelda and Ivy: The Run- Nakagawa, Chihiro. Who Made This Cake? Illustrated
aways. Candlewick, 1998. Ages 6–8. by Junji Koyose. Front Street, 2008. Ages 3–5.
———. Zelda and Ivy One Christmas. Candlewick, Napoli, Donna Jo. Albert. Illustrated by Jim LaMarche.
2000. Ages 6–8. Harcourt, 2001. Ages 5–8.
Larochelle, David. The End. Illustrated by Richard Nevius, Carol. Baseball Hour. Illustrated by Bill Thom-
Egielski. Scholastic, 2007. Ages 4–8. son. Marshall Cavendish, 2008. Ages 7–9.
Lee, Ho Baek. While We Were Out. Kane/Miller, 2003. Ogburn, Jacqueline. The Bake Shop Ghost. Illustrated by
Ages 4–7.
Marjorie Priceman. Houghton, 2005. Ages 5–8.
Lester, Helen. Hooway for Wodney Wat. Illustrated by
O’Malley, Kevin. Gimme Cracked Corn & I Will Share.
Lynn Munsinger. Houghton, 1999. Ages 4–7.
Walker, 2007. Ages 7–9.
Lloyd, Sam. Mr. Pusskins: A Love Story. Simon & Schus-
ter, 2006. Ages 4–7. Palatini, Margie. Three French Hens. Illustrated by
Lobel, Anita. Nini Here and There. Greenwillow, 2007. Richard Egielski. Hyperion, 2005. Ages 5–7.
Ages 3–5. Pearson, Susan. Slugs in Love. Illustrated by Kevin
Long, Melinda. How I Became a Pirate. Illustrated by O’Malley. Marshall Cavendish, 2006. Ages 5–7.
David Shannon. Harcourt, 2003. Ages 5–8. Pennypacker, Sara. Pierre in Love. Illustrated by Petra
Loomis, Christine. Astro Bunnies. Illustrated by Ora Mathers. Scholastic, 2007. Ages 4–7.
Eitan. Putnam, 2001. Ages 4–7. Perkins, Lynne Rae. Pictures from Our Vacation. Green-
Lum, Kate. What? Cried Granny: An Almost Bedtime willow, 2007. Ages 5–7.
Story. Illustrated by Adrian Johnson. Dial, 1999. Perl, Erica S. Chicken Bedtime Is Really Early. Illus-
Ages 5–8. trated by George Bates. Abrams, 2005. Ages 3–5.

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Peters, Lisa Westberg. Cold Little Duck, Duck, Duck. Il- Sendak, Maurice. Outside Over There. Harper, 1981.
lustrated by Sam Williams. Greenwillow, 2000. Ages Ages 7–10.
1–4. ———.Where the Wild Things Are. Harper, 1963. Ages
Pitzer, Susanna. Not Afraid of Dogs. Illustrated by Larry 5–7.
Day. Walker, 2006. Ages 5–8. Shannon, David. David Gets in Trouble. Scholastic,
Prelutsky, Jack. The Wizard. Illustrated by Brandon 2002. Ages 4–6.
Dorman. Greenwillow, 2007. Ages 5–10. (Also a ———. Duck on a Bike. Scholastic, 2002. Ages 3–6.
poetry book) Shannon, George. Tippy-Toe Chick, Go! Illustrated by
Pullen, Zachery. Friday My Radio Flyer Flew. Simon & Laura Dronzek. Greenwillow, 2003. Ages 4–6.
Schuster, 2008. Ages 4–7. Shulevitz, Uri. How I Learned Geography. Farrar, 2008.
Rathmann, Peggy. The Day the Babies Crawled Away. Ages 5–10.
Putnam, 2003. Ages 4–7. ———. Snow. Farrar, 1998. Ages 3–6.
———. Officer Buckle and Gloria. Putnam, 1995. Ages ———. So Sleepy Story. Farrar, 2006. Ages 2–6.
6–8. ———. The Stray Dog: From a True Story by Reiko
———. 10 Minutes till Bedtime. Putnam, 1998. Ages Sassa. HarperCollins, 2001. Ages 4–7.
3–6. Sís, Peter. Madlenka. Farrar, 2000. Ages 5–8.
Raven, Margot T. Night Boat to Freedom. Illustrated by ———. Madlenka’s Dog. Farrar, 2002. Ages 3–7.
E. B. Lewis. Farrar, 2006. Ages 6–8. (Also a histori- Smith, Chris. One City, Two Brothers. Illustrated by
cal fiction book) Aurélia Fronty. Barefoot, 2007. Ages 5–8. (Also a
Ray, Jane. The Apple-Pip Princess. Candlewick, 2008. traditional and religious cultures book)
Smith, Lane. Madam President. Hyperion, 2008. Ages
Ages 4–7.
5–7.
Reid, Barbara. The Subway Mouse. Scholastic, 2005.
Spinelli, Eileen. Three Pebbles and a Song. Illustrated by
Ages 5–7.
S. D. Schindler. Dial, 2003. Ages 5–8.
Reiss, Mike. Merry Un-Christmas. Illustrated by David
Steen, Sandra and Susan. Car Wash. Illustrated by G.
Catrow. HarperCollins, 2006. Ages 5–7.
Brian Karas. Putnam, 2001. Ages 3–7.
Richards, Beah E. Keep Climbing, Girls. Illustrated by R.
Stein, David E. Leaves. Putnam, 2007. Ages 3–7.
Gregory Christie. Simon & Schuster, 2006. Ages
Stevens, Janet, and Susan Stevens Crummel. The Great
5–8. Fuzz Frenzy. Illustrated by Janet Stevens. Harcourt,
Richardson, Justin, and Peter Parnell. And Tango Makes 2005. Ages 4–7.
Three. Illustrated by Henry Cole. Simon & Schuster, Stewart, Sarah. The Gardener. Illustrated by David
2005. Ages 5–8. Small. Farrar, 1997. Ages 4–7.
Rodman, Mary Ann. My Best Friend. Illustrated by E. B. Stuve-Bodeen, Stephanie. Elizabeti’s Doll. Illustrated by
Lewis. Viking, 2005. Ages 5–7. Christy Hale. Lee & Low, 1998. Ages 3–7.
Roth, Susan L. Great Big Guinea Pigs. Bloomsbury, Swanson, Susan M. The House in the Night. Illustrated
2006. Ages 5–7. by Beth Krommes. Houghton, 2008. Ages 3–5.
Sakai, Komako. Emily’s Balloon. Chronicle, 2006. Ages Teckentrup, Britta. Grumpy Cat. Boxer, 2008. Ages
2–4. 2–5.
Samuels, Barbara. Happy Valentine’s Day, Delores. Thompson, Lauren. Polar Bear Night. Illustrated by
Farrar, 2005. Ages 5–7. Stephen Savage. Scholastic, 2004. Ages 2–5.
San Souci, Daniel. Space Station Mars. Tricycle, 2005. Van Allsburg, Chris. The Garden of Abdul Gasazi.
Ages 6–9. Houghton, 1979. Ages 6–8.
Schotter, Roni. The Boy Who Loved Words. Illustrated ———. Jumanji. Houghton, 1981. Ages 6–10.
by Giselle Potter. Random, 2006. Ages 6–10. ———. The Polar Express. Houghton, 1995. Ages
Schwartz, Amy. Starring Miss Darlene. Roaring Brook, 5–9.
2007. Ages 5–7. Van Leeuwen, Jean. Benny & Beautiful Baby Delilah.
Scieszka, Jon. Cowboy & Octopus. Illustrated by Lane Illustrated by LeUyen Pham. Dial, 2006. Ages
Smith. Viking, 2007. Ages 5–10. 3–5.

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 Picture Books

Waddell, Martin. Hi, Harry! The Moving Story of How ———. Mama Cat Has Three Kittens. Holt, 1998. Ages
One Slow Tortoise Slowly Made a Friend. Illus- 2–5.
trated by Barbara Firth. Candlewick, 2003. Ages Gravett, Emily. Monkey and Me. Simon & Schuster,
3–5. 2008. Ages 4–6.
———. Tiny’s Big Adventure. Illustrated by John Law- MacLennan, Cathy. Chicky Chicky Chook Chook. Boxer,
rence. Candlewick, 2004. Ages 4–7. 2007. Ages 3–6. (Also an international book)
Wheeler, Lisa. Boogie Knights. Illustrated by Mark Sie- Martin, Bill, Jr. Brown Bear, Brown Bear, What Do You
gel. Atheneum, 2008. Ages 5–8. See? Illustrated by Eric Carle. Holt, 1983. Ages 3–6.
———. Castaway Cats. Illustrated by Ponder Goem- ———. Panda Bear, Panda Bear, What Do You See?
bel. Atheneum, 2006. Ages 4–7. Illustrated by Eric Carle. Holt, 2003. Ages 3–6.
———. Mammoths on the Move. Illustrated by Kurt ———. Polar Bear, Polar Bear, What Do You Hear?
Cyrus. Harcourt, 2006. Ages 5–7. (Also a poetry Illustrated by Eric Carle. Holt, 1991. Ages 3–6.
and informational book) Shannon, David. No, David! Scholastic, 1998. Ages
Willems, Mo. Don’t Let the Pigeon Drive the Bus! 2–5.
Hyperion, 2003. Ages 4–7. Smee, Nicola. Clip-Clop. Boxer, 2006. Ages 3–5.
———. Don’t Let the Pigeon Stay Up Late! Hyperion, Wild, Margaret. Piglet and Papa. Illustrated by Stephen
2006. Ages 3–7. M. King. Abrams, 2007. Ages 3–5.
———. Knuffle Bunny: A Cautionary Tale. Hyperion,
2004. Ages 3–5.
Easy-to-Read Books
———. Knuffle Bunny Too: A Case of Mistaken Iden-
tity. Hyperion, 2007. Ages 3–6. Adler, David A. Young Cam Jansen and the Double
———. Leonardo, the Terrible Monster. Hyperion, Beach Mystery. Illustrated by Susanna Natti. Vi-
2005. Ages 4–6. king, 2002. Ages 5–7.
Willis, Jeanne. Tadpole’s Promise. Illustrated by Tony Ahlberg, Allan. The Children Who Smelled a Rat. Il-
Ross. Atheneum, 2005. Ages 5–9. lustrated by Katharine McEwen. Candlewick, 2005.
Winthrop, Elizabeth. Squashed in the Middle. Illus- Ages 7–10.
trated by Pat Cummings. Holt, 2005. Ages 5–8. Arnold, Tedd. Hi! Fly Guy. Cartwheel Books/Scholastic,
Wong, Janet S. Buzz. Harcourt, 2000. Ages 3–5. 2005. Ages 5–7.
Yaccarino, Dan. Deep in the Jungle. Atheneum, 2000. Bang-Campbell, Monika. Little Rat Makes Music. Illus-
Ages 5–9. trated by Molly Bang. Harcourt, 2007. Ages 5–7.
Bloom, Suzanne. A Splendid Friend, Indeed. Boyds
Mills, 2005. Ages 5–7.
Pattern Books
Brown, Marc, creator, and Stephen Krensky. Arthur and
Arnold, Marsha Diane. Roar of a Snore. Illustrated by the Big Blow-Up. Illustrated by Marc Brown. Little
Pierre Pratt. Dial, 2006. Ages 2–4. Brown, 2000. (Representative of others in the
Becker, Bonny. A Visitor for Bear. Illustrated by Kady lengthy Arthur chapter book series: Arthur and the
MacDonald Denton. Candlewick, 2008. Ages 4–7. Perfect Big Brother; Francine, the Superstar.) Ages
Bloom, Suzanne. The Bus for Us. Boyds Mills, 2001. 5–7.
Ages 3–6. Cammuso, Frank, and Jay Lynch. Otto’s Orange Day.
Bunting, Eve. Hurry! Hurry! Illustrated by Jeff Mack. Illustrated by Frank Cammuso. TOON, 2008. Ages
Harcourt, 2007. Ages 3–6. 5–7. (Also a graphic novel)
Chodos-Irvine, Margaret. Ella Sarah Gets Dressed. Cowley, Joy. Snake and Lizard. Illustrated by Gavin
Harcourt, 2003. Ages 2–5. Bishop. Kane/Miller, 2008. Ages 5–9. (Also an in-
Fleming, Denise. The Cow Who Clucked. Holt, 2006. ternational book)
Ages 3–6. Danziger, Paula. Get Ready for Second Grade, Amber
———. In the Small, Small Pond. Holt, 1993. Ages Brown. Illustrated by Tony Ross. Putnam, 2002.
5–7. Ages 5–7.

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———. It’s a Fair Day, Amber Brown. Illustrated by Livingstone, Star. Harley. Illustrated by Molly Bang.
Tony Ross. Putnam, 2002. Ages 5–7. North-South, 2001. Ages 5–7.
dePaola, Tomie. Hide-and-Seek All Week. Grosset and McDonough, Yona Zeldis. The Dollhouse Magic. Illus-
Dunlap, 2001. Ages 5–7. trated by Diane Palmisciano. Holt, 2000. Ages
DiCamillo, Kate. Mercy Watson Goes for a Ride. Illus- 7–9.
trated by Chris Van Dusen. Candlewick, 2006. Ages Paterson, Katherine. Marvin One Too Many. Illustrated
5–7. by Jane Clark Brown. HarperCollins, 2001. Ages
———. Mercy Watson to the Rescue. Illustrated by 5–7.
Chris Van Dusen. Candlewick, 2005. Ages 5–7. Porte, Barbara Ann. If You Ever Get Lost: The Adven-
(See other titles in the series.) tures of Julia and Evan. Illustrated by Nancy Car-
Dunrea, Olivier. Gossie. Houghton, 2002. Ages 3–5. penter. Greenwillow, 2000. Ages 5–7.
Also Gossie and Gertie. Ries, Lori. Aggie and Ben: Three Stories. Illustrated by
Edwards, Michelle. Stinky Stern Forever. Harcourt, Frank W. Dormer. Charlesbridge, 2006. Ages 4–7.
2005. Ages 6–9. Rodowsky, Colby. Not My Dog. Illustrated by Thomas
Fine, Anne. The Jamie and Angus Stories. Illustrated by F. Yezerski. Farrar, 1999. Ages 5–7.
Penny Dale. Candlewick, 2002. Ages 5–7. Root, Phyllis. Mouse Goes Out. Illustrated by James
Fleming, Denise. Buster. Holt, 2003. Ages 5–7. Croft. Candlewick, 2002. Ages 4–6.
Rylant, Cynthia. Henry and Mudge and the Great
George, Jean Craighead. Goose and Duck. Illustrated by
Grandpas. Illustrated by Suçie Stevenson. Simon
Priscilla Lamont. HarperCollins, 2008. Ages 5–7.
& Schuster, 2005. Ages 5–7. (Part of a series)
Grant, Judyann A. Chicken Said, “Cluck!” Illustrated by
———. Mr. Putter & Tabby Feed the Fish. Illustrated
Sue Truesdell. HarperCollins, 2008. Ages 5–7.
by Arthur Howard. Harcourt, 2001. Ages 5–7. (See
Guest, Elissa Haden. Iris and Walter. Illustrated by other titles in the Mr. Putter & Tabby series.)
Christine Davenier. Harcourt/Gulliver, 2000. Ages
———. Mr. Putter & Tabby See the Stars. Illustrated by
6–8.
Arthur Howard. Harcourt, 2007. Ages 5–7.
———. Iris and Walter: The Sleepover. Illustrated by Sachar, Louis. Marvin Redpost: A Flying Birthday Cake?
Christine Davenier. Harcourt, 2002. Ages 5–7. Illustrated by Amy Wummer. Random House,
Harper, Jessica. Uh-Oh, Cleo. Illustrated by Jon Berke- 1999. Ages 5–7. (Part of a series)
ley. Putnam, 2008. Ages 5–8. Seeger, Laura V. Dog and Bear: Two Friends, Three Sto-
Haskins, Lori. Ducks in Muck. Illustrated by Valeria ries. Roaring Brook, 2007. Ages 4–7.
Petrone. Random, 2000. Ages 5–7. ———. Two’s Company. Roaring Brook, 2008. Ages
Hoberman, Mary Ann. You Read to Me, I’ll Read to You: 4–6.
Very Short Stories to Read Together. Illustrated by Silverman, Erica. Cowgirl Kate and Cocoa. Illustrated
Michael Emberley. Little, Brown, 2001. Ages 5–7. by Betsy Lewin. Harcourt, 2005. Ages 5–7.
Holub, Joan. The Garden That We Grew. Illustrated by Thomas, Shelley Moore. Good Night, Good Knight.
Hiroe Nakata. Viking, 2001. Ages 5–7. Illustrated by Jennifer Plecas. Dutton, 2000. Ages
Horowitz, Ruth. Breakout at the Bug Lab. Illustrated by 5–8.
Joan Holub. Dial, 2001. Ages 5–8. Van Leeuwen, Jean. Amanda Pig and the Really Hot Day.
Howe, James. Pinky and Rex and the Just-Right Pet. Illustrated by Ann Schweninger. Dial, 2005. Ages
Illustrated by Melissa Sweet. Simon & Schuster, 5–7.
2001. Ages 6–8. Wallace, Karen. Wild Baby Animals. Dorling Kinders-
Koss, Amy Goldman. Where Fish Go in Winter and ley, 2000. Ages 5–8.
Other Great Mysteries. Illustrated by Laura J. Bry- Wells, Rosemary. Yoko Writes Her Name. Hyperion,
ant. Dial, 2000. Ages 5–7. 2008. Ages 3–7.
Kvasnosky, Laura McGee. Zelda and Ivy: The Run- Willems, Mo. Are You Ready to Play Outside? Hyperion,
aways. Candlewick, 2006. Ages 5–8. 2008. Ages 5–7.

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 Picture Books

———. I Am Invited to a Party! Hyperion, 2007. Ages Selznick, Brian. The Invention of Hugo Cabret. Scholas-
5–7. tic, 2007. Ages 8–12.
———. I Love My New Toy! Hyperion, 2008. Ages Sidman, Joyce. Butterfly Eyes and Other Secrets of the
5–7. Meadow. Houghton, 2006. Ages 6–12.
———. I Will Surprise My Friend! Hyperion, 2008. ———. Song of the Water Boatman and Other Pond
Ages 5–7. Poems. Illustrated by Beckie Prange. Houghton,
———. There Is a Bird on Your Head! Hyperion, 2007. 2005. Ages 7–12.
Ages 5–7. Sís, Peter. Starry Messenger. Farrar, 1996. Ages 9–14.
Yee, Wong H. Abracadabra! Magic with Mouse and ———. Tibet through the Red Box. Farrar, 1998. Ages
Mole. Houghton, 2007. Ages 5–8. 9–16.
———. The Wall: Growing Up behind the Iron Cur-
tain. Farrar, 2007. Ages 8–14. (Partially a graphic
Picture Books for Older Readers
novel)
Avi. Silent Movie. Illustrated by C. B. Mordan. Athe- Walter, Mildred Pitts. Alec’s Primer. Illustrated by Larry
neum, 2003. Ages 8–12. Johnson. Vermont Folklife Center, 2004. Ages
Briggs, Raymond. Ug: Boy Genius of the Stone Age. 7–10.
Knopf, 2002. Ages 8–12.
Bunting, Eve. Riding the Tiger. Illustrated by David
Graphic Novels
Frampton. Clarion, 2001. Ages 8–11.
Cronin, Doreen. Duck for President. Illustrated by Betsy Atagan, Patrick. The Yellow Jar: Volume I: Two Tales
Lewin. Simon & Schuster, 2004. Ages 8–10. from Japanese Tradition. NBM, 2002. Ages
Johnson, D. B. Henry Builds a Cabin. Houghton, 2002. 11–14.
Ages 9–13. Cammuso, Frank. Knights of the Lunch Table, Book 1.
———. Henry Climbs a Mountain. Houghton, 2003. Scholastic, 2008. Ages 9–13.
Ages 9–13. Crane, Jordan. The Clouds Above. Fantagraphics, 2005.
———. Henry Hikes to Fitchburg. Houghton, 2000. Ages 7–9.
Ages 9–13. Crilley, Mark. Akiko on the Planet Smoo. Random,
Kerley, Barbara. The Dinosaurs of Waterhouse Hawk- 2000. Ages 9–14.
ins. Illustrated by Brian Selznick. Scholastic, 2001. Czekaj, Jef. Grampa and Julie: Shark Hunters. Top Shelf,
Ages 8–12. 2004. Ages 9–14.
Lee, Milly. Landed. Illustrated by Yangsook Choi. Far- Dini, Paul. Wonder Woman: Spirit of Truth. Illustrated
rar, 2006. Ages 8–10. by Alex Ross. DC Comics, 2001. Ages 9–11.
Macaulay, David. The Way We Work. Houghton, 2008. Eisner, Will. Sundiata: A Legend of Africa. NBM, 2003.
Ages 13–18. Ages 10–14.
McCarthy, Meghan. Aliens Are Coming! The True Frampton, Otis. Oddly Normal, Vol. 1. Viper, 2006.
Account of the 1938 War of the Worlds Radio Ages 9–12.
Broadcast. Knopf, 2006. Ages 8–12. Friesen, Ray. Lookit! A Cheese Related Mishap and
Moss, Marissa. Brave Harriet: The First Woman to Fly Other Stories. Don’t Eat Any Bugs, 2005. Ages
the English Channel. Illustrated by C. F. Payne. 10–13.
Harcourt, 2001. Ages 8–10. Gaiman, Neil. Coraline: Graphic Novel. Illustrated by
Myers, Walter Dean. Blues Journey. Illustrated by Chris- P. Craig Russell. HarperCollins, 2008. Ages
topher Myers. Holiday, 2003. Ages 10–14. 9–12.
Polacco, Patricia. Pink and Say. Philomel, 1994. Ages ———. The Wolves in the Walls. Illustrated by Dave
8–11. McKean. HarperCollins, 2003. Ages 9–12.
Raven, Margot T. Night Boat to Freedom. Illustrated by Gownley, Jimmy. Amelia Rules! What Makes You
E. B. Lewis. Farrar, 2006. Ages 8–12. Happy. ibooks, 2004. Ages 8–12.
Rogers, Gregory. The Boy, the Bear, the Baron, the Bard. ———. Amelia Rules! The Whole World’s Crazy.
Roaring Brook, 2004. Ages 8–12. (Wordless) ibooks, 2003. Ages 8–11.

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 Picture Books

Hale, Shannon, and Dean Hale. Rapunzel’s Revenge. ———. Owly, Volume II: Just a Little Blue. Top Shelf,
Illustrated by Nathan Hale. Bloomsbury USA, 2005. Ages 5–9.
2008. Ages 10–14. Sfar, Joann. Little Vampire Does Kung Fu! Translated
Harper, Charisse M. Fashion Kitty. Hyperion, 2005. from the French by Mark and Alexis Siegel. Simon
Ages 9–13. & Schuster, 2003. Ages 9–13.
Hartman, Rachel. Amy Unbounded: Belondweg Siegel, Siena Cherson. To Dance: A Ballerina’s Graphic
Blossoming. Pug House, 2002. Ages 9–14. Novel. Illustrated by Mark Siegel. Simon & Schuster,
Hayes, Geoffrey. Benny and Penny: In Just Pretend. 2006. Ages 10–14.
TOON, 2008. Ages 4–6. Smith, Jeff. Bone: Out from Boneville. Graphix, 2005.
Holm, Jennifer L. Babymouse: Queen of the World! Ages 9–14.
Illustrated by Matthew Holm. Random, 2005. Ages Spiegelman, Art. Little Lit: Folklore & Fairy Tale Fun-
9–12. (Part of the Babymouse series.) nies. HarperCollins, 2000. Ages 9–14.
———, and Matthew Holm. Babymouse: Heart- Stamaty, Mark Alan. Alia’s Mission: Saving the Books of
breaker. Illustrated by Matthew Holm. Random, Iraq. Knopf, 2004. Ages 9–13.
2006. Ages 5–7. Steinberg, D. J. Sound Off! Illustrated by Brian Smith.
Hosler, Jay. Clan Apis. Active Synapse, 2000. Ages Grosset, 2008. Ages 8–10.
10–14. Tan, Shaun. The Arrival. Scholastic, 2007. Ages 12–18.
Huey, Debbie. Bumperboy and the Loud, Loud Moun- (Also a wordless book)
tain. Adhouse, 2006. Ages 7–9. Torres, J. The Collected Alison Dare: Little Miss Adven-
Irwin, Jane, and Jeff Verndt. Vögelein: A Clockwork tures. Illustrated by J. Bone. Oni, 2002. (Vol. 2,
Faerie. Fiery Studio, 2003. Ages 12–16. 2005). Ages 9–11.
Kobayashi, Makoto. What’s Michael? Vol. 10: Sleepless Varon, Sara. Robot Dreams. First Second, 2007. Ages 8–14.
Nights. Dark Horse, 2005. Ages 10–13. Weigel, Jeff. Atomic Ace (He’s Just My Dad). Albert
Kochalka, James. Monkey vs. Robot. Top Shelf, 2000. Whitman, 2004. Ages 9–12.
Ages 8–12. Yang, Gene L. American Born Chinese. First Second,
———. Monkey vs. Robot and the Crystal of Power. 2006. Ages 12–16. (Also a multicultural book)
Top Shelf, 2003. Ages 8–12.
———. Pinky & Stinky. Top Shelf, 2002. Ages
Transitional Books
8–11.
Lat. Kampung Boy. First Second, 2006. Ages 9–14. Bang-Campbell, Monika. Little Rat Rides. Harcourt,
(Autobiography; set in Malaysia; Muslim) 2004. Ages 6–9.
Martin, Ann M., and Raina Telgemeier. Kristy’s Great Barrows, Annie. Ivy and Bean. Illustrated by Sophie Black-
Idea. Illustrated by Raina Telgemeier. Scholastic, all. Chronicle, 2006. Ages 6–9. (Part of a series)
2006. Ages 9–11. (From Baby-Sitter’s Club series) Benton, Jim. Franny K. Stein, Mad Scientist: Lunch Walks
Morse, Scott. Magic Pickle. Scholastic, 2008. Ages 7–9. among Us. Simon & Schuster, 2003. Ages 6–9.
O’Malley, Kevin. Captain Raptor and the Space Pirates. Brisson, Pat. Little Sister, Big Sister. Illustrated by Diana
Illustrated by Patrick O’Brien. Walker, 2007. Ages Cain Blumenthal. Holt, 1999. Ages 6–9.
5–9. (Sequel to Captain Raptor and the Moon Delaney, Michael. Birdbrain Amos. Putnam, 2002. Ages
Mystery.) 6–9.
Renier, Aaron. Spiral-Bound: Top Secret Summer. Top dePaola, Tomie. 26 Fairmount Avenue. Putnam, 1999.
Shelf, 2005. Ages 9–12. Ages 6–9.
Rodi, Rob. Crossovers. CrossGeneration, 2003. Ages Doherty, Berlie. The Famous Adventures of Jack. Illus-
11–16. trated by Sonja Lamut. Greenwillow, 2001. Ages
Roman, Dave, and John Green. Jax Epoch and the 6–9.
Quicken Forbidden. Ait/Planet Lar, 2002. Ages Edwards, Michelle. Stinky Stern Forever. Harcourt, 2005.
9–14. Ages 6–9.
Runton, Andy. Owly, Volume I: The Way Home & the Fenner, Carol. Snowed in with Grandmother Silk. Illus-
Bittersweet Summer. Top Shelf, 2004. Ages 5–9. trated by Amanda Harvey. Dial, 2003. Ages 5–7.

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 Picture Books

Florian, Douglas. Bow Wow Meow Meow: It’s Rhyming Levy, Elizabeth. Big Trouble in Little Twinsville. Illus-
Cats and Dogs. Harcourt, 2003. Ages 6–9. trated by Mark Elliot. HarperCollins, 2001. Ages
Fowler, Susi Gregg. Albertina, the Animals, and Me. 6–9.
Illustrated by Jim Fowler. Greenwillow, 2000. Ages ———. Night of the Living Gerbil. Illustrated by Bill
6–9. Basso. HarperCollins, 2001. Ages 6–9.
———. Albertina the Practically Perfect. Illustrated by Look, Lenore. Ruby Lu, Brave and True. Illustrated by
Jim Fowler. Greenwillow, 1998. Ages 6–9. Anne Wilsdorf. Simon & Schuster, 2004. Ages 6–9.
Graves, Bonnie. Taking Care of Trouble. Illustrated by Marsden, Carolyn. The Gold-Threaded Dress. Cam-
Robin P. Glasser. Dutton, 2002. Ages 6–9. bridge, MA: Candlewick, 2002. Ages 6–9.
Greenwald, Sheila. Rosy Cole’s Worst Ever, Best Yet Tour McEwan, Jamie. Rufus the Scrub Does Not Wear a Tutu.
of New York City. Holt, 2003. Ages 6–9. Illustrated by John Margeson. Darby Creek, 2007.
Grindley, Sally. Dear Max. Illustrated by Tony Ross. Ages 7–10.
Simon & Schuster, 2006. Ages 6–9. Nolan, Lucy. Down Girl and Sit: Smarter Than Squir-
Haas, Jessie. Jigsaw Pony. Illustrated by Ying-Hwa Hu. rels. Illustrated by Mike Reed. Marshall Cavendish,
Greenwillow, 2005. Ages 6–9. 2004. Ages 6–9.
———. Runaway Radish. Illustrated by Margot Apple. Pennypacker, Sara. Clementine. Illustrated by Marla
Greenwillow, 2001. Ages 6–9. Frazee. Hyperion, 2006. Ages 6–9.
Harper, Charise M. Just Grace. Houghton, 2007. Ages ———. Clementine’s Letter. Illustrated by Marla
7–9. Frazee. Hyperion, 2008. Ages 7–9.
James, Simon, editor. Days Like This: A Collection of ———. The Talented Clementine. Illustrated by Marla
Small Poems. Candlewick, 2000. Ages 6–9. Frazee. Hyperion, 2007. Ages 7–10.
Jenkins, Emily. Toys Go Out: Being the Adventures of a Roberts, Ken. The Thumb in the Box. Illustrated by
Knowledgeable Stingray, a Toughy Little Buffalo, Leanne Franson. Groundwood, 2001. Ages 6–9.
and Someone Called Plastic. Illustrated by Paul O. Sobol, Donald J. Encyclopedia Brown: Boy Detec-
Zelinsky. Random, 2006. Ages 6–9. tive. Illustrated by Leonard Shortall. Bantam,
Kerrin, Jessica. Martin Bridge: Ready for Takeoff! 1985 (originally published by Scholastic, 1968).
Illustrated by Joseph Kelly. Kids Can, 2005. Ages (Others in this series: Encyclopedia Brown Tracks
6–9. (Part of a series.) Them Down; Encyclopedia Brown and the Case of
King-Smith, Dick. The Nine Lives of Aristotle. Illustrated the Midnight Visitor; Encyclopedia Brown Solves
by Bob Graham. Candlewick, 2003. Ages 6–9. Them All.) Ages 6–9.
Lewis, Maggie. Morgy Makes His Move. Illustrated by Spinelli, Jerry. Tooter Pepperday. Illustrated by Donna
Michael Chesworth. Houghton, 1999. Ages 6–10. Nelson. Random House, 1995. Ages 6–9.

Related Films, Videos, and DVDs

Antarctic Antics. (2000). Author: Judy Sierra (2000). I Stink! (2009). Authors/Illustrators: Kate and Jim
Illustrators: Jose Aruego and Ariane Dewey. 32 McMullan (2002). 9 minutes.
minutes. Jumanji. (1995). Author/Illustrator: Chris Van Allsburg
Diary of a Spider. (2006). Author: Doreen Cronin (1981). 104 minutes.
(2005). Illustrator: Harry Bliss. 9 minutes. Knuffle Bunny: A Cautionary Tale. (2006). Author/
The Dot. (2004). Author/Illustrator: Peter H. Reynolds. Illustrator: Mo Willems (2004). 10 minutes.
(2003) 7.5 minutes. Lon Po Po. (2006). Author/Illustrator: Ed Young (1989).
Giggle, Giggle, Quack. (2003). Author: Doreen Cronin 12 minutes.
(2002). Illustrator: Betsy Lewin. 9.5 minutes. The Man Who Walked between the Towers. (2005).
Hondo & Fabian. (2006). Author/Illustrator: Peter Author/Illustrator: Mordicai Gerstein (2003). 60
McCarty (2002). 6 minutes. minutes.

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 Picture Books

Max’s Words. (2007). Author: Kate Banks (2006). Illus- An annual reference work that lists media and
trator: Boris Kulikov. 10 minutes. provides sources for purchase and rental.
Miss Nelson Has a Field Day. (1999). Author: Harry Allard Websites of large video distributors:
(1985). Illustrator: James Marshall. 13 minutes. www.libraryvideo.com
Owen. (1995). Author/Illustrator: Kevin Henkes
www.knowledgeunlimited.com
(1993). 9 minutes.
Seven Blind Mice. (2007). Author/Illustrator: Ed Young http://teacher.scholastic.com/products/
(1992). 7 minutes. westonwoods
So You Want to Be President? (2002). Author: Judith
St. George (2000). Illustrator: David Small. 26
minutes.

Sources for Films, Videos, and DVDs

The Video Source Book. Syosset, NY: National Video
Clearinghouse, 1979–. Published by Gale Research,
Detroit, MI.

Now go to Chapter 5 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

110
Traditional Literature
There Is a Land
There is a land— Brownies dance
a marvelous land— To cricket tunes;
where trolls and giants dwell; And ghosts, all shivery white,
Where witches Prowl and moan.
With their bitter brew There is a land
Can cast a magic spell; Of magic folks and deeds,
Where mermaids sing, And anyone
Where carpets fly, Can visit there
Where, in the midst of night, Who reads and reads and reads.

—Leland B. Jacobs

“There Is a Land” by Leland B. Jacobs. Copyright © 1985 by Highlights for Children,

Inc., Columbus, Ohio.

From Chapter 6 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

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 Traditional Literature

Visual narratives on ancient cave paintings in Europe, Asia, and Australia indicate that prehistoric
humans had stories to tell long before they had a written language. For thousands of years, the
best of these stories were preserved through the art of storytelling from one generation to the next.
Surely these stories survived because people enjoyed hearing them. In folk literature we have our
most ancient stories and a priceless literary and cultural heritage that links us to our beginnings
as thinking beings.

Definition and Description

Traditional literature is the body of ancient stories and poems that grew out of the oral tradition
of storytelling before being eventually written down. Having no known or identifiable authors,
these stories and poems are attributed to entire groups of people or cultures. Although some
traditional stories are told as cultural or spiritual truths or may contain factual elements, most
are considered fantasy.
Because these stories have been preserved over time, they provide insights into the underlying
values and beliefs of particular cultural groups and opportunities for comparisons across cultures.
Most are considered imaginative stories that provide a window into human nature and cultural
beliefs. These traditional stories also provide the basis for many works of modern literature and
drama and so children need a strong background in these stories to bring to their later literary
experiences.
Traditional literature includes several different types of stories, but because they were all
shared orally for so long, they have many features in common:
■ Plots are short, simple, and direct; all but the essentials disappeared during countless retellings.
■ Action is concentrated and fast paced, adding interest.
■ Characters are two-dimensional and easily identified as good or bad.
■ Settings are unimportant and vague (“In the beginning . . .” or “Long ago in a land far
away . . .”).
■ Literary style is characterized by standard beginnings and endings (“Once upon a time . . .”),
motifs (recurring features such as the number 3), and repeated refrains (“Mirror, mirror, on
the wall . . .”).
■ Themes are limited (e.g., good overcomes evil, the small and powerless overcome the power-
ful, explanations for the ways of the world).
■ Endings are almost always happy (“. . . and they lived happily ever after.”).
Folklore is still being created, particularly in cultures and countries where the oral tradition
remains an important means of communication. In the United States, urban legends, jokes, and
jump-rope rhymes are all part of the constantly evolving body of modern folklore.

Evaluation and Selection of Traditional Literature

For thousands of years, people of all ages were the intended audience for traditional stories. In
our scientifically enlightened times, these stories have been relegated to children because of their

112
 Traditional Literature

use of the supernatural and magic. The following list of evaluation criteria was developed with a
general child audience in mind:
■ A traditional tale, even though written down, should preserve the narrative, or storytelling,
style and should sound as though it is being told.
■ A traditional tale should preserve the flavor of the culture or country of its origin through
the use of unusual speech patterns, a few foreign terms, or proper names common to the
culture.
■ In illustrated versions, text and illustrations must be of high quality, and illustrations must
match the tone of the text and help to capture the essence of the culture of origin.
■ Traditional tales employ a simple but rich literary style. Even very young children are fasci-
nated by the chants, stylistic flourishes, and colorful vocabulary that are characteristic of
masterful storytelling.
■ In evaluating collections of traditional literature, consider the number and variety of tales in
the collection and the quality of reference aids, such as tables of contents and indexes.
Some adults raise concerns that the gruesome violence sometimes
found in traditional stories harms or traumatizes children. In recent times,
many traditional stories have been rewritten to omit the violence, as in the
Go to Activity 1 in the Assign-
Disney versions of folktales. In a “softened” version of “Snow White,”
ments and Activities section of
Chapter 6 in MyEducationKit; the evil stepmother is either forgiven by the heroine or banished from the
complete the activity on evaluat- kingdom. Earlier Grimm versions of the tale end with the stepmother
ing several versions of a favorite dancing to her death in red-hot iron shoes.
traditional tale. Critics of the softened versions of traditional tales claim that altering
the stories robs them of their power, their appeal, and their psychologi-
cal benefit to children, who are reassured that the evil force is gone forever and cannot come
back to hurt them. Children should also be made aware of the male chauvinism and poor
feminine role models, from ever-sinister stepmothers to ever-helpless princesses, rampant in
folktales.

Historical Overview of Traditional Literature

Perhaps the world’s first stories grew out of the dreams, wishes, ritual chants, or retellings of the
notable exploits of our earliest ancestors. No one knows. Little can be said about the early history
of this genre except that these stories existed in oral form for thousands of years.
Folklorists are intrigued by the startling similarity of traditional tales
around the world. Cinderella-type tales, for example, can be found in ev-
ery culture. One explanation for this is that the first humans created these
Go to Activity 2 in the Assign-
stories and took them along as they populated the globe. This theory is
ments and Activities section of called monogenesis, or “single origin.” Another theory credits the funda-
Chapter 6 in MyEducationKit; mental psychological similarity of humans for the similarity of their stories.
complete the activity on compar- Polygenesis, or “many origins,” holds that early humans had similar urges
ing different cultural variants of
and motives, asked similar fundamental questions about themselves and
the Cinderella story.
the world around them, and logically created similar stories in response.

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 Traditional Literature

E xce l l e n t T ra d i t i o n a l L i t e ra t u re to READ ALOUD

Chen, Jiang Hong. The Magic Horse of Han Gan. Ages 5–9. Legend.
dePaola, Tomie. Strega Nona. Ages 5–8. Folktale.
Emberley, Rebecca. Chicken Little. Illustrated by Ed Emberley. Ages 4–7. Fable.
Fleischman, Paul. Glass Slipper, Gold Sandal: A Worldwide Cinderella. Ages 5–9. Folktale.
Hamilton, Virginia, reteller. In the Beginning: Creation Stories from around the World. Illus-
trated by Barry Moser. Ages 9–12. Myths.
Hennessy, B. G., reteller. The Boy Who Cried Wolf. Illustrated by Boris Kulikov. Ages 4–7.
Fable.
McGill, Alice. Way Up and Over Everything. Illustrated by Jude Daly. Ages 8–12. Folktale.
Pinkney, Jerry. Little Red Riding Hood. Ages 5–9. Folktale.
Steptoe, John. Mufaro’s Beautiful Daughters: An African Tale. Ages 6–8. Folktale; Cinderella
variant.
Storace, Patricia. Sugar Cane: A Caribbean Rapunzel. Illustrated by Raúl Colón. Ages 8–12.
Folktale.

Both theories have merit, and since the answer lies hidden in ancient prehistory, neither theory
has prevailed over the other.
The popularity of traditional literature with children has continued to grow in the twenty-
first century, owing in part to a renewed interest in storytelling. Other trends contributing to the
popularity of this genre are the publication of single illustrated retellings of traditional litera-
ture, publication of cultural variants of traditional tales from around the world, and publication
of ethnic folk literature of Canadian and U.S. minorities in collections and single illustrated
works.

Types of Traditional Literature

Classification of traditional literature can be confusing. For instance, not everyone uses the same
terms when referring to certain types of traditional stories. Also, modern stories that were written
by known authors in the style of the traditional ones but are not of ancient and unknown origin
are therefore not “traditional” in the strict sense.
The following terms are commonly used when referring to traditional literature:
■ Traditional Literature. The entire body of stories passed down from ancient times by the
oral tradition. The term folktales is sometimes used synonymously with traditional litera-
ture, but we see it as a subcategory.
■ Retold Tale. A version of a tale written in a style that will appeal to a contemporary audience
but otherwise remaining true to the ancient tale.
■ Variant. A story that shares elements of plot or character with other stories and is therefore
in the same “story family” but differs mainly by culture. There are hundreds of variants of
“Cinderella,” for example, from all over the world, that originated in the ancient past.

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 Traditional Literature

Myths
Myths are stories that recount and explain the origins of the world and the phenomena of nature.
They are sometimes referred to as creation stories. The characters in these stories are mainly gods
and goddesses, with occasional mention of humans, and the setting is high above earth in the
home of the gods. Although often violent, myths nonetheless mirror human nature and the es-
sence of our sometimes primitive emotions, instincts, and desires. Some folklorists believe that
myths are the foundation of all other ancient stories. The best-known mythologies are of Greek,
Roman, and Norse origin. Many myths are published in collections like Katrin Tchana’s Changing
Woman and Her Sisters, which focuses on goddesses from around the world.
The complexity and symbolism often found in myths make them appropriate for an older
audience (9 years and up). Some myths have been simplified for a younger audience, but over-
simplification robs these stories of their power and appeal.

Epics
Epics are long stories of human adventure and heroism recounted in many episodes, sometimes
in verse. Epics are grounded in mythology, and their characters can be both human and divine.
However, the hero is always human or, in some cases, superhuman, as was Ulysses in the Odyssey,
Beowulf, and Roland in The Song of Roland. The setting is earthly but not always realistic. Because
of their length and complexity, epics are perhaps more suitable for adolescents, but on the strength
of their compelling characters and events, some epics have been successfully adapted and short-
ened for younger audiences. A good example is Beowulf, retold in three vividly illustrated versions
by James Rumford, Gareth Hinds, and Nicky Raven.

Legends and Tall Tales

Legends are stories based on either real or supposedly real individuals and their marvelous deeds.
Legendary characters such as King Arthur and Robin Hood and legendary settings such as Camelot
are a tantalizing mix of realism and fantasy. Although the feats of the heroes of legend defy belief
today, in ancient times these stories were considered factual. Legends, in general, are austere in tone,
and, because of their length, seriousness, and complexity, are often suitable for middle-graders.
Tall tales are highly exaggerated accounts of the exploits of persons, both real and imagined,
so they may be considered a subcategory of legends. Over time, as each teller embroidered on the
hero’s abilities or deeds, the tales became outlandishly exaggerated and were valued more for their
humor and braggadocio than for their factual content. Well-known North American tall-tale
heroes are Pecos Bill, Paul Bunyan, John Henry, and Johnny Appleseed. Lesser-known but equally
amazing are such tall-tale heroines as Sally Ann Thunder Ann Whirlwind Crockett. Tall tales can
be enjoyed by children age 7 and up.

Folktales
Folktales are stories that grew out of the lives and imaginations of the people, or folk. Folktales
have always been a favorite for children from age 3 and up.
Folktales vary in content as to their original intended audiences. Long ago, the nobility and
their courtiers heard stories of the heroism, valor, and benevolence of people like themselves—the

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 Traditional Literature

MILESTONES in the Development of Traditional Literature

Date Event Significance
Prehistory–1500s Oral storytelling Kept ancient stories alive and provided
literature to common people
500 B.C. Aesop, a supposed Greek slave, wrote Established the fable as a type of
classic fables traditional literature
1484 Aesop’s Fables published by William First known publication of
Caxton in England traditional literature
1500–1700 Puritan Movement Prevented the publication of
traditional literature by the
legitimate press
Chapbooks emerge Helped keep interest in traditional
heroes alive
Late 1600s Jean de la Fontaine of France adapted Popularized the fable
earlier fables in verse form
1697 Tales of Mother Goose published by First written version of folktales
Charles Perrault in France
1700s Romantic Movement Traditional fantasy promoted and
embraced in Europe
1812 Wilhelm and Jakob Grimm collected Helped popularize folk literature
and published Nursery and Household
Tales in Germany
1851 Asbjörnsen and Moe collected and Helped popularize folk literature
published The Norwegian Folktales
in Norway
1889–1894 Andrew Lang collected and published Growing popularity and knowledge
four volumes of folktales from of folktales worldwide helped
around the world popularize folk literature
1894 Joseph Jacobs collected and published Helped popularize folk literature
English Fairy Tales in England; adapted
many tales for a child audience

ruling classes. In contrast, the stories heard by the common people portrayed the ruling classes
as unjust or hard taskmasters whose riches were fair game for those common folk who were
quick-witted or strong enough to acquire them. These class-conscious tales are sometimes re-
ferred to as castle and cottage tales, respectively.
Some people use the terms folktale and fairy tale interchangeably. In fact, the majority of these
stories have no fairies or magic characters in them, so to use one term in place of the other can

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 Traditional Literature

be confusing and erroneous. We categorize fairy tales under magic tales, a

kind of folktale having magic characters such as fairies.
The following is a list of the most prevalent kinds of folktales. Note that
Go to Activity 3 in the Assign-
ments and Activities section of
some folktales have characteristics of two or more folktale categories.
Chapter 6 in MyEducationKit;
complete the activity on explor- Cumulative
ing the categories of traditional The cumulative tale uses repetition, accumulation, and rhythm to make an
literature.
entertaining story out of the barest of plots. Because of its simplicity,
rhythm, and humor, the cumulative tale has special appeal to 3- to 5-year-
olds. “The Gingerbread Man,” with its runaway cookie and growing host of pursuers, is a good
example of this kind of tale.

Humorous
The humorous tale revolves around a character’s incredibly stupid and funny mistakes. These tales
are also known as noodleheads, sillies, drolls, and numbskulls. They have endured, no doubt, for
their comic appeal and the guaranteed laughter they evoke. Some famous noodleheads are the
Norwegian husband who kept house (and nearly demolished it) and Clever Elsie, who was so
addle-brained that she got herself confused with someone else and was never heard from again.

Beast
Beast tales feature talking animals and overstated action. Human characters sometimes occur.
Young children accept and enjoy these talking animals, and older children can appreciate that the
animals symbolize humans. “Goldilocks and the Three Bears” is a good example.

Magic
Magic tales, also known as wonder tales or fairy tales, contain elements of magic or enchantment
in characters, plots, or settings. Fairies, elves, pixies, brownies, witches, magicians, genies, and
fairy godparents are pivotal characters in these stories, and they use magic objects or words to
weave their enchantments. Talking mirrors, hundred-year naps, glass palaces, enchanted forests,
thumb-sized heroines, and magic kisses are the stuff of magic tales, such as “Aladdin and the
Wonderful Lamp.”

Pourquoi
Pourquoi tales explain phenomena of nature as in “Why the Sun and Moon Live in the Sky. ” The
word pourquoi is French for why, and these tales can be understood as explanations for the many
“why” questions asked by early humans. The strong connection between these tales and myths is
obvious, which is why some folklorists identify pourquoi tales as the simplest myths. However,
deities play no role in pourquoi tales as they do in myths and the setting in pourquoi tales is
earthly, whereas the setting in myths is the realm of the gods.

Realistic
Realistic tales are those whose characters, plot, and setting could conceivably have occurred. There
is no magic in these tales, and any exaggeration is limited to the possible. Only a few realistic tales
exist. Dick Whittington and His Cat is a good example.

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Fables
The fable is a simple story that incorporates characters—typically animals—whose actions teach
a moral lesson or universal truth. Often, the moral is stated at the end of the story. Fables appeal
to adults as well as to children, for the best of these stories are both simple and wise. Moreover,
their use of animals as symbols for humans have made them safe, yet effective, political tools.
Perhaps because of their adult appeal, fables were put into print far earlier than other forms of
traditional literature.
Aesop’s fables compose the best-known collection of fables in the Western world, but other
collections include the Panchatantra Tales from Persia; the Jataka Tales from India; and the col-
lected fables of Jean de la Fontaine from France.

Religious Stories
Stories based on religious writings or taken intact from religious manuscripts are considered to
be religious stories. These stories may recount milestones in the development of a religion and its
leadership, or they may present a piece of religious doctrine in narrative form. Stories of the latter
sort are usually called parables.
Scholars of religion, language, and mythology have found a definite thread of continuity from
myth and folk narrative to early religious thinking and writing. Many of the stories, figures, and
rituals described in the sacred scriptures of Christianity, Hinduism, and Buddhism, among other
religions, have their roots in ancient mythology.
Regardless of whether one considers the religious stories to be fact or fiction, these wonderful
stories should be shared with children. Because religion in the classroom is potentially contro-
versial, however, many teachers and librarians do not feel comfortable sharing stories with any
religious connection. This is unfortunate, as many excellent stories, characters, sayings, and situ-
ations essential to the culturally literate person are therefore missed. Some Indigenous scholars
argue that much of their traditional literature is rooted in spiritual beliefs and has been mislabeled
as legend.
Traditional literature, the wealth of ancient stories accumulated over the course of human
existence, is one of the treasures of our species. We listen to these endlessly fascinating stories, we
reflect on them, and they help to tell us who we are. Good companions of our childhood, they
easily become part of us and stay with us throughout our lives. Every child deserves access to this
wonderful literary and cultural heritage.

Storytelling in the Classroom

Given that traditional literature is rooted in oral tradition, telling these stories in classrooms
provides an effective and powerful means for engaging children with this literature. Children are
attentive listeners when their teachers tell stories and quickly begin telling stories themselves. By
bringing stories to life through personal expression and interpretation, storytellers establish a
close communication with their audience.

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Notable Retellers and Illustrators

of Traditional Literature

Paul Goble, author and illustrator. Reteller and Robert D. San Souci, adapter of obscure or
illustrator of folktales and legends of the North almost-forgotten stories from many different
American Indian. Beyond the Ridge. places and ethnic groups. Cendrillon; The Talk-
Trina Schart Hyman, reteller and illustrator of ing Eggs. www.rsansouci.com
classic folktales. Little Red Riding Hood; The Ed Young, illustrator and author of Chinese folk-
Sleeping Beauty. lore and other folklore from around the world.
Eric A. Kimmel, storyteller and reteller of folktales Lon Po Po; Yeh-Shen; What about Me?; I, Doko:
from around the world. Anansi and the Talking The Tale of a Basket. http://edyoungart.com
Melon; Cactus Soup; Three Samurai Cats. Paul O. Zelinsky, illustrator whose realistic oil
http://ericakimmel.com paintings provide insights into the meaning of
Rafe Martin, storyteller and author who retells folktales. Hansel and Gretel; Rapunzel. www
stories from a range of cultures. The Shark .paulozelinsky.com/paul.html
God; The Rough-Face Girl; Foolish Rabbit’s Big Lisbeth Zwerger, illustrator from Vienna with a
Mistake. www.rafemartin.com focus on translated European traditional litera-
Jerry Pinkney, Caldecott medalist whose realistic ture. Little Red Cap; The Bremen Town Musi-
watercolors invigorate folktales, many from the cians; Aesop’s Fables.
African-American tradition. Noah’s Ark; John
Henry; The Ugly Duckling.

Selection of a Story
To find stories for telling, read through collections of folktales and short stories until you find a
few you especially like. Consider these two points:
■ Good stories for telling usually have few characters (from two to five), high conflict, action
that builds to a climax, and a quick conclusion that ties together all the threads of the story.
Humorous elements are also worth seeking.
■ The first stories you tell should take no longer than ten minutes. As you develop your story-
telling gifts, you may want to tell longer stories.
Good resources for teachers and students in grade 4 and above who want to tell stories more
formally is Pellowski’s The Storytelling Handbook (1995) and Bruchac’s Tell Me a Tale (1997).
Websites also provide stories, storytelling resources, and tips on becoming a good storyteller for
you and your students (see www.storyarts.org and www.storynet.org).

Preparation for Telling

Outline the story content in terms of the plot. Many storytellers note the title and source of the tale,
the characters’ names and story events, and any other information that may be helpful on a 3" × 5"
card to consult quickly just before telling a story. Another option is to tape yourself telling stories
and use them to refresh your memory for later retellings.

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Practice
Tell the story aloud to yourself again and again. Do not memorize the story, but keep in mind the
characters and sequence of main story events. Each time you tell the story, it will change a bit,
becoming more and more your own story as you include personal touches. Some storytellers use
simple props (a hat, a stick-on mustache, or a stuffed toy) or more elaborate ones (a mask, a
puppet, or a costume). You can also tell stories through a feltboard, using pictures or objects that
are moved around during the story.
Digital storytelling connects the age-old art of storytelling with children’s digital worlds through
the use of computer-based tools. Digital stories can be personal narratives, traditional tales, or
historical recountings that are told by combining computer-based images, text, recorded audio nar-
ration, video clips, photographs, drawings, and/or music to tell a brief story. Examples of websites
where digital stories are available include the Center for Digital Storytelling (www.storycenter.org)
and Educational Uses of Digital Storytelling (http://digitalstorytelling.coe.uh.edu).

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Explore sexism in traditional literature and the subtle messages it conveys to children.
■ Engage in a cross-cultural analysis of the “Cinderella” tale. Gather variants from
around the world, including Asian, Western European, and American Indian cultures.
Compare plot details, themes, and gender messages.
■ Disney versions of fairy tales enjoy tremendous popularity and yet are negatively cri-
tiqued as stereotyped. Watch the video Mickey Mouse Monopoly or locate articles
that critique Disney films and books. Use the stereotypes chart in Christensen (2002)
to engage in your own analysis.
■ Select, learn, and tell (not read) a folktale to a group of children, using props, if ap-
propriate. Note the differences in telling and reading a story to a young audience.

References
Bruchac, J. (1997). Tell me a tale. San Diego, CA: Pellowski, A. (1995). The storytelling handbook: A young
Harcourt. people’s collection of unusual tales and helpful hints
Christensen, L. (2002). Unlearning the myths that bind on how to tell them. New York: Simon & Schuster.
us. In Reading, Writing and Rising Up (pp. 39–51). Pinkney, J. (1999). The ugly duckling. New York:
Milwaukee, WI: Rethinking Schools. Morrow.

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Recommended Traditional Literature

Ages refer to concept and interest levels. Formats Hinds, Gareth, adapter and illustrator. Beowulf.
other than novels will be coded as follows: Candlewick, 2007. (PI) Ages 10–14. (England)
(PI) Picture book McCaughrean, Geraldine. Gilgamesh the Hero. Illus-
(COL) Short story collection trated by David Parkins. Eerdmans, 2003. (PI)
Note country, continent, or culture of origin after en- Ages 10–14. (Middle East)
tries, where applicable. Raven, Nicky, reteller. Beowulf. Illustrated by John
Howe. Candlewick, 2007. Ages 10–14. (England)
Rumford, James. Beowulf: A Hero’s Tale Retold. Hough-
Myths ton Mifflin, 2007. Ages 10–14. (England)
Burleigh, Robert. Pandora. Illustrated by Raúl Colón. Sutcliff, Rosemary. The Wanderings of Odysseus: The
Silver Whistle, 2002. (PI) Ages 8–11. Story of the Odyssey. Illustrated by Alan Lee. Dela-
Byrd, Robert, reteller. The Hero and the Minotaur: The corte, 1996. Ages 10–13. (Greece)
Fantastic Adventures of Theseus. Dutton, 2005. Verma, Jatinder, reteller. Rama, Sita, and the Story of
(PI) Ages 8–12. Divaali. Illustrated by Nilesh Mistry. Barefoot
d’Aulaire, Ingri, and Edgar Parin d’Aulaire. Book of Books, 2002. (PI) Ages 8–14. (India)
Greek Myths. Doubleday, 1962. (COL) Ages 8–10.
———. Norse Gods and Giants. Doubleday, 1967.
(COL) Ages 8–10.
Hamilton, Virginia, reteller. In the Beginning: Creation Legends and Tall Tales
Stories from around the World. Illustrated by Barry Bertrand, Lynne. Granite Baby. Illustrated by Kevin
Moser. Harcourt, 1988. (COL) Ages 9–12. Hawkes. Farrar, 2005. (PI) Ages 5–7. (United
Heaney, Marie. The Names Upon the Harp: Irish Myth States)
and Legend. Illustrated by P. J. Lynch. Scholastic, Chen, Jiang Hong. The Magic Horse of Han Gan. Trans-
2000. (COL) Ages 10–13. lated by Claudia Zoe Bedrick. Enchanted Lion,
Hofmeyr, Diane. The Star-Bearer: A Creation Myth 2006. (PI) Ages 5–9. (China)
from Ancient Egypt. Illustrated by Jude Daly. Far- Demi. The Legend of Lao Tzu and Tao Te Ching. M. K.
rar, 2001. (PI) Ages 8–12. McElderry, 2007. (PI) Ages 5–9. (China)
Kimmel, Eric A., reteller. The McElderry Book of Greek Goble, Paul. The Girl Who Loved Wild Horses. Brad-
Myths. Illustrated by Pep Montserrat. M. K. bury, 1978. (PI) Ages 7–9. (United States)
McElderry, 2008. (COL) Ages 9–12. (Greece) Hodges, Margaret. Saint George and the Dragon. Illus-
McDermott, Gerald. Creation. Dutton, 2003. (PI) Ages trated by Trina Schart Hyman. Little, Brown, 1984.
8–12. (PI) Ages 8–10. (England)
Menchú, Rigoberta, and Dante Liano. The Honey Hurston, Zora Neale. Lies and Other Tall Tales. Illus-
Jar. Translated by David Unger. Illustrated by trated by Christopher Myers. HarperCollins, 2005.
Domi. Groundwood, 2006. (COL) Ages 9–12. (PI) Ages 7–10. (Southern United States)
(Guatemala/Mayan) Kellogg, Steven, reteller. Johnny Appleseed. Morrow,
Tchana, Katrin Hyman, reteller. Changing Woman and 1988. (PI) Ages 6–8. (United States)
Her Sisters. Illustrated by Trina Schart Hyman. ———, reteller. Paul Bunyan. Morrow, 1984. Ages 6–8.
Holiday, 2006. (COL) Ages 10–14. ———, reteller. Pecos Bill. Morrow, 1986. (PI) Ages
6–8.
Kimmel, Eric A., reteller. Gershon’s Monster: A Story for
Epics
the Jewish New Year. Illustrated by Jon J. Muth.
Henderson, Kathy. Lugalbanda: The Boy Who Got Scholastic, 2000. (PI) Ages 6–11. (Jewish)
Caught Up in a War. Illustrated by Jane Ray. Can- Lester, Julius. John Henry. Illustrated by Jerry Pinkney.
dlewick, 2006. (PI) Ages 9–12. (Iraq) Dial, 1994. (PI) Ages 8–10. (African-American)

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Lindbergh, Reeve. Johnny Appleseed. Illustrated by Bryan, Ashley, adapter. Beautiful Blackbird. Atheneum,
Kathy Jacobsen. Little, Brown, 1990. (PI) Ages 6–8. 2003. (PI) Ages 5–7. (Zambia)
(United States) Cohn, Amy L., editor. From Sea to Shining Sea: A Trea-
Lister, Robin. The Legend of King Arthur. Illustrated by sury of American Folklore and Folk Songs. Scholas-
Alan Baker. Doubleday, 1990. Ages 8–12. tic, 1993. (COL) Ages 4–10. (United States)
(England) Corrin, Sara and Stephen Corrin, retellers. The Pied
Maggi, María Elena, reteller. The Great Canoe: A Kariña Piper of Hamelin. Illustrated by Errol Le Cain.
Legend. Translated by Elisa Amado. Illustrated by Harcourt, 1989. (PI) Ages 7–9. (Germany)
Gloria Calderón. Groundwood, 2001. (PI) Ages Cummings, Pat. Ananse and the Lizard: A West African
6–11. (Venezuela) Tale. Holt, 2002. (PI) Ages 4–8. (Ghana)
Martin, Rafe. The World before This One: A Novel Told Demi. The Hungry Coat: A Tale from Turkey. M. K.
in Legend. Illustrated by Calvin Nicholls. Scholas- McElderry, 2004. (PI) Ages 5–9. (Turkey)
tic, 2002. Ages 12–14. (Native American, Seneca) dePaola, Tomie. Strega Nona. Prentice Hall, 1975. (PI)
Nolen, Jerdine. Big Jabe. Illustrated by Kadir Nelson. Ages 5–8. (Italy)
HarperCollins, 2000. (PI) Ages 6–10. (African- Fleischman, Paul. Glass Slipper, Gold Sandal: A World-
American) wide Cinderella. Illustrated by Julie Paschkis. Holt,
Osborne, Mary Pope. American Tall Tales. Illustrated by 2007. (PI) Ages 5–9. (World)
Michael McCurdy. Knopf, 1991. (COL) Ages Galdone, Paul. The Gingerbread Man. Clarion, 1975.
8–11. (PI) Ages 4–6. (England)
Pyle, Howard. The Merry Adventures of Robin Hood. ———. The Little Red Hen. Seabury, 1973. (PI) Ages
Scribner’s, 1946 (1883). Ages 9–12. (England) 5–7. (England)
San Souci, Robert D. Cut from the Same Cloth: Ameri- ———. The Three Billy Goats Gruff. Seabury, 1973.
can Women of Myth, Legend, and Tall Tale. Illus- (PI) Ages 5–7. (Norway)
trated by Brian Pinkney. Philomel, 1993. (COL) Garland, Sherry. Children of the Dragon: Selected Tales
Ages 8–12. from Vietnam. Illustrated by Trina Schart Hyman.
Harcourt, 2001. (COL) Ages 8–12. (Vietnam)
Folktales Gerson, Mary-Joan. Fiesta Femenina: Celebrating
Women in Mexican Folktales. Barefoot, 2001.
Aardema, Verna, reteller. Why Mosquitoes Buzz in (COL) Ages 10–13. (Mexico)
People’s Ears. Illustrated by Leo and Diane Dillon. Goble, Paul. Beyond the Ridge. Bradbury, 1989. (PI)
Dial, 1975. (PI) Ages 5–7. (Kenya) Ages 8–10. (Native American)
Alley, Zoe. There’s a Wolf at the Door. Illustrated by ———, reteller. Iktomi and the Berries: A Plains Indian
R. W. Alley. Roaring Brook, 2008. (COL) Ages 5–9. Story. Orchard, 1989. (PI) Ages 7–9. (Native
(Western Europe) American)
Aylesworth, Jim, reteller. The Tale of Tricky Fox: A New ———. Storm Maker’s Tipi. Atheneum, 2001. (PI)
England Trickster Tale. Illustrated by Barbara Ages 7–12. (Native American, Siksika)
McClintock. Scholastic, 2001. (PI) Ages 5–8. (United Grimm, Jakob, and Wilhelm Grimm. The Bremen Town
States, New England) Musicians. Illustrated by Lisbeth Zwerger. Trans-
Brown, Marcia. Stone Soup. Scribner’s, 1975 (1947). lated by Anthea Bell. Miniedition, 2007. (PI) Ages
(PI) Ages 6–8. (France) 5–9. (Germany)
Bruchac, James, and Joseph Bruchac, retellers. The Girl ———. Hansel and Gretel. Illustrated by Anthony
Who Helped Thunder and Other Native American Browne. Knopf, 1998 (1981). (PI) Ages 8–14.
Folktales. Illustrated by Stefano Vitale. Sterling, (Germany)
2008. (COL) Ages 9–12. (Native American) ———. Little Red Cap. Illustrated by Lisbeth Zwerger.
Bruchac, Joseph, and James Bruchac, retellers. Rac- Translated by Elizabeth D. Crawford. Miniedition,
coon’s Last Race: A Traditional Abenaki Story. 2006. (PI) Ages 5–9. (Germany)
Illustrated by Jose Aruego and Ariane Dewey. ———. Little Red Riding Hood. Illustrated by Trina
Dial, 2004. (PI) Ages 4–7. (Native American, Schart Hyman. Holiday, 1982. (PI) Ages 6–8.
Abenaki) (Germany)

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———. Rumpelstiltskin. Retold and illustrated by ———. Cactus Soup. Illustrated by Phil Huling. Mar-
Paul O. Zelinsky. Dutton, 1986. (PI) Ages 7–9. shall Cavendish, 2004. (PI) Ages 5–9. (Mexico)
(Germany) ———. Three Samurai Cats. Illustrated by Mordicai
———. Snow-White and the Seven Dwarfs. Translated Gerstein. Holiday, 2003. (PI) Ages 4–8. (Japan)
by Randall Jarrell. Illustrated by Nancy Ekholm Knutson, Barbara. Love and Roast Chicken: A Trickster
Burkert. Farrar, 1972. (PI) Ages 8–10. (Germany) Tale from the Andes Mountains. Carolrhoda, 2004.
Hamilton, Virginia. Bruh Rabbit and the Tar Baby Girl. (PI) Ages 4–7. (Peru, Bolivia)
Illustrated by James Ransome. Scholastic, 2003. Lesser, Rika. Hansel and Gretel. Illustrated by Paul Ze-
(PI) Ages 5–7. (Gullah, South Carolina) linsky. (PI) Ages 5–8. (Germany)
———. The Girl Who Spun Gold. Illustrated by Leo
Lester, Julius, reteller. The Tales of Uncle Remus: The
and Diane Dillon. Blue Sky, 2000. (PI) Ages 5–8.
Adventures of Brer Rabbit. Illustrated by Jerry
(West Indian)
Pinkney. Dial, 1987. (COL) Ages 7–9. (African-
———. Her Stories: African American Folktales, Fairy
American)
Tales, and True Tales. Illustrated by Leo and Diane
Dillon. Scholastic, 1995. (COL) Ages 9–15. Louie, Ai-Ling. Yeh-Shen: A Cinderella Story from
(African-American) China. Illustrated by Ed Young. Philomel, 1982.
———. The People Could Fly: American Black Folk- (PI) Ages 7–9. (China)
tales. Illustrated by Leo and Diane Dillon. Knopf, Lunge-Larsen, Lise. The Hidden Folk: Stories of Fairies,
1985. (COL) Ages 8–10. (African-American) Dwarves, Selkies, and Other Secret Beings. Illus-
Heo, Yumi, reteller. The Green Frogs: A Korean Folktale. trated by Beth Krommes. Houghton, 2004. (COL)
Houghton, 1996. (PI) Ages 4–7. (Korea) Ages 6–12. (Northern Europe)
Hodges, Margaret, reteller. Dick Whittington and His ———, reteller. The Troll with No Heart in His Body:
Cat. Illustrated by Melisande Potter. Holiday, 2006. And Other Tales of Trolls from Norway. Illustrated
(PI) Ages 5–9. (England) by Betsy Bowen. Houghton, 1999. (COL) Ages
Hooks, William H., reteller. Moss Gown. Illustrated by 7–11. (Norway)
Donald Carrick. Clarion, 1987. (PI) Ages 7–9. Marcantonio, Patricia Santos. Red Ridin’ in the Hood, and
(United States; a Cinderella variant) Other “Cuentos.’’ Illustrated by Renato Alarcão. Far-
Huck, Charlotte. Princess Furball. Illustrated by Anita rar, 2005. (COL) Ages 7–12. (Latino, United States)
Lobel. Greenwillow, 1989. (PI) Ages 6–8. (Ger- Marshall, James. Goldilocks and the Three Bears. Dial,
many; a Cinderella variant) 1988. (PI) Ages 5–7. (England)
Hughes, Shirley, reteller. Ella’s Big Chance: A Jazz-Age ———. The Three Little Pigs. Dial, 1989. (PI) Ages 5–7.
Cinderella. Simon & Schuster, 2004. (PI) Ages 6–9. (England)
(England) Martin, Rafe, reteller. Foolish Rabbit’s Big Mistake.
Hyman, Trina Schart. The Sleeping Beauty. Little, Illustrated by Ed Young. Putnam, 1985. (PI) Ages
Brown, 1977. (PI) Ages 5–8. (Germany) 6–8. (India)
Isadora, Rachel. The Twelve Dancing Princesses. Put-
———. The Rough-Face Girl. Illustrated by David
nam, 2007. (PI) Ages 5–9. (Germany/Africa)
Shannon. Putnam, 1992. (PI) Ages 8–10. (Native
Johnson-Davies, Denys. Goha the Wise Fool. Illustrated
American, Mi’kmaq)
by Hany El Saed Ahmed and Hag Hamdy Mohamed
Fattouh. Philomel, 2005. (COL) Ages 6–12. (Mid- ———. The Shark God. Illustrated by David Shannon.
dle East) Scholastic, 2001. (PI) Ages 5–9. (Hawai’i)
Kajikawa, Kimiko, adaptor. Yoshi’s Feast. Illustrated by McClintock, Barbara, reteller. Cinderella. Scholastic,
Yumi Heo. DK Ink, 2000. (PI) Ages 5–9. (Japan) 2005. (PI) Ages 5–9. (France)
Kilaka, John. True Friends. Groundwood, 2006. (PI) McDermott, Gerald. Anansi the Spider. Holt, 1972. (PI)
Ages 5–9. (Tanzania) Ages 6–8. (Ghana)
Kimmel, Eric A. Anansi and the Talking Melon. Illus- ———. Raven: A Trickster Tale from the Pacific North-
trated by Janet Stevens. Holiday, 1994. (PI) Ages west. Harcourt, 1993. (PI) Ages 5–9. (Native
5–7. (Africa) American)

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McGill, Alice. Way Up and Over Everything. Illustrated San Souci, Robert D., reteller. Cendrillon: A Caribbean
by Jude Daly. Houghton Mifflin, 2008. (PI) Ages Cinderella. Illustrated by Brian Pinkney. Simon &
8–12. (African-American) Schuster, 1998. (PI) Ages 5–7. (Caribbean)
McKissack, Patricia C. Flossie and the Fox. Illustrated ———, reteller. Sister Tricksters: Rollicking Tales of
by Rachel Isadora. Dial, 1986. (PI) Ages 7–9. Clever Females. Illustrated by Daniel San Souci.
(African-American) August House, 2006. (COL) Ages 8–12. (Southern
Milligan, Bryce. The Prince of Ireland and the Three United States)
Magic Stallions. Illustrated by Preston McDaniels. ———. The Talking Eggs: A Folktale from the American
Holiday, 2003. (PI) Ages 6–8. (Ireland) South. Illustrated by Jerry Pinkney. Dial, 1989. (PI)
Mollel, Tololwa. Subira Subira. Illustrated by Linda Ages 7–9. (African-American)
Saport. Clarion, 2000. (PI) Ages 5–10. (Tanzania) Sierra, Judy, selector and reteller. Can You Guess My
Montresor, Beni, adapter. Little Red Riding Hood. Name? Traditional Tales around the World. Illus-
Doubleday, 1991. (PI) Ages 10–14. (Germany) trated by Stefano Vitale. Clarion, 2002. (COL) Ages
Morimoto, Junko. The Two Bullies. Translated by Isao 8–10.
Morimoto. Crown, 1999. (PI) Ages 5–7. (Japan) ———. The Gift of the Crocodile: A Cinderella Story.
Illustrated by Reynold Ruffins. Simon & Schuster,
Nesbit, E. Jack and the Beanstalk. Illustrated by Matt
2000. (PI) Ages 5–9. (Indonesia/Spice Islands)
Tavares. Candlewick, 2006. (PI) Ages 5–9.
(England) ———. Tasty Baby Belly Buttons: A Japanese Folktale.
Illustrated by Meilo So. Knopf, 1999. (PI) Ages
Orgel, Doris, reteller. The Bremen Town Musicians and
4–7. (Japan)
Other Animal Tales from Grimm. Illustrated by
Simonds, Nina, Leslie Swartz, and the Children’s
Bert Kitchen. Roaring Brook, 2004. (COL) Ages
Museum, Boston. Moonbeams, Dumplings and
6–9. (Germany)
Dragon Boats: A Treasury of Chinese Holiday
Parks, Van Dyke, and Malcolm Jones, adaptors and re- Tales, Activities and Recipes. Illustrated by Meilo
tellers. Jump! The Adventures of Brer Rabbit. Il- So. Harcourt, 2002. (COL) Ages 9–12. (China)
lustrated by Barry Moser. Harcourt, 1986. (COL)
Singer, Isaac Bashevis. When Shlemiel Went to Warsaw
Ages 7–9. (African-American)
and Other Stories. Translated by the author and
Paterson, Katherine. The Tale of the Mandarin Ducks. Elizabeth Shub. Illustrated by Margot Zemach.
Illustrated by Leo and Diane Dillon. Lodestar, Farrar, 1968. (COL) Ages 8–10. (Jewish)
1990. (PI) Ages 7–9. (Japan) Smith, Chris. One City, Two Brothers. Illustrated by
Perrault, Charles. Cinderella. Illustrated by Marcia Aurélia Fronty. Barefoot Books, 2007. (PI) Ages
Brown. Scribner’s, 1954. (PI) Ages 6–8. (France) 5–9. (Middle East)
———. Puss in Boots. Illustrated by Fred Marcellino. Steptoe, John. Mufaro’s Beautiful Daughters: An
Farrar, 1990. (PI) Ages 6–8. (France) African Tale. Lothrop, 1987. (PI) Ages 6–8.
Pinkney, Jerry. Little Red Riding Hood. Little, Brown, (Zimbabwe)
2007. (PI) Ages 5–9. (Germany) Storace, Patricia. Sugar Cane: A Caribbean Rapunzel.
Powell, Patricia H. Frog Brings Rain/Ch’at Tó Yinílo’. Illustrated by Raúl Colón. Jump at the Sun/
Translated by Peter A. Thomas. Illustrated by Ken- Hyperion, 2007. (PI) Ages 9–12. (Caribbean)
drick Benally. Salina Bookshelf, 2006. (PI) Ages Sweet, Melissa, reteller. Carmine: A Little More Red.
5–8. (Bilingual English/Navajo) Houghton, 2005. (PI) Ages 4–8. (Germany; also an
Reneaux, J. J. How Animals Saved the People: Animal ABC book)
Tales from the South. Illustrated by James Ransome. Taback, Simms, reteller. Kibitzers and Fools: Tales My
Morrow, 2001. (COL) Ages 9–14. (Rural Southern Zayda Told Me. Viking, 2005. (PI) Ages 7–12.
United States, African-American, Appalachian, (Eastern Europe)
Native American) ———. This Is the House That Jack Built. Putnam,
Sanderson, Ruth, reteller. The Golden Mare, the Fire- 2002. (PI) Ages 5–7. (Hebrew)
bird, and the Magic Ring. Little, Brown, 2001. Tchana, Katrin. The Serpent Slayer and Other Stories
(PI) Ages 8–12. (Russia) of Strong Women. Illustrated by Trina Schart

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 Traditional Literature

Hyman. Little, Brown, 2000. (COL) Ages 7–12. Oberman, Sheldon. The Wisdom Bird: A Tale of Solo-
(World) mon and Sheba. Illustrated by Neil Waldman.
Tejima. Ho-Limlim: A Rabbit Tale from Japan. Philo- Boyds Mills, 2000. (PI) Ages 5–9. (Also religious
mel, 1990. (PI) Ages 6–8. (Japan) story)
Wattenberg, Jane. Henny-Penny. Scholastic, 2000. (PI) Uribe, Verónica, reteller. Little Book of Fables. Trans-
Ages 7–12. (England) lated by Susan Ouriou. Illustrated by Constanza
Yolen, Jane. Not One Damsel in Distress: World Folk- Bravo. Groundwood, 2004. (COL) Ages 6–12.
tales for Strong Girls. Illustrated by Susan Wormell, Christopher. Mice, Morals, & Monkey Busi-
Guevara. Silver Whistle, 2000. (COL) Ages ness: Lively Lessons from Aesop’s Fables. Running
8–13. (World) Press, 2005. (PI, COL) Ages 5–8.
Young, Ed. I, Doko: The Tale of a Basket. Philomel, Zwerger, Lisbeth, selector and illustrator. Aesop’s Fables.
2004. (PI) Ages 5–9. (Nepal) North-South Books, 2006. (COL) Ages 5–9.
———. Lon Po Po: A Red-Riding Hood Story from
China. Philomel, 1989. (PI) Ages 7–9. (China)
Religious Stories
———. What About Me? Putnam, 2002. (PI) Ages 5–8.
(Sufi) Demi. Buddha. Holt, 1996. (PI) Ages 8–12.
Zelinsky, Paul O., reteller. Rapunzel. Dutton, 1997. (PI) Goldin, Barbara Diamond. Journeys with Elijah:
Ages 5–8. (Germany) Eight Tales of the Prophet. Illustrated by Jerry
———, reteller. Rumpelstiltskin. Dutton, 1986. (PI) Pinkney. Harcourt, 1999. (COL) Ages 7–14.
Ages 6–8. (Germany) Hao, K. T. Little Stone Buddha. Translated by Annie
Zemach, Harve. Duffy and the Devil. Illustrated by Kung. Illustrated by Giuliano Ferri. Purple Bear,
Margot Zemach. Farrar, 1973. (PI) Ages 6–8. 2005. (PI) Ages 4–7.
(England) Johnson, James Weldon. The Creation. Illustrated by
Zemach, Margot. It Could Always Be Worse. Farrar, James E. Ransome. Holiday, 1994. (PI) Ages
1977. (PI) Ages 6–8. (Jewish) 6–8.
Muth, Jon J. Zen Shorts. Scholastic, 2005. (PI, COL)
Ages 5–9. (Buddhist)
Fables
Pinkney, Jerry. Noah’s Ark. North-South, 2002. (PI)
Aesop’s Fables. Illustrated by Jerry Pinkney. North- Ages 5–8.
South/Sea Star, 2000. (COL) Ages 5–9. Root, Phyllis. Big Momma Makes the World. Illus-
Brown, Marcia. Once a Mouse. Scribner’s, 1961. (PI) trated by Helen Oxenbury. Candlewick, 2003.
Ages 6–8. (PI) Ages 4–7.
Emberley, Rebecca. Chicken Little. Illustrated by Ed Schwartz, Howard. Invisible Kingdoms: Jewish Tales of
Emberley. Roaring Brook, 2009. (PI) Ages 4–7. Angels, Spirits, and Demons. Illustrated by Ste-
Goodall, Jane. The Eagle and the Wren. Illustrated by phen Feiser. HarperCollins, 2002. (COL) Ages
Alexander Reichstein. North-South, 2000. (PI) 8–12. (World)
Ages 5–8. (India) Wisniewski, David. Golem. Clarion, 1996. (PI) Ages
Hennessy, B. G., reteller. The Boy Who Cried Wolf. 6–12.
Illustrated by Boris Kulikov. Simon & Schuster, Young, Ed. Monkey King. HarperCollins, 2001. (PI)
2006. (PI) Ages 4–7. Ages 5–8. (Buddhist)

Related Films, Videos, and DVDs

American Tall Tales (includes John Henry, Swamp Angel). Favorite Fairy Tales, Volume II (includes Rapunzel,
(2006). Retellers: Julius Lester and Paul O. Zelin- Princess Furball). (2006). Retellers: Paul O. Zelin-
sky. Illustrators: Jerry Pinkney and Paul O. Zelinsky. sky and Charlotte Huck. Illustrators: Paul O.
32 minutes. Zelinsky and Anita Lobel. 32 minutes.

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 Traditional Literature

Hansel and Gretel. (2005). Reteller/Illustrator: James Sources for Films, Videos, and DVDs
Marshall. 16.5 minutes.
The Video Source Book. Syosset, NY: National Video
Lon Po Po. (2008). Reteller/Illustrator: Ed Young. 14
Clearinghouse, 1979–. Published by Gale Research,
minutes.
Detroit, MI.
The Tale of the Mandarin Duck. (1998). Reteller: Kath-
erine Paterson. Illustrators: Leo and Diane Dillon. An annual reference work that lists media and
16 minutes. provides sources for purchase and rental.
There Was an Old Lady Who Swallowed a Fly. (2002). Websites of large video distributors:
Illustrator: Simms Tabeck. 8 minutes. www.libraryvideo.com
Why Mosquitoes Buzz in People’s Ears and Other www.knowledgeunlimited.com
Caldecott Classics (includes Why Mosquitoes Buzz http://teacher.scholastic.com/products/
in People’s Ears; The Village of Round and Square westonwoods
Houses; A Story, A Story: An African Tale). (2002).
Retellers: Verna Aardema, Ann Grifalconi, and Gail
E. Haley. Illustrators: Leo and Diane Dillon, Ann
Grifalconi, and Gail E. Haley. 32 minutes.

Now go to Chapter 6 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

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Modern Fantasy
Ladder to the Sky
Do you know Trampoline-jumping
If you try Through the air
You really can Climb a rainbow
Touch the sky? And watch the world
From way up there
Lean a ladder
Then ride
Against the moon tha
tr
a
And climb, climb high
in
bo

Talk to the stars

w slid

And leave your handprints

e

All across the sky

Back home.
Jump on a cloud
And spend the day —Sheree Fitch

“Ladder to the Sky” from Toes in My Nose and Other Poems by Sheree Fitch.
Copyright © 1987 by Sheree Fitch. Reprinted by permission of Sheree Fitch.

From Chapter 7 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

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 Modern Fantasy

Modern fantasy has its roots in traditional fantasy, from which motifs, characters, stylistic elements,
and, at times, themes have been drawn. Many of the most revered works of children’s literature fall
into the genre of modern fantasy. The Adventures of Pinocchio, Alice’s Adventures in Wonderland,
The Wonderful Wizard of Oz, The Wind in the Willows, Winnie-the-Pooh, Pippi Longstocking, and
Charlotte’s Web immediately come to mind. The creation of stories that are highly imaginative—
yet believable—is the hallmark of this genre.

Definition and Description

Modern fantasy refers to the body of literature in which the events, the settings, or the characters
are outside the realm of possibility. A fantasy is a story that cannot happen in the real world, and
for this reason this genre has been called “the literature of the fanciful impossible.” In these stories,
animals talk, inanimate objects come to life, people are giants or thumb-sized, imaginary worlds
are inhabited, and future worlds are explored, just to name a few of the possibilities. Modern
fantasies are written by known authors, and this distinguishes the genre from traditional litera-
ture, in which the tales are handed down through the oral tradition and have no known author.
Although the events could not happen in real life, modern fantasies often contain truths that help
the reader understand today’s world.
The cycle format, in which one book is linked to another through characters, settings, or
both, is especially prevalent in modern fantasy. Elleman (1987) states, “Events in [fantasy] cycle
books are often strung out over three or four volumes. Authors attempt to make each novel
self-contained, with varying degrees of success, but usually readers need the entire series for full
impact” (p. 418). The cycle format appeals to readers who become attached to certain characters
and then delight in reading the next book in the series. An example of the cycle format can be
found in the Annals of the Western Shore series by Ursula K. Le Guin.

Evaluation and Selection of Modern Fantasy

The usual standards for fine fiction must also be met by authors of modern fantasy. Believable and
well-rounded characters who develop and change, well-constructed plots, well-described settings
with internal consistency, a style appropriate to the story, and worthy themes are elements to be
expected in all fiction. In addition, the following criteria apply specifically to modern fantasy:
■ Authors of modern fantasy have the challenge of persuading readers
to open themselves up to believing that which is contrary to reality,
strange, whimsical, or magical, yet has an internal logic and consistency.
Go to Activity 1 in the Assign- Sometimes, authors will accomplish this through beginning the story
ments and Activities section of in a familiar and ordinary setting with typical, contemporary human
Chapter 7 in MyEducationKit;
complete the activity on reading
beings as characters. A transition is then made from this realistic world
aloud modern fantasies. to the fantasy world. An example of this literary device is found in C. S.
Lewis’s The Lion, the Witch and the Wardrobe, in which the children in

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 Modern Fantasy

E xce l l e n t M o d e r n Fa n t a s y to READ ALOUD

Appelt, Kathi. The Underneath. Ages 9–14.

Avi. The Seer of Shadows. Ages 9–14.
———. Strange Happenings: Five Tales of Transformations. Ages 10–15.
Babbitt, Natalie. Jack Plank Tells Tales. Ages 8–12.
DiCamillo, Kate. The Miraculous Journey of Edward Tulane. Ages 8–12.
Finney, Patricia. I, Jack. Ages 8–12.
Grey, Mini. The Adventures of the Dish and the Spoon. Ages 5–9.
Haddix, Margaret Peterson. Double Identity. Ages 10–14.
Jenkins, Emily. Toy Dance Party. Ages 6–10.
Jonell, Lynne. Emmy and the Incredible Shrinking Rat. Ages 8–11.
Mass, Wendy. 11 Birthdays. Ages 9–12.
Pullman, Philip. The Scarecrow and His Servant. Ages 9–13.
Stanley, Diane. Bella at Midnight: The Thimble, the Ring, and the Slippers of Glass. Ages 10–14.
Ullman, Barb Bentler. The Fairies of Nutfolk Wood. Ages 8–11.

the story enter a wardrobe in an old house only to discover that the back of the wardrobe leads
into the land of Narnia, a fantasy world with unusual characters. Other fantasies begin in the
imagined world but manage, through well-described settings and consistent well-rounded
characters, to make this new reality believable. Either way, the plot, characters, and setting
must be so well developed that the child reader is able to suspend disbelief and to accept the
impossible as real.
■ For a modern fantasy to be truly imaginative, the author must provide a unique setting. In some
stories, the setting may move beyond the realistic in both time (moving to the past or future or
holding time still) and place (imagined worlds); in other stories, only one of these elements (place
or time) will go beyond reality. Moreover, a modern fantasy author’s creation must be original.
■ In recent years, partially due to an upsurge of sects whose members refer to themselves as
witches, challenges to fantasies for children have increased. Stories with supernatural elements
such as magic, Halloween, witches, warlocks, wizards, vampires, and other elements of the occult
have been targets of censors. The popular Harry Potter series has topped the American Library
Association’s Most Frequently Challenged Children’s Books list in recent years because some
individuals and religious communities disapprove of the book’s focus on wizardry and magic. In
selecting and recommending stories with these elements, teachers need to be aware of the con-
cerns of their students’ parents with regard to the supernatural as a topic in books for children.
For a full discussion on censorship, schools’ and teachers’ responsibilities, and how to address
them appropriately, see the section Censorship and the First Amendment in Chapter 12.

Historical Overview of Modern Fantasy

Imaginative literature did not appear until the eighteenth century. These stories were not intended
primarily for children but were political satires that came to be enjoyed by children as well as
adults. Gulliver’s Travels (1726) by the Irish clergyman Jonathan Swift is the most noteworthy of

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 Modern Fantasy

such books. In this adult satire ridiculing the antics of the English court and its politics, the hero,
Gulliver, travels to strange, imaginary places—one inhabited by six-inch Lilliputians, another
inhabited by giants. These imaginary worlds are described in fascinating detail and with sufficient
humor to appeal to a child audience.
In England in 1865, Charles Lutwidge Dodgson, an Oxford don who used the pen name Lewis
Carroll, wrote Alice’s Adventures in Wonderland, which tells of a fantastic journey Alice takes to
an imaginary world. The total absence of didacticism—replaced by humor and fantasy—resulted
in the book’s lasting appeal and world fame. Other fantasies that originated in England shortly
after the appearance of Alice include The Light Princess (1867) and At the Back of the North Wind
(1871) by George MacDonald, and Just So Stories (1902) by Rudyard Kipling. This early develop-
ment of modern fantasy for children in England was unrivaled by any other country and estab-
lished the standard for the genre worldwide.
Modern fantasy has continued to thrive in England. Noteworthy contributions from England
include The Tale of Peter Rabbit (1902) by Beatrix Potter, The Wind in the Willows (1908) by Ken-
neth Grahame, The Velveteen Rabbit (1922) by Margery Williams, Winnie-the-Pooh (1926) by A. A.
Milne, Mary Poppins (1934) by Pamela Travers, The Hobbit (1937) by J. R. R. Tolkien, The Lion,
the Witch and the Wardrobe (1950) by C. S. Lewis, The Borrowers (1953) by Mary Norton, and The
Children of Green Knowe (1955) by Lucy M. Boston.
Early books of modern fantasy from other countries include The Adventures of Pinocchio (1881)
by Carlo Collodi (Carlo Lorenzini) from Italy and Journey to the Center of the Earth (1864), Twenty
Thousand Leagues under the Sea (1869), and Around the World in Eighty Days (1872) by the French-
man Jules Verne. Verne’s works are considered the first science fiction novels and remain popular today
with adults and children. Later in France, Jean de Brunhoff wrote an internationally popular series of
animal fantasies about a family of elephants. The first of these was The Story of Babar (1937).
Some works of fantasy from Scandinavia also deserve recognition. Hans Christian Andersen,
a Dane, published many modern folktales, stories that were very similar in literary elements to the
traditional tales. However, Andersen was the originator of most of his tales, for which his own life
experiences were the inspiration. “The Ugly Duckling,” “The Emperor’s New Clothes,” and “Thum-
belina” are three of the most loved of Andersen’s stories. His tales were published in 1835 and are
considered the first modern fairy tales. A century later, Swedish author Astrid Lindgren produced
Pippi Longstocking (1945). Pippi, a lively, rambunctious, and strong heroine who throws caution to
the wind, lives an independent life of escapades that are envied by children the world over.
The United States also produced some outstanding early modern fantasies, beginning with
The Wonderful Wizard of Oz (1900) by L. Frank Baum, which is considered to be the first classic
U.S. modern fantasy for children. Other landmark U.S. works of modern fantasy are the memo-
rable animal fantasy Rabbit Hill (1944) by Robert Lawson; Charlotte’s Web (1952) by E. B. White,
the best-known and best-loved U.S. work of fantasy; The Book of Three (1964), the first of the
Prydain Chronicles by Lloyd Alexander; and A Wrinkle in Time (1962) by Madeleine L’Engle,
which is considered a modern classic in science fiction for children.
Science fiction, the most recent development in modern fantasy, is said to owe its birth to
the aforementioned nineteenth-century novels of Jules Verne and H. G. Wells (Time Machine,
1895). Adults, not children, were the primary audience for these novels, however. It was not until
the twentieth century that science fiction began to be aimed specifically at children. The Tom
Swift series by Victor Appleton (collective pseudonym for the Stratemeyer Syndicate), although
stilted in style and devoid of female characters, can be considered the first science fiction for

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 Modern Fantasy

MILESTONES in the Development of Modern Fantasy

Date Event Significance
1726 Gulliver’s Travels by Jonathan Swift (England) An adult novel prototype for children’s fantasy
adventures
1835 Fairy Tales by Hans Christian Andersen First modern folktales
(Denmark)
1864 Journey to the Center of the Earth by First science fiction novel (for adults)
Jules Verne (France)
1865 Alice’s Adventures in Wonderland by First children’s masterpiece of
Lewis Carroll (England) modern fantasy
1881 The Adventures of Pinocchio by Carlo Collodi Early classic personified toy story
(Italy)
1900 The Wonderful Wizard of Oz by L. Frank Baum First classic U.S. modern fantasy for children
(United States)
1908 The Wind in the Willows by Kenneth Grahame Early classic animal fantasy
(England)
1910 Tom Swift and His Airship by Victor Appleton First science fiction novel for children
(United States)
1926 Winnie-the-Pooh by A. A. Milne (England) Early classic personified toy story
1937 The Hobbit by J. R. R. Tolkien (England) Early quest adventure with a cult following
1950 The Lion, the Witch and the Wardrobe by Early classic quest adventure for children;
C. S. Lewis (England) first of the Narnia series
1952 Charlotte’s Web by E. B. White (United States) Classic U.S. animal fantasy
1953 The Borrowers by Mary Norton (England) Classic little people fantasy
1962 A Wrinkle in Time by Madeleine L’Engle Classic U.S. science fiction
(United States) novel for children
1993 The Giver by Lois Lowry (United States) Popular futuristic fiction novel; Newbery
Medal winner
1998 Harry Potter and the Sorcerer’s Stone by First book in the best-selling
J. K. Rowling (England) quest fantasy series

children. The first Tom Swift book appeared in 1910 (Tom Swift and His Airship), with additional
titles of the series appearing in rapid succession. The success of the science fiction magazine
Amazing Stories, launched in 1926, brought formal recognition to the genre of science fiction.
In 1963, Madeleine L’Engle’s novel A Wrinkle in Time was awarded the Newbery Medal. From
this point forward, many science fiction novels for children began to appear. In the late 1960s and
1970s, the theme of mind control was popular. John Christopher’s Tripods trilogy and William
Sleator’s House of Stairs (1974) are good examples. Space travel and future worlds were frequent
science fiction topics in the 1980s. The accompanying Milestones feature highlights the develop-
ment of modern fantasy.

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 Modern Fantasy

Modern fantasy for children remains strong, especially in Great Britain and other English-
speaking countries. Although personified toys and animals remain popular and prevalent in chil-
dren’s books, growth in this genre appears to be in stories in which fantasy is interwoven into other
genres—science fiction, science fantasy, and historical fantasy. Fractured folktales, traditional tales
with a contemporary twist or a tale told from a new perspective, took on new popularity with
the publication of Jon Scieszka’s The True Story of the 3 Little Pigs by A. Wolf, illustrated by Lane
Smith and published in 1989. This blurring of traditional genres can also be seen in the interest-
ing mixture of realistic mystery stories with supernatural elements, as in the popular mysteries of
John Bellairs and Mary Downing Hahn. Modern fantasy is likely to continue to be a popular genre
with children and authors, as evidenced by the extraordinary popularity of the best-selling Harry
Potter quest series by J. K. Rowling, whose first novel in the series was published in 1998.

Types of Modern Fantasy

In modern fantasy, as in other genres, the distinctions between types are not totally discrete. The
types of modern fantasy in the sections that follow are a starting point for thinking about the
variety of fantastic stories, motifs, themes, and characters that gifted authors have created. Ad-
ditional categories could be listed, and you will find that some stories may fit appropriately in
more than one category. For example, Terry Pratchett’s The Wee Free Men, categorized as a “little
people” story, could also be considered a quest fantasy.

Modern Folktales
Modern folktales, or literary folktales as they are also called, are tales told in a form similar to that
of a traditional tale with the accompanying typical elements: little character description, strong
conflict, fast-moving plot with a sudden resolution, vague setting, and, in some cases, magical ele-
ments. But these modern tales have a known, identifiable author who has written the tale in this
form. In other words, the tales do not spring from the cultural heritage of a group of people
through the oral tradition but rather from the mind of one creator. However, this distinction does
not matter at all to children, who delight in these tales as much as they do in the old folktales.
The tales of Hans Christian Andersen are the earliest and best known of these modern tales.
More recently, other authors, including Diane Stanley (Bella at Midnight and Rumpelstiltskin’s
Daughter) and Shannon Hale (Goose Girl and River Secrets), have become known for their modern
folktales.
Fractured folktales can be defined as traditional folktales with a contemporary twist or a tale
told from a new perspective. A humorous example in which the characters of the well-known
nursery rhyme run away to become vaudeville stars is The Adventures of the Dish and the Spoon
by Mini Grey.
Modern folktales are an important counterbalance to traditional tales. As was noted in Chap-
ter 6, many of the traditional tales present an old-fashioned, stereotypical view of male and female
characters. Many of the modern tales present more assertive female characters who are clearly in
charge of their own destinies. Examples are Book of a Thousand Days by Shannon Hale and Prin-
cess Ben by Catherine Gilbert Murdock.

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 Modern Fantasy

Animal Fantasy
Animal fantasies are stories in which animals behave as human beings in that they experience
emotions, talk, and have the ability to reason. Usually, the animals in fantasies will (and should)
retain many of their animal characteristics. In the best of these animal
fantasies, the author will interpret the animal for the reader in human
terms without destroying the animal’s integrity or removing it from mem-
Go to Activity 2 in the Assign- bership in the animal world. For example, a rabbit character in an animal
ments and Activities section of
fantasy will retain her natural abilities of speed and camouflage to out-
Chapter 7 in MyEducationKit;
complete the activity on explor- smart her adversaries. At the same time, however, the author will permit
ing reasons for animal fantasies. the reader to see human qualities such as caring and love by having the
rabbit carry on conversations with family members.
Animal fantasies can be read to very young children who enjoy the exciting but reassuring
adventures in books. Examples are The Tale of Peter Rabbit by Beatrix Potter and Bad Bear Detectives
by Daniel Pinkwater. Books for children in primary grades include somewhat longer stories, often
in a humorous vein, such as Beverly Cleary’s mouse stories, including The Mouse and the Motorcycle,
Lynne Jonell’s Emmy and the Incredible Shrinking Rat, and The Nine Lives of Aristotle by Dick King-
Smith. Enjoyable animal fantasies for the young reader often have easy-to-follow, episodic plots.
Fully developed novels of modern fantasy with subtle and complex characterizations and a
progressive plot are especially suitable for reading aloud to children in their elementary school
years. Charlotte’s Web by E. B. White remains a favorite read-aloud book; The Tale of Despereaux
by Kate DiCamillo and I, Jack by Patricia Finney are also popular. A classic book with richly drawn
characterizations is The Wind in the Willows by Kenneth Grahame, who describes in artistic detail
the life of animal friends along a riverbank. This book features an episodic plot structure but has
a challenging style that is appropriate for intermediate-grade students. In A Coyote’s in the House
by Elmore Leonard, the humorous story of a coyote in Hollywood satirizes the movie industry
with a style that will be appreciated by many students age 10 and older. Orwell’s Luck by Richard
W. Jennings, a novel with a progressive plot, is also appreciated by intermediate-grade students
who enjoy reflecting on what separates reality from fantasy.
Although the interest in animal fantasy peaks at age 8 or 9, many children and adults continue
to enjoy well-written animal fantasies. In animal fantasies for older readers, an entire animal world
is usually created, with all of the relationships among its members that might be found in a novel
portraying human behavior. The Amazing Maurice and His Educated Rodents by Terry Pratchett
is an example of a complex, fully developed animal fantasy novel for readers in fifth grade through
high school.

Personified Toys and Objects

Stories in which admired objects or beloved toys are brought to life and believed in by a child
or adult character in the story are the focus of this type of fantasy. An early classic example of
these stories is The Adventures of Pinocchio by Carlo Collodi (Carlo Lorenzini), in which a mis-
chievous puppet comes to life, runs away from his maker, and has many exciting and dangerous
escapades. In these stories, the object, toy, or doll becomes real to the human protagonist and, in
turn, becomes real to the child reader (who has perhaps also imagined a toy coming to life). Close
family relationships are also demonstrated in The Doll People and The Meanest Doll in the World

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 Modern Fantasy

Notable Authors
of Modern Fantasy

Lloyd Alexander, author of quest fantasies based Gail Carson Levine, author of modern folktales.
on Welsh mythology, including the Prydain se- Ella Enchanted; Fairest.
ries comprised of The Book of Three and four Lois Lowry, winner of the 1994 Newbery Medal
other titles; The Xanadu Adventure. for The Giver, a popular work of science fic-
David Almond, British writer noted for magical tion. www.loislowry.com
realism novels for young adults. Skellig, Carne- Robin McKinley, author of modern folktales with
gie Medal winner; Kit’s Wilderness; Clay. www female protagonists. Rose Daughter; Spindle’s
.davidalmond.com End. www.robinmckinley.com
Jane Louise Curry, author known for her histori- Donna Jo Napoli, author of novels for young
cal novels for children, especially historical readers in many genres, especially recognized
fantasies. Dark Shade; The Black Canary. for her use of myth in modern folktales.
www.janelouisecurry.com Bound; Crazy Jack; Beast. www.donnajonapoli
Kate DiCamillo, author of fantasies and realistic .com
stories for children in primary and intermediate Terry Pratchett, British author of the Discworld
grades. The Tale of Despereaux, winner of the series that includes The Wee Free Men. Winner
Newbery Medal, and The Miraculous Journey of of the Carnegie Medal for The Amazing
Edward Tulane. www.katedicamillo.com Maurice and His Educated Rodents, a work
Nancy Farmer, author of young adult novels of humorous fantasy. www.terrypratchett
including The House of the Scorpion, National books.com
Book Award winner for young people’s Philip Pullman, British creator of His Dark Mate-
literature. rials fantasies, a trilogy comprised of The
Shannon Hale, author of modern folktales. Goose Golden Compass, The Subtle Knife, and The
Girl; Book of a Thousand Days; Rapunzel’s Amber Spyglass. www.philip-pullman.com
Revenge (co-written with Dean Hale). www J. K. Rowling, British author of the best-selling
.squeetus.com series about Harry Potter, a child wizard.
Dick King-Smith, British author of animal fanta- Harry Potter and the Sorcerer’s Stone. www
sies. Pigs Might Fly; The Nine Lives of Aristotle. .jkrowling.com

by Ann M. Martin and Laura Godwin. Emily Jenkins’s Toys Go Out and
Toy Dance Party depict toys who become friends with one another. In Kate
Go to the Conversations section DiCamillo’s The Miraculous Journey of Edward Tulane, a vain china rabbit
of Chapter 7 in MyEducationKit learns the power of love in this story suitable for intermediate-grade stu-
to read the interview with Lois
dents. Personified toy and object stories appeal to children from preschool
Lowry.
through upper elementary grades.

Unusual Characters and Strange Situations

Some authors approach fantasy through reality but take it beyond reality to the ridiculous or
exaggerated. Generally, those stories can be best described as having unusual characters or strange
situations. Without doubt, Alice’s Adventures in Wonderland by Lewis Carroll is the best known
of this type of modern fantasy. Writers of modern fantasy have described such strange situa-
tions as a boy sailing across the Atlantic Ocean in a giant peach (James and the Giant Peach by

134
 Modern Fantasy

Roald Dahl) and the daily events of an unlikely school in Wayside School Gets a Little Stranger by
Louis Sachar.
Modern fantasy appeals to readers of all ages. Shaun Tan’s The Arrival, a wordless graphic
novel, features a hero who leaves his homeland and travels to a bizarre new world where he faces
the struggles of being an immigrant, seeks employment, and eventually makes friends in this
strange new place. The story is fascinating to students in middle and high school. In Neil Gaiman’s
The Graveyard Book, a young boy is being raised in a cemetery by its ghostly occupants. The topics
of life, death, and the power of family can provoke discussion with intermediate-grade students.
In Tuck Everlasting, Natalie Babbitt explores the theme of immortality and its consequences, a
provocative theme for children and adults.

Worlds of Little People

Some authors have written about worlds inhabited by miniature people who have developed a
culture of their own in this world or who live in another world. In Barb Bentler Ullman’s The
Fairies of Nutfolk Wood, Willa Jane, the protagonist, defends a band of fairies living in the nearby
woods who are threatened by humans. In The Dark Ground and The Black Room, the first books
of a series by Gillian Cross, ant-sized people face psychological adventures, fantasies appealing to
students age 11 and older. Stories of little people delight children because they can identify with
the indignities foisted on little and powerless people and because the big people in these stories
are invariably outdone by the more ingenious little people.

Supernatural Events and Mystery Fantasy

Many recent fantasies evoke the supernatural. One common form of supernatural literature found
in children’s books is the ghost story. Some ghost stories intrigue younger children, especially
when the topic is treated humorously and reassuringly. The goblins of Hilari Bell’s The Goblin
Wood eventually become allies of the protagonist. Ghosts in children’s books can be fearful threats
or helpful protectors, as is the ghost of Cynthia DeFelice’s The Ghost of Fossil Glen, who is seeking
revenge for a murder. Many authors write mysteries for children in which the solution is partially
supernatural or arrived at with supernatural assistance. Vampire stories are gaining in popularity
with the success of Stephenie Meyer’s vampire novel, Twilight, in which a teenage girl falls in love
at her new school with a handsome but tortured vampire.
Witchcraft and other aspects of the occult sometimes play a role in children’s fantasy books.
Witches are often portrayed as the broom-wielding villains of both traditional and modern tales,
such as the Russian stories of Baba Yaga. Halloween and its traditions are also frequently presented
in children’s stories. An example is Frances Hardinge’s Well Witched, in which three children who
steal some coins discover that a witch has endowed the coins with some strange powers. Witchcraft
has recently been the focus of criticism because of an upsurge of sects whose members refer to
themselves as witches. Also, some parents’ groups have attempted to censor children’s books fea-
turing witches, Halloween, and other elements of the occult. Chapter 12 has a full discussion on
censorship and schools’ responsibilities in these situations.
Magical realism, a blend of fantasy and realism, has the appearance of a work of realism but
gradually introduces the fantastic as an integral, and necessary, part of the story. The fantastic is
merged into these stories such that the distinction between realism and fantasy is blurred, often

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leaving the reader in some doubt as to what is real and what is fantasy. Magical realism with its
origins in Latino literature has stories with the feel of realism, but the magical elements cause
them to fall outside of the definition of realistic fiction. Examples are David Almond’s works, such
as Skellig, The Fire-Eaters, and Clay, among others. For a discussion on David Almond’s works
and magical realism, see Latham (2006). These stories of magical realism are placed in the Recom-
mended Books list under Supernatural Events and Mystery Fantasy.

Historical Fantasy
Historical fantasy, sometimes called time-warp fantasy, is a story in which a present-day protagonist
goes back in time to a different era. A contrast between the two time periods is shown to readers
through the modern-day protagonist’s discoveries of and astonishment with earlier customs. Histor-
ical fantasies must fully and authentically develop the historical setting, both time and place, just as
in a book of historical fiction. Mary Hoffman, in Stravaganza: City of Masks, succeeds in producing
this type of mixed-genre story. Wendy Mass, in 11 Birthdays, and Jeanette Winterson, in Tanglewreck,
also present interesting historical fantasies that will appeal to middle-grade students and older.

Quest Stories
Quest stories are adventure stories with a search motif. The quest may be pursuit for a lofty pur-
pose, such as justice or love, or for a rich reward, such as a magical power or a hidden treasure.
Quest stories that are serious in tone are called high fantasy. Many of these novels are set in me-
dieval times and are reminiscent of the search for the holy grail. In these high fantasies, an imagi-
nary otherworld is fully portrayed: the society, its history, family trees, geographic location,
population, religion, customs, and traditions. The conflict in these tales usually centers on the
struggle between good and evil. The Hobbit, written by J. R. R. Tolkien in 1937, is one of the first
of these high fantasies; it retains a cult of followers even today. Because of the greater complexity
of these novels, their allure is for children in fifth grade and higher, including adults, of course.
Good examples are C. S. Lewis’s Chronicals of Narnia series, Philip Pullman’s His Dark Materials
trilogy, and J. K. Rowling’s Harry Potter series.
Many quest fantasies follow a structure similar to that found in traditional myths and de-
scribed by Joseph A. Campbell (1949) as a monomyth. In this structure, sometimes referred to as
a hero cycle, the hero starts out in the ordinary world and receives a call to enter a strange, danger-
ous, supernatural world where he must face daunting trials involving a struggle against external
forces and internal temptations. If the hero overcomes these trials, he will receive a precious gift.
He then has a choice to return to the ordinary world or to remain in the supernatural world. If
he chooses to return, he will face more trials on the return journey. After returning successfully,
the hero shares the gift to improve the world. The hero cycle represents a journey of self-discovery
and personal growth for the protagonist.

Science Fiction and Science Fantasy

Science fiction is a form of imaginative literature that provides a picture of something that could
happen based on real scientific facts and principles. Therefore, story elements in science fiction
must have the appearance of scientific plausibility or technical possibility. Hypotheses about the
future of humankind and the universe presented in science fiction appear plausible and possible

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to the reader because settings and events are built on extensions of known
technologies and scientific concepts.
In novels of science fiction, such topics as mind control, genetic engi-
Go to Activity 3 in the Assign-
ments and Activities section of neering, space technologies and travel, visitors from outer space, and future
Chapter 7 in MyEducationKit; political and social systems all seem possible to the readers. For example, in
view the artifact on student Margaret Peterson Haddix’s novel, Double Identity, genetic engineering and
responses to science fiction and its implications are explored. These novels especially fascinate many young
respond to the questions.
people because they feature characters who must learn to adjust to change and
to become new people, two aspects of living that adolescents also experience.
In addition, science fiction stories may portray the world, or one very much like it, that young people
will one day inhabit; for this reason, science fiction has sometimes been called futuristic fiction.
Science fiction is a type of fiction that you will want to know about because of its growing
popularity among children and adolescents. If you are reluctant to read science fiction or have
never read it, you may want to start with some books by Nancy Farmer (The House of the Scor-
pion), Andrew Clements (Things Not Seen), or Lois Lowry (The Giver; Messenger).
The distinction between science fiction and science fantasy is not clearly defined or universally
accepted. Science fantasy is a popularized type of science fiction in which a scientific explanation,
though not necessarily plausible, is offered for imaginative leaps into the unknown. Science fantasy
presents a world that often mixes elements of mythology and traditional fantasy with scientific or
technological concepts, resulting in a setting that has some scientific basis but never has existed or
never could exist. A worthy example is Sylvia Waugh’s Earthborn, in which the protagonist discovers
her parents are space aliens. Science fantasy novels, which usually appear in series, appeal to ado-
lescents and young adults and, like many series, are sometimes formulaic and of mixed quality.

Modern fantasy has appeal for persons with nonliteral minds, who go beyond the letter of a story
to its spirit. Children, with their lively imaginations, are especially open to reading fantasies. The
many types and topics within this genre—animal fantasies, little people stories, tales of personi-
fied toys, mystery fantasies, stories of unusual people and situations, quest tales, science fiction,
and so on—offer children a breadth of inspiring and delightful entertainment. Because the level
of conceptual difficulty varies considerably in this genre, modern fantasy offers many excellent
stories for children, from the youngest to the oldest.

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Discuss whether you, as a teacher, will include books about wizards and vampires in
your curriculum and classroom library. Defend your position.
■ Select a classic work of modern fantasy for children, such as Alice’s Adventures in Wonder-
land, Charlotte’s Web, The Wonderful Wizard of Oz, or The Wind in the Willows. Read
the work and review articles of literary criticism about the work. Then present your per-
spectives on the book. Consider whether it remains a valuable book for today’s children.
■ Select the device of time travel commonly found in historical fantasies. Read two his-
torical fantasies that include time travel, then compare how different authors use this
device in telling the story.

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 Modern Fantasy

References
Campbell, J. A. (1949). The hero with a thousand faces. Latham, D. (2006). David Almond: Memory and magic.
New York: Pantheon. Lanham, MD: Scarecrow.
Elleman, B. (1987). Current trends in literature for chil-
dren. Library Trends, 35(3): 413–426.
Fitch, S. (1998). Ladder to the sky. In J. Prelutsky (Ed.),
Imagine that! Illustrated by Kevin Hawkes. New
York: Knopf.

Recommended Modern Fantasy Books

Ages indicated refer to concept and interest levels. Isaacs, Anne. Pancakes for Supper. Illustrated by Mark
Formats other than novels will be coded as follows: Teague. Scholastic, 2006. (PI) Ages 4–8.
(PI) Picture book Lester, Julius. The Old African. Illustrated by Jerry
(COL) Short story collection Pinkney. Dial, 2005. (PI) Ages 9–12.
(GR) Graphic novel Levine, Gail Carson. Ella Enchanted. HarperCollins,
1997. Ages 10–13.
———. Fairest. HarperCollins, 2006. Ages 11–16.
Modern Folktales
———. Fairy Dust and the Quest for the Egg. Illustrated
Andersen, Hans Christian. The Pea Blossom. Retold by David Christiana. Disney, 2005. Ages 8–11.
and illustrated by Amy Lowry Poole. Holiday, McKinley, Robin. Rose Daughter. Greenwillow, 1997.
2005. Ages 5–8. Ages 11–18.
Datlow, Ellen, and Terri Windling, editors. A Wolf at ———. Spindle’s End. Putnam, 2000. Ages 12–18.
the Door and Other Retold Fairy Tales. Simon & McKissack, Patricia C. Porch Lies: Tales of Slicksters,
Schuster, 2000. (COL) Ages 11–16. Tricksters, and Other Wily Creatures. Illustrated by
Grey, Mini. The Adventures of the Dish and the Spoon. Andre Carilho. Random, 2006. (COL) Ages 8–11.
Knopf, 2006. Ages 5–9. Mora, Pat. Doña Flor: A Tall Tale about a Giant Woman
Gruber, Michael. The Witch’s Boy. HarperCollins, 2005. with a Great Big Heart. Illustrated by Raúl Colón.
Ages 11–14. Knopf, 2005. (PI) Ages 4–8.
Hale, Shannon. Book of a Thousand Days. Bloomsbury, Murdock, Catherine Gilbert. Princess Ben. Houghton,
2007. Ages 11–15. 2008. Ages 11–16.
———. Goose Girl. Bloomsbury, 2003. Ages 11–15. Napoli, Donna Jo. Beast. Atheneum, 2000. Ages 11–16.
———. River Secrets. Bloomsbury, 2006. Ages 10–15. ———. Bound. Simon & Schuster, 2004. Ages 10–18.
Adventures of Razo, a character from Hale’s The ———. Crazy Jack. Delacorte, 1999. Ages 11–15.
Goose Girl. ———. Zel. Dutton, 1996. Ages 13–18.
———, and Dean Hale. Rapunzel’s Revenge. Illus- Osborne, Mary Pope. Kate and the Beanstalk. Illus-
trated by Nathan Hale. Bloomsbury, 2008. (GR) trated by Giselle Potter. Schwartz/Atheneum, 2000.
Ages 10–14. Ages 5–8.
Hopkinson, Deborah. Apples to Oregon: Being the Pattou, Edith. East. Harcourt, 2003. Ages 12–16.
(Slightly) True Narrative of How a Brave Pioneer Pinkney, Andrea Davis. Peggony-Po: A Whale of a Tale.
Father Brought Apples, Peaches, Pears, Plums, Illustrated by Brian Pinkney. Hyperion, 2006. (PI)
Grapes, and Cherries (and Children) Across the Ages 5–9.
Plains. Illustrated by Nancy Carpenter. Atheneum, Pullman, Philip. The Scarecrow and His Servant. Illus-
2004. (PI) Ages 6–10. trated by Peter Bailey. Knopf, 2005. Ages 9–13.

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Reeve, Philip. Here Lies Arthur. Scholastic, 2008. Ages ———. Pigs Might Fly. Illustrated by Mary Rayner.
12–18. Viking, 1982. Ages 8–11.
Sandburg, Carl. The Huckabuck Family: And How They Labatt, Mary. Aliens in Woodford. Kids Can Press, 2000.
Raised Popcorn in Nebraska and Quit and Came Ages 7–10. Humorous.
Back. Illustrated by David Small. Farrar, 1999. Leonard, Elmore. A Coyote’s in the House. Harper-
Ages 5–8. Entertainment, 2004. Ages 9–13.
Stanley, Diane. Bella at Midnight: The Thimble, the Palatini, Margie. The Web Files. Illustrated by Rich-
Ring, and the Slippers of Glass. Illustrated by ard Egielski. Hyperion, 2001. (PI) Ages 9–12.
Bagram Ibatoulline. HarperCollins, 2006. Ages Humorous.
10–14. Pinkwater, Daniel. Bad Bear Detectives. Illustrated by
———. Rumpelstiltskin’s Daughter. Morrow, 1997. Jill Pinkwater. Houghton, 2006. (PI) Ages 4–8.
Ages 5–9. Potter, Beatrix. The Tale of Peter Rabbit. Warne, 1902.
(PI) Ages 5–9.
Pratchett, Terry. The Amazing Maurice and His Edu-
Animal Fantasies
cated Rodents. HarperCollins, 2001. Ages 12–16.
Anderson, M. T. Whales on Stilts! Harcourt, 2005. Ages Said, S. F. Varjak Paw. Illustrated by Dave McKean.
9–13. Sequel is The Clue of the Linoleum Lederho- Knopf, 2003. Ages 9–12.
sen, 2006. Humorous. Seidler, Tor. Gully’s Travels. Illustrated by Brock Cole.
Appelt, Kathi. The Underneath. Atheneum, 2008. Ages Scholastic, 2008. Ages 9–12.
9–14. Magical realism. White, E. B. Charlotte’s Web. Illustrated by Garth Wil-
Arkin, Alan. Cassie Loves Beethoven. Hyperion, 2000. liams. Harper, 1952. Ages 8–11.
Ages 9–12. Humorous.
Armstrong, Alan. Whittington. Illustrated by S. D.
Personified Toys and Objects
Schindler. Random, 2005. Ages 9–13.
Bruchac, Joseph. Wabi: A Hero’s Tale. Dial, 2006. Ages DiCamillo, Kate. The Miraculous Journey of Edward
10–15. Tulane. Illustrated by Bagram Ibatoulline. Candle-
Cleary, Beverly. The Mouse and the Motorcycle. Il- wick, 2006. Ages 8–12.
lustrated by Louis Darling. Morrow, 1965. Ages Fine, Anne. The Jamie and Angus Stories. Illustrated by
7–11. Penny Dale. Candlewick, 2000. (COL) Ages 5–8.
DiCamillo, Kate. The Tale of Despereaux. Illustrated Jenkins, Emily. Toy Dance Party. Illustrated by Paul O.
by Timothy Basil Ering. Candlewick, 2003. Ages Zelinsky. Schwartz and Wade, 2008. (COL) Ages
7–10. 6–10.
Finney, Patricia. I, Jack. HarperCollins, 2004. Ages ———. Toys Go Out: Being the Adventures of a Knowl-
8–12. edgeable Stingray, a Toughy Little Buffalo, and
Grahame, Kenneth. The Wind in the Willows. Illustrated Someone Called Plastic. Illustrated by Paul O.
by E. H. Shepard. Scribner’s, 1908. Ages 8–12. Zelinsky. Random, 2006. Ages 5–8.
Jennings, Patrick. We Can’t All Be Rattlesnakes. Martin, Ann M., and Laura Godwin. The Doll People.
HarperCollins, 2009. Ages 8–12. Illustrated by Brian Selznick. Hyperion, 2000. Ages
Jennings, Richard W. Orwell’s Luck. Houghton, 2000. 8–12.
Ages 9–12. ———. The Meanest Doll in the World. Illustrated by
Johnson, D. B. Henry Builds a Cabin. Houghton, 2002. Brian Selznick. Hyperion, 2003. Ages 7–11. Sequel
(PI) Ages 9–13. Others in the series include Henry to The Doll People.
Hikes to Fitchburg, 2000; and Henry Climbs a
Mountain, 2003.
Unusual Characters and Strange Situations
Jonell, Lynne. Emmy and the Incredible Shrinking Rat.
Illustrated by Jonathan Bean. Holt, 2007. Ages Avi. Strange Happenings: Five Tales of Transformations.
8–11. Harcourt, 2006. (COL) Ages 10–15.
King-Smith, Dick. The Nine Lives of Aristotle. Candle- Babbitt, Natalie. Jack Plank Tells Tales. Scholastic, 2007.
wick, 2003. Ages 6–9. Ages 8–12. Humorous.

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———. Tuck Everlasting. Farrar, 1975. Ages 10–14. Crutcher, Chris. The Sledding Hill. Greenwillow, 2005.
Dahl, Roald. James and the Giant Peach. Illustrated by Ages 11–18.
Nancy Ekholm Burkert. Knopf, 1961. Ages 8–11. DeFelice, Cynthia. The Ghost of Fossil Glen. Farrar,
Gaiman, Neil. The Graveyard Book. Illustrated by Dave 1998. Ages 9–12.
McKean. HarperCollins, 2008. Ages 10–15. Delaney, Joseph. Revenge of the Witch: The Last Ap-
Gonzalez, Julie. Wings. Delacorte, 2005. Ages 12–16. prentice, Book One. Illustrated by Patrick Arra-
Pullman, Philip. I Was a Rat! Illustrated by Kevin smith. Greenwillow, 2005. Ages 10–14.
Hawkes. Knopf, 2000. Ages 8–12. Dickinson, Peter. The Ropemaker. Delacorte, 2001.
Sachar, Louis. Wayside School Gets a Little Stranger. Ages 11–18.
Morrow, 1995. Ages 8–12. Humorous. ———. The Tears of the Salamander. Random, 2003.
Tan, Shaun. The Arrival. Scholastic, 2007. (GR) Ages Ages 11–15.
11–16. Wordless. Farmer, Nancy. A Sea of Trolls. Atheneum, 2004. Ages
9–14.
Funke, Cornelia. Dragon Rider. Translated by Anthea
Worlds of Little People Bell. Scholastic, 2004. Ages 9–14.
———. Inkheart. Translated by Anthea Bell. Scholastic,
Augarde, Steve. Celandine. David Fickling, 2006. Ages
2003. Ages 12–18. Sequel is Inkspell, 2005.
10–14.
———. The Thief Lord. Translated by Oliver Latsch.
———. The Various. David Fickling, 2004. Ages 10–14.
Scholastic, 2002. Ages 10–14.
———. Winter Wood. David Fickling, 2009. Ages
Gaiman, Neil. Coraline. Illustrated by Dave McKean.
10–14.
HarperCollins, 2002. Ages 10–14.
Briggs, Raymond. Ug: Boy Genius of the Stone Age.
———. Coraline: Graphic Novel. Adapted by P. Craig
Knopf, 2002. (PI) Ages 9–16.
Russell. HarperCollins, 2008. (GR) Ages 10–14. A
Cross, Gillian. The Dark Ground: Book One of the Dark
graphic adaptation of Gaiman’s 2002 novel.
Ground Trilogy. Dutton, 2004. Ages 11–15. Sequel
Hahn, Mary Downing. The Old Willis Place: A Ghost
is The Black Room: Book Two, 2006.
Story. Clarion, 2004. Ages 10–13.
Pratchett, Terry. The Wee Free Men. HarperCollins,
Hardinge, Frances. Well Witched. HarperCollins, 2008.
2003. Ages 10–15. Sequels are A Hat Full of Sky,
Ages 10–14.
2004; and Wintersmith, 2006.
Hautman, Pete. Sweet Blood. Simon & Schuster, 2003.
Ullman, Barb Bentler. The Fairies of Nutfolk Wood.
Ages 12–16.
HarperCollins, 2006. Ages 8–11.
Hurston, Zora Neale. The Skull Talks Back and Other
Haunting Tales. Adapted by Joyce Carol Thomas.
Supernatural Events and Mystery Fantasy Illustrated by Leonard Jenkins. HarperCollins,
2004. (COL, PI) Ages 9–13.
Almond, David. Clay. Delacorte, 2006. Ages 11–18. Ibbotson, Eva. Island of the Aunts. Illustrated by Kevin
———. Heaven Eyes. Delacorte, 2001. Ages 10–13. Hawkes. Dutton, 2000. Ages 9–12.
———. Kit’s Wilderness. Delacorte, 2000. Ages 12–18. Jones, Diana Wynne. Dark Lord of Derkholm. Green-
———. Skellig. Delacorte, 1999. Ages 9–12. willow, 1998. Ages 12–16. Sequel is Year of the
———. The Fire-Eaters. Delacorte, 2004. Ages 11–18. Griffin, 2000.
Barry, Dave, and Ridley Pearson. Peter and the Star- Lowry, Lois. Gossamer. Houghton, 2006. Ages 9–12.
catchers. Hyperion, 2004. Ages 9–13. Humorous. Lubar, David. Punished! Darby Creek, 2006. Ages 8–11.
Bell, Hilari. Flame. Simon & Schuster, 2003. Ages McKinley, Robin. The Stone Fey. Illustrated by John
11–16. Clapp. Harcourt, 1998. (PI) Ages 13–18.
———. The Goblin Wood. HarperCollins, 2003. Ages ———, and Peter Dickinson. Water: Tales of Elemental
11–16. Spirits. Putnam, 2002. (COL) Ages 11–16.
Carey, Janet Lee. Dragon’s Keep. Harcourt, 2007. Ages Melling, O. R. The Hunter’s Moon. Abrams/Amulet,
12–16. 2005. Ages 12–18. First in a trilogy.
Constable, Kate. The Singer of All Songs. Scholastic, Meyer, Stephenie. Twilight. Little, Brown, 2005. Ages
2004. Ages 12–16. 13–18.

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Noyes, Deborah, editor. Gothic! Ten Original Dark Castle of Llyr, 1966; Taran Wanderer, 1967; and
Tales. Candlewick, 2004. (COL) Ages 12–18. The High King, 1968.
Prue, Sally. Cold Tom. Scholastic, 2003. Ages 10–13. ———. The Golden Dreams of Carlo Chuchio. Holt,
Slade, Arthur. Dust. Random, 2003. Ages 12–16. 2007. Ages 10–14.
Stine, R. L., editor. Beware! R. L. Stine Picks His Fa- ———. The Xanadu Adventure. Dutton, 2005. Ages
vorite Scary Stories. HarperCollins, 2002. (COL) 10–14.
Ages 9–14. Bass, L. G. Sign of the Qin. Hyperion, 2004. Ages 13–15.
Collins, Suzanne. Gregor the Overlander. Scholastic,
2003. Ages 9–14.
Historical Fantasy
Cornish, D. M. Foundling. Putnam, 2006. Ages 12–16.
Avi. The Seer of Shadows. HarperCollins, 2008. Ages ———. Lamplighter. Putnam, 2008. Ages 12–16.
9–14. Crossley-Holland, Kevin. The Seeing Stone: Arthur
Buckley-Archer, Linda. Gideon the Cutpurse: Being the Trilogy, Book One. Scholastic, 2001. Ages 12–16.
First Part of the Gideon Trilogy. Simon & Schuster, The first of the Arthur trilogy, which includes At
2006. Ages 10–14. the Crossing Places, 2002; and King of the Middle
Curry, Jane Louise. The Black Canary. Simon & Schus- March, 2004.
ter, 2005. Ages 11–14. Divakaruni, Chitra Banerjee. The Conch Bearer. Mill-
———. Dark Shade. McElderry, 1998. Ages 11–14. brook, 2003. Ages 10–14.
Etchemendy, Nancy. The Power of Un. Front Street, Fisher, Catherine. Day of the Scarab: Book Three of the
2000. Ages 9–14. Oracle Prophecies. Greenwillow, 2006. Ages 10–14.
Gardner, Sally. I, Coriander. Dial, 2005. Ages 11–14. The third of the Oracle Prophecies Trilogy, which
Haddix, Margaret Peterson. Found. Simon & Schuster, includes The Oracle Betrayed, 2004; and The
2008. Ages 10–14. Sphere of Secrets, 2005.
Hale, Shannon. Princess Academy. Bloomsbury, 2005. Flanagan, John. The Ruins of Gorlan. Philomel, 2005.
Ages 10–14. Ages 11–15.
Hoffman, Mary. Stravaganza: City of Masks. Blooms- Gavin, Jamila. The Blood Stone. Farrar, 2005. Ages
bury, 2002. Ages 12–16. Sequel is Stravaganza II: 12–16.
City of Stars, 2003. Hodges, Margaret. Merlin and the Making of the King.
Mass, Wendy. 11 Birthdays. Scholastic, 2009. Ages 9–12. Illustrated by Trina Schart Hyman. Holiday, 2004.
Meyer, Kai. The Water Mirror. Translated by Elizabeth D. (PI) Ages 9–12.
Crawford. Simon & Schuster, 2005. Ages 10–14. Lee, Tanith. Wolf Tower. Dutton, 2000. Ages 10–13. First
Myers, Laurie. Lewis and Clark and Me. Illustrated by in the Claidi Journals series.
Michael Dooling. Holt, 2002. Ages 8–12. Le Guin, Ursula K. Gifts: Annals of the Western Shore.
Pratchett, Terry. Nation. HarperCollins, 2008. Ages Harcourt, 2007. Ages 11–16. The first in the Annals
11–15. of the Western Shore series, which includes Voices,
Smith, Roland. The Captain’s Dog: My Journey with 2006; and Powers, 2007.
the Lewis and Clark Tribe. Harcourt, 1999. Ages Lewis, C. S. The Lion, the Witch and the Wardrobe. Il-
12–16. lustrated by Pauline Baynes. Macmillan, 1950. Ages
Thal, Lilli. Mimus. Translated by John Brownjohn. An- 9–12. The first in the Chronicles of Narnia series,
nick, 2005. Ages 11–15. Humorous. which includes Prince Caspian, 1951; The Voyage of
Winterson, Jeanette. Tanglewreck. Bloomsbury, 2006. the Dawn Treader, 1952; The Silver Chair, 1953; The
Ages 10–15. Horse and His Boy, 1954; The Magician’s Nephew,
1955; and The Last Battle, 1956.
Morpurgo, Michael. Sir Gawain and the Green Knight.
Quest Stories
Illustrated by Michael Foreman. Candlewick, 2004.
Alexander, Lloyd. The Book of Three. Holt, 1964. Ages Ages 10–14.
10–15. The first of the Prydain Chronicles series, Oppel, Kenneth. Airborn. HarperCollins, 2004. Ages
which includes The Black Cauldron, 1965; The 11–14.

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Pierce, Meredith Ann. Treasure at the Heart of the Anderson, M. T. Feed. Candlewick, 2002. Ages 12–18.
Tanglewood. Viking, 2001. Ages 12–16. Atwater-Rhodes, Amelia. Hawksong. Delacorte, 2003.
Pullman, Philip. The Golden Compass. Knopf, 1996. Ages 12–16.
Ages 12–16. The first of the His Dark Materials Bell, Hilari. A Matter of Profit. HarperCollins, 2001.
trilogy, which includes The Subtle Knife, 1998; and Ages 11–16.
The Amber Spyglass, 1999. Bertagna, Julie. Exodus. Walker, 2008. Ages 12–16.
Riordan, Rick. The Lightning Thief. Hyperion, 2005. Cart, Michael, editor. Tomorrowland: Ten Stories about
Ages 10–15. Humorous. the Future. Scholastic, 1999. (COL) Ages 11–18.
Rodda, Emily. Rowan of Rin. Greenwillow, 2002. Ages Clements, Andrew. Things Not Seen. Philomel, 2002.
8–11. Others in the series include Rowan and the Ages 10–14.
Zebak, 2002; and Rowan and the Travelers, 2001. DuPrau, Jeanne. The City of Ember. Random, 2003.
Rowling, J. K. Harry Potter and the Sorcerer’s Stone. Ages 10–14. Sequel is The People of Sparks, 2004.
Scholastic, 1998. Ages 9–13. The first in the Harry Farmer, Nancy. The House of the Scorpion. Simon &
Potter series, which includes Harry Potter and the Schuster, 2002. Ages 12–18.
Chamber of Secrets, 1999; Harry Potter and the Haddix, Margaret Peterson. Double Identity. Simon &
Prisoner of Azkaban, 1999; Harry Potter and the Schuster, 2005. Ages 10–14.
Goblet of Fire, 2000; Harry Potter and the Order ———. Turnabout. Simon & Schuster, 2000. Ages 9–13.
of the Phoenix, 2003; Harry Potter and the Half- Hautman, Pete. Godless. Simon & Schuster, 2004. Ages
Blood Prince, 2005; and Harry Potter and the 12–18.
Deathly Hallows, 2007. ———. Rash. Simon & Schuster, 2006. Ages 12–18.
Stroud, Jonathan. The Amulet of Samarkand. Hyper- Hughes, Ted. The Iron Giant: A Story in Five Nights.
ion, 2003. Ages 11–18. The first in the Bartimaeus Knopf, 1999/1968. Ages 9–12.
trilogy, which includes The Golem’s Eye, 2004; and Kostick, Conor. Epic. Viking, 2007. Ages 13–16.
Ptolemy’s Gate, 2006. L’Engle, Madeleine. A Wrinkle in Time. Farrar, 1962.
Thompson, Kate. The New Policeman. Greenwillow, Ages 11–15.
2007. Ages 12–16. Lowry, Lois. Gathering Blue. Houghton, 2000. Ages
Tolkien, J. R. R. The Hobbit. Houghton, 1937. Ages 12–18. 10–15.
Turner, Megan Whalen. The King of Attolia. Greenwil- ———. The Giver. Houghton, 1993. Ages 11–15.
low, 2006. Ages 11–18. Sequel to The Queen of At- ———. Messenger. Houghton, 2004. Ages 11–15.
tolia, 2005. Reeve, Philip. Larklight: A Rousing Tale of Dauntless
Yolen, Jane. Sword of the Rightful King: A Novel of King Pluck in the Farthest Reaches of Space. Blooms-
Arthur. Harcourt, 2003. Ages 11–15. bury, 2006. Ages 10–15. Humorous.
———. Mortal Engines. HarperCollins, 2003. Ages
12–18. The first of the Hungry Cities Chronicles.
Science Fiction and Science Fantasy
Strahan, Jonathan. The Starry Rift: Tales of New Tomor-
Adlington, L. J. Cherry Heaven. HarperCollins, 2008. rows. Viking, 2008. (COL) Ages 13–18.
Ages 13–18. Waugh, Sylvia. Earthborn. Delacorte, 2002. Ages 9–13.
———. The Diary of Pelly D. Greenwillow, 2005. Ages ———. Space Race. Delacorte, 2000. Ages 9–12.
12–18.

Related Films, Videos, and DVDs

Borrowers. (1998). Author: Mary Norton (1953). 86 The Chronicles of Narnia: The Lion, the Witch and the
minutes. Wardrobe. (2005). Author: C. S. Lewis (1955). 140
Charlotte’s Web. (2006). Author: E. B. White (1952). minutes.
113 minutes.

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 Modern Fantasy

The Chronicles of Narnia: Prince Caspian. (2008). Au- Shrek. (2001). Author: William Steig (1990). 90 minutes.
thor: C. S. Lewis (1962). 150 minutes. Also Shrek 2 (2004) and Shrek the Third (2007).
City of Ember. (2008). Author: Jeanne DuPrau (2003). Thief Lord. (2006). Author: Cornelia Funke (2002). 98
95 minutes. minutes.
Coraline. (2009). Author: Neil Gaiman (2002). 100 Tuck Everlasting. (2002). Author: Natalie Babbitt
minutes. (1975). 88 minutes.
Ella Enchanted. (2004). Author: Gail Carson Levine The Water Horse. (2007). Author: Dick King-Smith.
(1997). 96 minutes. (1998). 112 minutes.
Eragon. (2006). Author: Christopher Paolini (2003). A Wrinkle in Time. (2003). Author: Madeleine L’Engle
120 minutes. (1962). 128 minutes.
Escape to Witch Mountain. (1995). Author: Alexander
Key (1968). 97 minutes.
Sources for Films, Videos, and DVDs
The Golden Compass. (2007). Author: Philip Pullman
(1996). 113 minutes. The Video Source Book. Syosset, NY: National Video
Harry Potter and the Sorcerer’s Stone. (2001). Author: Clearinghouse, 1979–. Published by Gale Research,
J. K. Rowling (1998). 152 minutes. Five others in Detroit, MI.
the series also available. An annual reference work that lists media and pro-
The Hobbit. (1991). Author: J. R. R. Tolkien (1938). 76 vides sources for purchase and rental.
minutes.
Inkheart. (2008). Author: Cornelia Funke (2003). 106 Websites of large video distributors:
minutes. www.libraryvideo.com
The Iron Giant. (1999). Author: Ted Hughes. (1999/ www.knowledgeunlimited.com
1968). 86 minutes. http://teacher.scholastic.com/products/
Redwall: Friends or Foes? (1999). Author: Brian Jacques westonwoods
(1987). 90 minutes.
The Seeker: The Dark Is Rising. (2007). Author: Susan
Cooper (1973). 99 minutes.

Now go to Chapter 7 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Learn how authors and illustrators apply their craft by reading the written interviews in the
Conversations section for the chapter.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

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Realistic Fiction
Listening to Grownups Quarreling,
standing in the hall against the
wall with my little brother, blown
like leaves against the wall by their
voices, my head like a pingpong ball
between the paddles of their anger:
I knew what it meant
to tremble like a leaf.

Cold with their wrath, I heard

the claws of the rain
pounce. Floods
poured through the city,
skies clapped over me,
and I was shaken, shaken
like a mouse
between their jaws.

—Ruth Whitman
“Listening to Grownups Quarreling” from The Marriage Wig and Other Poems by Ruth Whitman.
Copyright © 1968 and renewed 1996 by Ruth Whitman. Reprinted by permission of Harcourt, Inc.
From Chapter 8 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

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 Realistic Fiction

Children’s lives are sometimes sad and harsh. Realistic stories openly address these situations
as well as the happy and humorous situations of life. Children of all ages appreciate sto-
ries about people who seem like themselves or who are involved in familiar activities. These
realistic fiction stories have appealed to children for many years and continue to do so
today.

Definition and Description

Realistic fiction refers to stories that could indeed happen to people and animals; that is, it is
within the realm of possibility that such events could occur or could have occurred. The pro-
tagonists of these stories are fictitious characters created by the author, but their actions and
reactions are quite like those of real people or real animals. Sometimes, events in these stories are
exaggerated or outlandish—hardly probable but definitely possible. These stories, too, fit under
the definition of realistic fiction.
Realism in literature is a complex, multifaceted concept. Marshall (1988) considers various
components of realism in literature, including factual, situational, emotional, and social. Factual
realism is provided by the description of actual people, places, and events
in a book. When this occurs, the facts need to be recorded accurately. For
example, usually in historical fiction and occasionally in realistic fiction,
Go to Activity 1 in the Assign- the names and locations of actual places are included in the story, with
ments and Activities section of accurate and complete descriptions. Situational realism is provided by a
Chapter 8 in MyEducationKit;
situation that is not only possible but also quite likely, often in an iden-
complete the activity on look-
ing in a mirror through realistic tifiable location with characters of an identifiable age and social class,
fiction. making the whole treatment believable. Family stories are often examples
of stories built on situational realism. Emotional realism is provided by
the appearance of believable feelings and relationships among characters. Rite-of-passage or
growing-up stories often employ emotional realism. Social realism is provided by an honest
portrayal of society and its conditions of the moment. In almost all good realistic stories, several
of these components of realism occur, with varying degrees of emphasis.
Contemporary realism is a term used to describe stories that take place in the present
time and portray attitudes and mores of the present culture. Unlike realistic books of several
decades ago that depicted only happy families and were never controversial, today’s contem-
porary realism often focuses on current societal issues, such as alcoholism, racism, poverty,
and homelessness. Contemporary books still tell of the happy, funny times in children’s lives,
but they also include the harsh, unpleasant times that are, sadly, a part of many children’s
lives.
Authors of contemporary realistic fiction set their stories in the present or recent past. But,
in time, features of these stories such as dialogue and allusions to popular culture, customs, and
dress become dated and the stories are therefore no longer contemporary, though they may still
be realistic. Older stories that obviously no longer describe today’s world, though they may have
once been contemporary realistic fiction, are now simply realistic fiction. Older realistic fiction
stories that are considered modern classics are included in this chapter.

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 Realistic Fiction

E xce l l e n t R e a l i s t i c F i c t i o n to READ ALOUD

Birdsall, Jeanne. The Penderwicks on Gardam Street. Ages 9–12.

Cummings, Priscilla. Red Kayak. Ages 11–15.
Ellis, Sarah. The Several Lives of Orphan Jack. Illustrated by Bruno St-Aubin. Ages 7–11.
FitzGerald, Dawn. Soccer Chick Rules. Ages 10–14.
Harper, Charise M. Just Grace Walks the Dog. Ages 7–9.
Hautman, Pete, and Mary Logue. Snatched. Ages 11–15.
Horvath, Polly. The Pepins and Their Problems. Ages 8–12.
Lord, Cynthia. Rules. Ages 9–13.
Lowry, Lois. Gooney Bird and the Room Mother. Ages 7–9.
McCaughrean, Geraldine. Smile! Illustrated by Ian McCaughrean. Ages 10–14.
Nuzum, K. A. The Leanin’ Dog. Ages 9–12.
Pennypacker, Sara. Clementine’s Letter. Illustrated by Marla Frazee. Ages 7–10.
Resau, Laura. Red Glass. Ages 11–15.
Ritter, John H. The Boy Who Saved Baseball. Ages 10–13.
Schusterman, Neal. Antsy Does Time. Ages 11–15.
Smith, Hope Anita. Keeping the Night Watch. Illustrated by E. B. Lewis. Ages 11–15.
Tarshis, Lauren. Emma-Jean Lazarus Fell out of a Tree. Ages 10–14.

Evaluation and Selection of Realistic Fiction

The criteria for evaluating realistic fiction are the same as those for any work of fiction. Well-
developed characters who manifest change as a result of significant life events, a well-structured
plot with sufficient conflict and suspense to hold the reader’s interest, a time and place suitable
to the storyline, and a worthy theme are basic literary elements expected of any work of fiction,
including works of realistic fiction.
■ Even stories that portray adverse and discouraging social situations should permit some
cause for optimism. Children need to trust that problems can be overcome or ameliorated
and that the world can be a good place in which to live.
■ Themes in realistic stories often convey moral values, such as the rewards of kindness and
generosity to others. However, these moral values must not be the main reason for the story.
At times, adults write books for children with the sole intent of teaching or preaching, and
the story itself is nothing more than a thin disguise for a heavy-handed moral lesson. The
moral must not overwhelm the story but may be its logical outcome.
■ A novel of realistic fiction must be believable, and the events must be possible, even though
all aspects may not be probable. Sometimes, an author goes closer to the edge of the believ-
able range to produce a more exciting, suspense-filled story.
■ Controversy involving children’s books often centers on topics that are found in realistic
fiction novels, such as premarital sex, pregnancy, homosexuality, and the use of profanity.
Many of these controversial books fall within the types of realism labeled “Moral Choices”

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 Realistic Fiction

and “Romance and Sexuality” in the recommended reading list at the end of this chapter.
Chapter 12 provides a full discussion of issues surrounding censorship and selection.
■ An aspect of writing style that students greatly appreciate is humor. Although humor
may be found in stories of any genre, it is more often found in realistic fiction. Humorous
stories feature characters caught up in silly situations or involved in funny escapades. Voss by
David Ives and The Schwa Was Here by Neal Schusterman are good examples of humorous
stories.
Selection of realistic fiction for classroom and library collections and for read-alouds should be
balanced among the different types of realistic stories. A steady diet of humorous read-alouds
does not offer the richness of experience to children that they deserve, nor does it provide for the
varied reading interests of a group of children. The Edgar Allan Poe Award for Juvenile Mystery
Novels can be helpful to you in selecting good mysteries. This award was established in 1961 by
the Mystery Writers of America and is awarded annually in order to honor U.S. authors of myster-
ies for children. The list of winners is included in Appendix A. Intermediate-grade children report
on reading interest surveys that realistic fiction is their favorite genre. Of course, some children
may prefer other categories, but realistic fiction does hold high appeal for many children at all
grade levels.

Historical Overview of Realistic Fiction

The earliest realistic stories were didactic ones that were intended to teach morality and manners
to young readers. The characters of the children’s stories of the 1700s were usually wooden, life-
less boys and girls whose lives were spent in good works; however, in England during this period,
two significant events affecting the future of children’s literature occurred. Robinson Crusoe by
Daniel Defoe, an exciting survival story, was published in 1719 for adults but became a popu-
lar book among children. Then in 1744, John Newbery began to publish, expressly for a child
audience, books of realistic fiction intended to entertain as well as to educate. These two events
laid the groundwork for establishing children’s literature as a separate branch of literature. The
accompanying Milestones feature highlights the development of realistic fiction.
The first type of realistic fiction for children that avoided the heavy didactic persuasion was
the adventure story. Imitators of Robinson Crusoe were many, including the very popular Swiss
Family Robinson by Johann Wyss of Switzerland in 1812. Later adventure stories of renown from
England were Treasure Island (1883) and Kidnapped (1886) by Robert Louis Stevenson; and from
the United States, The Adventures of Tom Sawyer (1876) and The Adventures of Huckleberry Finn
(1884) by Mark Twain (pseudonym of Samuel Clemens).
Realistic family stories also came on the scene during the 1800s with Little Women (1868) by
Louisa May Alcott. The family story remained a favorite in the twentieth century, with early
memorable books such as the series Anne of Green Gables (1908) by Canadian Lucy Maud Mont-
gomery and The Secret Garden (1911) by Frances Hodgson Burnett. Since Anne of Anne of Green
Gables and Mary of The Secret Garden were orphans, the books by Burnett and Montgomery can
be considered precursors of adjustment stories that addressed the special needs of children with
problems. Stories of happy and often large families continued to thrive and peaked in the 1940s

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MILESTONES in the Development of Realistic Fiction

Date Event Significance
1719 Robinson Crusoe by Daniel Defoe (England) Early survival/adventure on a desert island;
many imitators
1812 Swiss Family Robinson by Johann Wyss Most successful imitation of
(Switzerland) Robinson Crusoe
1868 Little Women by Louisa May Alcott An early family story of great popularity
(United States)
1876 The Adventures of Tom Sawyer by Classic adventure story set along the
Mark Twain (United States) Mississippi
1877 Black Beauty by Anna Sewell (England) Early horse story deploring inhumane
treatment of animals
1880 Heidi by Johanna Spyri (Switzerland) An early international story popular in the
United States
1883 Treasure Island by Robert Louis Stevenson Classic adventure story with pirates
(England)
1908 Anne of Green Gables by Lucy Maud Early family story about an orphan and her
Montgomery (Canada) new family
1911 The Secret Garden by Frances Hodgson A classic sentimental novel of two children
Burnett (United States) adjusting to life
1938 The Yearling by Marjorie Kinnan Classic animal story and coming-of-age
Rawlings (United States) story
1964 Harriet the Spy by Louise Fitzhugh The beginning of the new realism
(United States) movement
1970 Are You There, God? It’s Me, Early book with frank treatment of sex
Margaret by Judy Blume (United States)
2000 Monster by Walter Dean Myers First winner of the Michael L. Printz Award
(United States) for Excellence in Literature for Young Adults

and 1950s in family story series about the Moffat family by Eleanor Estes and about the Melendy
family by Elizabeth Enright. These happy family stories seem almost lighthearted compared with
much of today’s contemporary realism for children.
Children from other lands is another theme that can be found in many realistic stories for
children. Hans Brinker, or The Silver Skates (1865) by Mary Mapes Dodge and Heidi (1880) by
Johanna Spyri of Switzerland are set in Holland and Switzerland, respectively, and were two of
the earliest other lands books.
Realistic animal stories for children began to appear in the latter half of the nineteenth
century. Black Beauty (1877) by Anna Sewell was a plea for humane treatment of animals, and
although quite sentimental in places and completely personified (i.e., the animal is given human
qualities), it is still appreciated by some readers. Animal stories showing the maturing of the young
human protagonist who assists the animal in the story remain popular today.

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 Realistic Fiction

Regional stories and stories about children of minority groups began to appear with more
frequency in the 1940s. Strawberry Girl (1945) by Lois Lenski featured rural Florida and was one
of the first regional stories. It was only in the 1960s and 1970s that books written by minorities
began to achieve national recognition. Zeely (1967) by Virginia Hamilton and Stevie (1969) by
John Steptoe portray African-American childhood experiences and are two of the earliest and
most noteworthy books representing this trend toward increased minority authorship—a trend
that continues today. For example, Walter Dean Myers has been recognized for his award-winning
novel, Monster (1999), narrated in the form of a film script by protagonist Steve as he records his
experiences in prison and in the courtroom.
A new era in realistic fiction for children was ushered in with the publication of Harriet the
Spy by Louise Fitzhugh in 1964. This story of an unhappy and, at times, unpleasant girl depicted
Harriet, her parents, and her classmates as anything but ideal or sympathetic human beings. This
trend toward a more graphic and explicitly truthful portrayal of life and the inclusion of many
topics that were previously considered taboo continued in children’s books in the 1970s and 1980s
and still prevails today. Controversial topics such as death, divorce, drugs, alcoholism, and dis-
abilities, which have always been a part of childhood, became permissible topics in children’s
books. Parents and other adults began to be portrayed as they truly are, not as one might believe
they should be. This newer, franker brand of realism, sometimes referred to as the new realism,
changed the world of children’s books. The new realism books may be less lighthearted than their
predecessors, but they are also more truthful and more real. At the present time, censorship of
materials for children, including children’s trade books, is rampant, in part, because of this trend
toward more graphic and explicit writing in children’s books.

Types of Realistic Fiction

The subject matter of realistic fiction includes the child’s whole world of relationships with self
and others: the joys, sorrows, challenges, adjustments, anxieties, and satisfactions of human life.
Realistic books will often treat more than one aspect of human life; thus, some realistic fiction
books can be categorized by more than one of the following topics.

Families
Stories about the nuclear family—children and their relationships with parents and siblings—are
a natural subject of books for children. Childhood for most children is spent in close contact with
family members. Family stories for younger children often portray a happy child with loving
parents. In these stories, everyday activities from brushing teeth to cooking dinner are shown.
Easy chapter books appealing to newly independent readers can be found within this type. These
stories often show the child at play and sometimes explore sibling relationships as well. The Quig-
leys in a Spin by Simon Mason and The Pepins and Their Problems by Polly Horvath are good
examples of this type of book.
Extended families can also be found in children’s books. Aunts, uncles, grandparents, and
cousins are important in the real lives of many children and may also be enjoyed in stories written

150
 Realistic Fiction

for children. See The Same Stuff as Stars by Katherine Paterson and The Hello, Goodbye Window
by Norton Juster.
The alternative family of today’s world is also depicted in family stories. Not all family stories
present traditional, intact families. Separation, divorce, single-parent families, adoptive families,
foster families, and reconstructed families of stepparents and stepchildren are often the back-
drop of stories today. For example, see Being Bee by Catherine Bateson and The Penderwicks
on Gardam Street by Jeanne Birdsall. The difficulty children and adults encounter in adjusting
to these new family situations becomes the primary conflict in some stories. It is important for
children to see families other than the typical mother, father, and two children portrayed positively
in books.

Peers
In addition to adapting to one’s family situation, children must also learn to cope with their peers.
Many realistic stories show children struggling for acceptance by peers in a group situation. School
settings are common in these stories. Examples include Just Grace by Charise M. Harper and Fame
and Glory in Freedom, Georgia by Barbara O’Connor.
Bullying by peers can be damaging to the self-esteem of those targeted. Angry outbursts by
those being humiliated is not infrequent and, at times, can be frightening. Literature can provide
an opportunity to address these issues by developing an awareness and understanding of the harm
caused and by encouraging more compassion toward those who are targeted for some real or per-
ceived difference. In Wendelin Van Draanen’s Secret Identity, Nolan, a fifth-grade outsider, becomes
fed up with the school bully and finds an ingenious way to expose the bully’s misdeeds. Although
the treatment is humorous and lighthearted, the problem can be raised in discussion of the book.
Developing close friendships is another focus of stories about peer relationships. Friends may
be of the same sex or the opposite sex, of the same age or a very different age, or of the same culture
or a different culture. A concern for friendship and how to be a good friend are shared traits of these
stories. Bird Lake Moon by Kevin Henkes, Antsy Does Time by Neal Schusterman, and Emma-Jean
Lazarus Fell out of a Tree by Lauren Tarshis are good examples of this type of book.

Physical, Emotional, Mental, and Behavioral Challenges

Many children must deal with difficult challenges in their lives. Some children have disabilities;
others have a family member or a friend with a disability. These disabilities may be physical, such
as scoliosis; emotional, such as bipolar disorder; mental, such as mental retardation or learning
disabilities; behavioral, such as hyperactivity; or a combination of these. Yet children do not like
to appear different or strange to others. Authors of children’s books are becoming increasingly
sensitive to the need for positive portrayals of individuals with special challenges. Well-written,
honest stories of such individuals in children’s books can help other children gain an understand-
ing of disabilities and empathize with people who have disabilities. As inclusion of special educa-
tion students into regular classrooms becomes a more common practice, this trend in children’s
literature can be an important educational resource. As examples, Cynthia Lord’s Rules includes
as minor characters an autistic brother and a paraplegic friend of the protagonist, Catherine; and
in Sarah Weeks’s So B. It, the protagonist Heidi lives with her developmentally disabled mother
and is cared for by her neighbor, who is agoraphobic.

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 Realistic Fiction

Communities
Part of growing up involves the discovery of one’s membership in a community, a group extending
beyond the family. In some children’s books we find school settings in which students, teachers,
administrators, and, at times, parents comprise the community. Helen Frost’s novel told through
22 poetic forms, Spinning through the Universe: A Novel in Poems from Room 214, shows students,
the teacher, and the custodian writing their thoughts about the school and other topics.
In other books the community setting is the neighborhood. Examples are Janet McDonald’s
novels, Chill Wind, Twists and Turns, and Spellbound, about a community of teens living in urban
housing projects, a community not often featured in juvenile novels.
Community extends beyond country to communities around the world. With increasing inter-
dependence among countries, young people will likely be more connected to an international com-
munity than ever before. Books set in foreign countries about life in another culture can help
children and adolescents develop an awareness of and kinship toward people from other countries
and an appreciation for people whose lives differ from their own. Examples include Colibrí by Ann
Cameron, Shabanu: Daughter of the Wind by Suzanne Fisher Staples, and Afrika by Colleen Craig.

Animals
Animal stories remain an ever-popular genre with children, dog and horse stories being the most
popular. In realistic animal stories the animal protagonist behaves like an animal and is not per-
sonified. Usually, a child is also a protagonist in these stories. Examples are Because of Winn-Dixie
by Kate DiCamillo and Diamond Willow by Helen Frost.

Sports
Sports stories often present a story in which a child protagonist struggles to become accepted as
a member of a team and does eventually succeed through determination and hard work. The Boy
Who Saved Baseball by John H. Ritter is a good example of a sports story. Although traditionally
written with boys as the main characters, some sports stories are now available that feature girls
as protagonists, such as Dawn FitzGerald’s Soccer Chick Rules.

Mysteries
Mysteries, popular with boys and girls, range from simple “whodunits” to complex character
stories. The element of suspense is a strong part of the appeal of these stories. Mysteries have won
more state children’s choice awards than any other type of story, a fact that suggests that mysteries
are truly favorites of many children. See Chasing Vermeer by Blue Balliett and Evil Genius by
Catherine Jinks.
Three recent series of interest to mystery readers are the Bloodwater Mysteries (beginning
with Snatched) by Pete Hautman and Mary Logue, the 39 Clues (beginning with The Maze of
Bones) by Rick Riordan, and the Boy Sherlock Holmes series (beginning with Eye of the Crow) by
Shane Peacock. An established series with a female protagonist, the Sammy Keyes series (begin-
ning with Sammy Keyes and the Hotel Thief ) by Wendelin Van Draanen, remains popular, with
new mysteries published annually.

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 Realistic Fiction

Notable Authors
of Realistic Fiction

Sharon Creech, author of novels about girls seek- Katherine Paterson, author of stories featuring
ing their families to find themselves. Walk Two relationships with peers and family. The
Moons; Ruby Holler; The Wanderer. www Great Gilly Hopkins; Bridge to Terabithia.
.sharoncreech.com www.terabithia.com
Helen Frost, author of verse novels and two-time Gary Paulsen, author of nature survival adven-
winner of the Lee Bennett Hopkins Award for tures often set in northern United States or
Poetry. She has also written many information Canada. Hatchet; The River. www.garypaulsen
books for children. Keesha’s House; The Braid; .com
Diamond Willow. www.helenfrost.net Jerry Spinelli, author of realistic novels of peers
Jack Gantos, author of Joey Pigza novels about a and their escapades, including Newbery Medal
boy with attention deficit disorder, as well as winner Maniac Magee and Newbery Honor
autobiographical books. Heads or Tails: Stories book Wringer. www.jerryspinelli.com
from the Sixth Grade; Joey Pigza Swallowed the Suzanne Fisher Staples, author of stories that
Key. www.jackgantos.com present conflicts within and between diverse
Jean Craighead George, author of ecological fic- cultures. Newbery Honor books Shabanu and
tion and survival in nature stories. Julie of the its sequel Haveli; Under the Persimmon Tree.
Wolves; My Side of the Mountain. www www.suzannefisherstaples.com
.jeancraigheadgeorge.com Wendelin Van Draanen, author of the popular
Will Hobbs, author of wilderness-based adventure Sammy Keyes mystery series featuring a funny
novels, many set in the Southwest and Mexico, and clever heroine who has to extricate herself
Alaska, and western United States. Crossing the from difficult situations. Sammy Keyes and the
Wire; The Maze; Jackie’s Wild Seattle. www Dead Giveaway; Flipped. www.randomhouse
.willhobbsauthor.com .com/kids/vandraanen
Polly Horvath, author of realistic and often hu- Nancy Werlin, author of suspenseful mysteries
morous family stories. The Trolls (winner of that address difficult situations with sensitivity.
the Boston Globe/Horn Book Award); Every- Black Mirror; The Rules of Survival. www.nancy
thing on a Waffle; The Canning Season (winner werlin.com
of the National Book Award); My One Hun- Jacqueline Woodson, African-American author
dred Adventures. www.pollyhorvath.com whose novels often treat sensitive issues of sex-
Walter Dean Myers, author of novels about uality, abuse, and race. Locomotion; Hush.
African-American adolescents in city settings. www.jacquelinewoodson.com
Scorpions; Monster; Slam! www.walterdean
myers.net

Moral Choices
Characters in many realistic fiction novels face moments of crisis, situa-
tions of great difficulty, or events in which a decision may change some-
one’s life. These situations are often similar to those that children will face
Go to the Conversations section in their lives. Through these stories children can understand the difficult
of Chapter 8 in MyEducationKit decisions the character is faced with and can discuss the consequences that
to read the interview with Jerry may result from the choice made. Teachers often select these books for class
Spinelli.
study with intermediate- and middle-grade students. Using a book in

153
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which a character is faced with a difficult moral choice can stimulate lively discussions. An ex-
ample is Priscilla Cummings’s Red Kayak, in which a 13-year-old boy faces a conflict between
doing the right thing or remaining loyal to his friends.
Realistic stories, both historical and contemporary, in which characters are faced with dif-
ficult moral choices, can provide the foundation for programs of character education, a process
intended to establish important core values in young people and to build awareness of these
values among teachers and parents in order to encourage children to adopt them. The Josephson
Institute of Ethics, in conjunction with a nonsectarian coalition of legislators, corporate officers,
and others, has promoted a framework, Character Counts, in which six values with related traits
are espoused. Although this program is promoted in schools with accompanying materials avail-
able for purchase, these values are often expressed in good literature, which can be the basis for
understanding and developing moral reasoning. Stories such as the ones listed below for each of
the six values promulgated by Character Counts can help children formulate their own concepts
of right and wrong.

Trustworthiness
■ Bredsdorff, Bodil. The Crow-Girl: The Children of Crow Cove. Ages 9–12.
■ Park, Linda Sue. The Firekeeper’s Son. Illustrated by Julie Downing. Ages 8–12.
■ D’Amico, Carmela and Steven. Ella Takes the Cake. Ages 5–9.

Respect
■ DeFelice, Cynthia. Under the Same Sky. Ages 12–15.
■ Lowry, Lois. The Silent Boy. Ages 9–12.
■ Lorbiecki, Marybeth. Jackie’s Bat. Illustrated by Brian Pinkney. Ages 6–9.

Responsibility
■ Haas, Jessie. Jigsaw Pony. Ages 7–10.
■ Johnson, Angela. The First Part Last. Ages 12–18.
■ Cummings, Priscilla. Red Kayak. Ages 11–15.

Fairness
■ Fuqua, Jonathan Scott. Darby. Ages 9–12.
■ Spinelli, Eileen. Three Pebbles and a Song. Illustrated by S. D. Schindler. Ages 5–8.

Caring
■ Polacco, Patricia. Mr. Lincoln’s Way. Ages 5–9.
■ Paterson, Katherine. The Same Stuff as Stars. Ages 10–14.

Citizenship
■ Battle-Lavert, Gwendolyn. Papa’s Mark. Illustrated by Colin Bootman. Ages 6–9.
■ Leavitt, Martine. Tom Finder. Ages 12–18.
Moralizing and preaching are seldom appreciated by children; literary works for the purpose
of character education should meet the same standards for good literature as all other selections.
If the moral or lesson overpowers the story, many children will resist the obvious preaching and

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balk at reading such stories. Children want to read powerful stories that excite them, amuse them,
and inspire them.

Romance and Sexuality

Romance stories are popular with preteens and teens, especially girls. Some stories depict boy–girl
friendships, as in Flipped by Wendelin Van Draanen, The Possibilities of Sainthood by Donna
Freitas, Undercover by Beth Kephart, Runaround by Helen Hemphill, and
Deep Down Popular by Phoebe Stone. Since the 1990s, more stories of
characters dealing with pregnancy and teenage parenting have appeared;
Go to Activity 2 in the Assign- some realistic examples are Virginia Euwer Wolff ’s Make Lemonade, Sylvia
ments and Activities section of Olsen’s The Girl with a Baby, and Angela Johnson’s The First Part Last.
Chapter 8 in MyEducationKit; Children become aware of their growing sexuality during preteen and
view the video on using realistic teen years as they begin to mature. Some stories for older teens show at-
fiction in a thematic study of
discrimination and respond to the
traction between members of the opposite sex as well as members of the
questions. same sex, with the beginning of sexual activity sometimes depicted in re-
lationships. Stories that portray the struggle of young people coming to
terms with a homosexual or lesbian sexual orientation are seen more frequently than they were
in the past; other stories show the cruelty of society toward young homosexuals or lesbians. See
Split Screen by Brent Hartinger and So Hard to Say by Alex Sanchez.

Coming of Age
From birth to age 10, most children’s lives revolve around family, friends, and classmates, but
during the preteen and teen years a shift toward self-discovery and independence occurs. Rapid
growth and change are seen in the physical, emotional, moral, and intellectual domains of life.
These changes are reflected in books for adolescents and are referred to as coming-of-age stories.
Sometimes books that deal with the trials and tribulations encountered during growth from
childhood to adulthood are called rite-of-passage books. A rite of passage refers to an event in
one’s life that signals a change from child to adult. Examples of rite-of-passage books are Olive’s
Ocean by Kevin Henkes and Shift by Jennifer Bradbury.

Adventure and Survival

Facing physical danger, an external force, also contributes to the maturing process. Stories of sur-
vival and adventure are ones in which the young protagonist must rely on will and ingenuity to
survive a life-threatening situation. Although most survival stories are set in isolated places, a grow-
ing number are being set in cities where gangs, drug wars, and abandonment are life threatening.
Adventure stories may be set in any environment where the protagonist has freedom of action.
Wilderness by Roddy Doyle and The Maze by Will Hobbs are examples of this type of book.

Stories in the realistic fiction genre present familiar situations with which children can readily
identify, often reflect contemporary life, and portray settings not so different from the homes,
schools, towns, and cities known to today’s children. The protagonists of these stories are fre-
quently testing themselves as they grow toward adulthood; young readers can therefore empathize

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and gain insight into their own predicaments. Your challenge will be to stay abreast of good real-
istic stories in order to provide a wide range of books that will entertain, encourage, and inspire
your students.

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Discuss whether teachers and librarians have a responsibility to teach moral values
and to develop good character traits in their students. If you believe so, suggest how
it should be done. If you do not think so, explain your position.
■ Select and read three to five winners of the Edgar Allan Poe Award for Juvenile Mys-
tery Novels. (See Appendix A for the list.) Compare and contrast these novels, consid-
ering the source and type of mystery, the devices used to cause suspense, and the
elements of realism and fantasy in each story.
■ Select fifteen realistic fiction novels suitable for a particular grade level in which you
are participating. Booktalk and display these novels for a group of eight students,
then ask them to complete an interest ballot on them. What did you discover about
their reading preferences from this activity?

References
Marshall, M. R. (1988). An introduction to the world Whitman, R. (1968). Listening to grownups quarreling.
of children’s books (2nd ed.). Brookfield, VT: In R. Whitman (Ed.), The marriage wig and other
Gower. stories. Orlando, FL: Harcourt.

Recommended Realistic Fiction Books

Ages indicated refer to content appropriateness and Baskin, Nora Raleigh. What Every Girl (Except Me)
conceptual and interest levels. Formats other than Knows. Little, Brown, 2001. Ages 10–13.
novels will be coded as follows: Bateson, Catherine. Being Bee. Holiday, 2007. Ages
(PI) Picture book 8–12.
(COL) Short story collection Birdsall, Jeanne. The Penderwicks on Gardam Street.
(GR) Graphic novel Knopf, 2008. Ages 9–12.
———. The Penderwicks: A Summer Tale of Four
Sisters, Two Rabbits, and a Very Interesting Boy.
Families
Knopf, 2005. Ages 9–12.
Acampora, Paul. Defining Dulcie. Dial, 2006. Ages Bredsdorff, Bodil. The Crow-Girl: The Children of Crow
12–15. Cove. Translated from the Danish by Faith Ing-
Banks, Kate. Dillon Dillon. Farrar, 2002. Ages 10–13. wersen. Farrar, 2004. Ages 9–12.
———. Walk Softly, Rachel. Farrar, 2003. Ages Budhos, Marina. Ask Me No Questions. Simon & Schus-
12–15. ter, 2006. Ages 12–16.

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 Realistic Fiction

Choldenko, Gennifer. Notes from a Liar and Her Dog. Juster, Norton. The Hello, Goodbye Window. Illus-
Putnam, 2001. Ages 10–13. trated by Chris Raschka. Hyperion, 2005. (PI) Ages
Cohn, Rachel. The Steps. Simon & Schuster, 2003. Ages 4–7.
9–13. Koss, Amy Goldman. The Ashwater Experiment. Dial,
Creech, Sharon. Heartbeat. HarperCollins, 2004. Ages 1999. Ages 9–13.
9–14. Free verse. Leavitt, Martine. Heck Superhero. Front Street, 2004.
———. Replay. HarperCollins, 2005. Ages 9–13. In- Ages 12–15.
cludes a short play featured in the story. Mackler, Carolyn. The Earth, My Butt and Other Big,
———. Ruby Holler. HarperCollins, 2002. Ages 8–11. Round Things. Candlewick, 2003. Ages 12–16.
———. Walk Two Moons. HarperCollins, 1994. Ages Mason, Simon. The Quigleys in a Spin. Illustrated
10–13. by Helen Stephens. Random, 2006. Ages 8–11.
Delacre, Lulu. Salsa Stories. Scholastic, 2000. (COL) Humorous.
Ages 11–14. McKay, Hilary. Indigo’s Star. Simon & Schuster, 2004.
Fogelin, Adrian. Anna Casey’s Place in the World. Ages 11–14. Humorous.
Peachtree, 2001. Ages 10–13. ———. Saffy’s Angel. Simon & Schuster, 2002. Ages
———. The Big Nothing. Peachtree, 2004. Ages 9–12.
11–14. Naylor, Phyllis Reynolds. Roxie and the Hooligans. Ath-
———. Sister Spider Knows All. Peachtree, 2003. Ages eneum, 2006. Ages 7–10. Humorous.
11–14. Nelson, Theresa. Ruby Electric. Simon & Schuster, 2003.
Fusco, Kimberly Newton. Tending to Grace. Knopf, Ages 10–13.
2004. Ages 12–15. O’Connor, Barbara. Moonpie and Ivy. Farrar, 2001.
Gantos, Jack. What Would Joey Do? Farrar, 2002. Ages Ages 10–13.
9–12. Paterson, Katherine. The Great Gilly Hopkins. Crowell,
Giff, Patricia Reilly. Pictures of Hollis Woods. Wendy 1978. Ages 9–12.
Lamb, 2002. Ages 10–12. ———. The Same Stuff as Stars. Clarion, 2002. Ages
Gonzalez, Julie. Wings. Delacorte, 2005. Ages 12–16. 10–13.
Two parallel narrators. Scieszka, Jon, editor. Guys Write for Guys Read: Boys’
Goscinny, René. Nicholas Again. Illustrated by Jean Favorite Authors Write about Being Boys. Viking,
Jacques Sempé. Translated by Anthea Bell. Phaidon, 2005. (COL) Ages 10–14.
2006. Ages 9–12. Humorous. Smith, Hope Anita. Keeping the Night Watch. Illus-
Grimes, Nikki. Dark Sons. Hyperion, 2005. Ages trated by E. B. Lewis. Holt, 2008. Ages 11–15. Novel
11–16. in free verse and sonnets.
Hannigan, Katherine. Ida B: . . . and Her Plans to Spinelli, Jerry. Smiles to Go. Joanna Cotler, 2008. Ages
Maximize Fun, Avoid Disaster, and (Possibly) 11–14.
Save the World. Greenwillow, 2004. Ages Tolan, Stephanie S. Surviving the Applewhites. Harper-
9–12. Collins, 2002. Ages 10–14.
Hicks, Betty. Out of Order. Roaring Brook, 2005. Ages Twice Told: Original Stories Inspired by Original Art-
9–12. work. Illustrated by Scott Hunt. Dutton, 2006.
Horvath, Polly. The Canning Season. Farrar, 2003. Ages (COL) Ages 12–16. Pairs of popular, acclaimed
12–16. authors respond to the same illustration.
———. Everything on a Waffle. Farrar, 2001. Ages Van Draanen, Wendelin. Runaway. Knopf, 2006. Ages
9–12. 12–16.
———. The Pepins and Their Problems. Farrar, 2004. Werlin, Nancy. The Rules of Survival. Dial, 2006. Ages
Ages 8–12. Humorous. 12–18.
———. The Trolls. Farrar, 1999. Ages 9–13. Humor- Williams, Vera B. Amber Was Brave, Essie Was Smart:
ous. The Story of Amber and Essie Told Here in
Jones, Kimberly K. Sand Dollar Summer. Simon & Poems and Pictures. Greenwillow, 2001. Ages
Schuster, 2006. Ages 10–14. 6–10.

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 Realistic Fiction

Peers ———. The Talented Clementine. Illustrated by Marla

Frazee. Hyperion, 2008. Ages 7–10. Humorous.
Castellucci, Cecil. The Plain Janes. Illustrated by Jim
Perkins, Lynne Rae. All Alone in the Universe. Green-
Rugg. DC Comics, 2007. (GR) Ages 12–18.
willow, 1999. Ages 10–14.
Creech, Sharon. Granny Torrelli Makes Soup. Illustrated
———. Criss Cross. Greenwillow, 2005. Ages 11–15.
by Chris Raschka. HarperCollins, 2003. Ages 9–13.
Schusterman, Neal. Antsy Does Time. Dutton, 2008.
Free verse novel.
Ages 11–15.
———. Love That Dog. HarperCollins, 2001. Ages
Spinelli, Jerry. Wringer. HarperCollins, 1997. Ages
9–14. Free verse novel.
9–12.
Dowell, Frances O’Roark. Chicken Boy. Atheneum,
Stauffacher, Sue. Donuthead. Knopf, 2003. Ages 9–12.
2005. Ages 9–13.
Tarshis, Lauren. Emma-Jean Lazarus Fell out of a Tree.
Fine, Anne. Up on Cloud Nine. Delacorte, 2002. Ages
Dial, 2007. Ages 10–14.
10–13.
Van Draanen, Wendelin. Secret Identity. Illustrated by
Frost, Helen. Keesha’s House. Farrar, 2003. Ages 12–16.
Brian Biggs. Knopf, 2004. Ages 8–12.
Gantos, Jack. Heads or Tails: Stories from the Sixth Grade.
Williams, Lori Aurelia. When Kambia Elaine Flew
Farrar, 1994. (COL) Ages 10–14. Humorous.
in from Neptune. Simon & Schuster, 2001. Ages
Grindley, Sally. Dear Max. Illustrated by Tony Ross. Si-
12–18.
mon & Schuster, 2006. Ages 7–10.
Gutman, Dan. The Homework Machine. Simon &
Schuster, 2006. Ages 9–12. Physical, Emotional, Mental,
Harper, Charise M. Just Grace. Houghton, 2007. Ages and Behavioral Challenges
7–9. Duncan, Lois, editor. On the Edge: Stories at the Brink.
———. Just Grace Walks the Dog. Houghton, 2008. Simon & Schuster, 2000. (COL) Ages 12–18.
Ages 7–9. Gantos, Jack. I Am Not Joey Pigza. Farrar, 2007. Ages
Henkes, Kevin. Bird Lake Moon. HarperCollins, 2008. 10–13. Attention deficit/hyperactivity.
Ages 9–12. ———. Joey Pigza Loses Control. Farrar, 2000. Ages
Howe, James. The Misfits. Simon & Schuster, 2001. Ages 9–12.
10–13. ———. Joey Pigza Swallowed the Key. Farrar, 1998.
Lombard, Jenny. Drita, My Homegirl. Putnam, 2006. Ages 9–13.
Ages 8–11. ———. What Would Joey Do? Farrar, 2002. Ages
Look, Lenore. Ruby Lu, Empress of Everything. Illus- 10–12.
trated by Anne Wilsdorf. Simon & Schuster, 2006. George, Madeleine. Looks. Viking, 2008. Ages 12–18.
Ages 7–9. Eating disorders.
Lowry, Lois. Gooney Bird Greene. Houghton, 2002. Hautman, Pete. Invisible. Simon & Schuster, 2005. Ages
Ages 7–9. 12–16. Mental health.
———. Gooney Bird and the Room Mother. Houghton, Hobbs, Valerie. Defiance. Farrar, 2005. Ages 10–14.
2005. Ages 7–9. Konigsburg, E. L. Silent to the Bone. Simon & Schuster,
———. Gooney, the Fabulous. Houghton, 2005. Ages 2000. Ages 11–15. Mutism.
7–9. Lord, Cynthia. Rules. Scholastic, 2006. Ages 9–13.
Lubar, David. Sleeping Freshmen Never Lie. Dutton, Autism, paraplegia.
2005. Ages 12–15. Humorous. Morgenroth, Kate. Echo. Simon & Schuster, 2006. Ages
O’Connor, Barbara. Fame and Glory in Freedom, Geor- 13–18. Depression, mental health, trauma.
gia. Farrar, 2003. Ages 11–14. Schumacher, Julie. Black Box. Delacorte, 2008. Ages
Paterson, Katherine. Bridge to Terabithia. Illustrated by 12–18. Depression.
Donna Diamond. Crowell, 1977. Ages 9–13. Schusterman, Neal. The Schwa Was Here. Dutton, 2004.
Pennypacker, Sara. Clementine. Illustrated by Marla Ages 12–15. Humorous.
Frazee. Hyperion, 2006. Ages 7–10. Humorous. Sones, Sonya. Stop Pretending: What Happened When
———. Clementine’s Letter. Illustrated by Marla My Big Sister Went Crazy. HarperCollins, 1999.
Frazee. Hyperion, 2008. Ages 7–10. Humorous. Ages 12–16. Free verse.

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Trueman, Terry. Stuck in Neutral. HarperCollins, 2000. Ochoa, Annette, Betsy Franco, and Tracy L. Gourdine,
Ages 11–16. Cerebral palsy. editors. Night Is Gone, Day Is Still Coming:
Vaught, Susan R. Big Fat Manifesto. Bloomsbury, 2008. Stories and Poems by American Indian Teens and
Ages 12–18. Body image. Young Adults. Candlewick, 2003. (COL) Ages
Weeks, Sarah. So B. It. HarperCollins, 2004. Ages 10–14. 12–18.
Mental retardation, agoraphobia. Polacco, Patricia. Mr. Lincoln’s Way. Philomel, 2001.
Wood, June Rae. About Face. Putnam, 1999. Ages 9–12. (PI) Ages 5–9.
Birthmark. Resau, Laura. Red Glass. Delacorte, 2007. Ages 11–15.
———. What the Moon Saw. Delacorte, 2006. Ages
Communities 10–15.
Saldaña, René, Jr. The Jumping Tree: A Novel. Delacorte,
Cameron, Ann. Colibrí. Farrar, 2003. Ages 10–16. 2001. Ages 11–16.
Canales, Viola. The Tequila Worm. Wendy Lamb, 2005. Smith, Hope Anita. The Way a Door Closes. Illustrated
Ages 11–15. by Shane W. Evans. Holt, 2003. Ages 10–13. Poetic
Cofer, Judith Ortiz. Call Me Maria. Orchard, 2004. Ages verse.
11–14. Staples, Suzanne Fisher. Haveli: A Young Woman’s Cou-
Craig, Colleen. Afrika. Tundra, 2008. Ages 12–15. rageous Struggle for Freedom in Present-Day Paki-
Danticat, Edwidge. Behind the Mountains. Orchard, stan. Knopf, 1993. Ages 12–16.
2002. Ages 11–14. ———. Shabanu: Daughter of the Wind. Knopf, 1989.
Fogelin, Adrian. Crossing Jordan. Peachtree, 2000. Ages Ages 12–16.
11–14. ———. Shiva’s Fire. Farrar, 2000. Ages 12–16.
Frost, Helen. Spinning through the Universe: A Novel in ———. Under the Persimmon Tree. Farrar, 2005. Ages
Poems from Room 214. Farrar, 2004. Ages 11–14. 12–16.
Grimes, Nikki. Bronx Masquerade. Dial, 2002. Ages Stratton, Allan. Chanda’s Secrets. Annick, 2004. Ages
12–18. 12–18.
Ives, David. Voss. Putnam, 2008. Ages 10–16. Humorous. Whelan, Gloria. Homeless Bird. HarperCollins, 2000.
Johnston, Tony. Any Small Goodness: A Novel of the Ages 12–16.
Barrio. Illustrated by Raúl Colón. Scholastic, 2001. Williams-Garcia, Rita. No Laughter Here. Harper-
Ages 9–12. Collins, 2004. Ages 10–14.
Mah, Adeline Yen. Chinese Cinderella: The True Story Woodson, Jacqueline. Locomotion. Putnam, 2003. Ages
of an Unwanted Daughter. Delacorte, 1999. Ages 9–12. Free verse.
11–15.
Marsden, Carolyn. Silk Umbrellas. Candlewick, 2004.
Animals
Ages 8–12.
McDonald, Janet. Chill Wind. Farrar, 2002. Ages 12–18. Bauer, Marion Dane. A Bear Named Trouble. Clarion,
———. Spellbound. Farrar, 2001. Ages 12–18. 2005. Ages 8–11.
Humorous. DiCamillo, Kate. Because of Winn-Dixie. Candlewick,
———. Twists and Turns. Farrar, 2003. Ages 12–18. 2000. Ages 8–11.
Myers, Walter Dean. 145th Street. Delacorte, 2000. Ages ———. The Tiger Rising. Candlewick, 2001. Ages
12–18. (COL). 8–11.
Na, An. A Step from Heaven. Front Street, 2001. Ages Frost, Helen. Diamond Willow. Farrar, 2008. Ages
13–18. 11–15. Verse novel.
Naidoo, Beverley. The Other Side of Truth. Harper- Haas, Jessie. Jigsaw Pony. Illustrated by Ying-Hwa Hu.
Collins, 2001. Ages 11–14. Greenwillow, 2005. Ages 7–10.
———. Out of Bounds: Seven Stories of Conflict and Hearne, Betsy. The Canine Collection: Stories about Dogs
Hope. HarperCollins, 2003. Ages 10–14. and People. McElderry, 2003. (COL) Ages 10–14.
———. Web of Lies. HarperCollins, 2006. Ages 12–16. Hiaasen, Carl. Hoot. Knopf, 2003. Ages 10–14.
Nye, Naomi Shihab. Habibi. Simon & Schuster, 1997. Nuzum, K. A. The Leanin’ Dog. Joanna Cotler, 2008.
Ages 12–16. Ages 9–12.

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Staples, Suzanne Fisher. The Green Dog: A Mostly True Coman, Carolyn. The Big House. Illustrated by Rob Shep-
Story. Farrar, 2003. Ages 9–12. person. Front Street, 2004. Ages 8–12. Humorous.
Curtis, Christopher Paul. Mr. Chickee’s Funny Money.
Sports Random, 2005. Ages 9–13. Humorous.
DeFelice, Cynthia. Death at Devil’s Track. Farrar, 2000.
Coy, John. Crackback. Scholastic, 2005. Ages 12–18. Ages 10–13.
Deans, Sis. Racing the Past. Holt, 2001. Ages 10–13. ———. The Missing Manatee. Farrar, 2005. Ages
Deuker, Carl. Gym Candy. Houghton, 2007. Ages 10–14.
13–18. Ehrenhaft, Daniel. Drawing a Blank; or How I Tried to
———. Runner. Houghton, 2005. Ages 12–18. Solve a Mystery, End a Feud, and Land the Girl of
Esckilsen, Erik E. Offsides. Houghton, 2004. Ages My Dreams. Illustrated by Trevor Ristow. Harper-
10–14. Collins, 2006. Ages 12–18. Alternating chapters of
Feinstein, John. Vanishing Act. Knopf, 2006. Ages first-person narratives and superhero comic-strip
11–18. episodes. Humorous.
FitzGerald, Dawn. Soccer Chick Rules. Roaring Brook, Fleischman, Sid. Bo & Mzzz Mad. Greenwillow, 2001.
2006. Ages 10–14. Ages 10–13. Humorous.
Johnson, Scott. Safe at Second. Philomel, 1999. Ages
Hautman, Pete, and Logue, Mary. Doppelganger. Put-
11–18.
nam, 2008. Ages 11–15.
Koertge, Ron. Shakespeare Bats Cleanup. Candlewick,
2003. Ages 11–14. ———. Snatched. Putnam, 2006. Ages 11–15. The first
in the Bloodwater Mysteries series.
Lipsyte, Robert. Yellow Flag. HarperTeen, 2007. Ages
14–18. Hiaasen, Carl. Flush. Knopf, 2005. Ages 10–14.
Lupica, Mike. Heat. Philomel, 2006. Ages 11–15. Jennings, Richard W. Mystery in Mt. Mole. Houghton,
———. Travel Team. Philomel, 2004. Ages 10–13. 2003. Ages 9–12.
Myers, Walter Dean. Slam! Scholastic, 1996. Ages 12–18. Jinks, Catherine. Evil Genius. Harcourt, 2007. Ages
Powell, Randy. Run If You Dare. Farrar, 2001. Ages 12–15.
12–16. Peacock, Shane. Eye of the Crow. Tundra, 2007. Ages
Ritter, John H. The Boy Who Saved Baseball. Philomel, 11–16.
2003. Ages 10–13. Plum-Ucci, Carol. The Body of Christopher Creed. Har-
———. Under the Baseball Moon. Philomel, 2006. court, 2000. Ages 13–18.
Ages 11–14. Riordan, Rick. The Maze of Bones. Scholastic, 2008.
Roberts, Kristi. My Thirteenth Season. Holt, 2005. Ages Ages 9–13. The first in the 39 Clues series.
10–14. Sachar, Louis. Small Steps. Delacorte, 2005. Ages 10–14.
Sequel to Holes.
Mysteries Sorrells, Walter. Fake ID. Dutton, 2005. Ages 12–16.
Springer, Nancy. The Case of the Missing Marquess: An
Abrahams, Peter. Down the Rabbit Hole. HarperCollins,
Enola Holmes Mystery. Philomel, 2005. Ages 10–14.
2005. Ages 11–15.
Allison, Jennifer. Gilda Joyce: Psychic Investigator. Dut- Valentine, Jenny. Me, the Missing, and the Dead. Harper-
ton, 2005. Ages 10–14. Humorous. Teen, 2008. Ages 13–18. Humorous.
Alphin, Elaine Marie. The Perfect Shot. Carolrhoda, Van Draanen, Wendelin. Sammy Keyes and the Cold
2005. Ages 12–18. Hard Cash. Knopf, 2008. Ages 10–13.
Balliett, Blue. Chasing Vermeer. Illustrated by Brett ———. Sammy Keyes and the Hotel Thief. Knopf,
Helquist. Scholastic, 2004. Ages 9–14. 1998. Sequels include Sammy Keyes and the Search
———. The Wright 3. Illustrated by Brett Helquist. for Snake Eyes, 2002; and Sammy Keyes and the
Scholastic, 2006. Ages 9–14. Dead Giveaway, 2005.
Broach, Elise. Shakespeare’s Secret. Holt, 2005. Ages Werlin, Nancy. Black Mirror. Dial, 2001. Ages 12–18.
11–15. ———. Double Helix. Dial, 2004. Ages 12–18.

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Moral Choices Romance and Sexuality

Battle-Lavert, Gwendolyn. Papa’s Mark. Illustrated by Anderson, Laurie Halse. Speak. Farrar, 1999. Ages 12–18.
Colin Bootman. Holiday, 2003. Ages 6–9. Deak, Erzsi, and Kristin Embry Litchman, editors. Period
Bauer, Marion Dane. The Double-Digit Club. Holiday, Pieces. HarperCollins, 2003. (COL) Ages 10–14.
2004. Ages 9–12. Flake, Sharon G. Who Am I without Him? Hyperion,
Bredsdorff, Bodil. The Crow-Girl: The Children of Crow 2004. (COL) Ages 11–18.
Cove. Translated by Faith Ingwersen. Farrar, 2004. Freitas, Donna. The Possibilities of Sainthood. Farrar,
Ages 9–12. 2008. Ages 12–16.
Cummings, Priscilla. Red Kayak. Dutton, 2004. Ages Hartinger, Brent. Geography Club. HarperTempest,
11–15. 2003. Ages 12–18.
Curtis, Christopher Paul. Bucking the Sarge. Random, ———. Split Screen. HarperTempest, 2007. Ages
2004. Ages 11–16. Humorous. 12–18.
D’Amico, Carmela, and Steven D’Amico. Ella Takes the Hemphill, Helen. Runaround. Front Street, 2007. Ages
Cake. Scholastic, 2005. Ages 5–9. 10–14.
DeFelice, Cynthia. Under the Same Sky. Farrar, 2003. Howe, James. Totally Joe. Atheneum, 2005. Ages 10–14.
Ages 12–15. Johnson, Angela. The First Part Last. Simon & Schuster,
Flake, Sharon G. Money Hungry. Hyperion, 2001. Ages 2003. Ages 12–18.
12–16. Kephart, Beth. Undercover. HarperCollins, 2007. Ages
Fuqua, Jonathan Scott. Darby. Candlewick, 2002. Ages 12–16.
9–12. Larochelle, David. Absolutely, Positively Not. Scholastic,
Haas, Jessie. Jigsaw Pony. Illustrated by Y. Wu. Harper- 2005. Ages 12–18. Humorous.
Collins, 2005. Ages 7–10. Lawrence, Iain. Ghost Boy. Delacorte, 2000. Ages 12–18.
Johnson, Angela. The First Part Last. Simon & Schuster, Myers, Walter Dean. Street Love. HarperCollins, 2006.
2003. Ages 12–18. Ages 12–18. Verse novel.
Leavitt, Martine. Tom Finder. Red Deer, 2003. Ages ———. What They Found: Love on 145th Street.
Wendy Lamb, 2007. (COL) Ages 13–18.
12–18.
Naylor, Phyllis Reynolds. The Grooming of Alice. Simon
Lorbiecki, Marybeth. Jackie’s Bat. Illustrated by Brian & Schuster, 2000. Ages 11–13.
Pinkney. Simon & Schuster, 2003. Ages 6–9. Olsen, Sylvia. The Girl with a Baby. Sono Nis Press,
Lowry, Lois. The Silent Boy. Houghton, 2003. Ages 2003. Ages 11–15.
9–12. Peters, Julie Anne. Luna. Little, Brown, 2004. Ages 13–18.
Myers, Walter Dean. Monster. HarperCollins, 1999. Sanchez, Alex. Getting It. Simon & Schuster, 2006. Ages
Ages 12–18. 13–18.
O’Connor, Barbara. Taking Care of Moses. Farrar, 2004. ———. So Hard to Say. Simon & Schuster, 2004. Ages
Ages 9–12. 11–15.
Park, Linda Sue. The Firekeeper’s Son. Illustrated by Sones, Sonya. What My Mother Doesn’t Know. Simon &
Julie Downing. Clarion, 2003. Ages 8–12. Schuster, 2001. Ages 12–16. Free verse.
———. Project Mulberry. Clarion, 2005. Ages 10–13. Spinelli, Jerry. Stargirl. Knopf, 2000. Ages 11–15.
Paterson, Katherine. The Same Stuff as Stars. Clar- Stone, Phoebe. Deep Down Popular. Scholastic, 2008.
Ages 10–14.
ion, 2002. Ages 10–14.
Van Draanen, Wendelin. Flipped. Knopf, 2001. Ages
Polacco, Patricia. Mr. Lincoln’s Way. Philomel, 2001. 10–14.
Ages 5–9. Wild, Margaret. One Night. Knopf, 2004. Ages 12–18.
Spinelli, Eileen. Three Pebbles and a Song. Illustrated Free verse.
by S. D. Schindler. Dial, 2003. Ages 5–8. Wittlinger, Ellen. Parrotfish. Simon & Schuster, 2007.
Spinelli, Jerry. Maniac Magee. HarperCollins, 1990. Ages 14–18.
Ages 9–12. Wolff, Virginia Euwer. Make Lemonade. Holt, 1993.
Woodson, Jacqueline. Hush. Putnam, 2002. Ages 11–15. Ages 12–18.

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Young, Karen Romano. The Beetle and Me: A Love Ellis, Sarah. The Several Lives of Orphan Jack. Illus-
Story. Greenwillow, 1999. Ages 11–16. trated by Bruno St-Aubin. Groundwood, 2003.
Ages 7–11.
George, Jean Craighead. Julie. HarperCollins, 1994.
Coming of Age
Ages 11–15.
Bedard, Michael. Stained Glass. Tundra, 2001. Ages ———. Julie of the Wolves. Illustrated by John Schoen-
12–18. herr. Harper, 1972. Ages 11–15.
Bradbury, Jennifer. Shift. Atheneum, 2008. Ages 12–18. ———. My Side of the Mountain. Dutton, 1959. Ages
French, Simon. Where in the World. Peachtree, 2003. 9–12.
Ages 10–13. Hobbs, Will. Crossing the Wire. HarperCollins, 2006.
Henkes, Kevin. Olive’s Ocean. Greenwillow, 2003. Ages Ages 10–15.
10–13. ———. Jackie’s Wild Seattle. HarperCollins, 2003.
Jocelyn, Marthe. How It Happened in Peach Hill. Ran- Ages 10–15.
dom, 2007. Ages 11–16. Humorous. ———. The Maze. Morrow, 1998. Ages 11–16.
Lawrence, Iain. Ghost Boy. Delacorte, 2000. Ages 12–18. ———. Wild Man Island. HarperCollins, 2002. Ages
Leavitt, Martine. Tom Finder. Red Deer Press, 2003. 11–16.
Ages 12–18. Horvath, Polly. My One Hundred Adventures. Random,
Lynch, Chris. Me, Dear Dad & Alcatraz. HarperCollins, 2008. Ages 9–12.
2005. Ages 13–16. Jennings, Richard W. The Great Whale of Kansas.
Myers, Walter Dean. Sunrise over Fallujah. Scholastic, Houghton, 2001. Ages 10–13.
2008. Ages 13–18. Key, Watt. Alabama Moon. Farrar, 2006. Ages 11–15.
Oates, Joyce Carol. Small Avalanches and Other Stories. Lee, Tanith. Piratica: Being a Daring Tale of a
HarperCollins, 2003. (COL) Ages 14–18. Singular Girl’s Adventure Upon the High Seas. Dut-
Olsen, Sylvia. The Girl with a Baby. Sono Nis, 2004. ton, 2004. Ages 11–14. Presented in three acts.
Ages 12–18. McCaughrean, Geraldine. Smile! Illustrated by Ian
Peters, Julie Anne. Mom and Jo. Little, Brown, 2006. McCaughrean. Random, 2006. Ages 10–14.
Ages 12–14. ———. The White Darkness. HarperTempest, 2007.
Saldaña, René, Jr. Finding Our Way. Wendy Lamb, 2003. Ages 12–16.
(COL) Ages 12–16. Mikaelsen, Ben. Touching Spirit Bear. HarperCollins,
Salisbury, Graham. Island Boyz: Short Stories. Wendy 2001. Ages 11–18.
Lamb, 2002. (COL) Ages 12–16. Myers, Walter Dean. Scorpions. Harper, 1988. Ages
Schmidt, Gary D. The Wednesday Wars. Clarion, 2007. 10–16.
Ages 11–15. Paulsen, Gary. Hatchet. Bradbury, 1987. Ages 9–12.
Sonnenblick, Jordan. Notes from the Midnight Driver. ———. The River. Delacorte, 1991. Ages 10–16.
Scholastic, 2006. Ages 12–16. Humorous. Philbrick, Rodman. The Young Man and the Sea. Scho-
St. Anthony, Jane. The Summer Sherman Loved Me. lastic, 2004. Ages 10–14.
Farrar, 2006. Ages 10–14. Salisbury, Graham. Lord of the Deep. Delacorte, 2001.
Ages 11–15.
Snicket, Lemony. The End: Book the Thirteenth. Illus-
Adventure and Survival
trated by Brett Helquist. HarperCollins, 2006. Ages
Bauer, Joan. Backwater. Putnam, 1999. Ages 12–16. 10–14.
Couloumbis, Audrey. The Misadventures of Maude Stewart, Trenton Lee. The Mysterious Benedict Society.
March, or, Trouble Rides a Fast Horse. Random, Little, Brown, 2007. Ages 10–14.
2005. Ages 10–13. Humorous. ———. The Mysterious Benedict Society and the
Creech, Sharon. The Wanderer. HarperCollins, 2000. Perilous Journey. Little, Brown, 2008. Ages 10–14.
Ages 11–14. Taylor, Theodore. Ice Drift. Harcourt, 2004. Ages
Doctorow, Cory. Little Brother. Tor, 2008. Ages 12–18. 9–13.
Doyle, Roddy. Wilderness. A. A. Levine, 2007. Ages Wood, Don. Into the Volcano. Scholastic, 2008. (GR)
11–16. Ages 9–14.

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 Realistic Fiction

Related Films, Videos, and DVDs

Because of Winn-Dixie. (2005). Author: Kate DiCa- The Sisterhood of the Traveling Pants. (2005). Also The
millo (2000). 106 minutes. Sisterhood of the Traveling Pants 2. (2008). Au-
Bridge to Terabithia. (2007). Author: Katherine Pater- thor: Ann Brashares (2001, 2005). 117 minutes,
son (1977). 96 minutes. 119 minutes.
The Clique. (2008). Author: Lisi Harrison (2004). Summer of the Monkeys. (1998). Author: Wilson Rawls
87 minutes. (1976). 101 minutes.
A Cry in the Wild. (1990). Author: Gary Paulsen, Whale Rider. (2002). Author: Witi Ihimaera (2003/
Hatchet (1987). 82 minutes. 1987). 101 minutes.
Finding Buck McHenry. (2000). Author: Alfred Slote Where the Red Fern Grows. (2003). Author: Wilson
(1991). 94 minutes. Rawls (1961). 86 minutes.
Harriet the Spy. (1996). Author: Louis Fitzhugh (1964).
102 minutes.
Sources for Films, Videos, and DVDs
Holes. (2003). Author: Louis Sachar (1998). 117 minutes.
Homeward Bound. (1993). Author: Sheila Burnford, The Video Source Book. Syosset, NY: National Video
The Incredible Journey (1961). 84 minutes. Clearinghouse, 1979–. Published by Gale Research,
Hoot. (2006). Author: Carl Hiaasen (2002). 91 minutes. Detroit, MI.
Iron Will. (1993). Author: John Reynolds Gardiner, An annual reference work that lists media and
Stone Fox (1980). 109 minutes. provides sources for purchase and rental.
Lemony Snicket’s A Series of Unfortunate Events.
(2004). Author: Daniel Handler, The Bad Begin- Websites of large video distributors:
ning (1999). 107 minutes. www.libraryvideo.com
Maniac Magee. (1992). Author: Jerry Spinelli (1990). www.knowledgeunlimited.com
30 minutes. http://teacher.scholastic.com/products/
The Mighty. (1998). Author: Rodman Philbrick, Freak westonwoods
the Mighty (1993). 100 minutes.
Shiloh. (1997). Also Shiloh 2. (1999). Author: Phyllis
Reynolds Naylor, Shiloh (1991) and Shiloh Season
(1996). 93 minutes, 96 minutes.

Now go to Chapter 8 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Learn how authors and illustrators apply their craft by reading the written interviews in the
Conversations section for the chapter.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

163
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Historical Fiction
and Biography
Ancestors
On the wind-beaten plains
once lived my ancestors.
In the days of peaceful moods,
they wandered and hunted.
In days of need or greed,
they warred and loafed.
Beneath the lazy sun, kind winds above,
they laughed and feasted.
Through the starlit night, under the moon,
they dreamed and loved.
Now, from the wind-beaten plains,
only their dust rises.

—Grey Cohoe

“Ancestors” by Grey Cohoe, from Whispering Wind by Terry Allen. Copyright © 1972 by
the Institute of American Indian Arts. Used by permission of Doubleday, a division of
Random House, Inc.

From Chapter 9 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

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 Historical Fiction and Biography

Historical fiction and biography bring history to life by placing imaginary child characters in
accurately described historical settings or by relating the life stories of actual people who lived in
the past. Authors of historical fiction and biography provide young readers with the human side
of history, making it more real and more memorable.

Section One: Historical Fiction

In this section the definition, description, evaluation, selection, early books, and trends of histori-
cal fiction for children are addressed.

Definition and Description

Historical fiction is realistic fiction set in a time remote enough from the present to be considered
history. Stories about events that occurred at least one generation (defined as twenty years or
more) prior to the date of the original publication have been included in this chapter and catego-
rized as historical fiction.
Although historical fiction stories are imaginary, it is within the realm of possibility that such
events could have occurred. In these stories, historical facts blend with imaginary characters and
plot. The facts are actual historical events, authentic period settings, and real historical figures.
An imaginary story is constructed around these facts. In the Reference Guide to Historical Fiction
for Children and Young Adults, Adamson (1987) states:
Historical fiction recreates a particular historical period with or without historical figures as inci-
dental characters. It is generally written about a time period in which the author has not lived or no
more recently than one generation before its composition. For example, fiction written in 1987 must
be set, at the latest, in 1967, to be considered historical. Fiction written in 1930 but set in 1925 does
not fulfill this criterion for legitimate historical fiction. (p. ix)
In the most common form of historical fiction, the main characters of the story are imagi-
nary, but some secondary characters may be actual historical figures. An example of this type of
historical fiction is the classic novel Johnny Tremain by Esther Forbes. Set in the U.S. Revolutionary
War period, this story tells of Johnny, a fictitious character, who is apprenticed to a silversmith.
In the course of the story, Samuel Adams, John Hancock, and Paul Revere are introduced as minor
characters. Another example, Carolyn Meyer’s Mary, Bloody Mary, written from Mary’s point of
view, is set in sixteenth-century England. Mary Tudor, who was briefly Queen of England, inter-
acts with her father, King Henry, Anne Boleyn, and other court figures.
In another form of historical fiction, the social traditions, customs, morals, and values of the
relevant period are described, but with no mention of an actual historical event nor actual histori-
cal figures as characters. The physical location is also accurately reconstructed for the readers. An
example of this story type is The Witch of Blackbird Pond by Elizabeth George Speare. The Puritan
way of life in Connecticut in the 1600s is depicted in this story about young Kit from Barbados,
who becomes involved in a witchcraft trial. Another example of this type of story is Geraldine

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 Historical Fiction and Biography

McCaughrean’s Stop the Train! in which the Oklahoma Land Rush and homesteading in the 1890s
are captured in lively detail.
A third type of historical story is one in which elements of fantasy are found, and therefore
the story does not qualify as historical fiction. For example, time warps and other supernatural
features may be found in Jeanette Winterson’s Tanglewreck and in Margaret Peterson Haddix’s
Found. These stories are historical fantasy and are included in Chapter 7.

Evaluation and Selection of Historical Fiction

In evaluating historical fiction for use with children, consider the following criteria:

■ Historical fiction must first tell an engaging story, have rounded, complex characters with

whom children can identify, and impart a universal theme that is worthy and thought provoking
without being didactic.
■ Historical fiction must present historical facts with as much accuracy

and objectivity as books of history. This means that a setting must be de-
scribed in sufficient detail to provide an authentic sense of time and place
Go to Activity 1 in the Assign-
ments and Activities section of
without overwhelming the story. Details such as hair and clothing styles,
Chapter 9 in MyEducationKit; home architecture and furnishings, foods and food preparation, and modes
view the artifact on responding of transportation must be subtly woven into the story to provide a convinc-
to historical fiction and respond ing, authentic period setting. The characters must act within the traditions
to the question.
and norms of their times.
■ Expressing the language or dialect of the period presents a particular challenge to the author

of historical stories. Dialogue that occurs within the text often becomes problematic for the writer.
If the speech of the period is greatly different from that of today, then the author faces a decision:
Remain true to the language of the time but cause readers difficulties in comprehending, or pre-
sent the language in today’s dialect but lose the flavor and authenticity of the language of the
period. In any case, it seems important that the language not jar the reader by its obvious inap-
propriateness or lose the reader by its extreme difficulty. Most children’s authors strive to attain
the middle ground—some flavor of a language difference but modified to be understandable to
the child reader.
■ Many adults today are unaware that the history they learned as children may have been biased

or one-sided. Some authors attempt to include more modern interpretations of historical events
in historical fiction by setting the record straight or adding a minority presence to the story.
However, as was previously mentioned, care must be taken that the characters behave in a his-
torically accurate fashion.

The Scott O’Dell Award, established in 1982 by the author Scott O’Dell, honors what is judged
to be the most outstanding work of children’s historical fiction published in the previous year.
The work must be written by a U.S. citizen and be set in the New World. The Scott O’Dell Award
winners found in Appendix A can be a source of outstanding historical fiction for use with stu-
dents. The National Council of Social Studies publishes a list of the most notable trade books in

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 Historical Fiction and Biography

E xce l l e n t H i s t o r i ca l F i c t i o n to READ ALOUD

Cushman, Karen. The Loud Silence of Francine Green. Ages 11–15.
DeFelice, Cynthia. Bringing Ezra Back. Ages 9–13.
Erdrich, Louise. The Porcupine Year. Ages 9–14.
Kadohata, Cynthia. Kira-Kira. Ages 11–18.
Lee, Milly. Landed. Illustrated by Yangsook Choi. Ages 7–11.
Levine, Ellen. Henry’s Freedom Box. Illustrated by Kadir Nelson. Ages 7–12.
Provensen, Alice. Klondike Gold. Ages 7–10.
Roy, Jennifer. Yellow Star. Ages 10–15.
Salisbury, Graham. House of the Red Fish. Ages 10–15.
Sheth, Kashmira. Keeping Corner. Ages 12–18.
White, Ruth. Little Audrey. Ages 9–13.
Winters, Kay. Colonial Voices: Hear Them Speak. Illustrated by Larry Day. Ages 9–13.

the field of social studies from the preceding year in the April/May issue of its journal, Social Edu-
cation. This list includes many works of historical fiction, as well as nonfiction works, and is a
useful source to locate recent books of this genre.

Historical Overview of Historical Fiction

Although historical stories were written for children as early as the 1800s, few titles of interest
remain from those early years. The early books placed an emphasis on exciting events and ideal-
ized real-life characters—much in the style of heroic legends.
Between World War I and World War II, a few historical stories appeared in which well-
developed characters involved in realistic events were portrayed in authentic period settings.
Between 1932 and 1943, the first eight books of the Little House series by Laura Ingalls Wilder
were published. These stories have continued to grow in popularity, partially as a result of the
long-lasting television series based on the books. Johnny Tremain by Esther Forbes was awarded
the Newbery Medal in 1944 and is considered a children’s classic.
The period after World War II saw a flowering of historical fiction for children in both English
and U.S. literature. Many outstanding books were published in the fifteen years following the war.
Examples are The Door in the Wall by Marguerite de Angeli, published in 1949; Calico Captive by
Elizabeth George Speare, published in 1957; the best-selling, Newbery Medal–winning book The
Witch of Blackbird Pond by Elizabeth George Speare, published in 1958; and The Cabin Faced West
by Jean Fritz, published in 1958. In 1954, the Laura Ingalls Wilder Award was awarded to (and named
for) Laura Ingalls Wilder, an author of historical fiction. This award, the “Hall of Fame” of children’s
authors and illustrators, honors an author or illustrator whose books, published in the United States,
have made a substantial and lasting contribution to children’s literature. By 1960, the genre of
historical fiction was well established as a fine resource for children’s enjoyment and enrichment.
The accompanying Milestones feature highlights the development of historical fiction.

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 Historical Fiction and Biography

MILESTONES in the Development of Historical Fiction

Date Event Significance
1888 Otto of the Silver Hand by Howard Pyle Early recognized work of historical fiction
1929 The Trumpeter of Krakow by Eric Kelly National recognition for an early work of
awarded the Newbery Medal historical fiction
1932–1943 Publication of the first eight books of Classic historical fiction
Little House series by Laura Ingalls Wilder
1944 Johnny Tremain by Esther Forbes awarded Classic historical adventure set during
the Newbery Medal the American Revolution era
1949–1960 Many historical novels published, Dramatic increase in the quality and
including The Witch of Blackbird Pond by quantity of historical novels for children
Elizabeth George Speare and The Lantern
Bearers by Rosemary Sutcliff
1954 Establishment of the Laura Ingalls Wilder Recognition of a historical fiction author
Award, first awarded to Wilder for the entire body of her work
1961 Scott O’Dell’s Island of the Blue Dolphins Landmark book of historical fiction with a
awarded the Newbery Medal strong female protagonist from a minority
culture
1971 Journey to Topaz by Yoshiko Uchida Early historical work about and by a minority
(Japanese American)
1972 Scott O’Dell awarded the Hans Christian International recognition of a U.S. author of
Andersen Award historical novels
1975 The Song of the Trees by Mildred Taylor First in a series of books about an African-
American family’s struggle starting in the
Depression era
1982 Establishment of the Scott O’Dell Award Award given for outstanding historical novel
set in North America brings recognition to
the genre
1997 Out of the Dust by Karen Hesse awarded Recognition for a novel in verse, setting a
the Newbery Medal trend in children’s fiction

Historical fiction continues to flourish today. Some older historical fiction novels have been
criticized for portraying some cultural groups in an extremely negative light. For example, two
Newbery Medal winners, Caddie Woodlawn by Carol Ryrie Brink and The Matchlock Gun by
Walter D. Edmonds, have been faulted for their negative portrayals of Native Americans. How-
ever, minority authors have written a number of excellent works based on the early experiences
of their cultural groups in North America; for example, see The Birchbark House and its sequels
by Louise Erdrich and Journey to Topaz by Yoshiko Uchida. The establishment in 1982 of the
Scott O’Dell Award for Historical Fiction has begun to offer additional recognition for authors
of this genre.

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 Historical Fiction and Biography

Section Two: Biography

In this section the definition, description, evaluation, selection, types of biographies, and history
of biography for children are addressed.

Definition and Description

Biography gives factual information about the lives of actual people, including their experiences,
influences, accomplishments, and legacies. An autobiography is similar in every respect to biog-
raphy, except that the author tells about his or her own life. Memoirs, although related to auto-
biographies in that they deal with the authors’ lives, focus on the authors’ revelations of what
events in their lives meant to them, not the events themselves (Barrington, 1997).
The writing in biographies is more narrative in nature than expository and adheres to the
elements of fiction, as discussed in Chapter 3. Reading biographies benefits children in several
ways. They find inspiration in stories of the lives and accomplishments of people, many of whom
overcame hardships and disabilities in their early years to succeed and make their marks on his-
tory. They learn history from the context of the lives of historical figures. Readers also recognize
the importance of childhood experiences, since many biographies for children emphasize the early
years of subjects’ lives.
Biographies can also be classified by coverage of the subject’s life. In evaluating the following
types of biographies, you will want to look for a balance between the need for adequate coverage
and the tolerance that the target child audience has for detail.
■ The complete biography covers the entire life of the subject from birth to death. An example
is Napoléon: The Story of the Little Corporal by Robert Burleigh.
■ The partial biography covers only part of the life of the subject. Biographies for very young
children will often be of this type, as will, of course, the biographies of living persons. An
example is The Young Hans Christian Andersen by Karen Hesse, illustrated by Erik Blegvad.
■ The collected biography includes the life stories of several people in one book, organized into
chapters. An example is Women Daredevils: Thrills, Chills, and Frills by Julie Cummins, il-
lustrated by Cheryl Harness.
■ The biography series is a multivolume set of books with each book containing one separate
biography. For example, the First Biographies series by David A. Adler includes biographies
on such subjects as Thomas Jefferson, Martin Luther King Jr., and Jackie Robinson.

Evaluation and Selection of Biography

In evaluating biography for use with children, consider the following criteria:
■ Subjects of biographies should be interesting to children. The subjects’ lives or accomplish-
ments should somehow intersect with young readers’ lives and interests.
■ The facts should be accurate, with no idealization of the subject.

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 Historical Fiction and Biography

E xce l l e n t B i o g ra p h i e s to READ ALOUD

Bernier-Grand, Carmen T. Frida: Viva la Vida! Long Live Life! Illustrated by Frida Kahlo. Ages
12–18.
Burleigh, Robert. Napoléon: The Story of the Little Corporal. Ages 10–14.
Chandra, Deborah, and Madeleine Comora. George Washington’s Teeth. Illustrated by Brock
Cole. Ages 7–11.
Cummins, Julie. Women Daredevils: Thrills, Chills, and Frills. Ages 8–12.
Fleischman, Sid. The Trouble Begins at 8: A Life of Mark Twain in the Wild, Wild West. Ages
10–15.
Hoose, Phillip. We Were There, Too! Young People in U.S. History. Ages 10–13.
McCarthy, Meghan. Strong Man: The Story of Charles Atlas. Ages 6–9.
Nivola, Claire A. Planting the Trees of Kenya: The Story of Wangari Maathi. Ages 6–9.
Ray, Deborah Kogan. Down the Colorado: John Wesley Powell, the One-Armed Explorer. Ages
8–11.
Serrano, Francisco. The Poet King of Tezcoco: A Great Leader of Ancient Mexico. Illustrated by
Pablo Serrano. Ages 10–14.
Stone, Tanya Lee. Sandy’s Circus: A Story about Alexander Calder. Illustrated by Boris Kulikov.
Ages 5–9.

■ Biographical selections should include diverse subjects (female and

male, people of all ethnicities and abilities).
■ The depth of coverage should be at an appropriate level for the in-
Go to Activity 2 in the Assign-
ments and Activities section of tended audience.
Chapter 9 in MyEducationKit; ■ The documentation should be unobtrusive.
view the video on students’
responding to biographies and Through My Eyes by Ruby Bridges and Margo Lundell fulfills all of these
respond to the question. criteria and is particularly appealing to young readers because it is told
from the perspective of the author as a 6-year-old.

Types of Biographies
In adult nonfiction, biographies must be completely documented to be acceptable. In biographies for chil-
dren, more latitude is allowed, and biographers use varying degrees of invention. This invention ranges
from choosing what aspect of the subject the biographer wants to emphasize as the theme of the book
(e.g., great energy or love of freedom) to actually inventing fictional characters and conversation.
Biographies, then, can be classified by degree of documentation, as discussed next.

Authentic Biography
In authentic biography, all factual information is documented through eyewitness accounts, writ-
ten documents, letters, diaries, and, more recently, audio and video recordings. Details in the lives
of people who lived long ago, such as conversations, are often difficult to document, however. So,

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 Historical Fiction and Biography

for the sake of art, biographers must use such devices as interior monologue (telling what some-
one probably thought or said to himself or herself based on known actions), indirect discourse
(reporting the gist of what someone said without using quotation marks), attribution (interpreta-
tion of known actions to determine probable motives), and inference to make their stories lively
and appealing and worth the children’s time to read. It is advisable to read and compare several
biographies of a subject, if possible, to counteract any bias an author might have. Painting the
Wild Frontier: The Art and Adventures of George Catlin by Susanna Reich is an example of an
authentic biography.

Fictionalized Biography
Fictionalized biography is also based on careful research, but the author creates dramatic episodes
from known facts by using imagined conversation. The conversation is, of course, carefully struc-
tured around the pertinent facts that are known, but the actual words are invented by the author.
An example of this type of biography is The Poet King of Tezcoco: A Great Leader of Ancient Mexico
by Francisco Serrano.

Biographical Fiction
Much artistic license is allowed in biographical fiction, including invented dialogue, fictional
secondary characters, and some reconstructed action. The known achievements of the biographi-
cal subjects are reported accurately, but in other respects these works are as much fiction as fact.
Due to a trend toward greater authenticity in children’s nonfiction, biographical fiction is rela-
tively rare today. An example is If a Bus Could Talk: The Story of Rosa Parks by Faith Ringgold.

Historical Overview of Biography

Children’s biographies reflect the moral, political, and social values of the times in which they are
written. Early U.S. biographies were often didactic and provided life lessons for children to follow.
In the mid-1800s, Samuel G. Goodrich (under the pseudonym of Peter Parley) wrote and published
for children many idealized biographies of famous men and women. These men and women were
treated as heroic figures rather than as human beings with flaws and imperfections. In 1880, Rever-
end Mason Weems wrote The Life and Memorable Acts of George Washington, a work that set a long-
lasting trend of portraying national leaders as paragons of virtue. It was not until the 1920s that
some biographers began to draw on the new interest in the fields of psychology and sociology by
giving more emphasis to understanding their subjects and examining the early years of their lives.
Examples of children’s biographies recognized for their merit from 1930 to 1960 are Abraham
Lincoln by Ingri and Edgar Parin d’Aulaire; Daniel Boone by James H. Daugherty; and Carry On,
Mr. Bowditch by Jean Lee Latham. In the 1960s and 1970s, children’s biographies were affected by
the more liberal attitudes and relaxed topic restrictions of the new realism that revolutionized chil-
dren’s fiction. Before this time certain subjects (women, ethnic minorities, and infamous people)
and topics (personal weaknesses, mistakes, tragedies) were seldom found in children’s biographies.
By the 1970s, this attitude had changed, as Russell Freedman (1988) pointed out in his Newbery

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 Historical Fiction and Biography

M I L E S T O N E S in the Development of Biographies

Date Book Significance
1939 Abraham Lincoln by Ingri and Edgar One of the first picture book biographies for
Parin d’Aulaire younger children; first biography to win the
Caldecott Medal
1940 Daniel Boone by James H. Daugherty First biography to win the Newbery Medal
1952 Diary of a Young Girl by Anne Frank Classic autobiography; helped many to
understand the tragedy of the Jewish Holocaust
1988 Lincoln: A Photobiography by First nonfictional photo essay to win a
Russell Freedman Newbery Medal
1990 First Orbis Pictus Award for Nonfiction Nonfiction as a genre is recognized; first
(The Great Little Madison by Jean Fritz) winner is a biography
2001 First Robert F. Sibert Informational Book Nonfiction as a genre is further recognized;
Medal (Sir Walter Ralegh and the Quest for first winner is a biography
El Dorado by Marc Aronson)

Medal acceptance speech: “The hero worship of the past has given way to a more realistic approach,
which recognizes the warts and weaknesses that humanize the great” (p. 447).
Two awards have been established to honor nonfiction works: the Orbis Pictus Award for
Nonfiction, first awarded in 1990, and the Robert F. Sibert Award for Nonfiction, first awarded in
2001. Many of the early winners of these awards have been biographies.

Section Three: Historical Fiction and Biography in the Classroom

The importance of understanding and appreciating the contexts found in historical fiction and
biography and the value of planning effective strategies for sharing this literature are discussed
in this section. Two organizing principles to consider using in planning class presentations of
historical literature are suggested. One is to select literature by universal themes that occur over
the course of history; the other is to arrange literature chronologically by historical periods.

Developing Understanding and Appreciation

for Historical Contexts
Children are often limited in their knowledge of history and historical
context—the background and environment that surrounded past events,
Go to Activity 3 in the Assignments including how people lived and worked. Reading or listening to works of
and Activities section of Chapter 9 historical fiction and biography are excellent means of helping students
in MyEducationKit; complete the understand the past and appreciate the lives of people who lived in earlier
activity on pairing historical fiction times. Many educators are convinced of the benefits students gain through
novels and biographies.
integrating history and literature as part of the social studies curriculum.

173
 Historical Fiction and Biography

Smith, Monson, and Dobson (1992) found that the students in fifth-grade classrooms in which
historical novels were used along with standard instructional materials recalled more historical facts
and indicated greater enjoyment in their social studies classes than the students in classrooms that
had a similar curriculum without the addition of historical novels.
Past events presented in a purely factual manner can seem irrelevant and sometimes unbe-
lievable to students, but by presenting these events as part of a story such as a work of historical
fiction or a biographical account and showing how the events affected the lives of characters much
like themselves, students better understand the events and are more likely to remember them.
Historical stories help children connect to the emotions engendered by past events—the fear of
combat and the excitement of exploration. In addition, books set in the past allow children to
compare their lives with the lives of characters found in biographies and historical fiction novels
and to better understand and appreciate how context affects people’s lives, including their own.
Students can also begin to consider how their lives may change in the future.
Teachers can encourage students to read works of historical fiction and biography by display-
ing these books in the classroom, introducing them in booktalks, selecting them for class read-
alouds, and presenting them in text sets for independent reading. For ideas of authors to feature
for class study, see Notable Authors of Historical Fiction and Biography.
An example of a hands-on activity to help build prior knowledge and to reinforce contextual
understandings is the jackdaw, a collection of artifacts or copies of realia from a particular historical
period or event. Jackdaws are often available in museums for study of a period of history, and some
museums lend them to teachers for use in schools. The term jackdaw refers to a common European
bird that is related to the crow and known to collect colorful objects for its nest. Educators have
borrowed the term to refer to a concrete object that can be used to connect historical books with
the real events of the times (Devitt, 1970). For example, a teacher may put together a jackdaw based
on homesteaders in Oklahoma in the 1800s, then use the jackdaw to build background knowledge
to introduce the study of the historical fiction novel Stop the Train! by Geraldine McCaughrean.
Jackdaws are made by collecting a wide array of related materials in their original form or in re-
productions. Materials that are often collected are regional maps, photographs or models of homes,
farms, machines, household furnishings, toys and dolls, kitchen tools, recipes for foods commonly
eaten, newspapers and books of the era, clothing, modes of transportation, government of the time
(president, congress, political parties, statehood), educational institutions, cultural artifacts such as
songs, paintings, and architectural landmarks. After collection the realia are placed in a decorated box
with labels and explanations attached, if desired. The jackdaw can be used as an extension activity for
a book read in class as well as for building background. Many teachers enlist students in the develop-
ment of jackdaws and share jackdaws with other teachers who are studying the same historical book.

Presenting Historical Fiction and Biography by Universal Themes

Common themes that extend across time and place in historical stories can be an approach for pre-
senting historical fiction and biography to children. In this case, a theme, such as seeking new fron-
tiers, is explored through a small group of books set in different times and places. Some possible
themes for development are listed here, along with historical fiction books and biographies that might
be considered for the study of the theme. Other themes may be discovered when you read historical
fiction novels and biographies and consider the commonalities to be found among them.

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Notable Authors
of Historical Fiction and Biographies

HISTORICAL FICTION less Bird, set in India. Also wrote Angel on the
Avi [Wortis], author noted for the Newbery Square, set in Russia. www.gloriawhelan.com
Award–winning historical fiction novel BIOGRAPHY
Crispin: The Cross of Lead and two Newbery
David A. Adler, author of several children’s biog-
Honor books. www.avi-writer.com
raphy series written on different difficulty lev-
Christopher Paul Curtis, African-American au-
els that provide insight to the private and
thor of two historical novels: the Newbery
public lives of American leaders and sports
Medal book, Bud, Not Buddy, a Depression era
figures. B. Franklin, Printer; A Picture Book of
novel, and Newbery Honor book, The Watsons
Dwight David Eisenhower; Lou Gehrig:
Go to Birmingham—1963; Elijah of Buxton.
The Luckiest Man. www.davidaadler.com
www.christopherpaulcurtis.com
Dennis B. Fradin, author of many biographies for
Karen Cushman, author of two Newbery ac-
middle-grade readers and young adults. The
claimed historical novels set in the Middle
Signers: The 56 Stories behind the Declaration
Ages. Catherine, Called Birdy; The Midwife’s
of Independence; The Founders: The 39 Stories
Apprentice. www.karencushman.com
behind the U.S. Constitution; Ida B. Wells:
Karen Hesse, author of Newbery Medal winner,
Mother of the Civil Rights Movement (with
Out of the Dust, set in Oklahoma in the 1930s.
Judith B. Fradin).
Also noted for historical picture book The Cats
Russell Freedman, author of biographies of fa-
in Krasinski Square.
mous Americans and of informational books
Linda Sue Park, Newbery Award–winning author
about U.S. history. Lincoln: A Photobiography.
whose novels about historical eras in Korea
Jean Fritz, biographer of political leaders during
bring understanding about another culture.
the U.S. Revolutionary War era. Can’t You
A Single Shard; When My Name Was Keoko;
Make Them Behave, King George?; And Then
The Kite Fighters. www.lindasuepark.com
What Happened, Paul Revere?
Richard Peck, Newbery Award–winning author
Jan Greenberg and Sandra Jordan, coauthors of
noted for his young adult novels and his his-
several biographies about renowned artists and
torical novels set in rural Illinois. A Year Down
their works. Vincent Van Gogh: Portrait of an
Yonder; The River Between Us.
Artist; Action Jackson.
Graham Salisbury, an author who writes histori-
Diane Stanley, author/illustrator of picture book
cal and realistic novels set in the Hawaiian Is-
biographies for older readers. Saladin: Noble
lands where he was raised. House of the Red
Prince of Islam; Joan of Arc. www.dianestanley
Fish; Eyes of the Emperor. www.graham
.com
salisbury.com
Gloria Whelan, winner of the National Book
Award for young people’s literature for Home-

Seeking New Frontiers

The Braid by Helen Frost. Ages 12–16.
Down the Colorado: John Wesley Powell, the One-Armed Explorer by Deborah
Kogan Ray. Ages 8–11.
Go to the Conversations section Theodore Roosevelt: Champion of the American Spirit by Betsy H. Kraft. Ages
of Chapter 9 in MyEducationKit 10–14.
to read the interview with Russell
Onward: A Photobiography of African-American Polar Explorer Matthew
Freedman.
Henson by Dolores Johnson. Ages 11–14.

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 Historical Fiction and Biography

Worth by A. LaFaye. Ages 10–14.

Landed by Milly Lee. Illustrated by Yangsook Choi. Ages 6–10.
The Legend of Bass Reeves by Gary Paulsen. Ages 10–14.
Crooked River by Shelley Pearsall. Ages 10–13.
Double Crossing: A Jewish Immigration Story by Eve Tal. Ages 11–15.
Black Storm Comin’ by Diane Lee Wilson. Ages 11–16.

Search for Freedom from Persecution

We Are One: The Story of Bayard Rustin by Larry D. Brimner. Ages 11–16.
A Boy Named Beckoning: The True Story of Dr. Carlos Montezuma, a Native American Hero by Gina
Capaldi. Ages 7–10.
Emil and Karl by Yankev Glatshteyn. Ages 10–15.
The Cats in Krasinski Square by Karen Hesse. Illustrated by Wendy Watson. Ages 9–12.
Yellow Star by Jennifer Roy. Ages 10–15.
Flight to Freedom by Ana Veciana-Suarez. Ages 11–16.
Colonial Voices: Hear Them Speak by Kay Winters. Illustrated by Larry Day. Ages 9–13.
The Traitor by Laurence Yep. Ages 10–14.

Effects of War
Tasting the Sky: A Palestinian Childhood by Ibtisam Barakat. Ages 12–16.
Soldier Boys by Dean Hughes. Ages 13–18.
Eyes Like Willy’s by Juanita Havill. Illustrated by David Johnson. Ages 12–16.
The Brothers’ War: Civil War Voices in Verse by J. Patrick Lewis. Ages 10–14.
The Butterfly by Patricia Polacco. Ages 9–12.
Willow Run by Patricia Reilly Giff. Ages 9–12.
Always Remember Me: How One Family Survived World War II by Marisabina Russo. Ages 8–12.
Red Moon at Sharpsburg by Rosemary Wells. Ages 12–15.

Family Closeness in Times of Adversity

Fever 1793 by Laurie Halse Anderson. Ages 11–15.
Bringing Ezra Back by Cynthia DeFelice. Ages 9–13.
Nory Ryan’s Song by Patricia Reilly Giff. Ages 9–13.
Going North by Janice N. Harrington. Illustrated by Jerome Lagarrigue. Ages 7–11.
Snow Falling in Spring: Coming of Age in China during the Cultural Revolution by Moying Li. Ages
12–18.
Esperanza Rising by Pam Muñoz Ryan. Ages 9–13.
House of the Red Fish by Graham Salisbury. Ages 10–15.
The Wall: Growing Up behind the Iron Curtain by Peter Sís. Ages 10–15.
The Floating Circus by Tracie Vaughn Zimmer. Ages 11–16.
Show Way by Jacqueline Woodson. Illustrated by Hudson Talbott. Ages 8–11.

Presenting Historical Fiction and Biography by Periods of History

The natural relationship of historical fiction stories and biographies to the study of history and
geography suggests building whole units of study around periods of world and U.S. history in
which good stories for children are set. The following descriptions of seven historical periods will

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give you an idea of how these units might be organized. Historical fiction books and biographies
for units on other eras and events can be selected from the lists at the end of the chapter, where
you will find both historical fiction stories and biographies arranged by the seven historical pe-
riods beginning in 3000 B.C.

Beginnings of Civilization up to 3000 B.C.

This period represents prehistoric cultures and civilizations. Early peoples (Java, Neanderthals,
Cro-Magnons) and early civilizations in the Middle East and Asia are included. Egyptians, Syrians,
and Phoenicians developed civilizations; and Hebrews produced a religious faith, Judaism, that
resulted in the Old Testament. The subcontinent of India was the site of Aryan civilizations. Chi-
nese dynasties were responsible for excellent works of art and agricultural systems of irrigation.
Good examples of historical novels set in this time period are Peter Dickinson’s A Bone from a
Dry Sea and Betty Levin’s Thorn.

Civilizations of the Ancient World, 3000 B.C. to A.D. 600

The era of the Greek city-states was followed by a period of Roman rule in western Europe.
Christianity was founded in Jerusalem and spread throughout Europe. Ancient Asia was the site
of enduring civilizations that bred two remarkable men born about 560 B.C.: the Indian religious
leader Buddha and the Chinese philosopher Confucius. Both have had a lasting influence on their
civilizations. Kerrily Sapet’s Cleopatra: Ruler of Egypt relates the life and times of the legendary
Egyptian queen in this illustrated, comprehensive biography. Elizabeth E. Wein’s The Lion Hunter,
a historical novel set in ancient Ethiopia, features King Arthur’s half-Ethiopian grandson, who
battles political intrigues to survive.

Civilizations of the Medieval World, 600 to 1500

During this era, early African and American civilizations arose independently. The great civilizations
of China and Japan continued to flourish throughout these centuries. The eastern part of the Roman
Empire maintained its stability and preserved the civilization from the capital of Constantinople.
This civilization, the Byzantine Empire, created a distinct culture and branch of the Christian
Church—the Orthodox Church—which influenced Russia to adopt both the religion and the cul-
ture. The rise of the Islamic religion began in the early 600s with Muhammad preaching in Mecca.
Following the fall of the Roman Empire, western Europe dissolved into isolated separate regions
without strong governments. Many of the responsibilities of government were carried out by the
Christian Church. The Church dominated the economic, political, cultural, and educational life of
the Middle Ages in western Europe. These feudal societies eventually gave rise to the separate nations
of modern Europe. As examples, K. M. Grant’s Blood Red Horse and Blue Flame portray medieval
life in England and France, respectively. Jonah Winter’s The Secret World of Hildegard relates the
remarkable story of the twelfth-century German saint, scientist, and composer.

The Emergence of Modern Nations, 1500 to 1800

The Renaissance, a literary and artistic movement, swept western Europe. Many important develop-
ments of this period included the invention of the printing press, a new emphasis on reason, a

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reformation of the Christian Church, and advances in science. During this same period, central
governments throughout Europe increased their power. Spain, and then France, dominated Europe
in the 1500s and 1600s. In the 1700s, Russia, Austria, and Prussia rose to power. This was also a time
when Europeans explored and settled in Africa, India, and the Americas. The Portuguese and Span-
ish took the lead in explorations and acquired many foreign colonies. England, the Netherlands,
France, and Russia also colonized and influenced East Asia, India, Africa, and the Americas.
Revolutions created new governments and new nations. The American Revolution (1776–
1781) created a new nation; the French Revolution in 1789 affected the direction of governments
toward democracy in all of Europe. Napoleon built an empire across Europe, resulting in the
uniting of European nations to defeat Napoleon. Robert Burleigh’s richly illustrated biography,
Napoléon: The Story of the Little Corporal, describes Napoleon’s early childhood in Corsica, his
rise to power as a military leader, and his decline. The nations of Latin America also began to gain
their independence. China expanded gradually under the Ming and Ch’ing dynasties. Japan pros-
pered under the Tokugawa shogunate. The United States and Canada were the sites of rapid
population increases due to immigration; the settlements in North America were predominantly
along the eastern coasts. Some westward expansion was beginning in the United States and Can-
ada. Short stories describing the roles of different persons during the Boston Tea Party in 1773
are presented in Kay Winters’s Colonial Voices: Hear Them Speak.

The Development of Industrial Society, 1800 to 1914

The 1800s were marked by a rapid shift from agricultural societies to industrial societies. Great
Britain was an early site for this change. The factory system developed and prospered, while working
and living conditions deteriorated for the worker. Three stories about life as a millworker in this
period are Katherine Paterson’s Bread and Roses, Too; Katharine Boling’s January 1905; and Elizabeth
Winthrop’s Counting on Grace. New technology—railroad trains, steamboats, the telegraph, and the
telephone—affected transportation and communications. Advances in science and medicine helped
to explain the nature of life and improved the quality of life. Education developed into an important
institution in western Europe and North America. Europe underwent revolutions that readjusted
boundaries and eventually led to the unification of new nations. The colonization of sub-Saharan
Africa by European nations expanded rapidly from 1870 to 1890. Most of the region was under
control of the various European nations by the end of this period.
The westward movement was fully realized as pioneers settled across the United States and
Canada. The building of railroads hastened the establishment of new settlements. Native Ameri-
cans struggled for survival in the face of these massive population shifts. Slavery had existed in
the American colonies from earliest days, but in the 1800s, slavery became a social and economic
issue. Julius Lester’s Day of Tears: A Novel in Dialogue reconstructs the largest slave auction in
American history, which took place in Savannah, Georgia, in 1859. The despair and tragedy of
slavery through the personal accounts of the slaves and the slave owners are vividly portrayed.
Slavery was abolished as a result of the Civil War (1861–1865) and the Union was preserved at
the cost of 600,000 lives and a major rift between the North and the South. Mildred D. Taylor’s
The Land depicts the hardships endured by a biracial boy in the post–Civil War South.
The United States grew in economic and political strength. An age of imperialism resulted
in firm control of large areas of the world by other world powers such as England, France, and
Belgium. Great Britain dominated India and parts of Africa and continued its influence over
Canada, Australia, and New Zealand, while Japan became a powerful force in east Asia.

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World Wars in the Twentieth Century, 1914 to 1945

This era includes World War I (1914–1918) in Europe, in which the United States and Canada
joined and fought with the Allies (Great Britain, France, Russia, Greece, and Romania); the
between-wars period that included the Great Depression; Hitler’s rise to power in 1933; and World
War II (1939–1945) in Europe and Asia, in which Canada and the United States joined forces with
England, France, and Russia to battle Germany, Italy, and Japan. In 1917, the Bolshevik Revolution
established a Communist government in Russia. In 1931, Great Britain recognized Canada,
Australia, New Zealand, and South Africa as completely independent. However, each nation de-
clared its loyalty to the British monarch and continued its cultural ties with Great Britain. The
Holocaust during World War II—the persecution and killing of Jewish and other people by the
Nazi regime—stands out as one of the most atrocious periods in modern history. In Jennifer Roy’s
Yellow Star, Sylvia, a Jewish girl, and her family struggle to survive in the Lodz ghetto in Poland
during the Nazi occupation from 1939 to 1945. World War II ended shortly after the United States
dropped nuclear devices on Hiroshima and Nagasaki, Japan.

Post–World War II Era, 1945 to 1980s

During this era, the United States and western European nations were involved in a struggle for
world influence against the Communist nations, particularly the Soviet Union and China. A mas-
sive arms buildup, including nuclear weapons, was undertaken by the major nations of both sides.
The Korean War (1950–1953) and the Vietnam War (1965–1973) were major conflicts in which
the United States fought to contain Communist expansion. The Korean War, combined with the
postwar economic recovery of Japan, drew attention to the growing importance of East Asia in
world affairs. The Soviet Union launched a series of satellites beginning with Sputnik I on October
4, 1957, inaugurating the space age. An explosion of scientific knowledge occurred as a result of
increased spending for weapons development and space exploration. The 1950s, 1960s, and 1970s
have been described as the Cold War decades because of the increasing hostility between the Soviet
Union and the United States, gradually ending with the defeat of the Soviet regime in the early
1990s. In the 1970s, public pressure mounted in the United States to reduce the nation’s external
military commitments following the Vietnam War.
During the 1960s, a strong Civil Rights Movement, led by Martin Luther King Jr. and other
prominent figures of the era, fought for equal treatment of African Americans. The movement
led to desegregation of schools, restaurants, transportation, and housing. Another struggle against
the policies of racial separation occurred in South Africa in the 1970s and 1980s. The end of
apartheid was declared in 1990, followed by free elections in 1994. Equal rights for women were
also sought during the feminist movement in the 1970s. Examples of books depicting the civil
rights struggle are Robert Sharenow’s My Mother the Cheerleader and Larry D. Brimner’s We Are
One: The Story of Bayard Rustin.

Many fine works of historical fiction and biography for children can now be found. Children
have an opportunity to live vicariously the lives of people from long ago—people from different
cultures and different parts of the world.

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&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Select and read a historical fiction novel, then research the time period and location of
its setting. Contrast the actual historical facts with the events in the story. Develop a
time line to display both the historical facts and the story events.
■ Choose one of the seven periods of history listed in this chapter. Select five recom-
mended works of historical fiction and biography set in this era and read them to de-
velop a plan for sharing these works with students during a unit of study.
■ Pick a theme often found in historical fiction novels and biographies suggested in this
chapter. Compare and contrast several books from the list of books exemplifying the
theme.
■ Discuss whether older works of historical fiction and biography that accurately reflect
the white, Euro-American perspective of a past era—even though now viewed as
biased—should be included in the classroom or banned from classroom use. Explain
your reasoning.

References
Adamson, L. G. (1987). A reference guide to historical Devitt, M. (Ed.). (1970). Learning with jackdaws. Lon-
fiction for children and young adults. Westport, CT: don: St. Paul’s Press.
Greenwood Press. Freedman, R. (1988). Newbery Medal acceptance. The
Barrington, J. (1997). Writing the memoir: From truth Horn Book, 64(4), 444–451.
to art. Portland, OR: Eighth Mountain Press. Smith, J. A., Monson, J. A., & Dobson, D. (1992). A case
Cohoe, G. (1972). Ancestors. In T. Allen (Ed.), The study on integrating history and reading instruc-
whispering wind: Poetry by young American Indi- tion through literature. Social Education, 56,
ans. New York: Doubleday. 370–375.

Recommended Historical Fiction and Biography Books

Ages indicated refer to content appropriateness and Beginnings of Civilization up to 3000 B.C.
conceptual and interest levels. Formats other than
Historical Fiction
novels will be coded as follows:
Brennan, J. H. Shiva. Lippincott, 1990. Ages 11–15. Pre-
(PI) Picture book historic Europe, Neanderthal, and Cro-Magnon
(COL) Short story collection tribes. Sequels are Shiva Accused: An Adventure of
(GR) Graphic novel the Ice Age, 1991; and Shiva’s Challenge: An Ad-
venture of the Ice Age, 1993.

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 Historical Fiction and Biography

Cowley, Marjorie. Anooka’s Answer. Clarion, 1998. Ages Zannos, Susan. The Life and Times of Socrates. Lane,
10–15. Southern France, Upper Paleolithic era. 2004. Ages 11–14.
———. Dar and the Spear-Thrower. Clarion, 1994.
Ages 10–15. Southeastern France, Cro-Magnon
Civilizations of the Medieval World,
era.
600 to 1500
Craig, Ruth. Malu’s Wolf. Orchard, 1995. Ages 9–13.
Stone Age Europe, domestication of wolves. Historical Fiction
Denzel, Justin. Return to the Painted Cave. Philomel, Alder, Elizabeth. The King’s Shadow. Farrar, 1995. Ages
1997. Ages 10–14. France and Spain, Stone Age, 12–16. England, end of Saxon era, pre-1066.
cave paintings. Avi. Crispin: At the Edge of the World. Hyperion, 2006.
Dickinson, Peter. A Bone from a Dry Sea. Delacorte, Ages 10–16. England, 1377.
1993. Ages 11–15. Prehistoric tribe. ———. Crispin: The Cross of Lead. Hyperion, 2002.
———. Po’s Story. Putnam, 1998. Ages 8–12. Prehis- Ages 12–16. England, fourteenth century.
toric clans. Others in The Kin series include Suth’s Branford, Henrietta. The Fated Sky. Candlewick, 1999.
Story, 1998; Mana’s Story, 1999; and Noli’s Story, Ages 12–16. Norway, Iceland, Viking era.
1999. ———. Fire, Bed, and Bone. Candlewick, 1998. Ages
Levin, Betty. Thorn. Front Street, 2005. Ages 12–16. 10–14. England, fourteenth century.
Prehistoric times, birth defects. Cadnum, Michael. Book of the Lion. Viking, 2000. Ages
12–16. England, twelfth century.
———. Raven of the Waves. Orchard, 2001. Ages
Civilizations of the Ancient World,
12–16. England, Norsemen, A.D. 794.
3000 B.C. to A.D. 600
Cushman, Karen. Catherine, Called Birdy. Clarion,
Historical Fiction 1994. Ages 11–15. England, manor life, 1290s.
Hunter, Mollie. The Stronghold. Harper, 1974. Ages ———. Matilda Bone. Clarion, 2000. Ages 11–15. Me-
9–14. British Isles, 100 B.C. dieval England, medical practitioner.
Lawrence, Caroline. The Thieves of Ostia: A Roman ———. The Midwife’s Apprentice. Clarion, 1995. Ages
Mystery. Millbrook, 2002. Ages 11–14. Roman port 12–16. England, Middle Ages.
city Ostia, A.D. 79. Grant, K. M. Blood Red Horse. Walker, 2005. Ages
Sutcliff, Rosemary. The Light Beyond the Forest: The 12–16. Crusades, 1185–1193 A.D.
Quest for the Holy Grail. Dutton, 1980. Ages 12–18. ———. Blue Flame. Walker, 2008. Ages 11–15. Langue-
Re-creation of the times of King Arthur and his doc region of France, 1242.
knights, c. 520 A.D. Jinks, Catherine. Pagan’s Crusade. Candlewick, 2003.
———. The Road to Camlann: The Death of King Ages 12–15. Templar Knights of Jerusalem, 1187.
Arthur. Dutton, 1982. Ages 12–18. Sequels are Pagan in Exile, 2004; Pagan’s Vows,
Wein, Elizabeth E. The Lion Hunter: The Mark of Solo- 2004; and Pagan’s Scribe, 2005.
mon, Book One. Viking, 2007. Ages 12–16. Ethio- Love, D. Anne. The Puppeteer’s Apprentice. Simon &
pia, sixth century. Schuster, 2003. Ages 9–12. England in the Middle
Winters, Kay. Voices of Ancient Egypt. Illustrated by Ages.
Barry Moser. National Geographic, 2003. (PI) Ages McCaughrean, Geraldine. The Kite Rider: A Novel.
8–12. Egypt, c. 2686–1029 B.C. HarperCollins, 2002. Ages 12–16. China, thirteenth
century.
Biography Napoli, Donna Jo. Breath. Atheneum, 2003. Ages 14–18.
Bankston, John. The Life and Times of Alexander the Germany, late 1200s.
Great. Lane, 2004. Ages 11–13. ———. Daughter of Venice. Random, 2002. Ages 11–
Lasky, Kathryn. The Librarian Who Measured the 15. Venice, Italy, sixteenth century.
Earth. Illustrated by Kevin Hawkes. Little, Brown, Park, Linda Sue. The Kite Fighters. Clarion, 2000. Ages
1994. (PI) Ages 7–10. 8–12. Korea, 1473.
Sapet, Kerrily. Cleopatra: Ruler of Egypt. Morgan Rey- ———. A Single Shard. Clarion, 2001. Ages 9–13. Ko-
nolds, 2007. Ages 11–18. Egypt, 30 B.C. rean village, 1100s.

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Sedgwick, Marcus. The Dark Horse. Random, 2003. ———. Fever 1793. Simon & Schuster, 2000. Ages
Ages 12–18. Ancient Britain, Viking tribes. 11–16. Philadelphia, yellow fever epidemic, freed
Shulevitz, Uri. The Travels of Benjamin of Tudela: slaves’ role, 1793.
Through Three Continents in the Twelfth Century. Bruchac, Joseph. The Winter People. Dial, 2002. Ages
Farrar, 2005. (PI) Ages 9–14. Journey across south- 11–16. French and Indian War, Abenaki village,
ern Europe and the Middle East, 1159. 1759.
Skurzynski, Gloria. Spider’s Voice. Simon & Schuster, Duble, Kathleen Benner. The Sacrifice. Simon & Schus-
1999. Ages 13–18. Medieval lovers Abélard and ter, 2005. Ages 11–15. U.S. colonial era, Salem
Héloïse, France, 1100s. witch hunts, 1692.
Tingle, Rebecca. The Edge on the Sword. Putnam, 2001. Forbes, Esther. Johnny Tremain. Houghton, 1943. Ages
Ages 11–15. Feudal England, late 800s. 10–13. U.S. Revolutionary War era, 1770s.
Yolen, Jane, and Robert Harris. Girl in a Cage. Putnam, Hearn, Julie. The Minister’s Daughter. Atheneum, 2005.
2002. Ages 11–16. England, 1306. Ages 14–18. English village, Christianity, preg-
nancy, witchcraft, 1645.
Biography Hesse, Karen. Stowaway. Simon & Schuster, 2000. Ages
Demi. Marco Polo. Marshall Cavendish, 2008. (PI) 10–15. British sailing ship, Captain Cook’s voyage,
Ages 9–13. Venetian’s trip to China, thirteenth 1768.
century. Ketchum, Liza. Where the Great Hawk Flies. Clarion,
———. Muhammad. Simon & Schuster, 2003. (PI) 2005. Ages 10–14. Vermont, relationships between
Ages 9–13. Life of the prophet and the origins of white settlers and Pequot Indians, intermarriage,
Islam, 570–632. 1782.
Doak, Robin S. Galileo: Astronomer and Physicist. Lawrence, Iain. The Wreckers. Delacorte, 1998. Ages
Compass Point Books, 2005. Ages 11–15. 10–14. Adventures on the high seas; pirates, trea-
Freedman, Russell. The Adventures of Marco Polo. Il- sure, mystery, 1800s. The trilogy includes The
lustrated by Bagram Ibatoulline. Scholastic, 2006. Smugglers, 1999; and The Buccaneers, 2001.
Ages 12–15. Lunn, Janet. The Hollow Tree. Viking, 2000. Ages 10–14.
Krull, Kathleen. Leonardo da Vinci. Illustrated by Boris U.S. Revolutionary War, 1777.
Kulikov. Viking, 2005. Ages 10–14. Part of the Gi- Meyer, Carolyn. Mary, Bloody Mary. Harcourt, 1999.
ants of Science series. Ages 11–15. England, Mary Tudor and the court of
Serrano, Francisco. The Poet King of Tezcoco: A Great her father, Henry VIII, 1500s.
Leader of Ancient Mexico. Illustrated by Pablo Ser- McCully, Emily Arnold. The Escape of Oney Judge: Mar-
rano. Translated by Trudy Balch and Jo Anne En- tha Washington’s Slave Finds Freedom. Farrar, 2007.
gelbert. Groundwood, 2007. (PI) Ages 10–14. (PI) Ages 9–12. Washington, D.C., late 1800s.
Mexico, 1400s. Park, Linda Sue. The Firekeeper’s Son. Illustrated by
Shulevitz, Uri. The Travels of Benjamin of Tudela: Julie Downing. Clarion, 2003. (PI) Ages 8–12. Ko-
Through Three Continents in the Twelfth Century. rea, early 1800s.
Farrar, 2005. (PI) Ages 10–14. Rees, Celia. Pirates! Bloomsbury, 2003. Ages 12–16.
Stanley, Diane. Joan of Arc. Morrow, 1998. Ages 11–14. Swashbuckling adventure, 1725.
Winter, Jonah. The Secret World of Hildegard. Illus- Rockwell, Anne. They Called Her Molly Pitcher. Illus-
trated by Jeanette Winter. Arthur A. Levine, 2007. trated by Cynthia Von Buhler. Knopf, 2002. (PI)
(PI) Ages 7–12. Germany, 1100s. Ages 8–11. U.S. Revolutionary War, 1778.
Speare, Elizabeth George. The Witch of Blackbird Pond.
Houghton, 1958. Ages 10–14. U.S. colonial era,
The Emergence of Modern Nations,
1680s.
1500 to 1800
Sturtevant, Katherine. A True and Faithful Narrative.
Historical Fiction Farrar, 2006. Ages 11–16. London, seventeenth
Anderson, Laurie Halse. Chains. Simon & Schuster, century.
2008. Ages 11–15. New York City, enslaved sisters, ———. At the Sign of the Star. Farrar, 2000. Ages 10–
1776. 15. London, 1677.

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Van Leeuwen, Jean. Hannah’s Helping Hands. Phyllis Harness, Cheryl. The Remarkable Benjamin Franklin.
Fogelman, 1999. Ages 7–10. Connecticut, U.S. National Geographic, 2005. (PI) Ages 7–11.
Revolutionary War, 1779. Jurmain, Suzanne Tripp. George Did It. Illustrated by
Winters, Kay. Colonial Voices: Hear Them Speak. Illus- Larry Day. Dutton, 2005. (PI) Ages 7–11.
trated by Larry Day. Dutton, 2008. (PI) Ages 9–13. Lasky, Kathryn. The Man Who Made Time Travel. Il-
Boston Tea Party, 1773. lustrated by Kevin Hawkes. Farrar, 2003. (PI) Ages
8–12.
Biography Marrin, Albert. George Washington and the Founding
Adler, David A. B. Franklin, Printer. Holiday, 2001. of a Nation. Dutton, 2001. Ages 11–16.
Ages 9–13. Murphy, Jim. The Real Benedict Arnold. Clarion, 2007.
Anderson, M. T. Handel, Who Knew What He Liked. Ages 11–16. Examination of rumors and facts
Illustrated by Kevin Hawkes. Candlewick, 2001. about this military leader, Revolutionary War
(PI) Ages 8–12. era.
Aronson, Marc. Sir Walter Ralegh and the Quest for El Price, Sean. Ivan the Terrible: Tsar of Death. Scholastic,
Dorado. Clarion, 2000. Ages 12–16. 2007. Ages 11–15. Russia, 1500s.
Burleigh, Robert. Napoléon: The Story of the Little Reich, Susanna. Painting the Wild Frontier: The Art
Corporal. Abrams, 2007. (PI) Ages 10–14. Paint- and Adventures of George Catlin. Clarion, 2008.
ings, drawings, and historic political cartoons in Ages 12–18. Eighteenth-century painter of Native
the telling of Napoléon’s rise and eventual decline, American life.
1769–1821. Rosen, Michael. Shakespeare: His Work and His World.
Chandra, Deborah, and Madeleine Comora. George Candlewick, 2001. Ages 10–14.
Washington’s Teeth. Illustrated by Brock Cole. Far- Sís, Peter. Play, Mozart, Play! Greenwillow, 2006. (PI)
rar, 2003. (PI) Ages 7–11. Washington’s lifelong Ages 5–8.
struggle with bad teeth. Humorous story in verse. Stanley, Diane. Michelangelo. HarperCollins, 2000. (PI)
Fleming, Candace. Ben Franklin’s Almanac: Being a Ages 9–14.
True Account of the Good Gentleman’s Life. Athe- ———. Saladin: Noble Prince of Islam. HarperCollins,
neum, 2003. Ages 11–14. 2002. (PI) Ages 9–14.
Fradin, Dennis B. The Founders: The 39 Stories behind
the U.S. Constitution. Illustrated by Michael Mc-
Curdy. Walker, 2005. Ages 10–15.
The Development of Industrial Society,
———. The Signers: The 56 Stories behind the Declara-
1800 to 1914
tion of Independence. Illustrated by Michael Mc-
Curdy. Walker, 2002. Ages 10–15. Historical Fiction
Freedman, Russell. Confucius: The Golden Rule. Illus- Avi. Silent Movie. Illustrated by C. B. Mordan. Athe-
trated by Frédéric Clément. Scholastic, 2002. (PI) neum, 2003. (PI) Ages 8–12. New York City, Swed-
Ages 9–14. ish immigrants, early 1900s.
———. Washington at Valley Forge. Holiday, 2008. Bartoletti, Susan Campbell. No Man’s Land: A Young
Ages 11–15. Revolutionary War, winter of 1777– Man’s Story. Blue Sky, 1999. Ages 11–15. Confeder-
1778. ate Army, Georgia Okefenokee Regiment, U.S.
Fritz, Jean. And Then What Happened, Paul Revere? Il- Civil War, 1860s.
lustrated by Tomie dePaola. Coward/McCann, Battle-Lavert, Gwendolyn. Papa’s Mark. Illustrated by
1973. Ages 8–10. Colin Bootman. Holiday, 2003. (PI) Ages 6–9. Post–
———. Can’t You Make Them Behave, King George? Civil War South, African-American voting.
Illustrated by Tomie dePaola. Coward/McCann, Blackwood, Gary. Second Sight. Dutton, 2005. Ages
1976. Ages 8–10. 11–15. Civil War, 1864.
———. The Great Little Madison. Putnam, 1989. Ages Boling, Katharine. January 1905. Harcourt, 2004. Ages
9–12. 9–13. U.S. mill town, child labor, 1905.
Giblin, James Cross. The Amazing Life of Benjamin Brown, Don. Kid Blink Beats the World. Roaring Brook,
Franklin. Illustrated by Michael Dooling. Scholas- 2004. (PI) Ages 7–11. Striking against newspaper
tic, 2000. Ages 8–11. owners, 1899.

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Byars, Betsy. Keeper of the Doves. Viking, 2002. Ages Ibbotson, Eva. Journey to the River Sea. Dutton, 2002.
9–13. Kentucky, 1899. Ages 11–14. Brazil, 1910.
Cadnum, Michael. Blood Gold. Viking, 2004. Ages ———. The Star of Kazan. Illustrated by Kevin Hawkes.
12–18. Adventure, California Gold Rush, 1849. Dutton, 2004. Ages 10–14. Germany and Austria,
Carvell, Marlene. Sweetgrass Basket. Dutton, 2005. late 1800s.
Ages 12–15. Native Americans at an off-reservation LaFaye, A. Worth. Simon & Schuster, 2004. Ages 10–14.
boarding school, early 1900s. Orphan train, Nebraska, late 1800s.
Curtis, Christopher Paul. Elijah of Buxton. Scholastic, Lee, Milly. Landed. Illustrated by Yangsook Choi. Far-
2007. Ages 11–14. Canada, freed slaves in a refuge rar, 2006. (PI) Ages 7–11. Southeastern China to
house, 1849. Angel Island, San Francisco, early 1900s.
Cushman, Karen. Rodzina. Clarion, 2003. Ages 9–14. Lester, Julius. Day of Tears: A Novel in Dialogue. Hype-
Trip from Chicago to California, orphan train, rion, 2005. Ages 12–18. Savannah, Georgia, largest
1881. slave auction in American history, 1859.
DeFelice, Cynthia. Bringing Ezra Back. Farrar, 2006. Ages Levine, Ellen. Henry’s Freedom Box. Illustrated by Kadir
9–13. Ohio frontier, 1830s. Sequel to Weasel. Nelson. Scholastic, 2007. (PI) Ages 7–12. Virginia,
———. Weasel. Macmillan, 1990. Ages 9–12. Ohio slavery, 1849.
frontier, 1830s. Lewis, J. Patrick. The Brothers’ War: Civil War Voices in
Donnelly, Jennifer. A Northern Light. Harcourt, 2003. Verse. National Geographic, 2007. Ages 10–14. Po-
Ages 12–16. Mystery and suspense in upstate New ems honoring heroes of the U.S. Civil War.
York, 1906. Lowry, Lois. The Silent Boy. Houghton, 2003. Ages
Draper, Sharon M. Copper Sun. Atheneum, 2006. Ages 9–15. Small New England town character with de-
14–18. Carolinas, slave trade and plantation life, velopmental disability, autism, 1908–1911.
early 1800s. Lyons, Mary E. Dear Ellen Bee: A Civil War Scrapbook
Erdrich, Louise. The Birchbark House. Hyperion, 1999. of Two Union Spies. Simon & Schuster, 2000. Ages
Ages 8–12. Ojibwe family living in northern Wis- 10–13. Richmond, Virginia, Civil War era.
consin along Lake Superior. McCaughrean, Geraldine. Stop the Train! Harper-
———. The Game of Silence. HarperCollins, 2005. Collins, 2003. Ages 10–13. Homesteading in Enid,
Ages 10–14. Northern Wisconsin, Ojibwes and Oklahoma, 1893.
white settlers, 1850. McMullan, Margaret. How I Found the Strong. Houghton,
———. The Porcupine Year. HarperCollins, 2008. Ages 2004. Ages 11–15. Civil War battlefield slaughter.
9–14. Displaced Ojibwe family seeking a home, Myers, Anna. Assassin. Walker, 2005. Ages 11–15. Alter-
1852. Sequel to The Birchbark House and The nating narratives. Assassination of Abraham Lin-
Game of Silence. coln, 1865.
Frost, Helen. The Braid. Farrar, 2006. Ages 12–16. Scot- Paterson, Katherine. Bread and Roses, Too. Clarion,
land to Canada, 1850s. Verse novel. 2006. Ages 10–14. Massachusetts, mill workers’
Giff, Patricia Reilly. Maggie’s Door. Random, 2003. Ages strike, 1912.
9–13. Ireland, potato famine, immigration, 1840s. ———. Preacher’s Boy. Clarion. 1999. Ages 10–13. Ver-
———. Nory Ryan’s Song. Delacorte, 2000. Ages 9–13. mont, turn of the century.
Ireland, potato famine, 1845. Pearsall, Shelley. Crooked River. Knopf, 2005. Ages 10–
———. Water Street. Random, 2006. Ages 9–14. 13. Relations between white pioneers and Indians
Brooklyn, Irish-American immigrants, 1876. on the Ohio frontier, 1812.
Hill, Kirkpatrick. Minuk: Ashes in the Pathway. Illus- ———. Trouble Don’t Last. Knopf, 2002. Ages 11–15.
trated by Patrick Faricy. Pleasant, 2002. Ages 10–14. Northern Kentucky, slavery, 1859.
Eskimo village in Alaska, 1890. Peck, Richard. Fair Weather. Dial, 2001. Ages 9–12. Ru-
Holub, Josef. An Innocent Soldier. Translated by Mi- ral Illinois in 1893.
chael Hofmann. Scholastic, 2005. Ages 14–18. Na- ———. The River Between Us. Dial, 2003. Ages 12–18.
poleon’s Russian campaign, 1812. Southern Illinois town, early Civil War era, 1861.
Hurst, Carol Otis. Through the Lock. Houghton, 2001. ———. The Teacher’s Funeral: A Comedy in Three
Ages 10–13. Connecticut farm community, nine- Parts. Dial, 2004. Ages 10–14. Rural Indiana, 1904.
teenth century. Humorous.

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Provensen, Alice. Klondike Gold. Simon & Schuster, Woodson, Jacqueline. Show Way. Illustrated by Hudson
2005. (PI) Ages 7–10. Canadian Gold Rush in the Talbott. Putnam, 2005. (PI) Ages 8–11. African-
Yukon Territory, late 1890s. American women’s stories on quilts; slavery
Raven, Margot T. Night Boat to Freedom. Illustrated by through the Civil Rights period.
E. B. Lewis. Farrar, 2006. (PI) Ages 7–10. Slavery, Yep, Laurence. Spring Pearl. Pleasant, 2002. Ages 9–14.
crossing from Kentucky to Ohio. Canton, China, Opium Wars, 1857.
Reeder, Carolyn. Before the Creeks Ran Red. Harper- ———. The Traitor. Farrar, 2003. Ages 10–14. Chinese
Collins, 2003. Ages 11–15. Beginning of the U.S. and Western coal miners in the Wyoming Terri-
Civil War, three linked novellas set in different tory, 1885.
locations. Yin. Coolies. Illustrated by Chris Soentpiet. Philomel,
Rinaldi, Ann. Numbering All the Bones. Hyperion, 2001. (PI) Ages 8–12. Chinese Americans, trans-
2002. Ages 12–15. U.S. Civil War, Andersonville continental railroad, 1860s.
Prison in southwest Georgia, slavery, 1864. Zimmer, Tracie Vaughn. The Floating Circus. Blooms-
Robinet, Harriette Gillem. Missing in Haymarket bury, 2008. Ages 11–16. A circus barge from Pitts-
Square. Atheneum, 2001. Ages 10–15. Working burgh to New Orleans, 1850s.
conditions, Chicago, 1886.
Schmidt, Gary. Lizzie Bright and the Buckminster Boy. Biography
Clarion, 2004. Ages 12–18. Maine, race relations, Adler, David A. America’s Champion Swimmer: Ger-
Christian life, 1912. trude Ederle. Illustrated by Terry Widener. Har-
Siegelson, Kim. Trembling Earth. Putnam, 2004. Ages court, 2000. Ages 6–10.
12–18. Okefenokee Swamp, Georgia, U.S. Civil Armstrong, Jennifer. Photo by Brady: A Picture of the
War era, survival story, 1860s. Civil War. Atheneum, 2005. Ages 12–14. Photo-
Snyder, Zilpha Keatley. Gib Rides Home. Delacorte, essay.
1998. Ages 9–12. Taken from an orphanage to Basel, Roberta. Sequoyah: Inventor of Written Chero-
work on a farm, early 1900s. Sequel is Gib and the kee. Compass Point Books, 2007. Ages 10–14. In-
Gray Ghost, 2000. vention of a Cherokee syllabary, 1821.
Stolz, Joelle. The Shadows of Ghadames. Translated Blumberg, Rhoda. Shipwrecked! The True Adventures
by Catherine Temerson. Delacorte, 2004. Ages of a Japanese Boy. HarperCollins, 2001. Ages
12–15. Muslim traditions, sex roles, Libya, late 10–14.
1800s. ———. York’s Adventures with Lewis and Clark: An
Tal, Eve. Double Crossing: A Jewish Immigration Story. African-American’s Part in the Great Expedition.
Cinco Puntos, 2005. Ages 11–15. Emigration from HarperCollins, 2004. Ages 11–15.
the Ukraine, 1905. Bolden, Tonya. Maritcha: A Nineteenth-Century Amer-
Taylor, Mildred D. The Land. Phyllis Fogelman, 2001. ican Girl. Abrams, 2005. Ages 10–14.
Ages 11–15. The South, post–U.S. Civil War, Borden, Louise. A. Lincoln and Me. Illustrated by Ted
1870s. Lewin. Scholastic, 1999. (PI) Ages 5–8.
Wells, Rosemary. Red Moon at Sharpsburg. Viking, Brown, Don. Uncommon Traveler: Mary Kingsley in
2007. Ages 12–15. Virginia, Civil War Stories inter- Africa. Houghton, 2000. Ages 7–10.
woven from North and South, Battle of Antietam, Brown, Mónica. My Name Is Gabriela/Me llamo Gabri-
1862. ela: The Life of Gabriela Mistral/La vida de
Whelan, Gloria. Angel on the Square. HarperCollins, Gabriela Mistral. Illustrated by John Parra. Luna
2001. Ages 11–15. St. Petersburg, Russia, fall of the Rising, 2005. (PI) Ages 5–7. Bilingual English/
Russian Empire, 1913. Spanish.
Wilson, Diane Lee. Black Storm Comin’. Simon & Burleigh, Robert. Toulouse-Lautrec: The Moulin Rouge
Schuster, 2005. Ages 11–16. Missouri to California, and the City of Light. Abrams, 2005. (PI) Ages
Civil War backdrop, mixed-race family, 1860. 8–14.
Winthrop, Elizabeth. Counting on Grace. Random, Capaldi, Gina. A Boy Named Beckoning: The True Story
2006. Ages 10–15. Laboring in a Vermont mill, of Dr. Carlos Montezuma, a Native American
1910. Hero. Carolrhoda, 2008. (PI) Ages 7–10. A kid-

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napped Yavapi Indian from Arizona, an advocate Hesse, Karen. The Young Hans Christian Andersen. Il-
for Native Americans, late 1800s. lustrated by Erik Blegvad. Scholastic, 2005. Ages
Cohn, Amy L., and Suzy Schmidt. Abraham Lincoln. 7–10.
Illustrated by David A. Johnson. Scholastic, 2002. Hopkinson, Deborah. Fannie in the Kitchen: The Whole
(PI) Ages 7–11. Story from Soup to Nuts of How Fannie Farmer
Cummins, Julie. Women Daredevils: Thrills, Chills, and Invented Recipes with Precise Measurements. Il-
Frills. Illustrated by Cheryl Harness. Dutton, 2007. lustrated by Nancy Carpenter. Atheneum, 2001.
(PI) Ages 8–12. Collective biography of stunt per- (PI) Ages 6–8.
formers, 1880–1929. Johnson, Dolores. Onward: A Photobiography of
Debon, Nicolas. The Strongest Man in the World: Louis African-American Polar Explorer Matthew Hen-
Cyr. Groundwood, 2007. (GR) Ages 7–11. son. National Geographic, 2005. Ages 11–14.
Denenberg, Barry. Lincoln Shot: A President’s Life Re- Jurmain, Suzanne. The Forbidden Schoolhouse: The
membered. Illustrated by Christopher Bing. Feiwel True and Dramatic Story of Prudence Cran-
& Friends, 2008. Ages 10–15. Oversize book with dall and Her Students. Houghton, 2005. Ages
striking newspaper-format pages on Lincoln’s life. 12–14.
Dooling, Michael. Young Thomas Edison. Holiday, Keating, Frank. Theodore. Illustrated by Mike Wimmer.
2005. (PI) Ages 7–11. Simon & Schuster, 2006. (PI) Ages 7–12.
Engle, Margarita. The Poet Slave of Cuba: A Biography Kerley, Barbara. Walt Whitman: Words for America. Il-
of Juan Francisco Manzano. Illustrated by Sean lustrated by Brian Selznick. Scholastic, 2006. (PI)
Qualls. Holt, 2006. (PI) Ages 12–14. Free verse. Ages 9–12.
Fleischman, Sid. The Trouble Begins at 8: A Life of Mark ———. What to Do about Alice? How Alice Roosevelt
Twain in the Wild, Wild West. HarperCollins, Broke the Rules, Charmed the World, and Drove
2008. Ages 10–15. Her Father Crazy. Illustrated by Edwin Fothering-
Fleming, Candace. The Lincolns: A Scrapbook Look ham. Scholastic, 2008. (PI) Ages 5–10. President
at Abraham and Mary. Random, 2008. Ages Theodore Roosevelt’s daughter in the White
11–15. Chapters alternate between husband and House.
wife. Kraft, Betsy H. Theodore Roosevelt: Champion of the
Fradin, Dennis B. Duel! Burr and Hamilton’s Deadly American Spirit. Clarion, 2003. Ages 10–14.
War of Words. Illustrated by Larry Day. Walker, Lasky, Kathryn. Vision of Beauty: The Story of Virginia
2008. (PI) Ages 8–11. The famous Weehawken, Breedlove Walker. Illustrated by Nneka Bennett.
New Jersey, duel, 1804. Candlewick, 2000. Ages 8–11.
———, and Judith B. Fradin. Ida B. Wells: Mother of Lutes, Jason, and Nick Bertozzi. Houdini: The Handcuff
the Civil Rights Movement. Clarion, 2000. Ages King. Hyperion, 2007. (GR) Ages 11–15. Cam-
10–15. bridge, Massachusetts, 1908.
Fradin, Judith B., and Dennis B. Fradin. 5,000 Miles to Marrin, Albert. Sitting Bull and His World. Dutton,
Freedom: Ellen and William Craft’s Flight from 2000. Ages 11–18.
Slavery. National Geographic, 2006. Ages 12–15. McClafferty, Carla Killough. Something Out of Noth-
———. Jane Addams: Champion of Democracy. Clar- ing: Marie Curie and Radium. Farrar, 2006. Ages
ion, 2006. Ages 12–14. 12–16.
Freedman, Russell. Lincoln: A Photobiography. Clarion, McCully, Emily Arnold. Marvelous Mattie: How Mar-
1987. Ages 9–12. garet E. Knight Became an Inventor. Farrar, 2006.
Giblin, James Cross. Good Brother, Bad Brother: The (PI) Ages 5–8.
Story of Edwin Booth and John Wilkes Booth. Clar- Nelson, Marilyn. Fortune’s Bones: The Manumission
ion, 2005. Ages 11–14. Requiem. Front Street, 2004. Ages 12–18. Poetry.
Greenberg, Jan, and Sandra Jordan. Vincent Van Gogh: Old, Wendie C. To Fly: The Story of the Wright Broth-
Portrait of an Artist. Delacorte, 2001. Ages 10–18. ers. Illustrated by Robert Andrew Parker. Clarion,
Helfer, Ralph. The World’s Greatest Elephant. Illus- 2002. (PI) Ages 8–11.
trated by Ted Lewin. Philomel, 2006. (PI) Ages Paulsen, Gary. The Legend of Bass Reeves. Random,
7–12. 2006. Ages 11–14.

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Place, François. The Old Man Mad about Drawing: A Cormier, Robert. Frenchtown Summer. Delacorte, 1999.
Tale of Hokusai. Translated by William Rodarmor. Ages 11–14. Monument, Massachusetts, post–
Godine, 2003. Ages 10–14. World War I.
Rappaport, Doreen. Abe’s Honest Words: The Life of Currier, Katrina Saltonstall. Kai’s Journey to Gold
Abraham Lincoln. Illustrated by Gary Kelley. Hy- Mountain. Illustrated by Gabhor Utomo. Angel
perion, 2008. (PI) Ages 6–10. Lincoln’s life with Island, 2005. Ages 9–13. (PI) Emigration from
quotations from his speeches and writings. China, internment on Angel Island, 1934.
Ray, Deborah Kogan. Down the Colorado: John Wesley Curtis, Christopher Paul. Bud, Not Buddy. Delacorte,
Powell, the One-Armed Explorer. Farrar, 2007. (PI) 1999. Ages 9–13. Michigan, Depression era.
Ages 8–11. Western exploration, 1869. Doucet, Sharon Arms. Fiddle Fever. Clarion, 2000. Ages
Rockwell, Anne. Only Passing Through: The Story of 9–13. Cajun life in southern Louisiana, World
Sojourner Truth. Illustrated by R. Gregory Chris- War I.
tie. Knopf, 2000. (PI) Ages 8–13. Slavery and the Dowell, Frances O’Roark. Dovey Coe. Atheneum, 2000.
Abolitionist Movement, mid-1800s. Ages 9–13. North Carolina, 1928 murder trial.
Rosen, Michael. Dickens: His Work and His World. Il- Fuqua, Jonathon Scott. Darby. Candlewick, 2000. Ages
lustrated by Robert Ingpen. Candlewick, 2005. 9–12. South Carolina, racism, 1926.
Ages 11–14. Giff, Patricia Reilly. Willow Run. Random, 2005. Ages
Rumford, James. Sequoyah: The Man Who Gave His 9–12. World War II, homefront deprivations.
People Writing. Houghton, 2004. (PI) Ages 6–10. Glatshteyn, Yankev. Emil and Karl. Translated by Jeffrey
Sandler, Martin W. Lincoln through the Lens: How Pho- Shandler. Roaring Brook, 2006. Ages 10–15. Pre–
tography Revealed and Shaped an Extraordinary World War II Vienna, Nazi persecution, 1930s.
Life. Walker, 2008. Ages 12–15. Lincoln’s life, Hartnett, Sonya. Thursday’s Child. Candlewick, 2002.
1809–1865. Ages 12–16. Australia, Great Depression.
Silverman, Erica. Sholom’s Treasure: How Sholom Alei- Havill, Juanita. Eyes Like Willy’s. Illustrated by David
chem Became a Writer. Illustrated by Mordicai Johnson. HarperCollins, 2004. Ages 12–16. Aus-
Gerstein. Farrar, 2005. (PI) Ages 5–9. trian and French friends on opposite sides, World
Sís, Peter. The Tree of Life. Farrar, 2003. (PI) Ages 12–16. War I era.
Charles Darwin. Hesse, Karen. The Cats in Krasinski Square. Illustrated
Varmer, Hjørdis. Hans Christian Andersen: His Fairy by Wendy Watson. Scholastic, 2004. (PI) Ages
Tale Life. Translated by Tiina Nunnally. Illustrated 9–12. Nazi occupation of Warsaw, Jewish ghetto,
by Lillian Brøgger. Groundwood, 2005. Ages World War II era. Free verse.
10–14. ———. Out of the Dust. Scholastic, 1997. Ages 11–18.
Weatherford, Carole B. Moses: When Harriet Tubman Oklahoma, 1930s. Free verse.
Led Her People to Freedom. Illustrated by Kadir ———. Witness. Scholastic, 2001. Ages 10–18. Ver-
Nelson. Jump at the Sun, 2006. (PI) Ages 7–11. mont, Ku Klux Klan, 1924. Told in a series of po-
White, Linda Arms. I Could Do That! Esther Morris ems in five acts.
Gets Women the Vote. Illustrated by Nancy Car- Hughes, Dean. Soldier Boys. Atheneum, 2001. Ages
penter. Farrar, 2005. (PI) Ages 7–10. 13–18. An American and a German in World War
II era. Chapters alternate point of view.
Hull, N. L. On Rough Seas. Clarion, 2008. Ages 9–13.
World Wars in the Twentieth Century,
England to Dunkirk, World War II, 1939.
1914 to 1945
Janeczko, Paul B. Worlds Afire. Candlewick, 2004. Ages
Historical Fiction 12–15. Hartford, Connecticut, fire, 1944. Narrative
Adler, David A. The Babe and I. Illustrated by David poems.
Widener. Harcourt, 1999. (PI) Ages 9–13. Bronx, Kadohata, Cynthia. Weedflower. Simon & Schuster, 2006.
New York, Depression era. Ages 10–14. An internment camp in Arizona desert,
Bat-Ami, Miriam. Two Suns in the Sky. Front Street, Japanese American family, World War II era.
1999. Ages 13–16. World War II in New York state, Larson, Kirby. Hattie Big Sky. Delacorte, 2006. Ages
relations among European refugees and U.S. 11–15. Homesteading in Montana, discrimination
citizens. toward Germans during World War I, 1918.

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Lawrence, Iain. B for Buster. Delacorte, 2004. Ages 12– Sheth, Kashmira. Keeping Corner. Hyperion, 2007. Ages
18. Canadian Air Force, World War II, deployment 12–18. Rural India, 1918.
to England for raids over Germany, 1943. Spillebeen, Geert. Kipling’s Choice. Translated by Terese
———. Land of the Nutcracker Men. Delacorte, 2001. Edelstein. Houghton, 2005. Ages 12–16. France,
Ages 11–15. England and France, World War I. World War I, with an epilogue that provides his-
Lisle, Janet Taylor. The Art of Keeping Cool. Simon & torical context.
Schuster, 2000. Ages 10–13. United States and Spinelli, Jerry. Milkweed. Random, 2003. Ages 11–16.
Canada, World War II. Warsaw, persecution of Jews, 1940s.
Maguire, Gregory. The Good Liar. Clarion, 1999. Ages Uchida, Yoshiko. Journey to Topaz. Illustrated by Don-
9–12. Occupied France, World War II. ald Carrick. Scribner’s, 1971. Ages 10–14. United
Mazer, Norma Fox. Good Night, Maman. Harcourt, States, internment of Japanese Americans, World
1999. Ages 10–14. Oswego, New York, Holocaust War II.
survivors, Jewish refugees, World War II era. Wells, Rosemary. Wingwalker. Illustrated by Brian
Mikaelsen, Ben. Petey. Hyperion, 1998. Ages 11–15. Ce- Selznick. Hyperion, 2002. Ages 8–11. Oklahoma,
rebral palsy and its treatment, 1920s. Depression era, 1930s.
Morpurgo, Michael. Private Peaceful. Scholastic, 2004. Whelan, Gloria. Burying the Sun. HarperCollins, 2004.
Ages 13–18. England and France, World War I Ages 10–14. World War II, German occupation,
era. Leningrad, 1941.
Park, Linda Sue. When My Name Was Keoko: A Novel ———. The Impossible Journey. HarperCollins, 2003.
of Korea in World War II. Clarion, 2002. Ages Ages 10–14. Opposition to Stalin, journey into Si-
10–14. Japanese occupation of Korea, 1940s. beria, 1934.
Parkinson, Siobhan. Kathleen: The Celtic Knot. Pleas- Wolf, Joan M. Someone Named Eve. Clarion, 2007. Ages
ant, 2003. Ages 10–14. Ireland, poverty in Dublin, 11–16. Czechoslovakian survivor in a German
1937. family, World War II, 1942.
Peck, Richard. Here Lies the Librarian. Dial, 2006. Ages Woodson, Jacqueline. Coming On Home Soon. Illus-
11–16. Rural Indiana, 1914. Humorous. trated by E. B. Lewis. Putnam, 2004. (PI) Ages 5–9.
———. A Year Down Yonder. Dial, 2000. Ages 10–15. African-American mother in Chicago for the war
Southern Illinois, Depression era, 1937. Humorous. effort, World War II.
Peck, Robert Newton. Horse Thief. HarperCollins, Zusak, Markus. The Book Thief. Knopf, 2006. Ages
2002. Ages 13–18. Florida, Depression era, 13–18. Munich, Germany, German foster girl,
1930s. World II.
Polacco, Patricia. The Butterfly. Philomel, 2000. (PI)
Ages 9–12. French Resistance, persecution of Jews, Biography
World War II. Adler, David A. Lou Gehrig: The Luckiest Man. Illus-
Ray, Delia. Ghost Girl: A Blue Ridge Mountain Story. trated by Terry Widener. Harcourt, 1997. Ages
Clarion, 2003. Ages 10–13. Virginia, 1929–1932. 8–11.
Roy, Jennifer. Yellow Star. Marshall Cavendish, 2006. Anderson, M. T. Strange Mr. Satie. Illustrated by Petra
Ages 10–15. Poland, Nazi occupation of the Lodz Mathers. Viking, 2003. (PI) Ages 8–12.
ghetto, 1939–1945. Barbour, Karen. Mr. Williams. Holt, 2005. (PI) Ages
Ryan, Pam Muñoz. Esperanza Rising. Scholastic, 2000. 5–8.
Ages 9–13. Mexico and United States, Depression Bartoletti, Susan Campbell. Hitler Youth: Growing
era. Up in Hitler’s Shadow. Scholastic, 2005. Ages
Salisbury, Graham. Eyes of the Emperor. Random, 2005. 11–14.
Ages 12–18. Japanese American in World War II, Bausum, Ann. Dragon Bones and Dinosaur Eggs: A
prejudice, training scout dogs. Photobiography of Explorer Roy Chapman An-
———. House of the Red Fish. Random, 2006. Ages drews. National Geographic, 2000. Ages 9–15.
10–15. Sequel to Under the Blood-Red Sun. Bernier-Grand, Carmen T. Frida: Viva la Vida! Long
Selznick, Brian. The Invention of Hugo Cabret. Scholas- Live Life! Illustrated by Frida Kahlo. Marshall Cav-
tic, 2007. Ages 9–13. Paris, illustrated cinematic endish, 2007. (PI) Ages 12–18. Mexican artist,
mystery, 1930s. 1907–1954. Free verse.

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Bolden, Tonya. George Washington Carver. Abrams Russo, Marisabina. Always Remember Me: How One
Books, 2008. (PI) Ages 8–12. African-American Family Survived World War II. Atheneum, 2005.
scientist and inventor, 1864–1943. Ages 8–12.
Brown, Don. Mack Made Movies. Millbrook, 2003. (PI) Ryan, Pam Muñoz. When Marian Sang: The True Re-
Ages 6–10. cital of Marian Anderson. Illustrated by Brian
Christensen, Bonnie. Woody Guthrie: Poet of the Peo- Selznick. Scholastic, 2002. (PI) Ages 6–10.
ple. Knopf, 2001. (PI) Ages 6–8. Stone, Tanya Lee. Sandy’s Circus: A Story about Alexan-
Cline-Ransome, Lesa. Satchel Paige. Illustrated by James der Calder. Illustrated by Boris Kulikov. Viking,
Ransome. Simon & Schuster, 2000. (PI) Ages 7–10. 2008. (PI) Ages 5–9. Artist Calder’s wire sculp-
Currier, Katrina Saltonstall. Kai’s Journey to Gold tures, Paris, 1920s.
Mountain: An Angel Island Story. Illustrated by Whiteman, Dorit Bader. Lonek’s Journey: The True
Gabhor Utomo. Angel Island Association, 2004. Story of a Boy’s Escape to Freedom. Star Bright,
(PI) Ages 9–13. 2005. Ages 11–14.
Denenberg, Barry. Shadow Life: A Portrait of Anne Frank Yoo, Paula. Sixteen Years in Sixteen Seconds: The
and Her Family. Scholastic, 2005. Ages 12–14. Sammy Lee Story. Illustrated by Dom Lee. Lee &
dePaola, Tomie. 26 Fairmount Avenue. Putnam, 1999. Low, 2005. (PI) Ages 6–10.
Ages 7–9.
Fleischman, Sid. Escape! The Story of the Great Houd-
Post-World War II Era, 1945 to 1980s
ini. Greenwillow, 2006. Ages 10–14.
Fleming, Candace. Our Eleanor: A Scrapbook Look at Historical Fiction
Eleanor Roosevelt’s Remarkable Life. Atheneum, Clinton, Catherine. A Stone in My Hand. Candlewick,
2005. Ages 11–14. 2002. Ages 11–16. Palestine, 1980s.
Grimes, Nikki. Talkin’ about Bessie: The Story of Avia- Curtis, Christopher Paul. The Watsons Go to Birming-
tor Elizabeth Coleman. Illustrated by E. B. Lewis. ham—1963. Delacorte, 1995. Ages 8–12. Flint,
Scholastic/Orchard, 2002. (PI) Ages 8–13. Michigan, to Birmingham, Alabama, Civil Rights
Krinitz, Esther N., and Bernice Steinhardt. Memories of Movement.
Survival. Hyperion, 2005. Ages 10–12. Cushman, Karen. The Loud Silence of Francine Green.
Maurer, Richard. The Wright Sister. Millbrook, 2003. Clarion, 2006. Ages 11–15. McCarthyism in Los
Ages 12–16. Angeles, 1950s.
McCarthy, Meghan. Strong Man: The Story of Charles Going, K. L. The Liberation of Gabriel King. Putnam,
Atlas. Knopf, 2007. (PI) Ages 6–9. Transformation 2005. Ages 9–12. Georgia, facing prejudice, 1976.
of a weakling to a fitness legend. Harrington, Janice N. Going North. Illustrated by Je-
Millman, Isaac. Hidden Child. Farrar, 2005. (PI) Ages rome Lagarrigue. Farrar, 2004. (PI) Ages 7–11.
11–14. Autobiography. African-American family leaves Alabama for jobs,
Nelson, Marilyn. Carver: A Life in Poems. Front Street, 1964.
2000. Ages 12–16. Free verse. Herrera, Juan Felipe. Downtown Boy. Scholastic, 2005.
Nobleman, Marc Tyler. Boys of Steel: The Creators of Ages 10–14. Free verse. Migrant workers in Cali-
Superman. Illustrated by Ross MacDonald. Knopf, fornia, 1958–1959.
2008. (PI) Ages 6–8. Inventors of the fictional car- Hobbs, Valerie. Sonny’s War. Farrar, 2002. Ages 12–16.
toon character, 1930s. California, Vietnam War era, 1966.
Parker, Robert Andrew. Piano Starts Here: The Young Art Holt, Kimberly Willis. Dancing in Cadillac Light. Putnam,
Tatum. Schwartz & Wade, 2008. (PI) Ages 6–10. 2001. Ages 11–14. Texas, small town life, 1968.
African-American jazz musician, 1910–1956. ———. When Zachary Beaver Came to Town. Holt,
Partridge, Elizabeth. This Land Was Made for You and 1999. Ages 10–14. Small-town Texas, Vietnam War
Me: The Life and Songs of Woody Guthrie. Viking, era, 1971.
2002. Ages 11–16. Houston, Julian. New Boy. Houghton, 2005. Ages 13–18.
Poole, Josephine. Anne Frank. Illustrated by Angela Civil rights struggle, first black student in a Con-
Barrett. Knopf, 2005. (PI) Ages 11–13. necticut boarding school, late 1950s.
Rubin, Susan Goldman, with Ela Weissberger. The Cat Johnston, Tony. Bone by Bone by Bone. Roaring Brook,
with the Yellow Star: Coming of Age in Terezin. 2007. Ages 11–16. Race relations in Tennessee,
Holiday, 2006. Ages 9–13. 1950s.

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 Historical Fiction and Biography

Kadohata, Cynthia. Kira-Kira. Simon & Schuster, 2004. under military occupation in Palestine, 1961–
Ages 11–18. Small-town Georgia, Japanese Ameri- 1987.
cans, late 1950s. Bausum, Ann. Freedom Riders: John Lewis and Jim
Lawrence, Iain. Ghost Boy. Delacorte, 2000. Ages 13–18. Zwerg on the Front Lines of the Civil Rights Move-
Death of a parent in World War II, joining a circus, ment. National Geographic, 2005. Ages 12–15.
late 1940s. Bernier-Grand, Carmen T. César: ¡Sí, Se Puede!/Yes, We
Levine, Ellen. Catch a Tiger by the Toe. Viking, 2005. Can! Illustrated by David Diaz. Marshall Caven-
Ages 10–14. McCarthy hearings, Communism, is- dish, 2005. (PI) Ages 9–12.
sues of freedom of expression, 1953. Bridges, Ruby, and Margo Lundell. Through My Eyes.
Lorbiecki, Marybeth. Jackie’s Bat. Illustrated by Brian Scholastic, 1999. Ages 9–16.
Pinkney. Simon & Schuster, 2003. (PI) Ages 6–9. Brimner, Larry D. We Are One: The Story of Bayard
Jackie Robinson and the Brooklyn Dodgers, 1947. Rustin. Boyds Mills, 2007. Ages 11–16. Civil rights
Lyon, George Ella. Sonny’s House of Spies. Simon & activist from 1940s to 1980s.
Schuster, 2004. Ages 12–15. Alabama, family se- Budhos, Marina. Ask Me No Questions. Simon & Schus-
crets, homosexual father, 1940s and 1950s. ter, 2005. Ages 12–15.
Mah, Adeline Yen. Chinese Cinderella: The True Story Chin-Lee, Cynthia. Amelia to Zora: Twenty-Six Women
of an Unwanted Daughter. Delacorte, 1999. Ages Who Changed the World. Charlesbridge, 2005.
12–18. China, 1940s and 1950s. Ages 9–13.
Mankell, Henning. Secrets in the Fire. Translated by Cline-Ransome, Lesa. Young Pelé: Soccer’s First Star. Il-
Anne Connie Stuksrud. Annick, 2003. Ages 11–14. lustrated by James E. Ransome. Random, 2007.
Southern Africa, land mines, poverty, Mozam- (PI) Ages 5–9. Small-town Brazilian soccer star,
bique civil war, 1970s and 1980s. 1950s–1970s.
Martin, Ann M. Belle Teal. Scholastic, 2001. Ages 9–12. Delano, Marfé F. Genius: A Photobiography of Albert
Rural South, 1962. Einstein. National Geographic, 2005. Ages 11–14.
———. A Corner of the Universe. Scholastic, 2002. Dendy, Leslie, and Mel Boring. Guinea Pig Scientists:
Ages 9–13. Small town, 1960. Bold Self-Experimenters of Science and Medicine.
Nuzum, K. A. A Small White Scar. HarperCollins, 2006. Holt, 2005. (COL) Ages 11–14.
Ages 11–14. Colorado rodeo life, 1940s. Ellis, Deborah. Our Stories, Our Songs: African Chil-
Sharenow, Robert. My Mother the Cheerleader. Harper- dren Talk about AIDS. Fitzhenry & Whiteside
Teen, 2007. Ages 12–15. A court-ordered integra- (Canada), 2005. Ages 12–15.
tion of a school, New Orleans, 1960. Fradin, Dennis Brindell. With a Little Luck: Surprising
Veciana-Suarez, Ana. Flight to Freedom. Orchard, 2002. Stories of Amazing Discovery. Dutton, 2006. (COL)
Ages 11–16. Cuban immigrant to Miami, 1967. Ages 12–14.
White, Ruth. Little Audrey. Farrar, 2008. Ages 9–13. Freedman, Russell. Babe Didrikson Zaharias: The Mak-
Poverty in a Virginia coal-mining camp, 1948. ing of a Champion. Clarion, 1999. Ages 10–15.
———. Memories of Summer. Farrar, 2000. Ages 13–18. ———. The Voice that Challenged a Nation: Marian
Virginia and Michigan, 1950s. Anderson and the Struggle for Equal Rights. Clar-
———. The Search for Belle Prater. Farrar, 2005. Ages ion, 2004. Ages 11–14.
10–15. Sequel to Belle Prater’s Boy, 1996. Giovanni, Nikki. Rosa. Illustrated by Bryan Collier.
———. Tadpole. Farrar, 2003. Ages 10–15. Appalachian Holt, 2005. (PI) Ages 8–11.
mountains, 1950s. Govenar, Alan. Osceola: Memories of a Sharecropper’s
Daughter. Illustrated by Shane W. Evans. Jump at
Biography the Sun, 2000. Ages 8–12.
Adler, David A. A Picture Book of Dwight David Eisen- Greenberg, Jan, and Sandra Jordan. Action Jackson. Il-
hower. Holiday, 2002. Ages 7–9. lustrated by Robert Andrew Parker. Millbrook,
Aldrin, Buzz. Reaching for the Moon. Illustrated by 2002. (PI) Ages 7–10.
Wendell Minor. HarperCollins, 2005. (PI) Ages ———. Frank O. Gehry: Outside In. DK Ink, 2000.
7–10. Autobiography. Ages 9–14.
Barakat, Ibtisam. Tasting the Sky: A Palestinian Child- ———. Runaway Girl: The Artist Louise Bourgeois.
hood. Farrar, 2007. Ages 12–16. Memoir of a life Abrams, 2003. Ages 12–16.

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 Historical Fiction and Biography

Hoose, Phillip. We Were There, Too! Young People in Pinkney, Andrea Davis. Duke Ellington: The Piano
U.S. History. Farrar, 2001. Ages 10–13. A collective Prince and His Orchestra. Illustrated by Brian
biography of 60 young people of all ages, colors, Pinkney. Hyperion, 1998. (PI) Ages 8–11.
and historical eras who influenced their times. Rappaport, Doreen. Martin’s Big Words: The Life of Dr.
Howard, Helen. Living as a Refugee in America: Mo- Martin Luther King, Jr. Illustrated by Bryan Col-
hammed’s Story. World Almanac Library, 2005. lier. Hyperion, 2001. (PI) Ages 8–10.
Ages 12–14. Part of Children in Crisis series. Rembert, Winfred. Don’t Hold Me Back: My Life and Art.
Levine, Ellen. Rachel Carson. Viking, 2007. Ages 10–16. Cricket, 2003. (PI) Ages 9–13. Autobiography.
Marine biologist and author of Silent Spring, 1962. Ringgold, Faith. If a Bus Could Talk: The Story of Rosa
Part of the Up Close biography series. Parks. Simon & Schuster, 1999. Ages 5–9.
Li, Moying. Snow Falling in Spring: Coming of Age in Scieszka, Jon, editor. Guys Write for Guys Read: Boys’
China during the Cultural Revolution. Farrar, Favorite Authors Write about Being Boys. Viking,
2008. Ages 12–18. Memoir, 1966–1976. 2005. (COL) Ages 11–14.
McDonough, Yona Zeldis. Hammerin’ Hank: The Life Sís, Peter. The Wall: Growing Up behind the Iron
of Hank Greenberg. Illustrated by Malcah Zeldis. Curtain. Farrar, 2007. Ages 10–15. (PI/GR) Auto-
Walker, 2006. (PI) Ages 7–12. biography.
Niven, Penelope. Carl Sandburg: Adventures of a Poet. Winter, Jonah. Dizzy. Illustrated by Sean Qualls. Scho-
Illustrated by Marc Nadel. Harcourt, 2003. (PI) lastic, 2006. (PI) Ages 8–14.
Ages 7–11. ———. Roberto Clemente: Pride of the Pittsburgh Pi-
Nivola, Claire A. Planting the Trees of Kenya: The Story rates. Illustrated by Raúl Colón. Atheneum, 2005.
of Wangari Maathi. Farrar, 2008. (PI) Ages 6–9. (PI) Ages 7–11.
Environmental leader in East Africa who led a re-
forestation project in the 1980s.

Related Films, Videos, and DVDs

Historical Fiction Seabiscuit. (2003). Author: Laura Hildenbrand (2001).

141 minutes.
The Boy in the Striped Pajamas. (2008). Author: John
The Sign of the Beaver. (1996). Author: Elizabeth
Boyne (2006). 90 minutes.
George Speare (1983). 100 minutes.
Civil War Diary. (1991). Author: Irene Hunt, Across
Skylark. (1999). Author: Patricia MacLachlan (1994).
Five Aprils (1964). 82 minutes.
98 minutes.
The December Boys. (2007). Author: Michael Noonan
So Far from Home. (1999). Author: Barry Denenberg
(1990/2008). 105 minutes.
(1997). Dear America Series. 30 minutes.
The Devil’s Arithmetic. (1999). Author: Jane Yolen
Sounder. (2003). Author: William H. Armstrong (1969).
(1988). 97 minutes.
90 minutes.
Lyddie. (1995). Author: Katherine Paterson (1991). 90
Standing in the Light. (1999). Author: Mary Pope Os-
minutes.
borne (1998). Dear America Series. 30 minutes.
A Midwife’s Tale. (1997). Author: Laurel Ulrich (1990).
Winter of the Red Snow. (1999). Author: Kristiana
88 minutes.
Gregory (1996). Dear America Series. 30 minutes.
My Louisiana Sky. (2001). Author: Kimberly Willis Holt
(1998). 98 minutes.
A Picture of Freedom. (1999). Author: Patricia Mc-
Kissack (1997). Dear America Series. 30 minutes. Biography
Sarah, Plain and Tall. (1991). Author: Patricia The Diary of Anne Frank. (1959). Author: Anne Frank
MacLachlan (1985). 98 minutes. (1953). 171 minutes.

191
 Historical Fiction and Biography

Just a Few Words, Mr. Lincoln. (1999). Author: Jean Sources for Films, Videos, and DVDs
Fritz (1993). Illustrator: Charles Robinson. 21
The Video Source Book. Syosset, NY: National Video
minutes.
Clearinghouse, 1979–. Published by Gale Research,
The Man Who Walked between the Towers. (2005).
Detroit, MI.
Author/Illustrator: Mordicai Gerstein (2003). 10
minutes. An annual reference work that lists media and pro-
Snowflake Bentley. (2003). Author: Jacqueline Briggs vides sources for purchase and rental.
Martin (1998). Illustrator: Mary Azarian. 16 Websites of large video distributors:
minutes. www.libraryvideo.com
What’s the Big Idea, Ben Franklin? (1993). Author: Jean
www.knowledgeunlimited.com
Fritz (1996). Illustrator: Margot Tomes. 30
minutes. http://teacher.scholastic.com/products/
Will You Sign Here, John Hancock? (1997). Author: Jean westonwoods
Fritz (1997). Illustrator: Trina Schart Hyman. 30
minutes.

Now go to Chapter 9 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Learn how authors and illustrators apply their craft by reading the written interviews in the
Conversations section for the chapter.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

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 Informational Books
Questions at Night
Why If there’s a bear among the stars,
Is the sky? As all the people say,
Won’t he jump over those pasture-bars
What starts the thunder overhead?
And drink up the Milky Way?
Who makes the crashing noise?
Are the angels falling out of bed? Does every star that happens to fall
Are they breaking all their toys? Turn into a firefly?
Can’t it ever get back to Heaven at all?
Why does the sun go down so soon?
And why
Why do the night-clouds crawl
Is the sky?
Hungrily up to the new-laid moon
And swallow it, shell and all? —Louis Untermeyer

“Questions at Night” from Rainbow in the Sky. Copyright © 1935 by Harcourt Inc. and
renewed 1963 by Louis Untermeyer. Reprinted by permission of the publisher.

From Chapter 10 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

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 Informational Books

Children are naturally curious. Their interest in the world around them is boundless. Teachers,
librarians, and parents want to nourish that curiosity with lively, intelligent answers, provocative
questions, and stimulating books that provide answers and a thirst for further knowledge. Today’s
innovative, colorful, and intriguing informational books are excellent resources for children and
the adults who guide their learning.

Definition and Description

Informational books give factual information about or explain any aspect of the biological, social,
or physical world, including what is known of outer space. They can be further defined in terms
of emphasis: The content emphasis of children’s informational literature is documented fact about
the natural or social world. Its primary purpose is to inform. In contrast, the content of fictional
literature is largely, if not wholly, a product of the imagination, and its purpose is to entertain.
Writing in informational books is often referred to as expository writing, or writing that explains,
whereas fiction writing is called narrative writing, or writing that tells a story.
Some countries now recognize a type of literature that has elements of both fiction and
nonfiction, called faction. Faction presents accurate factual information on an entertaining rib-
bon of fiction. The popular, science-based Magic School Bus books by Joanna Cole are excellent
examples of faction. In North America, faction is treated as a part of informational literature.

Elements of Informational Literature

Understanding the parts, or elements, of informational books and how they work together can
help you become more analytical about this kind of literature. This knowledge can also improve
your judgment when evaluating and selecting informational literature.

Structure
Structure has to do with how the author organizes the information to be presented. Most infor-
mational literature is structured in one or more of the following ways:

■ Description. The author gives the characteristics of the topic (e.g., Spiders by Nic Bishop).
■ Sequence. The author lists items in order, usually chronologically or numerically (e.g., All
Stations! Distress! April 15, 1912: The Day the Titanic Sank by Don Brown).
■ Comparison. The author juxtaposes two or more entities and lists their similarities and dif-
ferencess (e.g., Wild Tracks! A Guide to Nature’s Footprints by Jim Arnosky).
■ Cause and Effect. The author states an action and then shows the effect, or result, of this ac-
tion (e.g., Blizzard! The Storm That Changed America by Jim Murphy).
■ Problem and Solution (also referred to as Question and Answer). The author states a problem
and its solution or solutions (e.g., What Do You Do with a Tail Like This? by Steve Jenkins and
Robin Page).

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 Informational Books

Some informational books will employ a single text structure; others, particularly longer works,
will employ several.

Theme
Theme in informational literature is the main point made in the work. Although an informational
book may communicate hundreds of facts about a topic, the theme of the
work will answer the question “What’s the point?” (Colman, 1999, p. 221).
Sometimes the theme will be a cognitive concept, such as the way viruses
Go to the Conversations section multiply; in other cases it will be an emotional insight, such as a new or
of Chapter 10 in MyEducationKit deepened awareness of the social injustices that are a part of the history of
to read the interview with James
the United States (e.g., slavery, child labor), as revealed in Deborah Hop-
Cross Giblin.
kinson’s Up Before Daybreak: Cotton and People in America.

Style
Style is how authors and illustrators, with their readers in mind, express themselves in their re-
spective media. Sentence length and complexity, word choice, and formal versus conversational
tone are part of the expository style, as are use of technical vocabulary, captions, and graphic ele-
ments such as tables, charts, illustrations, photographs, diagrams, maps, and indexes. Shelley
Tanaka’s colorful language and use of large, richly colored photographs, maps, sidebars, and a
time line in Mummies: The Newest, Coolest, and Creepiest from Around the World demonstrate how
style can make informational literature more interesting.

Reading Informational Literature

An interesting contradiction concerning informational literature exists in today’s schools. Al-
though school and public library records indicate that informational literature makes up 50 to 85
percent of the circulation of children’s libraries, reading achievement test
scores and research studies indicate that U.S. students in the elementary
grades score better on literary reading (i.e., narrative text) than on infor-
Go to Activity 1 in the Assign- mational reading (i.e., expository text). This can be explained in part be-
ments and Activities section of cause of a lack of classroom experience with informational literature in the
Chapter 10 in MyEducationKit; early grades. See Table 10.1 for research evidence supporting the reading
view the artifacts on students’
of informational books in the elementary grades.
responses to listening to informa-
tional literature read aloud and Studies such as the ones reported in Table 10.1 reveal several critical
respond to the question. points about children and reading informational literature. First, it is only
through repeated experience with a specific genre that one learns how to
read or write that genre. Second, all children, even primary-graders, benefit from learning how
to read and enjoy informational books, since from middle grades through adulthood, most day-
to-day reading demands (textbooks, news reports, instructions, recipes, etc.) are expository.
Third, a key factor in comprehending expository text is that readers learn to relate new informa-

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 Informational Books

Table 10.1 Important Studies on Reading and Informational Literature

Researcher(s) Subjects Findings

Mullis, Martin, Kennedy, 200,000 fourth-graders U.S. students scored lower in informational
& Foy (2007) from forty countries reading than in literary reading and ranked
fifteenth overall among forty participating
countries.
Duke (2000) Twenty first-grade classrooms, Presence of nonfiction texts and use of
ten each from very high nonfiction in class were rare to nonexistent.
and very low SES groups Consequently, students were unable to read and
write informational texts successfully. Findings
applied particularly to low-SES students.
Campbell, Kapinus, & National sample of fourth- Students with experience reading magazines
Beatty (1995) graders and nonfiction had higher average reading
proficiencies than those who never read these
types of materials.

tion found in the text to their own schemata, or prior knowledge on the topic stored in their
minds.
Particularly in the early grades, teachers and librarians may have to take the lead in intro-
ducing informational literature to their students, since parents and caregivers traditionally select
only fiction as read-aloud material. Selecting excellent works of informational literature for
reading aloud and suggesting similar works to parents for at-home reading is a good way to
begin. Calling attention to students’ prior knowledge on a subject and noting the various text
structures while reading will help students learn to read and appreciate this genre. In addition,
informational books can be included and promoted as options in students’ self-choice reading,
added to classroom library collections (Moss & Hendershot, 2002), and used across the curricu-
lum in various ways.

Evaluation and Selection of Informational Books

It is important to remember that not every informational book needs to meet every criterion to
be worthy and that no one book can cover a topic completely. By offering children a variety of
satisfactory books on the same topic to be read and compared, you more than compensate for
the shortcomings of a good-but-not-great book. Selection criteria include the following:
■ Children’s informational literature must be written in a clear, direct, easily understandable
style. In recent years, a tight, compressed, but conversational, writing style has come to be
favored in nonfictional text.
■ Facts must be accurate and current. A reliable check is to compare the information with that
found in other recently published sources on the topic.

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 Informational Books

■ Captions and labels must be clearly written and informative.

■ Informational literature must distinguish between fact, theory, and opinion. When not clearly
stated as such, theories or opinions are flagged by carefully placed phrases such as “maybe,”
“is believed to be,” or “perhaps.”
■ Personification—attributing human qualities to animals, material objects, or natural forces—
should be avoided because the implication is factually inaccurate.
■ Works of informational literature must be attractive to the child. An intriguing cover, impres-
sive or humorous illustrations, and balance of text and illustrations make books look interest-
ing to a child.
■ Presentation of information should be from known to unknown, general to specific, or sim-
ple to more complex to aid conceptual understanding and encourage analytical thinking.
Reference aids such as tables of contents, indexes, pronunciation guides, glossaries, maps,
charts, and tables make information in books easier to find and retrieve, more comprehen-
sible, and more complete.
■ Stereotyping must be avoided. Positive images of cultural diversity should be offered in text
and illustrations.
■ Format and artistic medium should be appropriate to the content. For example, engineered
paper or pop-up illustrations are appropriate when three dimensions are required to give an
accurate sense of placement of the parts of a whole, as in human anatomy.
■ Depth and complexity of subject treatment must be appropriate for the intended audience. If
an explanation must be simplified to the extent that facts must be altered before a child can
begin to understand, perhaps the concept or topic should be taken up when the child is older.
Two award programs offer sources of good informational titles. The NCTE’s Orbis Pictus
Award for Outstanding Nonfiction for Children and the ALA’s Robert F. Sibert Informational
Book Medal spotlight what are considered to be the best works of nonfiction published in the
preceding year.
For a complete listing of the Orbis Pictus and Sibert Award winners, see Appendix A.

Formats of Informational Books

Informational book format has to do with how information is presented on the book page, rather
than with the information itself. The most common distinct formats in which informational
books for children are currently being produced are as follows:
■ Informational Chapter Book. This format features a large amount of text that is organized
into chapters. Graphics and illustrations are common in the more recent nonfiction chapter
books but are still less important than the text. Examples include Blizzard! The Storm That
Changed America by Jim Murphy and Life on Earth—and Beyond by Pamela Turner.
■ Informational Picture Book. This format features large, uncomplicated illustrations and brief
text. The illustrations help to convey the information as discussed in Chapter 5. Examples
include Ox, House, Stick: The History of Our Alphabet by Don Robb, illustrated by Anne
Smith, and The Story of Salt by Mark Kurlansky, illustrated by S. D. Schindler.

197
 Informational Books

E x c e l l e n t I n fo r m a t i o n a l L i t e ra t u re to READ ALOUD

Bartoletti, Susan Campbell. Black Potatoes: The Story of the Great Irish Famine, 1845–1850.
Ages 12–16.
Butterworth, Chris. Sea Horse: The Shyest Horse in the Sea. Illustrated by John Lawrence. Ages
4–8.
Cowley, Joy. Chameleon, Chameleon. Photographs by Nic Bishop. Ages 4–7.
Hopkinson, Deborah. Up Before Daybreak: Cotton and People in America. Ages 9–14.
Jenkins, Steve, and Robin Page. How Many Ways Can You Catch a Fly? Illustrated by Steve
Jenkins. Ages 4–8.
Krupp, Edwin. The Rainbow and You. Illustrated by Robin Krupp. Ages 5–7.
Sayre, April Pulley. Stars Beneath Your Bed: The Surprising Story of Dust. Ages 5–10.
Schlitz, Laura A. Good Masters! Sweet Ladies! Voices from a Medieval Village. Illustrated by
Robert Byrd. Ages 9–13.
Strauss, Rochelle. One Well: The Story of Water on Earth. Illustrated by Rosemary Woods.
Ages 9–14.
Winters, Kay. Colonial Voices: Hear Them Speak. Illustrated by Larry Day. Ages 9–12.

■ Science and Social Science Concept Picture Book. Originally conceived for 4- to 8-year-olds,
this type of book presents one or two scientific or social concepts via brief, uncomplicated
text accompanied by numerous, large illustrations. It also encourages participation by includ-
ing an experiment or hands-on activity. These books are now available for older children as
well. Bugs Are Insects by Anne Rockwell, illustrated by Steve Jenkins, exemplifies the science
concept picture book and is part of the well-known “Let’s-Read-and-Find-Out” series of
books of this kind.
■ Photo Essay. Presentation of information in the photo essay is equally balanced between text
and illustration. Excellent, information-bearing photographs and crisp, condensed writing
style are hallmarks of this format. Photo essays are generally written for children in the in-
termediate grades and up. A good example is Sneeze! by Alexandra Siy, with photographs by
Dennis Kunkel.
■ Fact Books. Presentation of information in these books is mainly through lists, charts, and
tables. Examples include almanacs, books of world records, and sports trivia and statistics
books. For example, see The Guinness Book of World Records.
■ Informational Book Series. These consist of a number of titles that all share a general topic (e.g.,
world cultures), format, writing style, and reading level. A few series, such as the Eyewitness
Books published by Dorling Kindersley, take an omnibus approach and include a wide range
of topics. A series can have a sole author–illustrator team, as is the case with Scholastic’s well-
known Magic Schoolbus series by Joanna Cole, illustrated by Bruce Degen; or each book in the
series can be created by a different author–illustrator team, as in Houghton Mifflin’s Scientists
in the Field series. Informational series are published for all age groups and on topics tailored
to school curricula. See the Informational Book Series section at the end of the Recommended
Informational Books list for some of the best entries in this essential category.

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 Informational Books

Historical Overview of Informational Literature

The history of children’s informational literature begins in 1657 with the publication of John
Amos Comenius’s Orbis Pictus (The World in Pictures). Not only was this the first children’s pic-
ture book, but it was also an informational book. This auspicious beginning for informational
literature was cut short, however, by the Puritan Movement. For nearly 200 years the vast majority
of books published for and read by children were intended more for moralistic instruction than
for information.
Although informational books continued to be written in the eighteenth and nineteenth
centuries, much of the growth and development of this genre occurred in the latter half of the
twentieth century.
Rapid development of informational literature as a genre began in the 1950s and 1960s in
response to the launching of Sputnik, the first artificial space satellite, by the former Soviet Union.
Competing in the race for space exploration and new technology, the U.S. Congress funneled
money into science education, and publishers responded with new and improved science trade
books. (See Milestones in the Development of Informational Literature.) Particularly noteworthy
are the introduction of informational picture books for primary grades and the trend toward
more illustrations and less text in informational books for all levels.
As the stature of informational literature rose and more top-flight authors and illustrators
were engaged in its production, the quality of research, writing, and art in these books improved.
A lighter, yet factual, tone balanced with high-quality, informative illustrations and graphics
emerged as the preferred nonfiction style (Elleman, 1987).
In 1990, the National Council of Teachers of English established the Orbis Pictus Award
for Outstanding Nonfiction for Children. Named in honor of Comenius’s book written
some 300 years earlier, this award program signaled how far children’s nonfiction had come.
In 2001, the Robert F. Sibert Informational Book Medal, sponsored by the American Library
Association, was established, further documenting the acceptance of informational liter-
ature as an equal player in the field of children’s literature. One of the most noticeable and
significant trends in the development of informational books in the last decade is the bur-
geoning growth of informational series books. With so many informational titles available to
support school curricula, perhaps U.S. students will increase their proficiency in informational
reading.

Topics of Informational Books

Although informational literature is confined to just one chapter in this
book, it is one of the largest single genres in children’s literature, in that
everything known to humankind is a conceivable topic. Organization of
Go to Activity 2 in the Assignments such an enormous variety of topics could, of course, be done in a variety
and Activities section of Chapter 10 in of ways, one of which is the scientific approach used here. The world of
MyEducationKit; complete the activ-
information is divided into the biological, the physical, the social, and the
ity on selecting informational books.
applied sciences; the humanities are dealt with separately.

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M I L E S T O N E S in the Development of Informational Literature

Date Book Significance
1657 Orbis Pictus by John Amos Comenius First known work of nonfiction for children
1683 New England Primer First concept book for American children;
reflected didacticism of the Puritan era
1922 The Story of Mankind by Won the first Newbery Medal; greatly
Hendrik Van Loon influenced children’s books with its lively
style and creative approach
1960 Let’s-Read-and-Find-Out series by Introduced the science concept picture book
Franklyn Branley and Roma Gans for young children
1990 Orbis Pictus Award for Informational literature as a genre is
Nonfiction established recognized
2001 Robert F. Sibert Informational Informational literature as a genre is further
Book Medal established recognized

Biological Science
Biological science deals with living organisms and the laws and phenomena that relate to any
organism or group of organisms. Topics within this field that interest primary- and intermediate-
graders are dinosaurs, pets, wild animals, ecology, and the environment. A Dinosaur Named Sue:
The Story of the Colossal Fossil: The World’s Most Complete T. Rex by Pat Relf is a good example.
A subtopic of biological science that deserves special attention is human anatomy and sexual-
ity. Young children are naturally interested in their bodies, and as they grow into puberty, they
become interested in sex. Experts in the field of sex education suggest that honest, straightforward
answers to children’s questions about their bodies, bodily functions, sex, and sexual orientation
are best. Books on these topics are not necessarily appropriate for use in schools in the elementary
grades, but rather for use by parents who want a resource to share with their children. Teachers
and librarians should be able to recommend age-appropriate books on these topics, if asked by
parents. Robie Harris’s book, It’s Not the Stork! A Book about Girls, Boys, Babies, Bodies, Families,
and Friends illustrated by Michael Emberley, is a good example.

Physical Science
Physical science, sometimes referred to as natural science, deals primarily with nonliving materi-
als. Rocks, landforms, oceans, the stars, and the atmosphere and its weather and seasons are all
likely topics that children could learn about within the fields of geology, geography, oceanography,
astronomy, and meteorology. Not only will children be able to satisfy their curiosity about such
topics as volcanoes and earthquakes, but teachers will also find the many books about the planets
and our solar system helpful in presenting these topics in class. Christopher Harbo’s The Explosive
World of Volcanoes with Max Axiom, Super Scientist, is an interesting example presented in comic
book format.

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Notable Authors and Illustrators

of Informational Literature

Nic Bishop, author/illustrator known for extreme Steve Jenkins, author/illustrator known for color-
close-up photographs of inhabitants of the ful, textural cut-paper collage illustrations
natural world. Spiders; Frogs; Red-Eyed Tree in informative picture books about living
Frog (with Joy Cowley). www.nicbishop.com creatures. Living Color; Dogs and Cats. www
Susan Campbell Bartoletti, author of informa- .stevejenkinsbooks.com
tional books about young people during his- David Macaulay, author/illustrator of several
toric periods of oppression. Hitler Youth: books of faction about construction of
Growing Up in Hitler’s Shadow; Black Potatoes: monumental buildings and informational
The Story of the Great Irish Famine, 1845–1850. picture books for older readers. Cathedral:
www.scbartoletti.com The Story of Its Construction; Building Big.
Joanna Cole, author of a variety of informational www.davidmacaulay.com
books for beginning independent readers. Jim Murphy, author of informational chapter
Magic School Bus series. books about events in U.S. history. An Ameri-
Russell Freedman, author of informational books can Plague: The True and Terrifying Story of the
about U.S. history. Who Was First? Discovering Yellow Fever Epidemic of 1793; The Great Fire.
the Americas; Children of the Wild West. www.jimmurphybooks.com
James Cross Giblin, author of informational Stuart J. Murphy, creator of the MathStart series
books about the social implications of cultural of informational picture books on the subject
developments and inventions. Secrets of the of mathematics. www.stuartjmurphy.com
Sphinx; When Plague Strikes: The Black Death,
Smallpox, AIDS.

Social Science
Social science deals with the institutions and functioning of human society and the interper-
sonal relationships of individuals as members of society. Through books in this field children
can learn about various forms of government, religions, different countries and their cultures,
money, and transportation. Most children have a natural interest in books about careers, family
relationships, and leisure activities and will appreciate finding answers to their questions without
always having to ask an adult. An example is What the World Eats by Faith D’Aluisio and Peter
Menzel.
Bibliotherapy is the use of books by professionally trained therapists to treat emotionally dis-
turbed individuals. Most teachers and librarians are not trained as psychologists, and misguided
bibliotherapy may be unhelpful or even harmful to students. On the other hand, we know that stu-
dents benefit psychologically from reading and talking about powerful stories and the thoughts,
feelings, and actions of characters in these stories. Discovering that others, real or imaginary, have
faced problems similar to their own is reassuring to children. Furthermore, we all benefit from
knowing what to do when faced with troubling or problematic situations.
Books offering help, support, and guidance to young people can be found in all genres.
Fictional stories, particularly realistic fiction, show how imaginary children overcome or cope
with their problems; biographies often present real examples of the same. Informational books

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help children by naming and defining problems and problematic behaviors and telling them
what actions to take to get help or to cope with the problem. The How Can I Deal With . . . series
(Smart Apple Media) offers case studies and helpful advice to children on the subjects of bul-
lying, new babies in the family, divorce, stepfamilies, death, and racism. Two outstanding series
for older students, Issues in Focus Today (Enslow) and Issues that Concern You (Greenhaven),
discuss the problems associated with abortion, addictions, body image and obesity, abuse, bul-
lying, discrimination, gangs, and sexuality, among others.
Books shared by sensitive and caring teachers and librarians may help students to develop
understanding and empathy for others or acknowledge their own unkind behaviors. Bibliotherapy
as a professional treatment, however, should be left to trained therapists.

Applied Science
Applied science deals with the practical applications of pure science that people have de-
vised. All machines, for example—from simple levers to supercomputers, from bicycles to
space rockets—are part of this field, and many children are naturally interested in finding
out how they work. Interest in the applied sciences can be developed in children by point-
ing out how their lives are affected by these applications. For example, children get sick, and
medicine helps to cure them. How? Children get hungry, and food appears. What are the pro-
cesses by which the food is produced, prepared, packaged, and marketed? Children like toys
and buy them in stores. Who designs the toys and how are they manufactured? The answers
to questions like these can be found in today’s informational literature. For example, see Sky-
scrapers by Lynn Curlee and Go! The Whole World of Transportation by Andrea Mills and Phil
Hunt.
A specific type of book within the applied sciences—the experiment or how-to book—
capitalizes on children’s natural curiosity and fondness for hands-on activities. Its contents range
from directions for conducting various scientific experiments to cookbooks, guides to hobbies,
and directions for small construction projects, like clubhouses. For example, see Chemistry Science
Fair Projects Using French Fries, Gumdrops, Soap, and Other Organic Stuff by Robert Gardner and
Barbara G. Conklin.

Humanities
The humanities deal with the branches of learning that primarily have a cultural or artistic char-
acter. Of greatest interest to children and their teachers are books about the fine arts of drawing,
painting, and sculpture; the performing arts of singing, dancing, making instrumental music, and
acting; and handicrafts of all sorts. Since many children are artistically creative and often study
dance, music, and drawing, they can be led to read about the arts and artists to learn new tech-
niques or to draw inspiration from the experiences of others. Some might read these books to
decide whether they are interested in trying to develop their artistic talents. Some books make
the arts more accessible or real to children by explaining what to look for in paintings, for example,
or by revealing the hard work required of an artist to achieve a spectacular performance or an
intriguing work of art, as in Artist to Artist: 23 Major Illustrators Talk to Children about Their Art
published by the Eric Carle Museum of Picture Book Art.

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Today’s nonfictional literature for children is able to meet the needs and interests of young readers
in quality, variety, and reader appeal. With these books, children’s appetites for learning can be
fed while their curiosity for more information is piqued.

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Select an age-appropriate text set of informational books on a science- or math-

related topic under study in a classroom. Booktalk these titles to the class, then
make the books available for browsing. Note students’ responses to these books
through observation and interviews.
■ Investigate all books in one of the informational book series listed in the Recom-
mended Informational Books list. Evaluate these books in terms of their support
of the curricular area indicated, their content, and their likely appeal to children.
■ Books for young people about evolution are met with opposition in some communi-
ties. Explain your stand on the issue of making books on this subject available to
children.
■ Locate and read books for elementary and middle-school students on the subject
of sex that are available in your local school or public library. What is your stand
on whether these books should be made available to young people?
■ Investigate the idea of pairing informational books with other genres as part of a
literature unit. Choose a topic and grade level and generate a text set of 10–12
age-appropriate books containing a balance of fiction, biography, and informational
books.

References
Campbell, J. R., Kapinus, B., & Beatty, A. S. (1995). Jansen, M. (1987). A little about language, words, and
Interviewing children about their literacy experi- concepts—Or what may happen when children
ences. Data from NAEP’s integrated reading per- learn to read. Translated by Lotte Rosbak Juhl.
formance record at grade 4. Washington, DC: U.S. Dragör, Denmark: Landsforeningen af Læsepæda-
Department of Education. goger.
Colman, P. (1999). Nonfiction is literature, too. The Moss, B., & Hendershot, J. (2002). Exploring sixth
New Advocate, 12(3), 215–223. graders’ selection of nonfiction trade books. The
Duke, N. K. (2000). 3.6 minutes a day: The scarcity of Reading Teacher, 56(1), 6–17.
informational texts in first grade. Reading Research Mullis, I. V. S., Martin, M. O., Kennedy, A. M., & Foy,
Quarterly, 35(2), 202–225. P. (2007). IEA’s Progress in International Reading
Elleman, B. (1987). Current trends in literature for chil- Literacy Study in Primary School in 40 Countries:
dren. Library Trends, 35(3), 413–426. PIRLS 2006 International Report. Boston, MA:

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 Informational Books

TIMSS & PIRLS International Study Center, Bos- Untermeyer, L. (1985). Questions at night. In L. Unter-
ton College. (Retrievable at http://timssandpirls meyer (Selector), Rainbow in the sky. San Diego:
.bc.edu/pirls2006/intl_rpt.html) Harcourt.

Recommended Informational Books

Ages indicated refer to content appropriateness and Farrell, Jeanette. Invisible Allies: Microbes That Shape
conceptual and interest levels. Formats other than in- Our Lives. Farrar, 2005. Ages 12–18. Also Invisible
formational chapter books will be coded as follows: Enemies: Stories of Infectious Disease, 2005.
(PI) Picture book Fisher, Aileen. The Story Goes On. Illustrated by Mique
(COL) Short story collection Moriuchi. Roaring Brook, 2005. (PI) Ages 4–7.
(GR) Graphic novel Fleischman, John. Phineas Gage: A Gruesome but True
Story about Brain Science. Houghton, 2002. Ages
12–14.
Biological Science
Frost, Helen. Monarch and Milkweed. Illustrated by Le-
Arnosky, Jim. Wild Tracks! A Guide to Nature’s Foot- onid Gore. Atheneum, 2008. (PI) Ages 4–7.
prints. Sterling, 2008. Ages 7–11. Gamlin, Linda. Eyewitness Science: Evolution. DK Pub-
Bishop, Nic. Digging for Bird Dinosaurs: An Expedition lishing, 2000. Ages 8–12.
to Madagascar. Houghton, 2000. Ages 9–14. Harris, Robie H. It’s Not the Stork! A Book about Girls,
———. Frogs. Scholastic, 2008. (PI) Ages 5–7. Boys, Babies, Bodies, Families, and Friends. Illus-
———. Spiders. Scholastic, 2007. (PI) Ages 8–10. trated by Michael Emberley. Candlewick, 2006.
Bonner, Hannah. When Fish Got Feet, Sharks Got Teeth, Ages 5–9. For parents to use with children.
and Bugs Began to Swarm: A Cartoon Prehistory of ———. It’s Perfectly Normal: A Book about Changing
Life Long Before Dinosaurs. National Geographic, Bodies, Growing Up, Sex, and Sexual Health. Il-
2007. (PI) Ages 8–11. lustrated by Michael Emberley. Candlewick, 1994.
Butler, Dori Hillestad. My Mom’s Having a Baby. Illus- Ages 11–14.
trated by Carol Thompson. Albert Whitman, 2005. ———. It’s So Amazing! A Book about Eggs, Sperm,
(PI) Ages 7–9. Birth, Babies and Families. Illustrated by Michael
Butterworth, Chris. Sea Horse: The Shyest Horse in the Emberley. Candlewick, 1999. Ages 7–12. For par-
Sea. Illustrated by John Lawrence. Candlewick, ents to use with children.
2006. (PI) Ages 4–8. Hatkoff, Isabella, Craig Hatkoff, and Paula Kahumbu.
Cole, Joanna. The Magic Schoolbus Explores the Senses. Owen & Mzee: The True Story of a Remarkable
Illustrated by Bruce Degen. Scholastic, 1999. Ages Friendship. Photography by Peter Greste. Scholas-
7–9. tic, 2006. Ages 5–12. Photoessay. Sequel is Owen &
Collard, Sneed. Pocket Babies and Other Amazing Mar- Mzee: The Language of Friendship, 2007.
supials. Darby Creek, 2007. Ages 8–12. Jenkins, Steve. Almost Gone: The World’s Rarest Ani-
———. The Prairie Builders: Reconstructing America’s mals. HarperCollins, 2006. (PI) Ages 5–8.
Lost Grasslands. Houghton, 2005. Ages 10–14. ———. Dogs and Cats. Houghton, 2007. (PI) Ages
Cowley, Joy. Chameleon, Chameleon. Photographs by 5–11. (Also a toy book.)
Nic Bishop. Scholastic, 2005. (PI) Ages 4–7. ———. Life on Earth: The Story of Evolution. Hough-
———. Red-Eyed Tree Frog. Photographs by Nic ton, 2002. (PI) Ages 8–11.
Bishop. Scholastic, 1999. Ages 6–9. ———. Living Color. Houghton, 2007. (PI) Ages
Davies, Nicola. Extreme Animals: The Toughest Crea- 5–10.
tures on Earth. Illustrated by Neal Layton. Candle- ———. Prehistoric Actual Size. Houghton, 2005. (PI)
wick, 2006. (PI) Ages 8–10. Ages 5–10.

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 Informational Books

———, and Robin Page. How Many Ways Can You Siy, Alexandra. Sneeze! Photographs by Dennis Kunkel.
Catch a Fly? Illustrated by Steve Jenkins. Hough- Charlesbridge, 2007. Ages 9–18.
ton, 2008. (PI) Ages 4–8. Sloan, Christopher. The Human Story: Our Evolution
———. Move! Illustrated by Steve Jenkins. Houghton, from Prehistoric Ancestors to Today. Photography
2006. (PI) Ages 4–7. by Kenneth Garrett. Illustrated by Alfons Kennis
———. What Do You Do with a Tail Like This? Hough- and Adrie Kennis. National Geographic, 2004.
ton, 2003. (PI) Ages 4–7. Ages 11–18.
Kurlansky, Mark. The Cod’s Tale. Illustrated by S. D. Turner, Pamela S. Gorilla Doctors: Saving Endangered
Schindler. Penguin, 2001. (PI) Ages 8–12. Great Apes. Houghton, 2005. Ages 10–14.
Larson, Peter, and Kristin Donnan. Bones Rock! Every- ———. Life on Earth—and Beyond. Charlesbridge,
thing You Need to Know to Be a Paleontologist. 2008. Ages 10–13.
Invisible Cities, 2004. Ages 11–14. Walker, Sally M. Fossil Fish Found Alive: Discovering
Mannis, Celeste D. Snapshots: The Wonders of Monterey the Coelacanth. Carolrhoda, 2002. Ages 10–13.
Bay. Viking, 2006. Ages 6–10.
Markle, Sandra. Little Lost Bat. Illustrated by Alan
Physical Science
Marks. Charlesbridge, 2006. (PI) Ages 6–10.
Montgomery, Sy. Search for the Golden Moon Bear: Sci- Arnosky, Jim. Wild and Swampy. HarperCollins, 2000.
ence and Adventure in the Asian Tropics. Hough- (PI) Ages 7–10.
ton, 2004. Ages 11–18. Branley, Franklyn M. The Planets in Our Solar System.
———. The Tarantula Scientist. Photography by Nic Illustrated by Kevin O’Malley. HarperCollins,
Bishop. Houghton, 2004. Ages 11–14. 1998. (PI) Ages 6–8.
Page, Robin, and Steve Jenkins. Sisters and Brothers: Burns, Loree G. Tracking Trash: Flotsam, Jetsam, and
Sibling Relationships in the Animal World. Illus- the Science of Ocean Motion. Houghton, 2007.
trated by Steve Jenkins. Houghton, 2008. (PI) Ages Ages 10–13.
7–9. Godkin, Celia. Fire! Fitzhenry & Whiteside, 2006. (PI)
Pericoli, Matteo. The True Story of Stellina. Knopf, Ages 6–9.
2006. (PI) Ages 4–9. Gore, Al. An Inconvenient Truth: The Crisis of Global
Relf, Pat. A Dinosaur Named Sue: The Story of the Co- Warming. Adapted by Jane O’Connor. Viking,
lossal Fossil: The World’s Most Complete T. Rex. 2007. Ages 10–13.
Scholastic, 2000. Ages 12–14. Grace, Catherine. Forces of Nature: The Awesome Power
Rockwell, Anne. Bugs Are Insects. Illustrated by Steve of Volcanoes, Earthquakes, and Tornadoes. Na-
Jenkins. HarperCollins, 2001. (PI) Ages 3–6. tional Geographic, 2004. Ages 11–14.
Romanek, Trudee. Squirt! The Most Interesting Book Harbo, Christopher L. The Explosive World of Volca-
You’ll Ever Read about Blood. Illustrated by Rose noes with Max Axiom, Super Scientist. Capstone,
Cowler. Kids Can, 2006. Ages 9–12. 2008. (GR) Ages 9–12.
Sayre, April Pulley. Stars Beneath Your Bed: The Sur- Krupp, Edwin. The Rainbow and You. Illustrated by
prising Story of Dust. Illustrated by Ann Jonas. Robin Krupp. HarperCollins, 2000. Ages 5–7.
Greenwillow, 2005. (PI) Ages 5–10. Murphy, Jim. Blizzard! The Storm That Changed Amer-
Schlosser, Eric, and Charles Wilson. Chew on This: ica. Scholastic, 2000. Ages 10–14.
Everything You Didn’t Want to Know about Fast Prager, Ellen J. Sand. Illustrated by Nancy Woodman.
Food. Houghton, 2006. Ages 12–14. National Geographic, 2000. Ages 4–8.
Schulman, Janet. Pale Male: Citizen Hawk of New York Strauss, Rochelle. One Well: The Story of Water on
City. Illustrated by Meilo So. Knopf, 2008. (PI) Earth. Illustrated by Rosemary Woods. Kids Can,
Ages 5–10. 2007. (PI) Ages 9–14.
Simon, Seymour. Guts: Our Digestive System. Harper- Treaster, Joseph B. Hurricane Force: In the Path of Amer-
Collins, 2005. (PI) Ages 9–14. ica’s Killer Storms. Kingfisher, 2007. Ages 9–13.
Singer, Marilyn. What Stinks? Darby Creek, 2006. (PI) Wick, Walter. A Drop of Water: A Book of Science and
Ages 9–12. Wonder. Scholastic, 1997. Ages 8–11.

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 Informational Books

Social Science Freedman, Russell. Children of the Great Depression.

Clarion, 2005. Ages 11–14.
Adkins, Jan. What If You Met a Pirate? Roaring Brook,
———. In Defense of Liberty: The Story of America’s
2004. (PI) Ages 7–10.
Bill of Rights. Holiday, 2003. Ages 10–14.
Allen, Thomas B. George Washington, Spymaster: How
the Americans Outspied the British and Won the ———. Freedom Walkers: The Story of the Montgom-
Revolutionary War. National Geographic, 2004. ery Bus Boycott. Holiday, 2006. Ages 9–13.
Ages 11–14. ———. Kids at Work: Lewis Hine and the Crusade
Ambrose, Stephen E. The Good Fight: How World War against Child Labor. Photos by Lewis Hine. Clar-
II Was Won. Atheneum, 2001. Ages 11–14. ion, 1994. Ages 9–12.
Ancona, George. Charro: The Mexican Cowboy. Har- ———. Who Was First? Discovering the Americas.
court, 1999. Ages 8–10. Clarion, 2007. Ages 10–14.
Armstrong, Jennifer. The American Story: 100 True Gaskins, Pearl Fuyo. What Are You? Voices of Mixed-
Tales from American History. Illustrated by Roger Race Young People. Holt, 1999. Ages 13–16.
Roth. Knopf, 2006. Ages 9–13. Gibbons, Gail. My Baseball Book. HarperCollins, 2000.
Bartoletti, Susan Campbell. Black Potatoes: The Story (PI) Ages 4–8.
of the Great Irish Famine, 1845–1850. Houghton, Giblin, James Cross. Secrets of the Sphinx. Illustrated by
2001. Ages 12–16. Bagram Ibatoulline. Scholastic, 2004. Ages 9–12.
———. Kids on Strike. Houghton, 1999. Ages 11–16. ———. When Plague Strikes: The Black Death,
Bial, Raymond. Tenement: Immigrant Life on the Lower Smallpox, AIDS. Illustrated by David Frampton.
East Side. Houghton, 2002. Ages 9–14. HarperCollins, 1995. Ages 12–16.
Blacklock, Dyan. The Roman Army: The Legendary Sol- Goodman, Joan Elizabeth. A Long and Uncertain Jour-
diers Who Created an Empire. Illustrated by David ney: The 27,000-Mile Voyage of Vasco da Gama.
Kannett. Walker, 2004. (PI) Ages 11–14. Illustrated by Tom McNeely. Mikaya/Firefly, 2001.
Blumenthal, Karen. Let Me Play: The Story of Title (PI) Ages 11–14.
IX: The Law That Changed the Future of Girls in Greenfield, Howard. After the Holocaust. Greenwillow,
America. Atheneum, 2005. Ages 12–14. 2001. Ages 12–16. Oral histories.
Bober, Natalie S. Countdown to Independence: A Revo- The Guinness Book of World Records. Guinness Media,
lution of Ideas in England and Her American Colo- Inc. Published annually. Ages 7–13.
nies: 1760–1776. Atheneum, 2001. Ages 12–16. Hill, Laban C. Harlem Stomp! A Cultural History of
Brown, Don. All Stations! Distress! April 15, 1912: The the Harlem Renaissance. Little, Brown, 2004. Ages
Day the Titanic Sank. Roaring Brook, 2008. (PI) 11–14.
Ages 6–12. Hinds, Kathryn. The City. Cavendish, 2000. Ages 11–14.
D’Aluisio, Faith, and Peter Menzel. What the World See others in Life in the Middle Ages series.
Eats. Tricycle, 2008. Ages 9–13. Hoose, Phillip. The Race to Save the Lord God Bird.
Deems, James M. Bodies from the Ash: Life and Death Farrar, 2004. Ages 11–14.
in Ancient Pompeii. Houghton, 2005. Ages 10–14. ———. We Were There, Too! Young People in U.S.
Ellis, Deborah. Our Stories, Our Songs: African Chil- History. Farrar, 2001. Ages 10–13.
dren Talk about AIDS. Fitzhenry & Whiteside, Hopkinson, Deborah. Shutting Out the Sky: Life in the
2005. Ages 12–14. Tenements of New York 1880–1924. Scholastic,
Floca, Brian. Lightship. Atheneum, 2007. (PI) Ages 5–7. 2003. Ages 11–14.
Fradin, Dennis Brindell. Let It Begin Here! Lexington ———. Up Before Daybreak: Cotton and People in
and Concord: First Battles of the American Revolu- America. Scholastic, 2006. Ages 9–14.
tion. Illustrated by Larry Day. Walker, 2005. (PI) Janeczko, Paul B. Top Secret: A Handbook of Codes,
Ages 6–10. Ciphers, and Secret Writing. Illustrated by Jenna
Frank, Mitch. Understanding the Holy Land: Answering LaReau. Candlewick, 2004. Ages 9–14.
Questions about the Israeli-Palestinian Conflict. Jenkins, Steve. The Top of the World: Climbing Mount
Viking, 2005. Ages 12–14. Everest. Houghton, 1999. Ages 9–12.

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Kalman, Maira. Fireboat: The Heroic Adventures of the Patent, Dorothy Henshaw. The Buffalo and the Indians:
John J. Harvey. Putnam, 2002. (PI) Ages 6–8. A Shared Destiny. Illustrated by William Muños.
Kuklin, Susan. Families. Hyperion, 2006. (PI) Ages Clarion, 2006. Ages 9–14. Photoessay.
5–10. Peters, Stephanie T. The Battle Against Polio. Bench-
Kurlansky, Mark. The Story of Salt. Illustrated by S. D. mark, 2004. Ages 10–14. Also in the proposed
Schindler. Putnam, 2006. (PI) Ages 8–11. (Also a five-part Epidemic! set are The 1918 Influenza Pan-
physical science book.) demic; Smallpox in the New World; and The Black
Lauber, Patricia. Who Came First? New Clues to Prehis- Death.
toric Americans. National Geographic, 2003. Ages Philbrick, Nathaniel. Revenge of the Whale: The True
10–14. Story of the Whaleship Essex. Putnam, 2002. Ages
Macy, Sue. Swifter, Higher, Stronger: A Photographic 12–14.
History of the Summer Olympics. National Geo- Philip, Neil. The Great Circle: A History of the First Na-
graphic, 2004. Ages 11–14. tions. Clarion, 2006. Ages 11–15.
Markle, Sandra. Rescues! Lerner, 2006. Ages 9–13. Rappaport, Doreen. Lady Liberty: A Biography. Illus-
Marrin, Albert. Oh, Rats! The Story of Rats and People. trated by Matt Tavares. Candlewick, 2008. (PI)
Illustrated by C. B. Mordan. Dutton, 2006. Ages Ages 7–10.
8–12. Robb, Don. Ox, House, Stick: The History of Our Al-
Martin, Bill, Jr., and Michael Sampson. I Pledge Al- phabet. Illustrated by Anne Smith. Charlesbridge,
legiance: The Pledge of Allegiance. Illustrated 2007. (PI) Ages 9–12.
by Chris Raschka. Candlewick, 2002. (PI) Ages Schlitz, Laura A. Good Masters! Sweet Ladies! Voices
6–9. from a Medieval Village. Illustrated by Robert
McWhorter, Diane. A Dream of Freedom: The Civil Byrd. Candlewick, 2007. Ages 9–13.
Rights Movement from 1954 to 1968. Scholastic, Sloan, Christopher. Bury the Dead: Tombs, Corpses,
2004. Ages 10–14. Mummies, Skeletons and Rituals. National Geo-
Meyer, Don, editor. The Sibling Slam Book: What It’s graphic, 2002. Ages 10–14.
Really Like to Have a Brother or Sister with Special St. George, Judith. The Journey of the One and Only
Needs. Woodbine, 2005. Ages 12–14. Declaration of Independence. Illustrated by Will
Morris, Ann. Families. HarperCollins, 2000. Ages 4–7. Hillenbrand. Philomel, 2005. (PI) Ages 10–13.
Photoessay. ———. So You Want to Be President? Illustrated by
Murphy, Jim. An American Plague: The True and Ter- David Small. Philomel, 2000. Ages 7–10. (Also a
rifying Story of the Yellow Fever Epidemic of 1793. biography.)
Clarion, 2003. Ages 9–14. Tanaka, Shelley. Mummies: The Newest, Coolest, and
———. The Great Fire. Scholastic, 1995. Ages 10–14. Creepiest from Around the World. Abrams, 2005.
———. Inside the Alamo. Delacorte, 2003. Ages 9–14. Ages 9–13.
National Children’s Book and Literary Alliance. Our Walker, Sally M. Secrets of a Civil War Submarine:
White House: Looking In and Looking Out. Can- Solving the Mysteries of the H. L. Hunley. Carol-
dlewick, 2008. (PI) Ages 9–13. rhoda, 2005. Ages 12–14.
Nelson, Kadir. We Are the Ship: The Story of Ne- Winters, Kay. Colonial Voices: Hear Them Speak. Illus-
gro League Baseball. Hyperion, 2008. (PI) Ages trated by Larry Day. Dutton, 2008. (PI) Ages 9–12.
9–13.
Nevius, Carol. Karate Hour. Illustrated by Bill Thom-
Applied Science
son. Marshall Cavendish, 2004. (PI) Ages 5–10.
Olson, Tod. How to Get Rich in the California Gold Abramson, Andra S. Heavy Equipment Up Close. Ster-
Rush: An Adventurer’s Guide to the Fabulous ling, 2008. (PI) Ages 7–9.
Riches Discovered in 1848. Illustrated by Scott Ball, Johnny. Go Figure! A Totally Cool Book about
Allred. National Geographic, 2008. Ages 9–13. Numbers. DK Publishing, 2005. Ages 10–14.
Osborne, Mary Pope. Pompeii: Lost & Found. Illus- Carson, Mary Kay. Exploring the Solar System: A His-
trated by Bonnie Christensen. Knopf, 2006. (PI) tory with 22 Activities. Chicago Review, 2006. Ages
Ages 7–12. 11–14.

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 Informational Books

Curlee, Lynn. Capital. Atheneum, 2003. (PI) Ages Humanities

7–11.
Aliki. Ah, Music! HarperCollins, 2003. (PI) Ages
———. Parthenon. Atheneum, 2004. (PI) Ages 11–14.
6–9.
———. Skyscrapers. Atheneum, 2007. Ages 9–13.
Bull, Jane. The Crafty Art Book. Dorling Kindersley,
Dash, Joan. The Longitude Prize. Illustrated by Dus̆an
2004. Ages 8–10.
Petricic. Farrar, 2000. (PI) Ages 6–13.
Christelow, Eileen. What Do Illustrators Do? Clarion,
Fisher, Valorie. How High Can a Dinosaur Count? And
1999. Ages 6–10.
Other Math Mysteries. Random, 2006. (PI) Ages
Cummings, Pat, compiler–editor. Talking with Artists,
6–10.
Vol. 1. Illustrated by various artists. Bradbury,
Gardner, Robert, and Barbara G. Conklin, Chemistry
1992. Ages 8–12. Vol. 2, 1995; Vol. 3, 1999.
Science Fair Projects Using French Fries, Gum-
drops, Soap, and Other Organic Stuff. Enslow, Eric Carle Museum of Picture Book Art. Artist to Artist:
2004. Ages 11–14. 23 Major Illustrators Talk to Children about Their
Giblin, James Cross. Secrets of the Sphinx. Illustrated Art. Philomel, 2007. Ages 9–18.
by Bagram Ibatoulline. Scholastic, 2004. Ages Fritz, Jean. Leonardo’s Horse. Illustrated by Hudson
11–14. Talbot. Putnam, 2001. Ages 9–13.
Hakim, Joy. The Story of Science: Aristotle Leads the Govenar, Alan. Extraordinary Ordinary People: Five
Way. Smithsonian, 2004. Ages 11–14. Also in The American Masters of Traditional Arts. Candlewick,
Story of Science series is Newton at the Center, 2006. Ages 12–15.
2005. Helsby, Genevieve. Those Amazing Musical Instru-
Jackson, Donna M. ER Vets: Life in an Animal Emer- ments! Sourcebooks, 2007. Ages 9–14. (Includes
gency Room. Houghton, 2005. Ages 12–14. CD.)
Katzen, Mollie. Salad People and More Real Recipes. Levine, Gail Carson. Writing Magic: Creating Stories
Tricycle Press, 2005. Ages 5–8. That Fly. HarperCollins, 2006. Ages 9–12.
Leedy, Loreen. The Great Graph Contest. Holiday, 2005. Lipsey, Jennifer. I Love to Finger Paint! Sterling/Lark,
(PI) Ages 6–8. 2006. Ages 6–8.
Macaulay, David. Building Big. Houghton, 2000. (PI) Marcus, Leonard S. The Wand in the Word: Conversa-
Ages 12–16. tions with Writers of Fantasy. Candlewick, 2006.
———. Cathedral: The Story of Its Construction. Ages 11–14.
Houghton, 1973. (PI) Ages 10–16. Raczka, Bob. Here’s Looking at Me: How Artists See
———. Mosque. Houghton, 2003. (PI) Ages 12–16. Themselves. Lerner, 2006. Ages 8–11.
———. The Way Things Work. Houghton, 1988. Ages Ruggi, Gilda W. The Art Book for Children. Phaidon,
10–15. [CD-ROM version: Dorling Kindersley, 2005. Ages 7–9.
1995.] Sayre, Henry. Cave Paintings to Picasso: The Inside
Mills, Andrea, and Phil Hunt. Go! The Whole World Scoop on 50 Art Masterpieces. Chronicle, 2004.
of Transportation. Dorling Kindersley, 2006. Ages Ages 11–14.
8–12. Swett, Sarah. Kids Weaving: Projects for Kids of All
Ridley, Sarah. A Metal Can. Gareth Stevens, 2006. Ages Ages. Photography by Chris Hartlove. Illustrated
7–9. by Lena Corwin. Stewart, Tabori & Chang, 2005.
Ross, Val. The Road to There: Mapmakers and Their Ages 7–13.
Stories. Tundra, 2003. Ages 12–16. Todd, Mark, and Esther P. Watson. Whatcha Mean,
Severance, John. Skyscrapers: How America Grew Up. What’s a Zine? The Art of Making Zines and Mini-
Holiday, 2000. Ages 10–14. Comics. Houghton, 2006. Ages 11–18.
Skurzynski, Gloria. Are We Alone? Scientists Search for Warhola, James. Uncle Andy’s: A Faabbbulous Visit with
Life in Space. National Geographic, 2004. Ages Andy Warhol. Putnam, 2003. (PI) Ages 5–8.
10–14. Wolf, Allan. Immersed in Verse: An Informative, Slightly
Sullivan, George. Built to Last: Building America’s Irreverent & Totally Tremendous Guide to Living
Amazing Bridges, Dams, Tunnels, and Skyscrap- the Poet’s Life. Illustrated by Tuesday Mourning.
ers. Scholastic, 2005. Ages 12–16. Lark Books, 2006. Ages 12–14.

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 Informational Books

Informational Book Series History

America’s Living History series. Enslow. Ages 9–14.
Art
Kids’ Translations series. Capstone. Ages 8–12. (The
My Very Favorite Art Book series. Sterling/Lark. Ages
“translations” are of important American histori-
6–8.
cal documents.)
Start-Up Art and Design series. Cherrytree. Ages
7–10.
Mathematics
Count the Critters series. ABDO. Ages 5–7.
Bilingual
Real World Math series. Cherry Lake. Ages 9–11.
Animal Clues/¿Adivina de quién es? series. Rosen. Ages
Sir Cumference Math Adventures series. Charlesbridge.
4–7.
Ages 9–11.
Animales opuestos/Animal Opposites series. Capstone.
Ages 4–7.
Science
Everyday Wonders/Maravillas de todos los días series.
Discovery! series. Lerner. Ages 11–15.
Rosen. Ages 4–7.
Face to Face with Animals series. National Geographic.
Ages 7–10.
Environment
How It’s Made series. Gareth Stevens. Ages 7–9.
One Small Step series. Smart Apple Media. Ages 7–10.
Max Axiom series. Capstone. Ages 9–12.
Saving Our Living Earth series. Lerner. Ages 10–14.
Nic Bishop Science series. Scholastic. Ages 5–7.
Scientists in the Field series. Houghton. Ages 8–12.
Geography
America the Beautiful series. Children’s Press. Ages
Social Studies
9–13.
How to Get Rich series. National Geographic. Ages
Meet Our New Student series. Mitchell Lane. Ages 7–9.
9–13. (Also a History and Mathematics series.)
World of Colors series. Capstone. Ages 5–7.
People in the Community series. Heinemann. Ages
4–6.
Global Issues
Up Close series. Sterling. Ages 7–12.
Changing World series. Arcturus. Ages 10–13.
World Cultures
Health and Personal Problems
Cultures of the World series. Marshall Cavendish. Ages
Head-to-Toe Health series. Marshall Cavendish. Ages
10–13.
7–9.
How Can I Deal with . . . series. Smart Apple Media.
Wide Range of Topics
Ages 7–10.
Eyewitness Books series. Dorling Kindersley. Ages
Issues in Focus Today series. Enslow. Ages 12–18.
11–15.
Issues That Concern You series. Greenhaven. Ages
12–16.

Related Films, Videos, and DVDs

Building Big. (2000, miniseries). Author: David Magic School Bus. Author: Joanna Cole. 52 videos
Macaulay. 327 minutes. based on the book series available online at www
Dinosaur Bones. (2006). Author: Bob Barner (2001). .scholastic.com/magicschoolbus/tv/video.htm#
12 minutes. Open Wide: Tooth School Inside . . . and Other
The Emperor’s Egg. (2005). Author: Martin Jenkins Stories. (2007). Author: Laurie Keller (2000). 54
(1999). 10 minutes. minutes.

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 Informational Books

Sources for Films, Videos, and DVDs Websites of large video distributors:
The Video Source Book. Syosset, NY: National Video www.libraryvideo.com
Clearinghouse, 1979–. Published by Gale Research, www.knowledgeunlimited.com
Detroit, MI. http://teacher.scholastic.com/products/
An annual reference work that lists media and pro- westonwoods
vides sources for purchase and rental.

Now go to Chapter 10 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Learn how authors and illustrators apply their craft by reading the written interviews in the
Conversations section for the chapter.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

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Literature for a
Diverse Society
Oh, the Places You’ll Go
Uh-huh, I’ve travelled Weather won’t stop you
By car, train, boat, plane Nor cost of the flight
To Kenya, Uganda You’ll fly the world over
France, Italy, Spain. By day and by night.

Still many a country The means are at hand

I plan to explore You’ve not far to look
Here’s how you do it Oh, the places you’ll go
I’ve done it before. When you travel by book.

—Ashley Bryan

“Oh, the Places You’ll Go” from Book Poems by Ashley Bryan. Copyright © 1998
Children’s Book Council. Reprinted with permission.

From Chapter 11 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

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 Literature for a Diverse Society

This chapter is presented in two parts. The first part, An Education That Is Multicultural and
Intercultural, focuses on ways teachers can make their teaching relevant to students and to the
interconnected world in which they live. The second part, Multicultural and International Litera-
ture, identifies literature that supports a culturally-based curriculum.

Section One: An Education That Is Multicultural and Intercultural

A serious mismatch exists in U.S. schools today. On one hand, school curricula and textbooks
present predominantly mainstream, European-American perspectives. Moreover, the cadre of
U.S. teachers is predominantly (84.3% in 1999–2000) from European-American, suburban back-
grounds (U.S. Department of Education, 2000). They have been taught to teach in ways that work
best with people with similar backgrounds and often have not had close, sustained relationships
with individuals from ethnic, cultural, and socioeconomic backgrounds that differ from their
own. On the other hand, school populations in the United States are becoming increasingly di-
verse, as evidenced by the prediction that the school-aged minority populations will be the major-
ity by 2010 (U.S. Department of Education, 2002).
The resulting mismatch has contributed to an education system that is not working for many
students. The Office of National Assessment for Educational Progress reports a continuing read-
ing achievement gap between whites and Native Americans, Latinos, and African Americans. In
2007, the average reading score for white eighth-graders was 272, versus 247 for Native Americans
and Latinos and 245 for African Americans (National Center for Education Statistics, 2007).
School dropout rates provide further evidence of the problem, indicating that in 2005, the drop-
out rate was 22.1 percent for Latinos and 10 percent for African Americans, as compared to 5.8
percent for whites (U.S. Department of Education, 2008). Clearly, teachers need to become more
familiar with the influence of culture on teaching and learning.
At the same time, U.S. classrooms are experiencing the largest influx of immigrants since the
early 1900s, further increasing the diversity of students. More than 13 million legal immigrants
(along with an undetermined number of those undocumented) settled in the United States be-
tween 1990 and 2000, coming from all parts of the world (U.S. Census Bureau, 2000).
Teachers in all parts of the country are increasingly likely to have students from diverse
ethnic, racial, national, and language groups in their classrooms, whether in urban, suburban,
or rural areas. This diversity is reflected in the global nature of our lives. Children will live and
work in a world that is vastly different from the one in which we grew up. Rapid economic, tech-
nological, and social changes are connecting us across the globe. Knowledge of the world and
of diverse cultures is no longer a luxury, but a necessity. Children need understandings of both
the diverse cultural groups within their own country and of global cultures that cross outside
of their borders.
An education that is multicultural and intercultural is one in which diverse cultural perspec-
tives are woven throughout the curriculum and school life, instead of being the focus of a special
book or unit (Sleeter & Grant, 1987). This orientation includes the following:
■ Understanding one’s own personal cultural identity
■ Valuing the unique perspectives of diverse cultural groups
■ Connecting to the univeral experiences that cut across cultures

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 Literature for a Diverse Society

■ Critiquing the inequities and injustices experienced by specific cultural groups

■ Developing a commitment to taking action to create a more just and equitable world
An education that is multicultural and intercultural is culturally responsive, culturally ex-
pansive, and culturally critical. Children’s literature plays a crucial role by providing students with
the opportunity to immerse themselves into story worlds and gain insights into how people feel,
live, and think. They go beyond a tourist’s perspective of simply gaining information about particu-
lar cultures to live within these cultures through their experiences with literature.

Culturally Responsive Curriculum

All students need to find their lives and cultural experiences reflected within classrooms and the
books they read, but this is much more likely to occur for students from mainstream, European-
American families. Culturally responsive curriculum focuses on the need to develop teaching
strategies and materials that are more consistent with the cultural orientations of ethnically and
globally diverse students. Geneva Gay (2000) points out that using the cultural knowledge, experi-
ences, frames of reference, and performance styles of ethnically diverse students makes learning
more relevant and effective (p. 29).
Teachers can become more culturally responsive in their use of literature by following these
suggestions:

■ Find Reading Materials That Are Relevant to Students’ Lives. Supporting all students as learners

means becoming personally acquainted with students and knowledgeable about books that are
culturally relevant to their lives. For ethnically and globally diverse students this may be literature
about young people whose lives and cultures are similar to their own. For second-language learners
this may be bilingual literature in the student’s native tongue, so as to make learning English easier
and to signal the value of the student’s first language. Students who rarely find their lives reflected
in a book may dismiss literacy as irrelevant or even a threat to their cultural identities.
■ Ensure That School and Classroom Literature Collections Reflect the Cultural Diversity of the
Classroom, School, Community, and World. Even when schools and communities are culturally
homogeneous, librarians and teachers should select books that reflect the diversity of the greater
world. To do so, they may need to search for books from small presses that focus on particular
ethnic groups and for translated books originating from other countries.
■ Give Students a Choice in Their Reading Material. This may require teachers and librarians

to broaden the scope of what they consider appropriate reading material to include less conven-
tional formats, such as picture books for older readers and graphic novels, as well as nonfiction
materials such as manuals, magazines, and audiobooks. Giving students a choice in what they
read acknowledges their lives and interests as significant and relevant within the walls of the
classroom.
■ Conference with Students about Their Reading as Often as Possible. These one-on-one discus-

sions give teachers an opportunity to learn about their students’ individual reading interests and
needs, to express their interest in what the students are currently reading, and to suggest other
books they might like to read.

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 Literature for a Diverse Society

The search for culturally relevant literature recognizes that all children have multiple cultural
identities, including gender, social class, family structure, age, religion, and language, as well as
ethnicity and nationality. This broad understanding of culture as ways of living and being in the
world that influence our actions, beliefs, and values is essential to understanding why culture
matters in our lives. Culture influences how each of us think about ourselves and the world around
us. Students from all cultures, including the mainstream, must recognize that they have a particu-
lar perspective on the world in order to value as well as critically examine that perspective. This
understanding, in turn, supports them in exploring other cultural perspectives.

Culturally Expansive Curriculum

A culturally expansive curriculum builds from awareness of students’ own cultural identities to
considering points of view that go beyond their own. Literature provides a window to ethnic and
global cultures through in-depth inquiries into a particular culture and the integration of multiple
cultural perspectives into every classroom study.
An inquiry into a particular culture should include a range of books that reflect the diversity
and complexity of that culture. In exploring Navajo culture, for example, students can read his-
torical fiction, such as Little Woman Warrior Who Came Home by Evangeline Parsons-Yazzie, along
with traditional literature, such as Ma’ii and Cousin Horned Toad by Shonto Begay. They can also
examine images of contemporary Navajo life both off and on the reservation in Alice Yazzie’s Year
by Ramona Maher and Racing to the Sun by Paul Pitts. This range of literature challenges students
to go beyond stereotypes to examine the shared values and beliefs within a culture as well as the
diversity of views and lives that are integral to every cultural group.
A culturally expansive curriculum becomes inclusive of multiple cultural perspectives across
all content areas through the integration of literature. The perspectives of those long neglected—
Native Americans, African Americans, and Asian Americans, to name a few—can be included in
the social studies and history curriculum. Important contributions by scientists, such as George
Washington Carver, can be included in the science curriculum. Works by authors who reflect a
range of ethnic and global backgrounds can be included in the reading and literature curriculum.
For example, a literature unit could focus on Francisco Jiménez, a Mexican American whose works
describe the struggles of immigrants and their families who work in the California fields. Often
teachers choose one of the featured author’s works to read aloud while students discuss others by
that author in literature circles.
The goal of those who write, publish, and promote multicultural and international children’s
literature is to help people learn about, understand, and ultimately accept those different from
themselves, thus breaking the cycles of prejudice and oppression among peoples of different cultures.
Progress toward this goal may well begin when young people read multicultural or international
literature and realize how similar they are to children of different cultures and how interesting their
differences are. They are also challenged not to consider their own culture as the “norm” against
which others are judged as strange or exotic. These books help build bridges and cross borders
between people of different nationalities and cultures (Lepman, 2002; Rochman, 1993).
The books that are selected for read-alouds, booktalks, book displays, and text sets for class-
room studies or independent reading should reflect the diversity of cultural experiences in the

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 Literature for a Diverse Society

classroom as well as invite exploration of broader ethnic and global cultures. Booktalks, for ex-
ample, might be used to connect students who read mainstream books with literature from a
wider range of cultures that have a similar theme or genre. A collection of picture books on fami-
lies, a common topic investigated in the primary grades, might include the following.
Families by Ann Morris and Families by Susan Kuklin (Cross-cultural)
I Love Saturdays y Domingos by Alma Flor Ada, illustrated by Elivia Savadier (Mexican-
American)
Mayeros: A Yucatec Maya Family by George Ancona (Mayan Indian, Mexico)
My Mei Mei by Ed Young (Chinese-American)
Where’s Jamela? by Niki Daly (South African)
My Two Grannies by Floella Benjamin, illustrated by Margaret Chamberlain (British)

Culturally Critical Curriculum

Although multicultural education celebrates diversity and cross-cultural harmony, its more im-
portant goal has always been to transform society and ensure greater voice, equity, and social
justice for marginalized groups (Gay, 2000). Raising issues of inequality, power, and discrimina-
tion is central to an education that is multicultural and intercultural. Paulo Freire (1970) believes
that students need to critically read the world by questioning “what is” and “who benefits,” instead
of accepting inequity as just the way things work. Students need to examine why these social
problems exist and who benefits from keeping inequities in place. They also need to consider new
possibilities by asking “what if ”and taking action for social change. Through these questions,
students develop a critical consciousness about their everyday world and the ways in which power
plays out in their relationships and society.
Literature plays a significant role in social justice education by documenting the history and
contemporary stories of marginalized peoples, presenting their perspectives, and providing a way
for their voices to be heard. These perspectives are rarely included within textbooks and the stan-
dard curriculum. Literature can support students in considering multiple perspectives on com-
plex social issues such as undocumented immigrants, as in Friends from the Other Side by Gloria
Anzaldúa, The Circuit by Francisco Jiménez, Ask Me No Questions by Maria Budhos, Ziba Came
on a Boat by Liz Lofthouse, and The Arrival by Shaun Tan.
A critical literacy or social justice curriculum has four dimensions (Lewison, Leland, and
Harste, 2008), all of which can be supported by literature:
■ Disrupting the commonplace by looking at the everyday through new lenses that challenge
assumptions (e.g., The Other Side by Jacqueline Woodson or Wringer by Jerry Spinelli)
■ Considering multiple perspectives that may be contradictory or offer alternative interpreta-
tions of history or current issues (e.g., Voices in the Park by Anthony Browne or Seedfolks by
Paul Fleischman)
■ Focusing on sociopolitical issues to examine societal systems and unequal power relation-
ships and to get at the root causes of social problems (e.g., Freedom Summer by Deborah
Wiles or Nory Ryan’s Song by Patricia Reilly Giff)
■ Taking action and promoting social justice by taking a stand against oppression and acting to
create change (e.g., The Lady in the Box by Ann McGovern or Iqbal by Francesco D’Adamo)

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 Literature for a Diverse Society

SECTION TWO: Multicultural and International Literature

Two bodies of literature support a curriculum that is multicultural and intercultural. Multicultural
literature and international literature are not separate genres; rather, they occur in all genres. You
will have noted many references to these books and authors throughout the previous chapters in
discussions of trends and issues, notable author and illustrator lists, and recommended booklists.
In an ideal, culturally integrated world, such inclusion would be sufficient. But the groups and per-
spectives represented in multicultural literature have, until recently, been absent or misrepresented
in books for children and remain underrepresented today. Furthermore, neither multicultural nor
international literature is well known or fully recognized by the educational mainstream. Chang-
ing demographics in the United States and globalization of society require school curricula and
materials that will prepare young people to live in a changing and ever more diverse world.

Definitions and Descriptions

Multicultural literature is defined in various ways by educators and scholars. Some define it
broadly as all books about people and their individual or group experiences within a particular
culture, including mainstream cultures. Most define it more narrowly as literature by and about
groups that have been marginalized and disregarded by the dominant European-American cul-
ture in the United States. This definition includes all racial, ethnic, religious, and language minori-
ties, those living with physical or mental disabilities, gays and lesbians, and the poor. In this
chapter, we highlight literature by and about the racial, religious, and language groups in the
United States who have created a substantial body of children’s literature. This includes literature
by and about African Americans, Asian/Pacific Americans (including people of Chinese, Hmong,
Japanese, Korean, and Vietnamese descent), Latinos (including Cuban Americans, Mexican Amer-
icans, Puerto Ricans, and others of Spanish descent), religious cultures (including Buddhist,
Hindu, Jewish, and Muslim), and Native Americans (a general term referring to the many tribes
of American Indians). Examples of books about other marginalized groups are found throughout
the genre chapters, especially in the lists of recommended books.
International literature in the United States refers to books that are set in countries outside
of the United States. The focus of this chapter is on books originally written and published in
countries other than the United States for children of those other countries and then published
in this country. These books can be subdivided into three categories:
■ English Language Books. Books originally written in English in another country and then
published or distributed in the United States. Examples include How to Heal a Broken Wing
by Bob Graham (Australia) and the Harry Potter series (U.K.).
■ Translated Books. Books written in a language other than English in another country, then
translated into English and published in the United States. Examples include The Friends by
Kazumi Yumoto (Japan) and The Zoo by Suzy Lee (Korea).
■ Foreign Language Books. Books written and published in a language other than English in
another country, then published or distributed in the United States in that language. One
example is Le Petit Prince by Antoine de Saint-Exupéry (France).

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 Literature for a Diverse Society

Many authors and illustrators of books set in international contexts are from the United
States. These books are written and published in the United States primarily for an audience of
U.S. children, rather than written for children of that specific culture. Many of these books, often
referred to as global literature, have been integrated into other chapters and so are not highlighted
in this chapter. Categories of these books include:
■ Books written by immigrants from another country who now reside in the United States and
write about their country of origin; for example, The Red Scarf Girl by Ji-Li Jiang (China).
■ Books written by American authors who draw from their family’s heritage in their country
of origin, but whose own experiences have been in the United States; for example, When My
Name Was Keoko by Linda Sue Park (Korea).
■ Books written by an author who lived in another country for a significant period of time; for
example, Colibrí by Ann Cameron (Guatemala).
■ Books written by authors who research a particular country and who may or may not have
visited that country as part of their research; for example, The Breadwinner by Deborah Ellis
(Afghanistan).

The Value of Multicultural and International

Literature for Children
Multicultural and international literature builds bridges of understanding across countries and
cultures, connecting children to their home cultures and to the world beyond their homes. This
literature benefits children in the following ways:
■ Gives young people who are members of marginalized groups or recent immigrants the
opportunity to develop a better sense of who they are, improve their self-esteem, and conse-
quently take social action for a better future.
■ Develops an understanding of and appreciation for other cultures, bringing alive those his-
tories, traditions, and people.
■ Addresses contemporary issues of race, religion, poverty, exceptionalities, and sexual orienta-
tion from the perspectives of members of those groups to provide a more complete under-
standing of current issues and of the people who belong to these groups, thus challenging
prejudice and discrimination.
■ Adds the perspective of marginalized groups and global cultures to the study of history,
thereby giving students a more complete understanding of past events.
■ Helps young people realize the social injustices endured by particular peoples in the United
States and abroad, both now and in the past, to build a determination to work for a more
equitable future.
■ Builds students’ interest in the people and places they are reading about and paves the way
to a deeper understanding and appreciation of the geographical and historical content en-
countered in textbooks and later content-area studies.
■ Provides authenticity through literature written by insiders to a country, region, or ethnic
group and allows members of that group to define themselves. These portrayals challenge
the typical media coverage of violence and crises.

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 Literature for a Diverse Society

■ Develops a bond of shared experience with children of other ethnicities and nations and
enables students to acquire cultural literacy with a global perspective.

In a study by Monson, Howe, and Greenlee (1989), 200 U.S. children, ages 9 to 11, were asked
what they wanted to know about children in other countries. Their responses, categorized into
nine questions, then formed the basis for a comparison of eight social studies textbooks and fif-
teen works of children’s fiction about Australia. It was found that both textbooks and trade books
gave information about the country. However, the novels answered more of the children’s ques-
tions and were richer in details of daily life and human emotion than the textbooks. The social
studies texts gave many facts about the country, whereas the novels showed the implications of
the facts for children’s lives and helped the readers “live in” the country for a time.

Evaluation and Selection of Multicultural

and International Literature
In addition to the requirement that literature have high literary merit, multicultural and interna-
tional books need to be examined for cultural authenticity, an analysis of the extent to which a
book reflects the core beliefs and values and depicts the details of everyday life and language for
a specific cultural group. Given the diversity within all cultural groups, there is never one image
of life within any culture and so underlying world views are often more important to consider.
Readers from the culture depicted in a book need to be able to identify and feel affirmed that
what they are reading rings true in their lives; readers from another culture need to be able to
identify and learn something of value about cultural similarities and differences (Fox & Short,
2003). The following criteria should be considered when evaluating and selecting multicultural
and international books for school and classroom libraries:

■ Authenticity of Cultural Beliefs and Values from the Perspective of That Group. Research the
background of the author and illustrator to determine their experiences or research related to
this story (check their websites). Examine the values and beliefs of characters and whether
they connect to the actual lives of people from within that culture.
■ Accuracy of Cultural Details in Text and Illustrations. Examine the details of everyday life, such
as food, clothing, homes, speech patterns, and so on, represented in the book and whether
they fit within the range of experiences of that culture.
■ Integration of Culturally Authentic Language. Look for the natural integration of the language
or dialect of a specific cultural group, especially within dialogue. Some terms or names in the
original language of translated books, for example, should be retained. Check whether a
glossary is included if needed.
■ Power Relationships between Characters. Examine which characters are in roles of power or
significance in a book, with a particular focus on how the story is resolved and who is in
leadership and action roles.
■ Perspectives and Audience. Look at whose perspectives and experiences are portrayed and who
tells the story. In particular, consider whether the story is told from a mainstream or
European-American perspective about ethnically or globally diverse characters. Also consider

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whether the intended audience is children from within that culture or if the book was written
to inform a mainstream audience about a particular culture.
■ Balance between Historic and Contemporary Views of Groups. The majority of literature about
global and ethnic cultures is found in the genres of traditional literature and historical fiction,
creating stereotypes of these cultures as dated and set in the past. Search for books that reflect
contemporary images to add to your collection.
■ Adequate Representation of Any Group within a Collection. No one book can definitively describe
a culture or cultural experience. Look for a range of books that provide multiple representa-
tions of a culture and be aware of particular images that are overrepresented—for example,
almost all of the picture books on Korean Americans depict them as newly arrived immigrants
to the United States. These overrepresentations and generalizations reflect stereotypes of a par-
ticular group.
Book awards can guide teachers and librarians toward high-quality multicultural and inter-
national books. The best known of these is the Coretta Scott King Award, given annually to an
African-American author and illustrator whose books are judged to be the most outstanding
inspirational and educational literature for children. The Américas Award and the Pura Belpré
Award honor outstanding Latino authors and illustrators of children’s books and are good re-
sources for locating authentic literature for this rapidly growing population. Recently established
awards include the Asian Pacific American Award for Literature, honoring outstanding work of
Asian-American authors and illustrators, and the American Indian Youth Literature Awards, hon-
oring the very best writing and illustrations by and about American Indians. Awards such as these
encourage the publication of more and better-quality multicultural literature.
Awards for international literature are plentiful but often more difficult to locate. The Mildred
L. Batchelder Award is given to a U.S. publisher of the most distinguished translated children’s book,
encouraging the translation and publication of international books in the United States (see Ap-
pendix A). Two annual award lists are the Outstanding International Books List (www.usbby.org)
and Notable Books for a Global Society (www.tcnj.edu/~childlit). Also, many countries have their
own national awards, similar to the Newbery and Caldecott awards in the United States. The Hans
Christian Andersen award winners and nominees are a good source of the most outstanding authors
and illustrators from around the world (www.ibby.org). Worlds of Words (www.wowlit.org) has a
searchable database of international literature available in the United States and several online jour-
nals discussing the use of this literature in classrooms and reviews of cultural authenticity.
In recent years, small presses have been a source of multicultural and international books
that are particularly valuable for their cultural points of view.
Asian American Curriculum Project. Publishes and distributes Asian-American books from
other small and large presses. www.asianamericanbooks.com (Another distributor is Asia
for Kids at www.afk.com)
Children’s Book Press. Publishes folktales and contemporary picture books, often bilingual,
for Native American, Asian-American, and Latino children. www.childrensbookpress
.org
Cinco Puntos. Focuses on the U.S./Mexico border region, the Southwest, and Mexico. www
.cincopuntos.com
Piñata Books/Arte Público. Publishes children’s books with a Latino perspective. www
.latinoteca.com/arte-publico-press/pinata-books

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Just Us Books. Produces Afrocentric books that enhance the self-esteem of African-American
children. www.justusbooks.com
Lee & Low Books. Asian-American–owned company that stresses authenticity in stories for
Asian-American, Latino, and African-American children. www.leeandlow.com
Oyate. A Native American organization that critically evaluates books with Native themes and
distributes books with an emphasis on those written and illustrated by Native people. www
.oyate.org
Evaluating, selecting, and bringing multicultural and international literature to your class-
room, although essential, is not enough to ensure that your students will actually read the books.
Without adult guidance, children tend to choose books about children like themselves, so invite
students to explore these books through reading them aloud, giving booktalks, and encouraging
discussion in literature circles.

Multicultural Literature
Historical Overview of Multicultural Literature
Many cultures living in the United States were long ignored within children’s books or portrayed
as crudely stereotyped characters, objects of ridicule, or shadowy secondary characters. Books
with blatant racism, such as Helen Bannerman’s The Story of Little Black
Sambo (1900) and Hugh Lofting’s The Voyages of Dr. Dolittle (1922) have
today either been rewritten to eliminate the racism or have disappeared
Go to Activity 1 in the Assign- from libraries.
ments and Activities section of The first harbinger of change came in 1949 when an African-American
Chapter 11 in MyEducation-
Kit; complete the activity on
author, Arna Bontemps, became the first member of a minority group to
examining the Little Black Sambo win a Newbery Honor Award, for Story of the Negro. A more sympathetic
controversy. attitude toward diverse ethnic cultures emerged in the 1950s, as evidenced
by the positive, yet somewhat patronizing, treatment of multicultural char-
acters in such Newbery Medal winners as Amos Fortune, Free Man by Elizabeth Yates (1950)
and . . . And Now Miguel by Joseph Krumgold (1953).
The Civil Rights Movement of the 1960s focused attention on the social inequities and racial
injustices that prevailed in the United States. The spirit of the times resulted in two landmark
publications. The first of these was The Snowy Day by Ezra Jack Keats (1962), the first Caldecott
Medal book with an African-American protagonist. The second publication was a powerful article
in 1965 by Nancy Larrick, “The All-White World of Children’s Books.” Larrick reported that Af-
rican Americans either were omitted entirely or were scarcely mentioned in nearly all U.S. chil-
dren’s books. American trade book publishers, the education system, and the public library system
were called on to fill this void.
The Coretta Scott King Award was established in 1969 to recognize African-American au-
thors, but it was not until 1975 that an author of color, Virginia Hamilton, won a Newbery Medal.
The prevailing opinion among U.S. children’s book publishers and professional reviewers shifted
to focus on members of a group as the ones most able to write authentically about their own
cultures and experiences. European-American authors were no longer as likely to win major
awards for writing about minorities as they were in the early 1970s.

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M I L E S T O N E S in the Development of Multicultural Literature

Date Event Significance
1932 Waterless Mountain by Laura Armer One of the few children’s books about minorities
wins Newbery Medal in the first half of the twentieth century
1946 The Moved-Outers by Florence C. A departure from stereotyped depiction of
Means wins Newbery Honor minorities begins
1949 Story of the Negro by Arna Bontemps First minority author to win a Newbery Honor
wins Newbery Honor
1950 Song of the Swallows by Leo Politi wins First picture book with a Latino protagonist to win
Caldecott Medal the Caldecott Medal
1963 The Snowy Day by Ezra Jack Keats First picture book with an African-American
wins Caldecott Medal protagonist to win the Caldecott Medal
1965 “The All-White World of Children’s Called the nation’s attention to the lack of
Books” by Nancy Larrick published in multicultural literature
Saturday Review
1969 Coretta Scott King Award founded African-American literature and authors begin
to be promoted and supported
1975 M. C. Higgins, the Great by Virginia First book by a minority author to win the
Hamilton wins Newbery Medal Newbery Medal
1976 Why Mosquitoes Buzz in People’s Ears First picture book by an African-American illustrator
illustrated by Leo and Diane Dillon to win the Caldecott Medal
wins Caldecott Medal
1990 Lon Po Po: A Red-Riding Hood Story First picture book by a Chinese-American illustrator
from China translated and illustrated to win the Caldecott Medal
by Ed Young wins Caldecott Medal
1993 Américas Award founded Encouraged authors and illustrators to publish
excellent books portraying Latin America, the
Caribbean, and Latinos in the United States
1994 Grandfather’s Journey written and First picture book by a Japanese-American illustrator
illustrated by Allen Say wins to win the Caldecott Medal
Caldecott Medal
1996 Pura Belpré Award founded Promoted Latino literature, authors, and illustrators
2001 The Trip Back Home by Promoted Asian-American literature, authors, and
Janet S. Wong, illustrated by Bo Jia, illustrators
wins first Asian Pacific American
Award for Literature

The late 1990s saw much-needed development in Latino literature. Bilingual books published
in response to the demands of ESOL/ELL (English for speakers of other languages/English
language learners) programs and the founding of the Américas Award and the Pura Belpré Awards
contributed to this growth.

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Although the last several decades have seen positive changes in the status of multicultural
literature in the United States, there is still a marked shortage of both books and of authors and
illustrators from within those cultures. The Cooperative Children’s Book Center (Horning,
Lindgren, Michaelson, & Schliesman, 2009) reported the following statistics from approximately
3,000 new children’s and young adult books they reviewed in 2008:
■ 5.7 percent (172 books) had significant African or African-American content (48% created
by black authors/illustrators).
■ 3.3 percent (98 books) had significant Asian/Pacific or Asian-/Pacific-American content
(79% created by authors/illustrators of Asian/Pacific heritage).
■ 2.6 percent (79 books) had significant Latino content (61% created by Latino authors/
illustrators).
■ 1.3 percent (40 books) featured American Indian themes, topics, or characters (22% created
by American Indian authors/illustrators).
A broader indication of the shortage is to note that approximately 13 percent of the new
books published for children in 2008 were by or about people of color, even though these groups
represented more than 35 percent of the population in 2005 (National Center for Educational
Statistics, 2007). In addition to not enough books, subtle issues of racism and stereotypes continue
to be problematic. All children have the right to see themselves within a book; to find the truth
of their experiences, rather than misrepresentations, and so many challenges remain in the writing
and publication of multicultural literature.

Types of Multicultural Literature

Each ethnic group contains subgroups that differ remarkably from one another in country of origin,
language, race, traditions, and present location. Teachers must be especially conscious of and sensi-
tive to these differences and guard against presenting these groups as uniform or selecting literature
that does so. Gross overgeneralization is not only inaccurate but also a form of stereotyping.

African-American Literature
Of all multicultural groups living in the United States, African Americans have produced the
largest and most rapidly growing body of children’s literature (Bishop, 2007). Every genre is well
represented in African-American literature, but none better than poetry. Because it is so personal,
poetry portrays a culture well, as is evident in the sensitive yet powerful work of poets Nikki
Giovanni, Nikki Grimes, Eloise Greenfield, Langston Hughes, Marilyn Nelson, and Joyce Carol
Thomas. For example, see The Blacker the Berry by Joyce Carol Thomas.
Tapping into their rich oral tradition, African Americans have contributed Anansi the Spider,
Brer Rabbit, and John Henry the Steel Drivin’ Man to the list of favorite U.S. folklore characters.
Even today, authors are bringing folktales to the United States from Africa. Examples include Beauti-
ful Blackbird by Ashley Bryan and The Girl Who Spun Gold by Virginia Hamilton, illustrated by Leo
and Diane Dillon.
In some cases, African Americans have reclaimed their tales by retelling (without racist ele-
ments) stories that were first written by European-American authors, as Julius Lester has done in
his retelling of Joel Chandler Harris’s The Tales of Uncle Remus: The Adventures of Brer Rabbit.

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E x c e l l e n t M u l t i c u l t u ra l L i t e ra t u re to READ ALOUD

Canales, Viola. The Tequila Worm. Ages 12–15. (Mexican-American)

Curtis, Christopher Paul. Elijah of Buxton. Ages 9–12. (African-American)
English, Karen. Hot Day on Abbott Avenue. Illustrated by Javaka Steptoe. Ages 5–8.
(African-American)
Jaramillo, Ann. La línea. Ages 11–15. (Mexican-American)
Levine, Ellen. Henry’s Freedom Box. Illustrated by Kadir Nelson. Ages 5–8.
(African-American)
Morales, Yuyi. Just a Minute. Ages 5–8. (Mexican-American)
Na, An. A Step from Heaven. Ages 13–18. (Korean-American)
Nislick, June Levitt. Zayda Was a Cowboy. Ages 9–13. (Jewish)
Park, Linda Sue. Mulberry Project. Ages 10–14. (Korean-American)
Soto, Gary. Chato and the Party Animals. Illustrated by Susan Guevara. Ages 5–8.
(Mexican-American)
Tingle, Tim. Crossing Bok Chitto. Illustrated by Jeanne Rorex Bridges. Ages 8–11.
(Choctaw/Native American)

More recent modern folktales include Thunder Rose by Jerdine Nolen and Porch Lies by Patricia
McKissack.
African Americans have told the stories of their lives in the United States through both his-
torical and realistic fiction. The stories for older readers often include painfully harsh but accurate
accounts of racial oppression, as in Elijah of Buxton by Christopher Paul Curtis or Mildred Taylor’s
historical fiction saga of the close-knit Logan family, including Roll of Thunder, Hear My Cry.
Teachers can balance these stories with more positive, encouraging contemporary novels such as
Jacqueline Woodson’s Locomotion and Angela Johnson’s Heaven.
Many picture books focus on stories based on historical events, particularly slavery or civil
rights, but the range of themes and topics in historical and contemporary picture books is expand-
ing. The works of illustrators Leo and Diane Dillon, Jerry Pinkney, Brian Pinkney, E. B. Lewis,
Bryan Collier, and Kadir Nelson deserve special notice. Examples include Henry’s Freedom Box by
Ellen Levine, illustrated by Kadir Nelson, and The Moon over Star by Dianna H. Aston, illustrated
by Jerry Pinkney.
African-American nonfiction is mainly biography, featuring sports heroes as well as those from
a broader spectrum of achievement—for example, see Becoming Billie Holiday by Carole Boston
Weatherford, illustrated by Floyd Cooper, and Carver: A Life in Poems by Marilyn Nelson.

Asian-/Pacific-American Literature
Asian-/Pacific-American children’s literature is mainly represented in the United States by stories
about Chinese Americans, Japanese Americans, and Korean Americans, possibly because these
groups have lived in this country longer than others, such as Vietnamese Americans. A major
theme in much of the fiction and nonfiction for older readers is the oppression that drove the
people out of their homelands or the prejudice and adjustments that they faced as newcomers in
this country. A more positive theme is learning to appreciate one’s cultural heritage while adjust-
ing to life in the United States. A good example is An Na’s A Step from Heaven.

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 Notable Authors and Illustrators
of Multicultural Literature

AFRICAN-AMERICAN of Indian Americans. Keeping Corner; Blue Jas-

Leo and Diane Dillon, illustrators of two Calde- mine. www.kashmirasheth.typepad.com
cott Medal books. Leo is the first African LATINO
American to win a Caldecott Medal. Why
Francisco Jiménez, author of autobiographical
Mosquitoes Buzz in People’s Ears; Ashanti to
stories of his childhood as an undocumented
Zulu.
Mexican immigrant farm worker in California.
Angela Johnson, author of books on family rela-
The Circuit; Breaking Through; Reaching Out.
tionships, longing, and loss. Tell Me a Story,
www.scu.edu/cas/modernlanguages/faculty
Mama; Heaven.
staff/jimenezhomepage.cfm
Patricia McKissack, author of modern African-
Pat Mora, author of picture storybooks,
American folktales and historical books. Goin’
biographies, and poems about the Mexican-
Someplace Special.
American experience. Tomás and the Library
Walter Dean Myers, author of sometimes gritty
Lady; Doña Flor. www.patmora.com
contemporary realistic fiction about African
Yuyi Morales, illustrator and author of picture
Americans growing up. Scorpions; Monster.
books combining storytelling and glowing
www.walterdeanmyers.net
images from Mexican traditions. Just a Minute;
Kadir Nelson, illustrator and author of historical
Just in Case. www.yuyimorales.com
picture books with dramatic expressive paint-
Gary Soto, author of contemporary stories about
ings. We Are the Ship; Henry’s Freedom Box.
the Mexican-American experience. Chato
www.kadirnelson.com
and the Party Animals; Baseball in April.
Brian Pinkney, illustrator who uses swirling lines
www.garysoto.com
and intricate scratchboard renderings. Cendril-
lon: A Caribbean Cinderella; Boycott Blues. NATIVE AMERICAN
www.brianpinkney.net Joseph Bruchac, Abenaki author of Native Ameri-
Mildred Taylor, award-winning author of histori- can historical and contemporary novels as well
cal fiction about growing up black in southern as traditional literature. Buffalo Song; Hidden
United States in the 1940s and 1950s. Roll of Roots; Code Talker. www.josephbruchac.com
Thunder, Hear My Cry. Louise Erdrich, author of historical fiction about
Jacqueline Woodson, author of introspective nov- an Ojibwa tribe on Lake Superior. The Birchbark
els dealing with adversity and loss. Miracle’s House; The Game of Silence; The Porcupine Year.
Boys; Feathers; Locomotion. www.jacqueline Paul Goble, reteller and illustrator of Great Plains
woodson.com folktales and legends. The Girl Who Loved Wild
Horses.
ASIAN-/PACIFIC-AMERICAN
S. D. Nelson, illustrator and author of traditional
Lenore Look, author of contemporary picture and historical picture books with a focus
books and short chapter books on Chinese- on Lakota images and stories. Crazy Horse’s
American family life. Henry’s First-Moon Birth- Vision; Quiet Hero: The Ira Hayes Story. www
day; Ruby Lu, Empress of Everything. .sdnelson.net
Linda Sue Park, author of historical and contem-
porary fiction about Korean and Korean- RELIGIOUS CULTURES
American experiences. Keeping Score; Project Adèle Geras, anthologist of folktales and other
Mulberry. www.lindasuepark.com stories celebrating the Jewish tradition.
Allen Say, illustrator and author of picture books My Grandmother’s Stories: A Collection of
who uses soft, evocative watercolors to focus Jewish Folk Tales. www.adelegeras.com
on the cultural struggles of Japanese-American Asma Mobin-Uddin, Pakistani-American author
and Japanese characters. Grandfather’s Journey; of picture books about Muslim-American
Tea with Milk. experiences and Islamic religious traditions.
Kashmira Sheth, author of historical and contem- My Name Is Bilal; A Party in Ramadan. www
porary fiction about India and the experiences .asmamobinuddin.com

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 Literature for a Diverse Society

Traditional stories from Asia retold in English have contributed many interesting folktales
and folktale variants to children’s libraries. Characters who are generally thought of as European,
such as Little Red Riding Hood and Cinderella, have their Asian counterparts. Examples are Lon
Po Po: A Red-Riding Hood Story from China, translated and illustrated by Ed Young, and Yeh-Shen:
A Cinderella Story from China by Ai-Ling Louie, illustrated by Ed Young.
Asian-American artists have brought the sophisticated style and technical artistry of Asia to
U.S. children’s book illustration. Ed Young’s use of screenlike panels and exotic, textured paper
and Allen Say’s precision are especially noteworthy. Examples are Tea with
Milk by Allen Say and My Mei Mei by Ed Young.
The body of Asian-/Pacific-American children’s literature is rapidly
Go to the Conversations section expanding, particularly in realistic and historical fiction, through authors
of Chapter 11 in MyEducationKit such as Linda Sue Park, Cynthia Kadohata, Lenore Look, Grace Lin, and
to read the interview with Allen
Kashmira Sheth. The Asian Pacific American Award for Literature, along
Say.
with small presses and distributors, has also expanded this body of litera-
ture. The Pacific is still not represented well in this body of literature, although Hawai’i has a long
history of small presses with a strong focus on traditional literature. A notable recent Hawaiian
title is Surfer of the Century by Ellie Crowe, illustrated by Richard Waldrep.

Latino Literature
Few Latino children’s books are published in the United States, despite the fact that Latinos rep-
resent an estimated 13 percent of the population and are considered the fastest-growing segment
of the population (U.S. Census Bureau, 2000). The books that are available mainly focus on the
experiences of Mexican Americans and Puerto Ricans, with a few books based on Cuban-American
experiences. This body of literature continues to be filled with stereotyped portrayals of Latinos
living in poverty and struggling to learn English, with their problems typically solved by European
Americans. Many of the books focus on superficial aspects of culture, such as festivals and food,
rather than the everyday lives and struggles of Latino children. A recent development has been
the natural integration of Spanish phrases and words into books written in English to reflect the
cognitively complex codeswitching of bilingual speakers.
Recent developments hold promise for improvement in the amount and quality of Latino
literature. One exciting development is the number of outstanding Latino authors and illustrators
who are creating books for children, including Alma Flor Ada, George Ancona, Lulu Delacre, Gary
Soto, Yuyi Morales, Francisco Jiménez, Juan Felipe Herrera, Maya Christina González, and Mar-
garita Engle. Good examples are Just in Case by Yuyi Morales and The Circuit: Stories from the Life
of a Migrant Child by Francisco Jiménez.
The Américas Award (honoring a U.S. work that authentically presents Latino experiences
in Latin America, the Caribbean, or the United States) and the Pura Belpré Award (honoring
outstanding Latino authors and illustrators) promote more high-quality Latino literature for
children. Another resource is the Barahona Center for the Study of Books in Spanish for Children
and Adolescents at the University of California San Marcos (www.csusm.edu/csb), which contains
lists of books in English about Latinos, as well as Spanish books.

Native American Literature

Almost from the moment that European explorers landed on this continent some 500 years ago,
Native Americans have suffered at the hands of European Americans. Consequently, books written

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from a Native American perspective often focus on oppression and racism, ranging from historical
novels, such as Sweetgrass Basket by Marlene Carvell, to contemporary novels, such as The Abso-
lutely True Diary of a Part-Time Indian by Sherman Alexie. Shin-Chi’s Canoe by Nicola I. Camp-
bell, illustrated by Kim LaFave, is an example of these themes in picture books. Appreciation,
celebration, and protection of nature—central tenets of Native American cultures—are other
recurrent themes in this body of literature. Examples are Buffalo Song by Joseph Bruchac, illus-
trated by Bill Farnsworth, and The Birchbark House by Louise Erdrich.
Although much has been written about Native Americans, relatively
little has been written by members of this culture, such that this body of
literature is dominated by outsider perspectives and problems of authen-
Go to the Conversations section ticity. Another imbalance is that the majority of books published continue
of Chapter 11 in MyEducationKit
to read the interview with Joseph
to be traditional literature and historical fiction, with few contemporary
Bruchac. books to challenge stereotypes of Native Americans as existing “long ago.”
A further issue is that many tribal nations have few or no children’s books
available about their specific nation, while others, such as the Navajos, have
a larger body of work. Small press publishers specializing in literature by
Native Americans may help to change these imbalances.
Go to Activity 2 in the Assign- Native Americans who are known for their children’s books include
ments and Activities section of Cynthia Leitich Smith for her novels, Joseph Bruchac for his historical and
Chapter 11 in MyEducationKit;
realistic novels and retold stories, Tim Tingle for his retold stories, and S. D.
complete the activity on evaluat-
ing and selecting Native Ameri-
Nelson and Shonto Begay for their illustrations. Examples are Rain Is Not
can literature. My Indian Name by Cynthia Leitich Smith, Hidden Roots by Joseph Bruchac,
and Crossing Bok Chitto by Tim Tingle, illustrated by Jeanne Rorex Bridges.

Religious Cultures Literature

As the mainstream religious culture in the United States, Christianity dominates children’s books.
Books that portray other religious cultures in the United States, including Buddhist, Hindu, Jew-
ish, and Muslim cultures, are difficult to find. Good, contemporary children’s fiction set within
the context of a religious culture and written from the perspective of a member of that religion
is especially scarce. An example is Asma Mobin-Uddin’s My Name Is Bilal, a picture book for older
readers illustrated by Barbara Kiwak, which explores fitting into the U.S. mainstream while re-
maining true to one’s Islamic culture and heritage. Nonfiction and folklore on the subject of re-
ligion are somewhat more plentiful. Author–illustrator Demi, for example, is known for her
picture book biographies and story collections about Buddha and Muhammed.
The body of Jewish children’s literature is by far the largest produced by any nonmainstream
religious culture in this country and mainly focuses on the Jewish Holocaust in Europe during the
1930s and 1940s. The prejudice and cruelty that led to the Holocaust and the death camps are recur-
ring themes in both fiction and nonfiction for older readers. Since many Jewish people immigrated
to the United States as the Nazi threat grew in Europe, much Holocaust literature has been written
by eyewitnesses or by those whose relatives were victims. Examples are Thanks to My Mother by
Schoschana Rabinovici and Always Remember Me by Marisabina Russo.
Illustrated Jewish folktales offer excellent, witty stories of high literary quality to complement
the strong information books about Jewish holidays and traditions. One major concern is the lack
of picture books and novels reflecting contemporary Jewish-American experiences, although a
few are emerging, such as I Wanna Be Your Shoebox by Cristina García.

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 Literature for a Diverse Society

The Jewish community has produced a number of excellent authors and illustrators of chil-
dren’s books. Literary creativity is promoted through two book award programs: the National
Jewish Book Awards and the Association of Jewish Libraries’ Sydney Taylor Awards for children’s
and young adult literature.

Bilingual Literature
Bilingual books provide the text in two languages, frequently English/Spanish to reflect the rapid
growth of the Latino population in the United States. Picture books and shorter chapter books
predominate, since longer books in two languages would be bulky and costly and are not generally
useful for advanced readers. These books, if well done, are helpful to children in ESOL/ELL and
world language programs. They also provide a way to value and maintain literacy in a child’s first
language. However, not all bilingual books have artful or even accurate translations, so careful
selection is advisable. The concept book My Colors, My World/Mis colores, mi mundo by Maya
Christina González involves a child’s search for the colors hidden in her desert environment
through poetic text in English and Spanish. Bilingual books reflecting Asian languages, particu-
larly Japanese and Chinese, are also being published.

International Literature
Historical Overview of International Literature
Much of the children’s literature that was available in the United States during the seventeenth,
eighteenth, nineteenth, and early twentieth centuries came from Europe. These early children’s
books are an important part of our cultural heritage, but we seldom think of the fact that they
were originally published in other countries and languages. They are so familiar that we con-
sider them our children’s classics, and indeed they have become so. The
accompanying Milestones feature lists a sampling of international chil-
dren’s classics published from the end of the seventeenth century up to
Go to Activity 3 in the Assign- World War II.
ments and Activities section of With the rapid growth in the U.S. children’s book field in the twenti-
Chapter 11 in MyEducationKit;
eth century, the flow of books from other countries became overshadowed
complete the activity on examin-
ing award-winning international
by large numbers of U.S. publications. In addition, during World War II,
books. little cultural exchange occurred across international borders. The end of
World War II saw a change in the international mood, and two develop-
ments occurred that had far-reaching effects on the children’s book field: (1) children’s books in
translation began to be published in unprecedented numbers and (2) the international children’s
book field was established. Prominent features of the international children’s book field
include:
■ The International Board on Books for Young People (www.ibby.org), an organization
involving people from many nations who are involved in all aspects of the children’s book
field. The U.S. affiliate organization is the United States Board on Books for Young People
(www.usbby.org).

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E x c e l l e n t I n t e r n a t i o n a l L i t e ra t u re to READ ALOUD

Boyce, Frank Cottrell. Millions. Ages 11–14. England.

Carmi, Daniella. Samir and Yonatan. Ages 9–12. Israel.
Chen, Zhiyuan. Guji, Guji. Ages 5–8. Taiwan.
Dowd, Siobhan. The London Eye Mystery. Ages 8–11. U.K.
Goscinny, René. Nicholas. Illustrated by Jean Jacques Sempé. Ages 9–12. France.
Graham, Bob. “Let’s Get a Pup!” Said Kate. Ages 3–8. Australia.
Skármeta, Antonio. The Composition. Illustrated by Alfonso Ruano. Ages 8–12. Venezuela.
Valckx, Catharina. Lizette’s Green Sock. Ages 3–6. France.
Wild, Margaret. Fox. Illustrated by Ron Brooks. Ages 6–8. Australia.
Yumoto, Kazumi. The Friends. Ages 10–14. Japan.

■ Book award programs, the most prominent of which are the Hans Christian Andersen Award
and the Batchelder Award. (See Appendix A.)
■ A biennial IBBY world congress and a biennial USBBY conference.
■ A journal, Bookbird: Journal of International Children’s Literature.
We are all citizens of an ever-changing world. Our lives are going global, connected by the
stories we share across cultures. International literature immerses children in stories to gain in-
sights into how people live, think, and feel in other times and places. We need to promote more
literary exchanges with countries whose bodies of literature are growing rapidly to bring more of
the world’s best literature to our children’s attention. We also must encourage the development
of stronger literature from countries that have not had the resources to support the writing and
publication of their own national literature.

International Literature by World Regions

The international books that are most often available in the United States have been and continue
to be books from other English-speaking countries. The largest numbers come from Great Britain,
Australia, and Canada. Although the books do not require translation, they are often published
in the United States with changes in spelling, character and place names, and sometimes titles and
cover illustrations. The major awards and award winners from English-speaking countries are
listed in Appendix A.
Translated books come to the United States from around the world, but the largest numbers
come from Western Europe. Today, many books come from Sweden, Norway, Denmark, Switzer-
land, the Netherlands, Germany, France, and Belgium. A few books come from Italy and Spain.
An example from Sweden is In Ned’s Head by Anders Jacobsson and Sören Olsson.
Most translated children’s books from the Middle East are novels for middle-graders or young
adults and come to the United States from Israel. Books from or set in other countries in this
region—such as Tasting the Sky by Ibtisam Barakat, set in Palestine, and Persepolis by Marjane
Satrapi, set in Iran—are all the more welcome for their rarity.

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MILESTONES
in the Development of International Children's Literature
Date Event Signficance
1657 Orbis Pictus by John Amos Comenius Earliest nonfiction picture book
1697 Tales of Mother Goose by Charles Perrault Earliest folktales from France
1719/ Robinson Crusoe by Daniel Defoe and Two early adult adventure books from England
1726 Gulliver’s Travels by Jonathan Swift adopted by children
1812 Nursery and Household Tales by Jakob and Traditional folktales from Germany
Wilhelm Grimm
1836 Fairy Tales by Hans Christian Andersen Early modern folktales from Denmark
1846 Book of Nonsense by Edward Lear Early humorous poetry from England
1865 Alice’s Adventures in Wonderland by Classic English modern fantasy
Lewis Carroll
1880 Heidi by Johanna Spyri Early realistic story from Switzerland
1881 The Adventures of Pinocchio by Carlo Collodi Modern fantasy from Italy
1883 Treasure Island by Robert Louis Stevenson Adventure tale by a Scottish author
1885 A Child’s Garden of Verses by Classic collection of Golden Age poems from
Robert Louis Stevenson England
1894 The Jungle Book by Rudyard Kipling Animal stories set in India by an English author
1901 The Tale of Peter Rabbit by Beatrix Potter Classic English picture book
1906 The Wonderful Adventures of Nils by A fantasy trip around Sweden
Selma Lagerlöf
1908 The Wind in the Willows by Animal fantasy from England
Kenneth Grahame
1908 Anne of Green Gables by Realistic family story from Canada
Lucy Maud Montgomery
1926 Winnie-the-Pooh by A. A. Milne Personified toy story from England
1928 Bambi by Felix Salten Personified deer story from Germany
1931 The Story of Babar by Jean de Brunhoff Personified elephant story from France
1945 Pippi Longstocking by Astrid Lindgren Classic fantasy from Sweden

Translated children’s literature from Asia originates mostly in Japan, but books from
Korea, China, and Taiwan are increasingly available. Japan and Korea have a sophisticated
field of book illustrating, and many beautifully illustrated picture books are making their
way into the U.S. market. An example from South Korea is While We Were Out by Ho Baek
Lee.
African nations, with the exception of the Republic of South Africa, have produced little
children’s literature that has been exported to the United States. The reasons for this are many,

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Notable Authors and Illustrators

of International Literature

David Almond, British Carnegie Medal–winning fects of political injustice on children. The
author of novels often described as magical Other Side of Truth; Burn My Heart.
realism. Skellig; Kit’s Wilderness. www.david www.beverleynaidoo.com
almond.com Philip Pullman, British creator of His Dark Mate-
Anthony Browne, British author/illustrator whose rials trilogy, comprised of The Golden Com-
stark surrealism reveals modern social ills. pass, The Subtle Knife, and The Amber Spyglass.
Voices in the Park; Little Beauty. www.philip-pullman.com
Mem Fox, Australian author of picture storybooks J. K. Rowling, British author of the best-selling se-
for beginning readers. Wilfrid Gordon ries about Harry Potter, a child wizard. Harry
McDonald Partridge; Ten Little Fingers and Potter and the Sorcerer’s Stone and its sequels.
Ten Little Toes. www.memfox.com www.jkrowling.com
Cornelia Funke, German author of award- Shaun Tan, Malaysian-Australian author and
winning fantasy novels, including the Inkheart illustrator who explores social and political
trilogy. The Dragon Rider; The Thief Lord. issues through surreal, dreamlike imagery. The
www.corneliafunke.de/en Arrival; Tales from Outer Suburbia.
Bob Graham, Australian author and illustrator www.shauntan.net
of whimsical picture books. How to Heal Margaret Wild, Australian author of picture
a Broken Wing. books about friendship and its power to heal.
Emily Gravett, British author and illustrator of Fox; The Very Best of Friends.
award-winning picture books full of intricate Tim Wynne-Jones, Canadian author of humorous
details and dry humor. Little Mouse’s Big Book and suspenseful novels for middle-graders and
of Fears; Wolves. www.emilygravett.com young adults. The Maestro; Rex Zero, King of
Beverley Naidoo, South African author and Carn- Nothing. www.timwynne-jones.com
egie Medalist whose novels deal with the ef-

but the most influential one is that of economics. Publishing books is expensive, especially in full
color; therefore, the publishing industry is not firmly established in these countries. Books of
realistic fiction in which contemporary life in an African country is portrayed are rare. Beverley
Naidoo’s The Other Side of Truth, for example, is set in Nigeria, then London, and addresses politi-
cal persecution.

One of the challenges for those who work with children is combating the ignorance that is at the
root of racial, cultural, and religious prejudice and intolerance. Children’s literature, particularly
the rich multicultural and international selections that are currently available, is a powerful tool
in this effort, for it shows that the similarities between all people are much more fundamental
than the differences. We are connected by a shared humanity and by the uniqueness that each
culture contributes to a richly diverse world. Children need to find their own lives reflected
within a book as well as imagine cultural ways of living and thinking beyond their own. In-
tegrating a literature that is multicultural and intercultural into classrooms builds bridges of
understanding across cultures.

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&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Select a minority group whose perspectives have been omitted or inadequately

covered in the study of U.S. history. Examples include Native Americans and their
forced removal to reservations in the 1800s, Japanese Americans and their intern-
ment in prison camps during World War II, and Chinese Americans and their role
in the construction of the transcontinental railroad in the 1860s. Read several works
of age-appropriate historical fiction or nonfiction about that era written from the
perspective of that group. Discuss how including these books in the study of
U.S. history is likely to change students’ understanding of the particular historical
era.
■ Choose a global issue, such as violence, conservation, child labor, or hunger,
and pull together a text set of ten to fifteen books that explore this issue across
multiple cultures. Compare the various perspectives on this issue from these different
cultures.
■ Select a country or region outside the United States that you will likely have to teach
about. Compile an annotated bibliography of ten to twenty children’s books, both
fiction and nonfiction, that could promote interest in and help young people learn
more about the country or region.

References
Bishop, R. S. (2007). Free within ourselves: The devel- Larrick, N. (1965, September 11). The all-white world
opment of African American children’s literature. of children’s books. Saturday Review, 63–65,
Portsmouth, NH: Heinemann. 84–85.
Bryan, A. (1998). Oh, the places you’ll go. In Book po- Lepman, J. (2002). A bridge of children’s books. Dublin,
ems. New York: The Children’s Book Council. Ireland: O’Brien Press.
Ellis, D. (2000). The breadwinner. Toronto, ON: House Lewison, M., Leland, C., & Harste, J. (2008). Creating
of Anansi. critical classrooms. New York: Erlbaum.
Fox, D., & Short, K. (2003). Stories matter: The com- McGovern, A. (1997). The lady in the box. Illustrated by
plexity of cultural authenticity in children’s litera- Marni Backer. Madison, CT: Turtle Books.
ture. Urbana, IL: National Council of Teachers of Monson, D. L., Howe, K., & Greenlee, A. (1989). Help-
English. ing children develop cross-cultural understanding
Freire, P. (1970). Pedagogy of the oppressed. New York: with children’s books. Early Child Development
Continuum. and Care, 48 (special issue), 3–8.
Gay, G. (2000). Culturally responsive teaching. New National Center for Education Statistics. (2007). The na-
York: Teachers College Press. tion’s report card: Reading 2007. Retrieved June 27,
Horning, K. T., Lindgren, M. V., Michaelson, T., & 2009, from http://nces.ed.gov/nationsreportcard/
Schliesman, M. (2009). CCBC Choices, 2009. reading_2007.
Madison: University Publications, University of Rochman, H. (1993). Against borders. Chicago: ALA
Wisconsin-Madison. Books.

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de Saint-Exupéry, A. (2001). Le petit prince. New York: questionnaire and public charter school teacher
Marnier. questionnaire. Washington, DC: NCES.
Sleeter, C., & Grant, C. (1987). An analysis of multi- U.S. Department of Education. (2002). Minority popu-
cultural education in the United States. Harvard lation growth. Washington, DC: Author.
Education Review, 57, 421–444. U.S. Department of Education. (2008). Dropout rates in
U.S. Census Bureau. (2000). www.census.gov. the United States. Washington, DC: NCES.
U.S. Department of Education. (2000). School and
staffing survey: 1999–2000 public school teacher

Recommended Multicultural Books

Ages refer to approximate interest levels. Howard, Elizabeth Fitzgerald. Virgie Goes to School
(PI) Picture book with Us Boys. Illustrated by E. B. Lewis. Simon &
(COL) Short story collection Schuster, 2000. (PI) Ages 6–9.
Hudson, Wade, and Cheryl W. Hudson, compilers. In
Praise of Our Fathers and Our Mothers: A Black
African-American Literature
Family Treasury of Outstanding Authors and Art-
Aston, Dianna H. The Moon over Star. Illustrated by ists. Just Us Books, 1997. Ages 9–14.
Jerry Pinkney. Dial, 2008. (PI) Ages 5–8. Johnson, Angela. Heaven. Simon & Schuster, 1998. Ages
Bridges, Ruby, and Margo Lundell, editors. Through My 12–16.
Eyes. Scholastic, 1999. Ages 9–15. ———. Tell Me a Story, Mama. Illustrated by David
Bryan, Ashley. Ashley Bryan: Words to My Life’s Song. Soman. Scholastic, 1992. (PI) Ages 3–7.
Photographs by Bill Meguinness. Atheneum, 2009. Lester, Julius. Day of Tears: A Novel in Dialogue. Hype-
(PI) Ages 8–12. rion, 2005. Ages 12–14.
———. Beautiful Blackbird. Atheneum, 2003. (PI) ———. John Henry. Illustrated by Jerry Pinkney. Dial,
Ages 5–8. 1994. (PI) Ages 7–10.
Cline-Ransome, Lesa. Satchel Paige. Illustrated by Levine, Ellen. Henry’s Freedom Box. Illustrated by Kadir
James Ransome. Simon & Schuster, 2000. Ages Nelson. Scholastic, 2007. (PI) Ages 5–8.
7–10. (Also a biography.) McKissack, Patricia. Goin’ Someplace Special. Illus-
Curtis, Christopher Paul. Elijah of Buxton. Scholastic, trated by Jerry Pinkney. Scholastic, 2001. (PI) Ages
2007. Ages 9–12. 6–9.
English, Karen. Hot Day on Abbott Avenue. Illustrated ———. Porch Lies: Tales of Slicksters, Tricksters, and
by Javaka Steptoe. Clarion, 2004. (PI) Ages 5–8. Other Wily Characters. Illustrated by André
Fradin, Dennis Brindell, and Judith Bloom Fradin. Ida Carrilho. Schwartz & Wade, 2006. (PI) Ages
B. Wells: Mother of the Civil Rights Movement. 7–10.
Clarion, 2000. Ages 10–16. (Also a biography.) Myers, Walter Dean. Malcolm X: A Fire Burning
Grimes, Nikki. Bronx Masquerade. Dial, 2002. Ages Brightly. Illustrated by Leonard Jenkins. Harper-
12–18. Collins, 2000. (PI) Ages 7–11. (Also a biography.)
———. Danitra Brown, Class Clown. Illustrated by ———. Scorpions. Harper, 1988. Ages 9–12.
E. B. Lewis. HarperCollins, 2005. (PI) Ages 7–10. Nelson, Kadir. We Are the Ship: The Story of Negro
Hamilton, Virginia. Many Thousand Gone: African League Baseball. Jump at the Sun/Hyperion, 2008.
Americans from Slavery to Freedom. Illustrated by (PI) Ages 7–10.
Leo and Diane Dillon. Random, 1992. Ages 10–14. Nelson, Marilyn. Carver: A Life in Poems. Front Street,
———. The People Could Fly: The Picture Book. Il- 2000. Ages 12–15. (Also a biography.)
lustrated by Leo and Diane Dillon. Knopf, 2004. Nolen, Jerdine. Thunder Rose. Illustrated by Kadir Nel-
(PI) Ages 11–15. son. Harcourt, 2003. (PI) Ages 5–8.

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 Literature for a Diverse Society

Pinkney, Andrea D. Boycott Blues: How Rosa Parks Krishnaswami, Uma. Chachaji’s Cup. Illustrated by
Inspired a Nation. Illustrated by Brian Pinkney. Sumeya Sitaraman. Children’s Book Press, 2003.
Greenwillow, 2008. (PI) Ages 5–8. (PI) Ages 5–9. (Indian-American)
Shange, Ntozake. Coretta Scott. Illustrated by Kadir Lin, Grace. The Year of the Dog. Little Brown, 2006.
Nelson. Amistad, 2009. (PI) Ages 5–8. Ages 8–11. (Taiwanese-American)
Taylor, Mildred. Roll of Thunder, Hear My Cry. Dial, Look, Lenore. Henry’s First-Moon Birthday. Illustrated
1976. Ages 9–12. by Yumi Heo. Atheneum, 2001. (PI) Ages 4–8.
Thomas, Joyce Carol. The Blacker the Berry: Poems. Il- (Chinese-American)
lustrated by Floyd Cooper. Joanna Cotler Books, ———. Ruby Lu: Empress of Everything. Atheneum,
2008. (COL) Ages 5–8. 2006. Ages 6–9. (Chinese-American)
Weatherford, Carole Boston. Becoming Billie Holiday. ———. Uncle Peter’s Amazing Chinese Wedding. Illus-
Illustrated by Floyd Cooper. Wordsong, 2008. Ages trated by Yumi Heo. Atheneum, 2006. (PI) Ages
12–15. 5–8. (Chinese-American)
Wiles, Deborah. Freedom Summer. Illustrated by Jerome Ly, Many. Roots and Wings. Delacorte, 2008. Ages
Lagarrigue. Atheneum, 2001. (PI) Ages 7–10. 12–16. (Cambodian-American)
Woodson, Jacqueline. Feathers. Putnam, 2007. Ages Mochizuki, Ken. Baseball Saved Us. Illustrated by Dom
11–14. Lee. Lee and Low, 1993. (PI) Ages 7–10. (Japanese-
———. Locomotion. Putnam, 2003. Ages 9–12. American)
———. Miracle’s Boys. Putnam, 2000. Ages 10–16. Na, An. A Step from Heaven. Front Street, 2001. Ages
———. The Other Side. Illustrated by E. B. Lewis. Put- 13–18. (Korean-American)
nam, 2001. (PI) Ages 5–8. Park, Linda Sue. Keeping Score. Clarion, 2008. Ages
———. Show Way. Illustrated by Hudson Talbott. Put- 9–12. (Korean-American)
nam, 2005. (PI) Ages 7–12. ———. Project Mulberry. Clarion, 2005. Ages 10–14.
(Korean-American)
Salisbury, Graham. Night of the Howling Dogs. Wendy
Asian-/Pacific-American Literature
Lamb Books, 2007. Ages 8–11. (Hawaiian)
Barasch, Lynne. Hiromi’s Hands. Lee & Low, 2007. (PI) Say, Allen. Grandfather’s Journey. Houghton, 1993. (PI)
Ages 5–8. (Japanese-American) Ages 7–9. (Japanese-American)
Brown, Jackie. Little Cricket. Hyperion, 2004. Ages ———. Tea with Milk. Lorraine/Houghton, 1999. (PI)
11–14. (Hmong) Ages 6–9. (Japanese-American)
Budhos, Marina. Ask Me No Questions. Atheneum, Sheth, Kashmira. Blue Jasmine. Hyperion, 2004. Ages
2006. Ages 10–14. (Bangladeshi-American) 11–14. (Indian-American)
Cha, Dia. Dia’s Story Cloth: The Hmong People’s Jour- Strom, Yale. Quilted Landscape: Conversations with
ney to Freedom. Stitchery by Chue and Nhia Thao Young Immigrants. Simon & Schuster, 1996. Ages
Cha. Lee & Low, 1996. (PI) Ages 8–11. (Hmong) 11–14. (Varied cultures)
Crowe, Ellie. Surfer of the Century: The Life of Duke Uchida, Yoshiko. Journey to Topaz. Scribner’s, 1971.
Kahanamoku. Illustrated by Richard Waldrep. Lee Ages 9–12. (Japanese-American)
& Low, 2007. (PI) Ages 8–11. (Hawaiian) Wong, Janet S. Alex and the Wednesday Chess Club. Il-
Gilmore, Rachna. A Gift for Gita. Illustrated by Alice lustrated by Stacey Schuett. M. K. McElderry, 2004.
Priestley. Tilbury, 2002. (PI) Ages 6–9. (Indian- (PI) Ages 5–8. (Chinese-American)
Canadian) Yep, Laurence. Dragon’s Gate. HarperCollins, 1993.
Heo, Yumi. Ten Days and Nine Nights: An Adoption Ages 12–14. (Chinese-American)
Story. Schwartz & Wade, 2009. (PI) Ages 5–8. ———. Dragonwings. Harper, 1975. Ages 9–12.
(Korean-American) (Chinese-American)
Kadohata, Cynthia. Kira-Kira. Atheneum, 2004. Ages Young, Ed. My Mei Mei. Philomel, 2006. (PI) Ages 4–7.
11–14. (Japanese-American) (Chinese-American)
———. Weedflower. Atheneum, 2006. Ages 11–14.
(Japanese-American)

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Latino Literature ———. Fearless Fernie: Hanging Out with Fernie

and Me: Poems. Illustrated by Regan Dunnick.
Ada, Alma Flor. I Love Saturdays y Domingos. Illus-
Putnam, 2002. (COL) Ages 10–14. (Mexican-
trated by Elivia Savadier. Atheneum, 2002. (PI)
American)
Ages 4–8. (Mexican-American)
Veciana-Suarez, Ana. Flight to Freedom. Orchard, 2002.
Ancona, George. Barrio: José’s Neighborhood. Har-
Ages 12–14. (Cuban-American)
court, 1998. Ages 6–9.
———. Capoeira: Game! Dance! Martial Art! Lee &
Low, 2007. Ages 10–14. (Brazilian-American) Native American Literature
———. Fiesta U.S.A. Lodestar, 1995. Ages 8–10. Alexie, Sherman. The Absolutely True Diary of a Part-
Canales, Viola. The Tequila Worm. Random, 2005. Ages Time Indian. Little, Brown, 2007. Ages 14–16.
12–15. (Mexican-American) (Spokane/Coeur d’Alene)
Freedman, Russell. In the Days of the Vaqueros: Ameri- Ancona, George. Mayeros: A Yucatec Maya Family.
ca’s First True Cowboys. Clarion, 2001. Ages 10–14. Lothrop, 1997. Ages 7–11. (Mayan/Mexico)
(Mexican-American) Begay, Shonto. Ma’ii and Cousin Horned Toad. Scholas-
González, Lucia M. The Storyteller’s Candle. Illustrated tic, 1992. (PI) Ages 6–9. (Diné/Navajo)
by Lulu Delacre. Children’s Books Press, 2008. (PI) Bruchac, Joseph. Buffalo Song. Illustrated by Bill Farn-
Ages 5–8. (Puerto Rican–American) sworth. Lee & Low, 2008. (PI) Ages 8–11. (Nez
Hayes, Joe. Dance, Nana, Dance/Baila, Nana, baila: Percé)
Cuban Folktales in English and Spanish. Illustrated ———. Code Talker. Dial, 2005. Ages 12–15. (Diné/
by Mauricio Trenard Sayago. (COL) Ages 8–11. Navajo)
(Cuban-American) ———. Crazy Horse’s Vision. Illustrated by S. D. Nel-
Jaramillo, Ann. La línea. Roaring Brook, 2006. Ages son. Lee & Low, 2000. (PI) Ages 6–10. (Lakota)
11–15. (Mexican-American) ———. Hidden Roots. Scholastic, 2006. Ages 8–11.
Jiménez, Francisco. The Circuit: Stories from the Life of a (Abenaki)
Migrant Child. Houghton, 1999. (COL) Ages 10–14. ———. Wabi: A Hero’s Tale. Dial, 2006. Ages 12–14.
(See also Breaking Through and Reaching Out.) Campbell, Nicola I. Shin-Chi’s Canoe. Illustrated by
———. La mariposa. Illustrated by Simón Silva. Kim LaFave. Groundwood, 2008. (PI) Ages 5–8.
Houghton, 1998. (PI) Ages 8–11. (Mexican- (Interior Salish/Métis/Canada)
American) Carvell, Marlene. Sweetgrass Basket. Dutton, 2005. Ages
Joseph, Lynn. The Color of My Words. HarperCollins, 10–14. (Mohawk)
2000. Ages 10–14. (Dominican) Erdrich, Louise. The Birchbark House. Hyperion, 1999.
Mora, Pat. Doña Flor. Illustrated by Raúl Colón. Knopf, Ages 8–12. (See also The Game of Silence; The Por-
2005. (PI) Ages 5–8. (Mexican-American) cupine Year) (Ojibwe)
———. Tomás and the Library Lady. Illustrated by Goble, Paul. The Girl Who Loved Wild Horses. Brad-
Raúl Colón. Knopf, 1997. (PI) Ages 6–8. (Mexican- bury, 1978. (PI) Ages 6–8.
American) Maher, Ramona. Alice Yazzie’s Year. Illustrated by
Morales, Yuyi. Just a Minute. Chronicle Books, 2003. Shonto Begay. Tricycle, 2003. (PI) (Diné/Navajo)
(PI) Ages 5–8. (Mexican-American) Medicine Crow, Joseph. Counting Coup: Becoming a
———. Just in Case. Roaring Brook Press, 2008. (PI) Crow Chief on the Reservation and Beyond. Na-
Ages 5–8. (Mexican-American) tional Geographic, 2006. Ages 10–14. (Absarokee)
Resau, Laura. What the Moon Saw. Delacorte, 2006. Messinger, Carla, & Susan Katz. When the Shadbush
Ages 11–15. (Mexican-American) Blooms. Illustrated by David Kanietakeron Fad-
Ryan, Pam Muñoz. Becoming Naomi León. Scholastic, den. Tricycle, 2007. (PI) Ages 5–8. (Lenape)
2004. Ages 11–15. (Mexican-American) Nelson, S. D. Quiet Hero: The Ira Hayes Story. Lee &
Soto, Gary. Chato and the Party Animals. Illustrated Low, 2006. (PI) Ages 8–11. (Pima)
by Susan Guevara. Putnam, 2000. (PI) Ages 5–8. Nicholson, Caitlin Dale, & Leona Morin-Neilson.
(Mexican-American) Niwechihaw = I Help. Illustrated by Caitlin Dale

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Nicholson. Groundwood, 2008. (PI) Ages 5–8. Littman, Sarah. Confessions of a Closet Catholic. Dut-
(Cree) ton, 2005. Ages 10–14. (Jewish)
Parsons-Yazzie, Evangeline. Dzani Yazhi Naazbaa’: Millman, Isaac. Hidden Child. Illustrated. Farrar, 2005.
Little Woman Warrior Who Came Home: A Story Ages 9–14. (Jewish)
of the Navajo Long Walk. Illustrated by Irving Mobin-Uddin, Asma. The Best Eid Ever. Illustrated by
Toddy. Salina Bookshelf, 2005. (PI) Ages 8–11. Laura Jacobsen. Boyds Mills, 2007. (PI) Ages 5–8.
(Diné/Navajo) (Muslim)
Pitts, Paul. Racing to the Sun. HarperCollins, 1988. ———. My Name Is Bilal. Illustrated by Barbara
Ages 9–12. (Navajo) Kiwak. Boyds Mills, 2005. (PI) Ages 9–12.
Smith, Cynthia Leitich. Rain Is Not My Indian Name. (Muslim)
HarperCollins, 2001. Ages 10–14. (Muskogee) ———. A Party in Ramadan. Illustrated by Laura
Tingle, Tim. Crossing Bok Chitto: A Choctaw Tale of Jacobsen. Boyds Mills, 2009. (PI) Ages 5–8.
Friendship and Freedom. Illustrated by Jeanne (Muslim)
Rorex Bridges. Cinco Puntos, 2006. (PI) Ages 8–11. Nislick, June Levitt. Zayda Was a Cowboy. Jewish Pub-
(Choctaw) lication Society, 2005. Ages 9–13. (Jewish)
Rabinovici, Schoschana. Thanks to My Mother. Pen-
guin, 1988. Ages 10–14. (Jewish)
Religious Cultures Literature Rocklin, Joanne. Strudel Stories. Delacorte, 1999. Ages
Bunting, Eve. One Candle. Illustrated by Wendy Popp. 7–12. (Jewish)
HarperCollins, 2002. (PI) Ages 6–9. (Jewish) Rubin, Susan Goldman. Fireflies in the Dark: The Story
Demi. Buddha. Henry Holt, 1996. (PI) Ages 5–8. of Friedl Dicker-Brandeis and the Children of Ter-
(Buddhist) ezin. Holiday, 2000. (PI) Ages 11–14. (Jewish)
———. Muhammad. M. K. McElderry, 2003. (PI) Ages Russo, Marisabina. Always Remember Me: How One
8–11. (Muslim) Family Survived World War II. Atheneum, 2005.
Ferber, Brenda. Julia’s Kitchen. Farrar, 2006. Ages (PI) Ages 8–11. (Jewish)
10–14. (Jewish) Schmidt, Gary. Mara’s Stories: Glimmers in the Dark-
García, Cristina. I Wanna Be Your Shoebox. Simon & ness. Holt, 2001. Ages 11–14. (Jewish)
Schuster, 2008. Ages 8–11. (Jewish)
Geras, Adèle. My Grandmother’s Stories: A Collection
Bilingual Literature
of Jewish Folk Tales. Illustrated by Anita Lobel.
Knopf, 2003 (1990). (PI) Ages 8–10. (Jewish) Ada, Alma Flor. Gathering the Sun: An Alphabet in
Hershenhorn, Esther. Chicken Soup by Heart. Illus- Spanish and English. Translated by Rosa Zu-
trated by Rosanne Litzinger. Simon & Schuster, bizarreta. Illustrated by Simón Silva. Lothrop,
2002. (PI) Ages 4–7. (Jewish) 1997. Ages 5–9. (Also a poetry book.) (English/
Hesse, Karen. The Stone Lamp: Eight Stories of Spanish)
Hanukkah through History. Illustrated by Brian Alarcón, Francisco X. Animal Poems of the Iguazú:
Pinkney. Hyperion, 2003. (COL) Ages 9–13. Poems/Animalario del Iguazú: Poemas. Illustrated
(Jewish) by Maya Christina González. Children’s Book
Kimmel, Eric A., reteller. Gershon’s Monster: A Story Press, 2008. (COL) Ages 9–12. (English/Spanish)
for the Jewish New Year. Illustrated by Jon J. Muth. ———. Poems to Dream Together/Poemas para soñar
Scholastic, 2000. Ages 6–11. (Jewish) (legend) juntos. Illustrated by Paula Barragán. Lee & Low,
———. Wonders and Miracles: A Passover Companion. 2005. (COL) Ages 8–12. (English/Spanish)
Scholastic, 2004. (COL) Ages 11–14. (Jewish) Anzaldúa, Gloria. Friends from the Other Side/Amigos
Krishnaswami, Uma. The Closet Ghosts. Illustrated by del otro lado. Illustrated by Consuelo Mendez.
Shiraaz Bhabha. Children’s Book Press, 2005. (PI) Children’s Book Press, 1993. (PI) Ages 6–9.
Ages 6–8. (Hindu) (English/Spanish)
Lingen, Marissa. The Jewish Americans. Mason Crest, Argueta, Jorge. A Movie in My Pillow/Una película
2009. Ages 10–14. (Jewish) en mi almohada: Poems. Illustrated by Elizabeth

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Gómez. Children’s Book Press, 2001. (PI) Ages sien Tseng. Translated by Minfong Ho. Lothrop,
8–12. (Also a poetry book.) (English/Spanish) 1996. Ages 8–14. (Also a poetry book.) (English/
Brown, Mónica. Pelé, King of Soccer/Pelé, el rey del fút- Chinese)
bol. Translated by Fernando Gayesky. Illustrated Kitsao, Jay. McHeshi Goes to the Market. Illustrated
by Rudy Gutierrez. Rayo, 2009. (PI) Ages 5–8. by Wanjiku Mathenge. Jacaranda Designs, 1995.
(English/Spanish) (PI) Ages 3–5. (English/Swahili) (See others in the
———. My Name Is Celia: The Life of Celia Cruz/Me McHeshi series.)
llamo Celia: La vida de Celia Cruz. Illustrated by Lee, Jeanne. Song of Mu Lan. Front Street, 1995. (PI)
Rafael López. Rising Moon, 2004. (PI) Ages 8–11. Ages 5–8. (English/Chinese)
(English/Spanish) Lee-Tai, Amy. A Place Where Sunflowers Grow. Trans-
Carlson, Lori, editor. Red Hot Salsa: Bilingual Poems lated by Marc Akio Lee. Illustrated by Felicia Ho-
on Being Young and Latino in the United States. shino. Children’s Book Press, 2006. (PI) Ages 5–8.
Henry Holt, 2005. (COL) Ages 10–14. (English/ (English/Japanese)
Spanish) MacDonald, Margaret Read. The Girl Who Wore Too
Cohn, Diana. ¡Sí, se puede!/Yes, We Can!: Janitor Strike Much: A Folktale from Thailand. Thai text by
in L.A. Translated by Sharon Franco. Illustrated by Supaporn Vathanaprida. Illustrated by Yvonne
Francisco Delgado. Cinco Puntos, 2002. (PI) Ages LeBrun Davis. August House, 1998. (PI) Ages 4–8.
6–8. (English/Spanish) (English/Thai)
Colato Laínez, Rene. Playing Lotería/El juego de la lot- Medina, Jane. The Dream on Blanca’s Wall/El sueño
ería. Illustrated by Hill Arena. Luna Rising, 2005. pegado en la pared de Blanca. Illustrated by Robert
(PI) Ages 5–8. (English/Spanish) Casilla. Boyds Mills/Wordsong, 2004. Ages 11–12.
Cumpiano, Ina. Quinito, Day and Night/Quinito, día y (English/Spanish)
noche. Illustrated by José Ramírez. Children’s Book Nye, Naomi Shihab, editor. The Tree Is Older Than You
Press, 2008. (PI) Ages 5–8. (English/Spanish) Are: A Bilingual Gathering of Poems and Stories
———. Quinito’s Neighborhood/El vecindario de from Mexico with Paintings by Mexican Artists. Si-
Quinito. Illustrated by José Ramírez. Children’s mon & Schuster, 1995. (COL) Ages 8–16. (English/
Book Press, 2005. (PI) Ages 4–7. (English/ Spanish)
Spanish) Pérez, Amada Irma. My Diary from Here to There/
Garza, Carmen Lomas, with Harriet Rohmer. In My Mi diario de aquí hasta allá. Illustrated by Maya
Family/En mi familia. Edited by David Schecter. Christina González. Children’s Book Press, 2002.
Translated by Francisco X. Alarcón. Children’s (PI) Ages 8–10. (English/Spanish)
Book Press, 1996. (PI) Ages 5–12. (English/ Robles, Anthony. Lakas and the Makibaka Hotel/Si La-
Spanish) kas at ang Makibaka Hotel. Translated by Eloisa D.
González, Maya Christina. My Colors, My World/Mis de Jesús. Illustrated by Carl Angel. Children’s Book
colores, mi mundo. Children’s Book Press, 2007. Press, 2006. Ages 7–9. (English/Tagalog)
(PI) Ages 5–8. (English/Spanish) Shin, Sun Yung. Cooper’s Lesson. Translated by Min
Guy, Ginger Foglesong. Siesta. Illustrated by René King Paek. Illustrated by Kim Cogan. Children’s Book
Moreno. Greenwillow, 2005. (PI) Ages 3–6. (Also a Press, 2004. (PI) Ages 5–8. (English/Korean)
concept book.) (English/Spanish) Song, Ha. Indebted as Lord Chom: The Legend of the
Herrera, Juan Felipe. Grandma and Me at the Flea/ Forbidden Street/No nhu Chua Chom. Illustrated
Los meros meros remateros. Illustrated by Anita by Ly Thu Ha. East West Discovery Press, 2006.
DeLucio-Brock. Children’s Book Press, 2002. (PI) (PI) Ages 5–8. (English/Vietnamese)
Ages 4–8. (English/Spanish) Stewart, Mark, and Mike Kennedy. Latino Baseball’s Fin-
———. The Upside Down Boy/El niño de cabeza. Illus- est Fielders/Los más destacados guantes del béisbol
trated by Elizabeth Gómez. Children’s Book Press, latino. Translated by Manuel Kalmanovitz. Mill-
2000. (PI) Ages 8–11. (English/Spanish) brook, 2002. (COL) Ages 9–13. (English/Spanish)
Ho, Minfong. Maples in the Mist: Children’s Poems from (See companion volume, Latino Baseball’s Hottest
the Tang Dynasty. Illustrated by Jean and Mou- Hitters, 2002.)

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 Literature for a Diverse Society

Tran, Truong. Going Home, Coming Home/Ve Nha, Zepeda, Gwendolyn. Growing Up with Tamales/Los
Tham Que Huong. Illustrated by Ann Phong. tamales de Ana. Translated by Gabriela Baeza
Children’s Book Press, 2003. (PI) Ages 5–8. Ventura. Illustrated by April Ward. Piñata Books,
(English/Vietnamese) 2008. (PI) Ages 5–8. (English/Spanish)

Recommended International Books

Ages refer to approximate interest levels. Country of Brugman, Alyssa. Being Bindy. Delacorte, 2006. Ages
original publication is noted. 12–15. (Australia)
(PI) Picture .book Burgess, Melvin. Kite. Farrar, 2000. Ages 12–16. (U.K.)
(COL) Short story collection Child, Lauren. I Will Never Not Ever Eat a Tomato.
Candlewick, 2000. (PI) Ages 3–8. (U.K.)
Clarke, Judith. Kalpana’s Dream. Front Street, 2005.
Ages 12–15. (Australia)
English Language Books
Colfer, Eoin. Artemis Fowl. Hyperion, 2001. Ages 10–12.
Ahlberg, Janet, and Allan Ahlberg. Each Peach Pear (Ireland)
Plum. Viking, 1979. Ages 3–6. (U.K.) Crossley-Holland, Kevin. The Seeing Stone. Scholastic,
———. The Jolly Postman. Little, Brown, 1986. Ages 2001. Ages 10–15. (U.K.)
5–8. (U.K.) Daly, Niki. Once Upon a Time. Farrar, 2003. (PI) Ages
Alborough, Jez. Fix-It Duck. HarperCollins, 2002. (PI) 4–8. (South Africa)
Ages 2–5. (U.K.) ———. Where’s Jamela? Farrar, 2004. (PI) Ages 5–8.
Asare, Meshack. Sosu’s Call. Kane/Miller, 2002. (PI) (South Africa)
Ages 6–9. (Ghana) Dhami, Narinder. Bindi Babes. Delacorte, 2004. Ages
Baker, Jeannie. Home. Greenwillow, 2004. (PI) Ages 11–14. Humorous. (U.K.)
5–8. (Australia) Dowd, Siobhan. The London Eye Mystery. David Fick-
Barakat, Ibtisam. Tasting the Sky: A Palestinian Child- ling, 2008. Ages 8–11. (U.K.)
hood. Farrar, 2007. Ages 10–14. (Palestine) Doyle, Brian. Mary Ann Alice. Douglas & McIntyre,
Base, Graeme. The Water Hole. Abrams, 2001. (PI) Ages 2002. Ages 9–13. (Canada)
4–8. (Australia) Fensham, Elizabeth. Helicopter Man. Bloomsbury,
Bateson, Catherine. Stranded in Boringsville. Holiday 2005. Ages 12–14. (Australia)
House, 2005. Ages 10–14. (Australia) Fine, Anne. The Jamie and Angus Stories. Illustrated by
Benjamin, Floella. My Two Grannies. Illustrated by Penny Dale. Candlewick, 2002. Ages 7–9. (U.K.)
Margaret Chamberlain. Francis Lincoln, 2008. (PI) Foreman, Michael. Saving Sinbad. Kane/Miller, 2002.
Ages 6–9. (U.K.) (PI) Ages 4–8. (U.K.)
Boyce, Frank Cottrell. Framed. HarperCollins, 2006. Fox, Mem. Ten Little Fingers and Ten Little Toes. Illus-
Ages 11–14. Humorous. (U.K.) trated by Helen Oxenbury. Harcourt, 2008. (PI)
———. Millions. HarperCollins, 2004. Ages 11–14. Ages 5–8. (Australia)
Humorous. (U.K.) ———. Wilfrid Gordon McDonald Partridge. Illus-
Briggs, Raymond. The Snowman. Random House, trated by Julie Vivas. Kane/Miller, 1985. (PI) Ages
1978. (PI) Ages 5–8. (U.K.) 5–8. (Australia)
Browne, Anthony. Little Beauty. Candlewick, 2008. (PI) French, Jackie. Hitler’s Daughter. HarperCollins, 2003.
Ages 5–8. (U.K.) Ages 9–12. (Australia)
———. Voices in the Park. DK, 2001. (PI) Ages 8–11. Gardner, Lyn. Into the Woods. Illustrated by Mini Grey.
(U.K.) David Fickling, 2007. (PI) Ages 8–11. (U.K.)

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 Literature for a Diverse Society

Gavin, Jamila. Coram Boy. Farrar, 2001. Ages 11–16. McKay, Hilary. Saffy’s Angel. McElderry, 2002. Ages
(U.K.) 9–12. (U.K.)
Gay, Marie-Louise. Caramba. Anansi, 2005. (PI) Ages Morpurgo, Michael. Kensike’s Kingdom. Scholastic,
5–8. (Canada) 2003. Ages 8–11. (U.K.)
Gilmore, Rachna. A Group of One. Holt, 2001. Ages Murray, Martine. The Slightly True Story of Cedar B.
11–15. (Canada) Hartley (Who Planned to Live an Unusual Life).
Gleeson, Libby. Half a World Away. Illustrated by Scholastic, 2003. Ages 9–13. (Australia)
Freya Blackwood. Scholastic, 2007. (PI) Ages 5–8. Naidoo, Beverley. Burn My Heart. Amistad, 2009. Ages
(Australia) 10–14. (Kenya)
Graham, Bob. How to Heal a Broken Wing. Candle- ———. The Other Side of Truth. HarperCollins, 2001.
wick, 2008. (PI) Ages 5–8. (Australia) Ages 10–15. (South Africa)
———. “Let’s Get a Pup!” Said Kate. Candlewick, 2003. ———. Out of Bounds: Seven Stories of Conflict and
(PI) Ages 3–8. (Australia) Hope. HarperCollins, 2003. Ages 10–14. (South
Gravett, Emily. Little Mouse’s Big Book of Fears. Simon Africa)
& Schuster, 2008. (PI) Ages 5–8. (U.K.) Nicholls, Sally. Ways to Live Forever. Scholastic, 2008.
———. Wolves. Simon & Schuster, 2006. (PI) Ages 5–8. Ages 8–11. (U.K.)
(U.K.) Overend, Jenni. Welcome with Love. Illustrated by Julie
Grey, Mini. Traction Man Meets Turbodog. Knopf, Vivas. Kane/Miller, 2000. Ages 5–8. (Australia)
2008. (PI) Ages 5–8. (U.K.) Parkinson, Siobhan. Something Invisible. Roaring
Horacek, Petr. Silly Suzy Goose. Candlewick, 2006. (PI) Brook Press, 2006. Ages 10–13. (Ireland)
Ages 4–6. (U.K.) Pendziwol, Jean. Marja’s Skis. Illustrated by Jirina
Horne, Constance. The Tenth Pupil. Ronsdale Press, Marton. Groundwood, 2007. (PI) Ages 5–8.
2001. Ages 8–11. (Canada) (Canada)
Ibbotson, Eva. Journey to the River Sea. Illustrated by Pratchett, Terry. The Amazing Maurice and His Edu-
Kevin Hawkes. Dutton, 2001. Ages 9–12. (U.K.) cated Rodents. HarperCollins, 2001. Ages 11–15.
———. The Star of Kazan. Dutton, 2004. Ages 11–13. (U.K.)
(U.K.) Pullman, Philip. The Golden Compass. Knopf, 1996.
Ihimaera, Witi. Whale Rider. Harcourt, 2003. Ages Ages 12–15. The first of His Dark Materials tril-
12–15. (New Zealand) ogy, which includes The Subtle Knife, 1997; and
King-Smith, Dick. Lady Lollipop. Illustrated by Jill Bar- The Amber Spyglass, 1999. (U.K.)
ton. Candlewick, 2001. (PI) Ages 8–11. (U.K.) Rodda, Emily. The Key to Rondo. Scholastic, 2008. Ages
Little, Jean. Willow and Twig. Viking, 2003. Ages 11–14. 8–11. (Australia)
(Canada) ———. Rowan of Rin. Greenwillow, 2001. Ages 8–12.
Lester, Alison. Are We There Yet? A Journey around The first in a series. (Australia)
Australia. Kane/Miller, 2005. (PI) Ages 5–8. Rosen, Michael. Michael Rosen’s Sad Book. Illustrated
(Australia) by Quentin Blake. Candlewick, 2005. (PI) Ages
Lofthouse, Liz. Ziba Came on a Boat. Illustrated by 8–11. (U.K.)
Robert Ingpen. Kane/Miller, 2007. Ages 8–12. (PI) Rosoff, Meg. Meet Wild Boars. Illustrated by Sophie
(Australia/Afghanistan) Blackall. Holt, 2005. (PI) Ages 4–8. (U.K.)
Loyie, Larry, with Constance Brissenden. As Long as Rowling, J. K. Harry Potter and the Sorcerer’s Stone.
the Rivers Flow. Illustrated by Heather D. Holm- Scholastic, 1998. Ages 9–13. The first in a series of
lund. Douglas & McIntyre, 2002. (PI) Ages 8–12. quest fantasies. (U.K.)
(Canada) Sheth, Kashmira. Keeping Corner. Disney/Hyperion,
Lunn, Janet. Laura Secord: A Story of Courage. Illus- 2009. Ages 12–16. (India)
trated by Maxwell Newhouse. Tundra, 2001. Ages Slade, Arthur. Dust. Wendy Lamb, 2003. Ages 11–15.
9–12. (Canada) (Canada)
Matas, Carol. Sparks Fly Upward. Clarion, 2002. Ages Stanley, Elizabeth. The Deliverance of Dancing Bears.
9–13. (Canada) Kane/Miller, 2002. (PI) Ages 5–9. (Australia)

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 Literature for a Diverse Society

Tan, Shaun. The Arrival. Scholastic, 2007. (PI) Ages Buchholz, Quint. The Collector of Moments. Translated
10–14. (Australia) from German by Peter F. Niemeyer. Farrar, 1999.
———. Tales from Outer Suburbia. Scholastic, 2009. (PI) Ages 9–12. (Germany)
(PI) Ages 13–16. (Australia) Carmi, Daniella. Samir and Yonatan. Translated from
Thompson, Kate. Wild Blood. Hyperion, 2000. Ages Hebrew by Yael Lotan. Scholastic, 2000. Ages 9–12.
11–15. Last in a trilogy. (Ireland) (Israel)
Updale, Eleanor. Montmorency. Scholastic, 2004. Ages Chen, Zhiyuan. Guji, Guji. Kane/Miller, 2004. (PI) Ages
12–16. Part of a series. (U.K.) 5–8. (Taiwan)
Waddell, Martin. Farmer Duck. Illustrated by Helen Ox- D’Adamo, Francesco. Iqbal: A Novel. Translated from
enbury. Candlewick, 1992. (PI) Ages 4–6. (U.K.) French by Ann Leonori. Atheneum, 2003. Ages
Wallace, Ian. Boy of the Deeps. DK Ink, 1999. (PI) Ages 9–12. (Pakistan)
8–11. (PI) (Canada) de Mari, Silvana. The Last Dragon. Translated from
———. The Naked Lady. Roaring Brook, 2002. (PI) Italian by Shaun Whiteside. Hyperion, 2006. Ages
Ages 6–12. (Canada) 10–14. (Italy)
Walsh, Alice. Heroes of Isles aux Morts. Illustrated by Eriksson, Eva. A Crash Course for Molly. Translated
Geoff Butler. Tundra, 2001. Ages 4–8. (Canada) from Swedish by Elisabeth Dyssegaard. Farrar,
Waugh, Sylvia. Space Race. Delacorte, 2000. Ages 9–12. 2005. (PI) Ages 5–7. (Sweden)
(U.K.) Filipovic, Zlata. Zlata’s Diary: A Child’s Life in Wartime
Wild, Margaret. Fox. Illustrated by Ron Brooks. Kane/ Sarajevo. Translated from French by Fixot et edi-
Miller, 2001. (PI) Ages 6–8. (Australia) tions Robert Laffont. Penguin, 1994/2006 (revised
———. The Very Best of Friends. Illustrated by Julie edition). Ages 12–18. (Bosnia)
Vivas. Harcourt, 1990. (PI) Ages 4–9. (Australia) Frank, Anne. Anne Frank: The Diary of a Young
———. Woolvs in the Sitee. Illustrated by Anne Spud- Girl. Translated from Dutch by B. M. Mooyaart.
vilas. Front Street, 2007. (PI) Ages 10–14. (Australia) Doubleday, 1967. Ages 13–18. (Netherlands)
Wilson, Jacqueline. Candyfloss. Illustrated by Nick Funke, Cornelia. Dragon Rider. Translated from Ger-
Sharratt. Roaring Book Press, 2007. Ages 10–14. man by Anthea Bell. Scholastic, 2004. Ages 10–14.
(U.K.) (Germany)
Wynne-Jones, Tim. The Maestro. Orchard, 1996. Ages ———. Inkheart. Translated from German by Anthea
10–14. (Canada) Bell. Scholastic, 2003. Ages 10–14. (Germany)
———. Rex Zero and the End of the World. Farrar, ———. The Thief Lord. Translated from German
2007. Ages 8–11. (Canada) by Oliver Latsch. Scholastic, 2002. Ages 10–14.
———. Rex Zero, King of Nothing. Farrar, 2008. Ages (Germany)
9–12. (Canada) Goscinny, René. Nicholas. Illustrated by Jean Jacques
Sempé. Translated from French by Anthea Bell.
Phaidon, 2005. (COL) Ages 9–12. (France)
Translated Books
Gündisch, Karin. How I Became an American. Trans-
Arcellana, Francisco. The Mats. Illustrated by Hermès lated from German by James Skofield. Cricket,
Allègrè. Kane/Miller, 1999. Ages 5–9. (Philippines) 2001. Ages 9–12. (Germany)
Ashbé, Jeanne. What’s Inside. Kane/Miller, 2000. (PI) Harel, Nira. The Key to My Heart. Illustrated by Yossi
Ages 2–5. (Belgium) Abulafia. Kane/Miller, 2002. (PI) Ages 4–7. (Israel)
Björk, Christina. Vendela in Venice. Illustrated by Inga- Highet, Alistair. The Yellow Train. Based on a story by
Karin Eriksson. Translated from Swedish by Patri- Fred Bernard. Illustrated by François Roca. Cre-
cia Crampton. R & S, 1999. Ages 9–12. (Sweden) ative, 2000. (PI) Ages 4–7. (Canada)
Bluitgen, Kåre. A Boot Fell from Heaven. Illustrated by Hogeweg, Margriet. The God of Grandma Forever.
Chiara Carrer. Kane/Miller, 2003. (PI) Ages 5–9. Translated from Dutch by Nancy Forest-Flier. Front
(Denmark) Street, 2001. Ages 9–13. (Netherlands)
Bredsdorff, Bodil. The Crow-Girl: The Children of Crow Hole, Stian. Garmann’s Summer. Translated from Nor-
Cove. Translated from Danish by Faith Ingwersen. wegian by Don Bartlett. Eerdmans, 2008. (PI) Ages
Farrar, 2004. Ages 11–12. (Denmark) 5–8. (Norway)

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 Literature for a Diverse Society

Holtwijz, Ineke. Asphalt Angels. Front Street, 1999. Trans- Sellier, Marie. Legend of the Chinese Dragon. Illustrated
lated from Dutch by Wanda Boeke. Ages 12–16. (Set by Catherine Louis. Translated from French by
in Rio de Janeiro) Sibylle Kazeroid. NorthSouth, 2007. (PI) Ages 5–8.
Jacobsson, Anders, and Sören Olsson. In Ned’s Head. (Set in China)
Translated from Swedish by Kevin Read. Atheneum, Singh, Vandana. Younguncle Comes to Town. Illustated
2001. Ages 9–12. (Sweden) by B. M. Kamath. Viking, 2006. Ages 8–11. (India)
Jung, Reinhard. Dreaming in Black and White. Trans- Skármeta, Antonio. The Composition. Illustrated by
lated from German by Anthea Bell. Phyllis Fogelman Alfonso Ruano. Translated from Spanish by Elisa
Books, 2003. Ages 10–14. (Germany) Amado. Groundwood, 2000. (PI) Ages 8–12.
Kruusval, Catarina. Ellen’s Apple Tree. Translated from Stolz, Joelle. The Shadows of Ghadames. Translated
Swedish by Joan Sandin. R & S Books, 2008. (PI) from French by Catherine Temerson. Delacorte,
Ages 5–8. (Sweden) 2004. Ages 11–14. (Set in Libya)
Landström, Lena. Boo and Baa Have Company. Illus- Uehashi, Nahoko. Morbito: Guardian of the Spirit. Illus-
trated by Olof Landström. Translated from Swed- trated by Yuko Shimizu. Translated from Japanese by
ish by Joan Sandin. Farrar, 2006. (PI) Ages 4–7. Cathy Hirano. Scholastic, 2008. Ages 10–14. (Japan)
(Sweden) (Part of the Boo and Baa series.) Valckx, Catharina. Lizette’s Green Sock. Translated from
Lat. Kampung Boy. First Seconds, 2006. Ages 10–12. French. Clarion, 2005. (PI) Ages 3–6. (France)
(Malaysia) Vejjajiva, Jane. The Happiness of Kati. Translated from
Lee, Ho Baek. While We Were Out. Kane/Miller, 2003. Thai by Prudence Borthwick. Atheneum, 2006.
(PI) Ages 3–6. (South Korea) Ages 10–12. (Thailand)
Lee, Suzy. The Zoo. Kane/Miller, 2007. (PI) Ages 5–8. Weninger, Brigitte. Special Delivery. Illustrated by
(Korea) Alexander Reichstein. Translated from German by
Léonard, Marie. Tibili, the Little Boy Who Didn’t Want to J. Alison James. North-South, 2000. (PI) Ages 3–5.
Go to School. Translated from French. Illustrated by (Austria)
Andrée Prigent. Kane/Miller, 2001. (PI) Ages 5–8. Xiong, Kim. The Little Stone Lion. Translated from Chi-
(Set in Africa) nese. Heryin, 2006. (PI) Ages 4–7. (China)
Liu, Jae Soo. Yellow Umbrella. Kane/Miller, 2002. (PI) Yan, Ma. The Diary of Ma Yan: The Struggles and Hopes
Ages 2–6. (Companion CD with music composed of a Chinese Schoolgirl. Translated from Mandarin
by Sheen Dong Il.) (South Korea) by He Yanping. HarperCollins, 2005. Ages 10–14.
Morgenstern, Susie. A Book of Coupons. Translated (China)
from French by Gil Rosner. Illustrated by Serge Yumoto, Kazumi. The Friends. Translated from Japa-
Bloch. Viking, 2001. Ages 9–12. (France) nese by Cathy Hirano. Farrar, 1996. Ages 10–14.
Orlev, Uri. Run, Boy, Run. Translated from Hebrew by Hil- (Japan)
lel Halkin. Houghton, 2003. Ages 10–13. (Israel) Zullo, Germano. Marta and the Bicycle. Illustrated by
Sakai, Komako. Emily’s Balloon. Translated from Japa- Albertine. Translated from French. Kane/Miller,
nese. Chronicle, 2006. (PI) Ages 3–5. (Japan) 2002. (PI) Ages 4–8. (Switzerland)
Satrapi, Marjane. Persepolis. Pantheon, 2003. Ages
10–14. (Iran)

Related Films, Videos, and DVDs

I Hate English! (2006). Author: Ellen Levine (1989). 14 Millions. (2005). Author: Frank Cottrell Boyce (2004).
minutes. (Asian-American) 98 minutes. (England)
I Love Saturdays y Domingos. (2002). Author: Alma The Thief Lord. (2006). Author: Cornelia Funke (2002).
Flor Ada. Illustrated by Elvivia Savadier (2002). 99 minutes. (Germany/Australia)
18 minutes. (Bilingual)

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 Literature for a Diverse Society

Sources for Films, Videos, and DVDs Websites of large video distributors:
The Video Source Book. Syosset, NY: National Video www.libraryvideo.com
Clearinghouse, 1979–. Published by Gale Research, www.knowledgeunlimited.com
Detroit, MI. http://teacher.scholastic.com/products/
An annual reference work that lists media and pro- westonwoods
vides sources for purchase and rental.

Now go to Chapter 11 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Learn how authors and illustrators apply their craft by reading the written interviews in the
Conversations section for the chapter.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

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Planning the
Curriculum
Close your eyes and look inside,
A mirror shines within;
To find where you are going,
First see where you have been.

—Charles Ghigna

“In Sight” from A Fury of Motion by Charles Ghigna (Wordsong, an imprint of Boyds
Mills Press, 2003). Reprinted with the permission of Boyds Mills Press, Inc. Copyright
© 2003 by Charles Ghigna.

From Chapter 12 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

243
 Planning the Curriculum

This chapter deals with long-range planning for literature instruction. Short-range planning is
discussed in Chapter 13. First, the literature curriculum is defined, and approaches to teaching
and organizing such a curriculum are presented. Guidelines for developing the literature curricu-
lum and a discussion of how literature can be integrated into a school’s reading program follow.
The latter part of the chapter includes sections on evaluating a literature program; implementing
a schoolwide literature program; gaining experience with literature as a preservice teacher; and
learning about censorship, selection, and First Amendment rights (primarily free speech) as they
pertain to literature in the schools.

Defining the Literature Curriculum

Literature is more than a collection of well-written stories and poems. Literature also has its own
body of knowledge. A term that is sometimes used to label this treatment of literature is discipline-
based literature instruction. The object of such a course of study is to teach children the mechanics
of literature: the terms used to define it, its components or elements, its genres, and the craft of
creating it. The terms and elements of fiction are presented in Chapter 3; the terms and elements
of nonfiction are presented in Chapter 10; and the genres and their characteristics are presented
in Chapters 4 through 11.

Choosing the Approach

Two approaches to instruction prevalent in today’s schools are the traditional approach and the
inquiry approach. You must determine which approach to instruction best suits you and your
students, and then you must decide how to organize your literature instruction.
The traditional approach to instruction focuses on mastery of content. It places the teacher
at the center, in that the teacher decides the agenda, dispenses the information, asks the questions,
and often supplies the answers. The goal of this approach is for students to learn what the teacher
tells them about the literature under study.
The inquiry approach to instruction, which shares some features of problem-based learning
and constructivist learning, focuses on how one learns. Teachers who choose this approach want
their students to become aware of the power of literature to explain the human condition. The
inquiry approach is characterized by the following precepts:
■ Students’ inquiry is guided by their own questions related to a work of literature—questions
they honestly care about. During the inquiry process, students refine or alter their questions
as they learn and discuss, debate, and share information with other students. Collaborative
learning, team projects, and small group discussions are emphasized.
■ Emphasis is placed on the process of how one gets and makes sense of information about
literature so that knowledge gained will have wide application.
■ Teachers operate as facilitators rather than dispensers of knowledge. They ask leading ques-
tions rather than tell answers.

244
 Planning the Curriculum

This approach to literature instruction can be managed as a whole-class inquiry into one question,
small group inquiries into various questions, or independent inquiries into questions selected by
each student.
Most often, elementary and middle-school teachers organize the literature curriculum by genre,
theme or topic, author or illustrator, literary element or device, or notable books. An alternative is to
create a hybrid literature curriculum by including aspects of several of these approaches in the plan.

Genre
By organizing a literature curriculum around literary genres, teachers provide a context for students
to learn about the various types of literature and the characteristics of each. In the beginning, the
teacher will have to direct students’ attention to similarities in books of like genre—for example, the
students will learn that works of historical fiction are always set in the past or that characters in
folktales are two-dimensional. Soon, however, students will begin to read with more genre awareness
and will enjoy finding common elements within and differences between genres.
One advantage of this plan is that students over the school year can be exposed to a wide
variety of literature. Knowledge of different genres gives students useful schemata—frameworks
for understanding born of prior knowledge and experience—for story types. A genre approach
can work in all grade levels, given thoughtful selection of titles and delivery of literary concepts.
Planning involves choosing the genres to be studied, selecting the representative children’s books
for each, and determining the order in which the genres will be studied.

Theme or Topic
Organizing a study of literature by theme or topic works particularly well with the inquiry ap-
proach to literature. Focusing on a book’s meaning or message gives students an opportunity
to relate what they learn to their own lives. Themes and topics will vary according to ages and
circumstances of students. For example, primary-grade children will be interested in themes and
topics having to do with school and family life. Those in the middle grades, on the other hand,
will be more intrigued by themes and topics dealing with the discovery and use of inner resources
to become more independent or even to survive.
Possible themes that a seventh- or eighth-grade class might explore through a year include
the following:
Effects of Poverty
Staying Healthy
Alienation and Acceptance by Peers
Coping with Parents and Younger Siblings
Teenagers through History: The Same Old Problems?
Dependence and Independence
The Future World
Accepting Those Who Are Different from Ourselves
Community Involvement and Activism
Walking in Someone Else’s Shoes: The Importance of Perspective

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Possible themes and topics for a younger group might include these:
Families Come in All Shapes and Sizes
School Now and in the Past
What It Means to Be a Good Friend
The Problem of Bullying and Teasing
Stories from Other Countries
Protecting Our Environment
Famous People Were Children, Too
In this method, each child reads or listens to the book or books chosen by the teacher to ac-
company each theme. After the reading, students explore the theme through questioning, journal-
ing, reflecting, discussing, writing, responding through drama and art, and further reading on the
theme or topic.
Themes and topics are chosen by the teacher on the basis of students’ needs and interests,
current events, and prior successes with previously developed thematic units. The length of time
spent on any one theme or topic can vary from a school year to a day, but several weeks’ duration
is the norm.
Two pitfalls of thematic curriculum models must be avoided:
1. Do not choose a theme or topic just because a few related books are at hand. Remember: The
unit theme or topic drives literature selection, not vice versa.
2. Do not choose literature because it relates to the theme or topic but with no regard to its
quality or appropriateness for the students. Boring books make boring thematic instructional
units.

Author or Illustrator
The goal of a curriculum in literature organized by author or illustrator is to make students more
familiar with the works and styles of selected children’s book authors and illustrators. An additional
goal may be knowledge of the authors’ or illustrators’ lives insofar as these life experiences influenced
the subjects’ works. The choice of authors and illustrators will naturally be guided both by students’
reading interests and the teacher’s desire to introduce students to important authors and illustrators
and their works. The number of works chosen to represent an author or illustrator will vary, but
even when an author’s books are lengthy, more than one work is recommended.
As a class experiences a sampling of the chosen author’s or illustrator’s work, attention will
be focused on trademark stylistic elements such as unusual use of words, color, or media, as well
as themes, characters, character types, or settings common to these works. Later, information
about the person’s life can be introduced through reports, audiotaped and videotaped interviews,
and even guest appearances by the author or illustrator. Websites, biographies, and biographical
reference volumes, such as Something about the Author (Gale Research, 2006) and Children’s Lit-
erature Review (Gale Research, 2006), provide information about children’s book authors and
illustrators. Note also series biographies and autobiographies of children’s book authors and il-
lustrators offered by publishers, such as Richard C. Owen’s Meet the Author series for 7- to
10-year-olds (www.rcowen.com/MTABkList.htm).

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Success of author and illustrator studies is not necessarily defined by wholesale student ap-
proval of the featured artists. Students must be allowed to decide whether they like a person’s
work or not and should be encouraged to discover why they have these feelings. Wholesale disap-
proval by students of the works of a featured author or illustrator, however, is an important form
of teacher evaluation that should not be ignored. In such a case, the teacher’s choice of author or
books to be studied was not appropriate for this purpose and should be reconsidered. Students
are evaluated informally through observation of their recognition of featured authors’ or illustra-
tors’ works and their ability to compare literary and artistic styles of various authors and
illustrators.

Literary Element and Device

When teachers say that their teaching of literature is organized by literary element, they are usually
referring to the elements of fiction and nonfiction, as presented in Chapters 3 and 10, respectively.
Other elements, such as artistic styles, media, and book format, could be addressed as well. A liter-
ary device is “any literary technique deliberately employed to achieve a special effect” (Baldick,
1990, p. 55). Irony, symbolism, parody, and foreshadowing are examples of devices that add rich-
ness to stories.
The goal of a literature curriculum organized by literary elements and devices is to give
students a better understanding of the craft of writing so that they can read more perceptively
and appreciatively and possibly apply this knowledge to their own writing. Since this approach is
analytical and somewhat abstract, it is more appropriate for students in the fourth grade or
above.
Careful selection of children’s books to accompany the investigation of each literary element
or device is crucial to the success of this approach. The featured element must be prominent and
must have been used by the author with extraordinary skill. In addition, the story itself must
captivate young readers. Note that in this approach, books of various genres can be grouped to
demonstrate the same literary element. Note also that picture books are particularly good at
presenting literary elements and devices clearly and in relatively simple contexts so that they can
be understood more easily. An excellent resource for selecting picture books for this use is Hall’s
Using Picture Storybooks to Teach Literary Devices, Vols. 1–4 (1990, 1994, 2001, 2007).
Students’ acquaintance with the literary elements and devices can go far beyond mere defini-
tion. Close reading of key passages reveals the author’s craft at developing character, establishing
mood, authenticating setting, or using such devices as inference, symbolism, or foreshadowing.
Re-creation of these elements and devices in their own art, drama, and writing not only gives
students a personal and more complete understanding of these concepts, but it also gives teachers
a way to evaluate their students’ grasp of these concepts.

Notable Book
Notable, in this context, means any exemplary work for children. Notable books can be classic or
contemporary and can include works from several different genres, including biography and
informational literature. The books are read and analyzed for the features that contribute to their

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excellence, such as their relevance to readers, unique perspectives or insights, treatment of topics,
memorable characters, or illustrations.
In the primary grades, teachers will most likely read the notable books aloud to students.
Reading aloud by teachers works for intermediate and middle grades as well, but an alternative
at these levels is independent reading of the selected books by students. Analysis of notable books
can be conducted through discussion (whole class, small group, teacher led, or student led), dia-
logue journal writing (with the teacher or a friend who is reading the same book), or reading logs.
Regardless of the method students use to respond to these books, they should be encouraged to
relate the books to their own lives and to compare them to other books they have read. Even if
students are responding in more independent ways, such as journal writing, it is a good idea to
invite them to share their thoughts with one another from time to time.
Teachers who organize their literature curriculum by notable books must be careful to remain
flexible in book selections from year to year so that the list of notable books reflects students’
current interests and reading preferences. A list of notable books that never varies can result in
student disinterest and stale teaching.

Developing the Literature Curriculum

Planning for a literature curriculum involves two practical considerations: building a classroom
library collection and outlining a yearlong literature curriculum.

Building a Classroom Library Collection

Most, if not all, of the responsibility for acquiring a sufficiently large and varied collection of
books in your classroom will be yours. With perseverance, it can be done. Most good classroom
libraries have a permanent collection as well as a collection that comes from the school or public
library and changes regularly. Beginning teachers who are willing to plan
ahead with their school and public librarians can borrow enough books
for adequate temporary classroom libraries while they build their own col-
Go to Activity 1 in the Assign- lections. Even after a large permanent collection is established, a rotating
ments and Activities section of
selection from the school and public library can be coordinated with spe-
Chapter 12 in MyEducationKit;
complete the activity on explor-
cific units of study, providing depth and breadth to the unit content and
ing teacher tools available on to the students’ learning experience.
the Internet. Careful selection of titles for the classroom library makes the most of
limited resources. Children’s librarians can provide invaluable advice in
selecting titles for a classroom library and should be consulted. If this is not an option, browsing
a well-stocked children’s bookstore and consulting publishers’ catalogs are alternative ways of
finding out what is available. Publishers of children’s books issue one or two catalogs annually in
which they describe their new publications and list their previous publications that are currently
available (the backlist). If your school or public librarian does not have these catalogs, publishers
will supply them on request. Some teachers use catalogs to get an overview of what is available
before going to a bookstore.

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Your own permanent trade book collection can be built inexpensively by using several proven
approaches. These include the following:

■ Requesting an allocation from your principal or PTO for purchase of books

■ Submitting a small grant proposal ($250–$1,000) to your school district or professional or-
ganization for purchase of trade books
■ Taking advantage of bonus books offered by student paperback book clubs
■ Informing students’ parents that you are building a collection and would like to have first
refusal of any children’s books that they plan to discard
■ Establishing a “give a book to the classroom” policy for parents who want to celebrate their
child’s birthday or a holiday at school in some way
■ Frequenting garage sales and library book sales, where good books can often be purchased
for pennies

Most bookstores offer a 20 percent discount to teachers who use their own money to buy
books to add to their classroom collections. An alternative to the bookstore is the book jobber, or
wholesale dealer for many publishers. Jobbers offer even greater discounts to teachers, sometimes
up to 40 percent, but it is important to remember that most jobbers do not carry small-press
publications. Your school librarian probably uses a jobber and can assist you in setting up a staff
account with the same firm. Some of the larger firms include Baker & Taylor, Brodart, and Ingram
Book Company. One of the most popular of these is Follett Library Resources, with its Titlewave
selection tool.
With these methods and sources, classroom collections grow quickly. From the beginning,
you will need to devise a coding system for your permanent collection to streamline shelving and
record keeping. Many teachers find that color coding their books by genre with colored tape on
the spines works well. If at all possible, students should be trained and given the responsibility
for color coding, checking in and out, repairing, and reshelving books.
Remember that the whole point of building a classroom library is to promote reading, not
to provide a handsome display. Inevitably, if children use their classroom library, books will be
lost and damaged. Severe reprimands for losing or damaging a book may work against your ul-
timate goal.

Outlining a Yearlong Literature Curriculum

Outlining a yearlong literature curriculum helps teachers determine a practical scope of content
and logical sequence of presentation and gives them time to gather the necessary resources by the
time they are needed. Recommended steps in outlining for a yearlong literature curriculum are
reviewed in the following subsections.

Establish Goals
Goals in a literature curriculum are those aims one expects to accomplish by the end of the course
of study. Central to this part of the planning process is deciding on the literary concepts to be
taught. Because goals largely determine the parameters of the curriculum, they must be estab-
lished early in the planning process.

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Goals for a literature curriculum are established by individual teachers and sometimes by
schools or school districts. Goals for a primary-grade teacher who has chosen a mixed genre/
author organization to teaching literature would include the following:
■ Students will enjoy reading a variety of genres of literature.
■ Students will be familiar with the characteristics of folktales, modern fantasy, contemporary
realistic fiction, and nonfiction and will be able to classify a book as belonging to one of the
featured genres when reading it.
■ Students will become familiar with several leading authors (or collectors in the case of folk-
tales) of each of the genres and will be able to identify characteristics of the writing of each
author.

Determine Literature Units

After goals have been identified and set, the next step in outlining a literature curriculum is to
determine the units of study through which the literature content will be delivered. In this way,
a tentative schedule can be set in order to foresee needs in terms of time and materials and to
coordinate delivery of the units with the school calendar.

Select Focus Books

Early selection of unit titles is important for several reasons. Balance in the overall book selection,
for instance, is achieved much more easily in the planning stages. Balance, as presented in Chapter
3, means that the books selected present a diversity of characters who have relevance to children’s
lives (type, gender, age, ethnicity, place of origin), settings (urban, rural, familiar, foreign), and
themes. Another advantage of early selection is being able to estimate the time necessary for each
unit. Some units will take longer than others, depending on such variables as the extent of content
to be covered, the length and difficulty of books to be read, the type and complexity of planned
book extension activities, and the ability to locate and obtain the books and related resources such
as films and guest speakers. A sample list of units, books, and featured authors for a fifth-grade
teacher who is implementing a combined genre/author organization for teaching literature is
shown in the accompanying box.

Unit 1: Traditional Literature

(Females in Traditional Literature)

Mythology
Changing Woman and Her Sisters: Stories of Goddesses from Around the World by Katrin
Hyman Tchana, reteller, illustrated by Trina Schart Hyman (2006)
The Gods and Goddesses of Olympus retold and illustrated by Aliki (1994)
Legends and Tall Tales
Cut from the Same Cloth: American Women of Myth, Legend, and Tall Tale retold
by Robert D. San Souci, illustrated by Brian Pinkney (1993)
Clever Beatrice: An Upper Peninsula Conte, by Margaret Willey, illustrated by Heather
Solomon (2001)

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Folktales
Cinderella retold by Ruth Sanderson (2002)
Rapunzel’s Revenge by Shannon and Dean Hale, illustrated by Nathan Hale (2008)
Read-Aloud
Not One Damsel in Distress: World Folktales for Strong Girls retold by Jane Yolen, illustrated
by Susan Guevara (2000)

Unit 2: Modern Fantasy

(Unusual Characters and Strange Situations)
Finders Keepers by Emily Rodda (1991)
The Power of Un by Nancy Etchemendy (2000)
Things Not Seen by Andrew Clements (2002)
Read-Aloud
Tuck Everlasting by Natalie Babbitt (1975)
Featured Author: Natalie Babbitt

Unit 3: Informational Literature

(Current World Issues)
An Inconvenient Truth: The Crisis of Global Warming by Al Gore, adapted
by Jane O’Connor (2007)
Child Labor Today: A Human Rights Issue by Wendy Herumin (2007)
One Well: The Story of Water on Earth by Rochelle Strauss, illustrated
by Rosemary Woods (2007)
Read-Aloud
What the World Eats by Faith D’Aluisio and Peter Menzel (2008)

Unit 4: Contemporary Realistic Fiction

(Cultural Diversity)
Crossing Jordan by Adrian Fogelin (2000)
The Tequila Worm by Viola Canales (2005)
Rules by Cynthia Lord (2006)
Show Way by Jacqueline Woodson (2005)
Read-Aloud
Locomotion by Jacqueline Woodson (2003)
Featured Author: Jacqueline Woodson

Unit 5: Mystery
(Young Sleuths)
Down the Rabbit Hole by Peter Abrahams (2005)
Holes by Louis Sachar (1998)
Hoot by Carl Hiaasen (2003)
(continued)

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 Planning the Curriculum

Read-Aloud
Sammy Keyes and the Hotel Thief by Wendelin Van Draanen (1998)
Featured Author: Wendelin Van Draanen

Unit 6: Science Fiction

(Future Worlds)
The City of Ember by Jeanne DuPrau (2003)
Turnabout by Margaret Peterson Haddix (2000)
The House of the Scorpion by Nancy Farmer (2002)
Read-Aloud
Messenger by Lois Lowry (2004)
Featured Author: Lois Lowry

Developing Literature Units

Thinking through, organizing, and writing down the details of daily lessons and activities in the
various units are the final steps in planning for a literature curriculum. Two helpful tools in or-
ganizing the details of literature units are webs and lesson plans.

Webs
A web—a graphic planning tool that reveals relationships between ideas—can help you create a
visual overview of a literature unit, including its focus, concepts, related book titles, and activities.
A web is like a map in that it helps teachers and students find their way to their goals and objec-
tives; but unlike a map, it can be changed easily to encompass new ideas, be adapted for different
uses, or meet special needs and circumstances.
Ideas for a web are generated through brainstorming. The main advantage of webbing is that
the process clarifies and even suggests ties or associations between concepts, books, and activities.
Activities can be drawn from all content areas and all skill areas—writing, reading, listening,
thinking, speaking, art, crafts, drama, and music. Involving students in creating webs benefits
everyone: Students are motivated by being given a voice in planning the learning unit, and teach-
ers benefit when students have original ideas and see new relationships that improve the overall
plan. The web in Figure 12.1 shows ideas for a unit of study on the literary element, character.
The web in Figure 12.2 is built around concepts relating to the topic of immigration.
A disadvantage of a web is that it gives no indication of the chronology of events or time
allotments. The set of daily or weekly lesson plans that can be developed from a web provides the
more linear format preferred by most teachers.

Lesson Plans
Lesson plans are organized by day or week. Specificity will vary according to the needs and
experience of the teacher, but each day’s or week’s lesson plan usually includes the following
components:
■ Objectives, which are short-range aims to be accomplished day by day or week by week. An
objective for a teacher conducting a literature unit on the topic of immigration, as found in

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Figure 12.1 Web Demonstrating Investigation of a Literary Element, Grades 2–4

Small Group Reading Independent Reading

Note whether the characters in Look for protagonists, antagonists,

these stories changed or remained secondary characters, and
the same. If they changed, how? character foils in these stories.

Realistic Fiction Hot Fudge Hero by Pat Brisson

Morgy Makes His Move Read-Aloud Amber Was Brave, Essie Was
by Maggie Lewis Smart by Vera B. Williams
Rosy Cole’s Worst Ever, Best Listen for ways that the author The Gold-Threaded Dress
Yet Tour of New York City helps you get to know the main by Carolyn Marsden
by Sheila Greenwald character. Tooter Pepperday by Jerry Spinelli
Finders Keepers by Emily Rodda
Modern Fantasy Clementine by Sara Pennypacker Just Grace by Charise M. Harper
Clever Beatrice: An Upper Rowan of Rin by Emily Rodda Martin Bridge: Ready for Takeoff!
Peninsula Conte by Jessica Kerrin
by Margaret Willey Ruby Lu, Brave and True by Lenore
Good Enough to Eat by Brock Cole Look
Characterization Rufus the Scrub Does Not Wear a
Traditional Literature Tutu by Jamie McEwan
The Sleeping Beauty Snowed In with Grandmother Silk
by Trina Schart Hyman by Carol Fenner
Cinderella by Ruth Sanderson Stinky Stern Forever by Michelle
Edwards
The Talented Clementine by Sara
Pennypacker
Character
Development
Character
Types

CHARACTER

Discussion Writing Art

How are characters in works of List the ways that a character in a Using descriptions found in the
realistic fiction different from book you read changed from the story, draw a portrait of a character
characters in works of traditional beginning to the end of the story. you liked.
literature?
Select as many adjectives as you Draw a scene from the story that,
How would you describe the can to accurately describe a in your opinion, caused the
female characters in the works of character in one of the books protagonist to change the most.
traditional folktales you read? How you read.
do they compare with the female
characters in the modern folktales? With a partner, write interview Drama
questions for a story character.
Find a paragraph in a book you Write answers to these questions Select a scene that shows
read that describes the protagonist. as if you were that character. character development from a story
Why is this a good description? Make sure that your answers are you read with a small group. Adapt
in keeping with the character’s this scene for readers’ theatre.
How do you learn about characters personality. Make an audiorecording of your
in the books you read? reading for others in your class to
enjoy.

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 Planning the Curriculum

Figure 12.2 Conceptual Web on Immigration, Grades 5–8

Facing Prejudice

The History of Immigration in American Born Chinese by Assimilation of a New

the United States Gene Luen Yang Culture
Who Belongs Here? An
If Your Name Was Changed at American Story by Margy Blue Jasmine by Kashmira
Ellis Island by Ellen Levine Knight Sheth
Coming to America: The Story of
A Step from Heaven by An Na
Immigration by Betsy Maestro
Voss by David Ives
Immigrant Kids by Russell
Freedman

The Immigrant Experience: How Do

Experiences of Recent Immigrants
Compare to Those of the Past?
Retaining One’s Native Culture

Past COMING TO AMERICA: Child of the Owl by Laurence Yep

The Circuit: Stories from the Life of a IMMIGRATION Two Lands, One Heart: An
Migrant Child by Francisco Jiménez
American Boy’s Journey to His
(Mexico)
Mother’s Vietnam by Jeremy
Dragon’s Gate by Laurence Yep Schmidt and Ted Wood
(China)
What the Moon Saw by Laura
Esperanza Rising by Pam M. Ryan Resau
(Mexico)
Journey to America by Sonia Levitin
(Germany)
Kira-Kira by Cynthia Kadohata (China)
Letters from Rifka by Karen Hesse
(Russia) The Pros and Cons of
Immigration: Should the U.S.
Allow Immigrants into the
Recent Country Today?
Crossing the Wire by Will Hobbs
(Mexico) Ask Me No Questions by Marina
Journey of the Sparrows by Fran Buss Budhos
(El Salvador) Illegal Immigration (Introducing
La línea by Ann Jaramillo (Mexico) Issues with Opposing
Quilted Landscape: Conversations Viewpoints) by S. M. Karmiol
with Young Immigrants by Yale Strom Red Glass by Laura Resau

Figure 12.2, might be for students to realize that most Americans or their ancestors are immi-
grants and deserve respect regardless of how recently they have arrived in this country.
■ Procedures and methods, which tell what the teacher does, in what order and with what
materials, what tasks or assignments students will be given, and what the teacher expects of
them. Procedures of the teacher conducting the immigration unit in Figure 12.2 in order to
fulfill the objective stated above might be to read aloud Margy Knight’s book, Who Belongs

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 Planning the Curriculum

Here? An American Story (1999/2003), then ask students to share in small groups their own
or their families’ stories of how they came to this country.
■ Evaluation, in which teachers must consider how they intend to evaluate their students and
themselves in terms of how well the students met the objectives and how well their plans
worked. Student evaluation can take the form of written examinations, oral questions, listen-
ing to students’ comments during whole-class or small group discussions, reading students’
journals, and examining students’ written, oral, artistic, and dramatic responses to literature.
Self-evaluation by the teacher can be in terms of student interest in the lesson, student suc-
cess in meeting the stated objectives, and the plan’s success in predicting time and materials
needed and effectiveness of methods and procedures. At regular intervals during the litera-
ture unit teachers will want to evaluate their students’ progress in meeting the unit and year-
long goals and, if necessary, revise the plans or the goals.
Because literature units are several weeks long, they usually include a culminating activity
that gives students an opportunity to reflect on what they have learned, review major points, and
sometimes celebrate the focus of the unit in some way. An overall unit evaluation is valuable to
teachers, particularly if they intend to use the unit with another group of students. The unit
should indicate the method of evaluation. Revisions can make the unit even more successful in
succeeding years.

Approaches to Teaching Reading with Literature

Nowhere in the school curriculum is literature more important than in the reading program. In
the primary grades literature can be instrumental in helping teach children to read, and in the
intermediate and middle grades it can keep young people’s interest in reading alive, helping strug-
gling readers strengthen their reading skills and encouraging all students to become lifelong read-
ers. In the following sections the two most common approaches to teaching reading in the United
States will be presented while demonstrating literature’s role in each.

Basal Reading Program Supplemented by Children’s Literature

Just as children bring a variety of learning styles and needs to the task of learning, so do teachers
bring a variety of teaching styles and needs to teaching. A single approach to teaching reading
cannot suit all teachers or all students. The most common approach to the teaching of reading is
the basal reading approach supplemented by children’s literature.
The basal reading program has been the traditional approach to teaching reading in U.S.
elementary schools for decades. According to Durkin (1987), it is “composed of a series of readers
said to be written at successively more difficult levels” (p. 417). The core materials include a stu-
dent reader, a teacher’s manual, student workbooks, and tests. The strength of the basal program
is that it provides teachers with an organized instructional framework on which to build (Lapp,
Flood, & Farnan, 1992). In other words, the teacher using this approach does not develop a read-
ing program by selecting materials and planning the related activities. Basal reading programs
offer teachers considerable guidance and help with the decisions and challenges involved in teach-
ing children to read.

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 Planning the Curriculum

Guided reading, a program used primarily with English language learners and children who
have reading difficulties, is intended to bring students up to their grade-level competency in read-
ing. The main features of guided reading are small group instruction, close attention to assessment
of students’ reading levels, matching students with books that are incrementally “leveled” by read-
ing difficulty, explicit instruction on reading strategies to improve comprehension, and short-
term intervention. One widely used guided reading program is the Fountas and Pinnell Leveled
Books Program, K–8, published by Heinemann.
The learning theory on which basal reading materials have been based for the last century
holds that learning complex skills begins with mastering the simplest components of that skill
before attempting the next larger components, and so on until the whole skill is learned. In terms
of learning to read, this means that the letters of the alphabet are learned first, followed by letter–
sound patterns, words, and then sentences. Finally, when the components of reading are learned,
whole works of literature, such as stories, plays, and poems, are read.
In the 1980s, U.S. publishers of basal readers made an effort to improve the quality of stories
written specifically for the basal readers. Multicultural characters began to appear in basal stories
with more frequency than in the past. Most important, excerpts from high-quality trade books
and some whole, albeit brief, literary works were integrated into basal readers. These changes were
incorporated while retaining the skill-based instruction (particularly phonics instruction for be-
ginning readers) that researchers regard as important to well-rounded reading programs (Ander-
son, Hiebert, Scott, & Wilkinson, 1985).
Even with these changes, basal readers are not designed to be a complete substitute for trade
books. Even though some basal stories are good literature, not excerpted or adapted, the brevity
of these selections is a problem for intermediate grades. Most students in these grades are capable
of reading novel-length chapter books and should be doing so regularly in their school reading
program. Students in classes where anthologies and basal readers are used exclusively are denied
the all-important self-selection of reading material from a wide variety of books.
Ideally, each teacher should be allowed to choose the approach to teaching reading that best
suits his or her philosophy of learning and teaching style. In many school districts across the
United States, however, the use of a basal approach to teach reading is mandated. Even more re-
strictive is mandated Direct Instruction (DI), a lockstep method of teaching reading relying on
highly scripted, prescribed teacher plans that must be followed to the letter, accommodating no
teacher or student variation. School administrators would be wise to note Ryder, Sekulski, and
Silberg’s (2003) three-year study of methods of teaching reading that showed that DI has limited
applicability, should not be used as the main method of reading instruction, and is not as effective
as traditional teaching methods that allow teachers a more flexible approach.
Many teachers, despite mandates, have begun to move away from a slavish, “read-every-page-
or-bust” attitude toward these programs. They have found ways to improve their teaching of
reading by using their basal programs in innovative ways that eliminate some of the skills exercises
of this approach and allow time for literature as well. Some guidelines drawn from the example
of these teachers are as follows:
■ Use only the best literary selections the basal offers. Substitute good trade literature for the rest.
■ Let students read some of the better-written basal selections simply for enjoyment. It is the
joy and wonder of reading marvelous tales or interesting information that motivate children
to learn to read, not the tests on their comprehension of these stories. Use the time saved
from skill, drill, and comprehension questions for silent reading.

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■ Eliminate the stigma of ability grouping by forming one whole-class, heterogeneous reading
group. Use the time saved from planning and conducting three or four different reading les-
sons to hold individual reading conferences.
■ Use basal readers’ phonics lessons and drills only when, in the teacher’s opinion, an individual
student or group of students will benefit from them. (This need is exhibited by students in
their individual reading conferences and in their writing.) Children do not learn according to
an imposed schedule, but only when they are ready to learn. Use the time saved from ineffec-
tive exercises to read aloud from good books or for silent reading from self-choice books.
■ Avoid comprehension questions at the end of basal reading lessons that trivialize the stories
or demean the students. Use the time saved to allow children to share their personal reactions
to the story, to offer literary criticisms of the selection, or to respond to the story in writing,
drama, or art.
■ Make phonics instruction a regular but brief (10–15 minutes) part of primary-grade reading
instruction. Avoid letting phonics instruction become the main attraction of reading. That
role should be reserved for good stories.
Basal readers are most effective when used in concert with a wide variety of trade books that
reflect students’ interests and reading abilities. In this arrangement, the basal reader provides
guidance and structure to both teaching and learning, while the trade books provide the variety,
opportunity for self-selection, and interest that motivate children to want to read.

Literature-Based Reading
Literature-based reading is an approach to teaching reading through the exclusive use of trade
books. The learning theory in which literature-based reading is grounded holds that children
learn by searching for meaning in the world around them, constantly forming hypotheses, testing
them to determine whether they work, and subsequently accepting or rejecting them.
Teachers using the literature-based approach to reading will structure a classroom environ-
ment that immerses children in good literature. In these classrooms, children hear literature read
aloud several times a day, they see good readers reading voluntarily, they discover that good books
can entertain them and tell them things they want to know, and they constantly practice reading
books that they themselves have chosen because they are interested in the topics. Frequent
student–teacher conferences allow teachers to check students’ comprehension, discover skills
weaknesses, and prescribe remediation.
As in basal reading programs, explicit reading instruction is an important feature of
literature-based reading, particularly in the primary grades. Phonics, concepts of print, and vo-
cabulary are taught in literature-based reading, but within the context of interesting literature.
Unlike basal reading programs, these skills are never taught in isolation, where they have no real
meaning, are never the focus of the entire reading period, and are taught only when needed.
As noted in Chapter 1, literature-based reading instruction addresses the components of
instruction considered essential to the teaching of reading by the National Reading Panel:
phonemic awareness, phonics, and reading comprehension, including fluency and vocabulary
instruction. By including daily teacher read-alouds and self-choice independent reading, this
method of teaching reading is more likely to engender some valuable intrinsic behaviors in stu-
dents that cannot be taught: a positive attitude toward reading, self-motivation to read, and a
lifelong reading habit.

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Key elements of the literature-based reading classroom include the following:

■ Daily reading aloud of good literature by the teacher
■ Reading skills taught when needed and then within meaningful contexts, never in isolation
■ Quantities of good trade books in the classroom (five or more books per child) selected to
match specific interests and approximate reading abilities of the students in the class
■ Daily silent reading by students of self-selected books
■ Daily opportunities for students to share their reactions to books orally
■ Daily opportunities for students to respond to literature in a variety of ways, including writ-
ing, drama, and art
■ Frequent individual student–teacher reading conferences (see the discussion of individual
conferences in Chapter 13)
Decisions about what to teach, when to teach it, and what materials to use are made by the
teacher in the literature-based reading classroom. These decisions and the responsibility for ma-
terials selection and acquisition may make literature-based reading more demanding of teachers’
professional judgment than other reading instruction methods; however, when it is managed well,
this approach has proven to be effective not only in teaching students to read but also in creating
a positive attitude toward reading. Moreover, the stimulus of new and exciting materials and
students’ unique personal responses to them can make teaching more exciting and enjoyable.
The absence of a prescribed, lockstep program is one of the greatest strengths of literature-
based reading, but it also makes this approach vulnerable to many abuses. The following practices
have no place in the literature-based reading classroom:
■ Using mediocre literature in the reading program solely on the basis of having it at hand with
no regard to its appeal to students or its suitability to curricular goals
■ Regularly using class sets of single trade books with a predetermined reading schedule and
fill-in-the-blank worksheets (a practice referred to as the “basalization of literature”)
■ Reading works of literature by round-robin reading
■ Selecting and assigning every title read by students
■ Assigning book reports regularly under the guise of book response to check comprehension
■ Excluding multicultural and international titles, poetry, and a balance of genres and charac-
ter types from the classroom selection
There is no one right way to teach literature-based reading. The method cannot be packaged.
Your best protection against bogus claims, materials, and practices is to have a complete under-
standing of the theory behind the practice. Transitions and Invitations by Routman (1988, 1991);
Literature-Based Reading Programs at Work, edited by Hancock and Hill (1987); and How to Teach
Reading with Children’s Books by Veatch (1968) are a few of the excellent, practical resources that
have stood the test of time.

Technology and Literature

The phenomenal growth in availability, capability, and use of electronic devices that enable users
to read, write, communicate, gather, and share information makes technological development a

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topic worthy of attention by teachers. In this section, we will address technologies that have in-
school applications and are currently affecting instruction and learning in schools.
The computer, handheld devices, and cell phones with Internet browsing, e-mail, and text mes-
saging capabilities are currently the most frequently used technological devices. These technologies
have already shown their potential for assisting in effective language and literature instruction and
learning consistent with curricular goals; however, guidelines for the appropriate use of these in-
structional devices in the classroom will need to be set by teachers to prevent socializing or game
playing. Some of the predominant educational uses of technology follow.

The Internet
The Internet is very useful for research and lesson planning—teachers can use information they
find on the Internet to corroborate information from other sources, develop overviews of content
being studied, and update information found in textbooks. Online professional sources can also
assist in lesson planning; see, for example, ReadWriteThink (www.readwritethink.org) and Web
English Teacher (www.webenglishteacher.com) for lessons developed by teachers. Such lessons, if
they meet teachers’ curricular goals, can provide new ideas and resources.
Teachers can use closed Internet networks to have students share their responses to literature
being studied in class or drafts of writing with partners or to require or encourage student jour-
naling. In our experience, middle-school students are more willing to share their responses to
literature if it can be done on a computer, through the Internet, or by text messaging. In-school
use of interactive websites, weblogs, and class-created chat rooms must, of course, be operated
within the safety guidelines of the school system.
Students can use the Internet to research topics for literature-related units of study, locate
websites for author studies, or identify sources for further research on a theme. Students often en-
joy finding books on topics of interest and reading others’ comments about them. The American
Library Association’s Great Sites for Kids (www.ala.org/gwstemplate.cfm?section=greatwebsites&
template=/cfapps/gws/default.cfm) has links to several such sites in the Literature and Languages
category. Students can also access many free audiobooks through websites such as http://librivox
.org and www.gutenberg.org. Auditory learners especially appreciate audiobooks, and even very
young children are capable of learning how to download audiobooks onto CDs or MP3 players.

Promising Newer Technologies

E-Book Readers
A device growing in popularity is the electronic book (e-book) reader, an electronic device used
to read e-books (the digital equivalent of a conventional printed book). Although e-books are not
yet widely used in schools, they are growing in popularity among the general public and appear
to have potential for use in classrooms as the technology develops and becomes more affordable.
E-books are generally cheaper than paper books, take up less space, are environmentally less
wasteful to produce, and are more easily distributed. They have the potential to make the concept
of an out-of-print book obsolete and to make virtually any book available to readers who have
access to the Internet. Access to full-text books is also becoming possible on smartphones such as
the iPhone and BlackBerry.

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Furthermore, e-book readers provide access not only to books, but also to newspapers, maga-
zines, and blogs. As a result, teachers may have greatly expanded choices of reading material for their
students and of literature for text sets and in-class reading. An important disadvantage of some
e-book readers that are currently available is the lack of color graphic capability, making picture
books, illustrated informational books, and graphic novels using color ineffective as e-books.
Capabilities of e-book readers such as Amazon’s Kindle2 and the Sony Reader that may
facilitate reading include the following:
■ A built-in dictionary so that readers can get a definition of a word simply by clicking on it
■ Automatic searching and cross-referencing of text (useful for finding earlier references to
characters or events)
■ Nonpermanent highlighting
■ Text-to-speech software that can convert e-books to audiobooks automatically
Our interest is in how e-books will affect the teaching of literature in schools. Will they permit
teachers to make more choices for text sets available? Will the cost of books decrease and availability
increase as more e-books are produced? Will these technologies change the way people read and
think? Will they enable readers to improve their reading ability or motivate them to read more?
Supporters of reading on the Internet say that ease of access to books on the Internet may
increase the time young people spend reading, therefore helping them to become better readers.
Critics say that Internet reading is reducing readers’ attention spans and diminishing literacy.
Teacher observation and research into these questions will, in time, provide some answers.

Interactive Electronic Whiteboards

The interactive electronic whiteboard is, in essence, a computer with a screen large enough to be
seen by everyone in a normal-sized classroom. Software enables teachers to download and present
interactive lessons on any subject. One software source, for example, offers recent news articles
from the AP Wire Service accompanied by guides to interpretation, vocabulary, and comprehen-
sion. Various interactive programs assist students in brainstorming, mapping, writing, and editing
their written responses to literature. Interactive electronic whiteboards, such as Smartboard, allow
instructors to add interest and depth to their lessons by accessing photographs, drawings, maps,
video and audio clips, and related sources of information.
With the field of technology changing rapidly, it is important for teachers to stay informed
about newer technologies that have potential for teaching. Information sources include school
technology managers who offer assistance and workshops for teachers on promising new instruc-
tional technologies available for use in their school system, educational technology conferences,
and professional organizations such as NCTE and IRA. These organizations provide conference
workshops, Internet newsletters such as the NCTE Inbox, and publications that include informa-
tion on emerging technologies.

Evaluating the Literature Program

Ongoing evaluation is part of responsible teaching, because it reveals students’ strengths and
weaknesses in learning and teachers’ strengths and weaknesses in instruction and indicates where

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intervention or revision is needed. In today’s schools, reading and mathematics skills are given
the lion’s share of attention in standardized evaluation programs, and all too often, no attention
is paid to children’s growth in literary understanding. This section focuses on how to evaluate a
literature program from both students’ and teachers’ perspectives.
Well-known student assessment methods include traditional paper-and-pencil testing, port-
folio assessment, conferencing, and observing. Teachers have found the latter three most informa-
tive in assessing how well a literature program is meeting children’s needs. Portfolio assessment
and conferencing can leave information gaps, however, and do not necessarily assess the teacher’s
performance or the program itself. We find that observation, when carefully directed, provides a
full description of the students’ progress, the teacher’s strengths and weaknesses, and the literature
program. It is also the most efficient method of assessment, since it can be done while one is
engaged in other tasks.

Observation and Assessment of Student Learning

Evaluation of students in relation to a literature curriculum will focus mainly on the curriculum’s
effect on student behaviors rather than on the students’ grasp of concepts. Consequently, the
evaluation will be accomplished primarily by observing students rather than by testing them. An
important principle to remember in planning for evaluation of teaching and learning is that
evaluation must parallel the goals and objectives of the instructional plan. To look for conceptual
understandings or behaviors in students when those concepts or behaviors have not been taught
or encouraged is to invite failure and disappointment.
Experienced teachers often develop checklists to use in observation and assessment of various
aspects of their literature programs. Also, generic checklists can be developed by teams of teachers
and librarians at each grade level in a school and then tailored by individual teachers to fit their
own specific plans.

Checklist for Student Involvement with Books

Some of the behaviors that teachers look for in their students’ interaction with literature will vary
by grade level and the students’ development. Other behaviors will show up on checklists for all
grade levels. For example, preschool or first-grade teachers would be likely to look for evidence
that their students know the terms author and illustrator, use the terms correctly in their discus-
sions of books, and recognize the work of specific authors and illustrators. Middle-grade teach-
ers, on the other hand, would be more likely to look for evidence that students are choosing and
reading novel-length stories independently. Teachers at all grade levels will be looking for evidence
that their students are enjoying reading and voluntarily choosing to read. Figure 12.3 gives an idea
of what such an evaluation instrument might look like.

Observation and Assessment of Teacher Effectiveness

Regular self-assessment is an important part of a teacher’s professional development. The follow-
ing two checklists were conceived with preservice teachers in mind, mainly for the purposes of
self-evaluation and guiding their observation of the classrooms they visit during their school
participation experiences.

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 Figure 12.3 Checklist for Student Involvement with Literature

Evaluator: _________________________________ Date: ____________________________________

Behavior Yes No Comment

Reading and Listening

Student reads voluntarily and willingly
Student enjoys reading and listening to literature
Student reads during silent reading time
Student reads and listens to literature for entertainment
Student reads for information
Student reads and listens to a variety of fiction,
nonfiction, and poems
Response to Literature
Student talks intelligently about books read or heard
Student shares responses to books with peers
Student is attentive during read-aloud sessions
Student is able to discuss a work of fiction in terms of
character
plot
setting
theme
style
Student is able to discuss a work of informational
literature in terms of
structure
theme
style
Student is able to accept that different people may have
different responses to the same story
Student is able to relate stories to personal experience,
where applicable
Student is able to compare and contrast stories, authors’
writing styles, and illustrators’ artistic styles
Selection of Literature
Student knows how to select appropriate books for
independent reading
Student knows how to use a computer to find,
read about, and select books from the school library
Student keeps a log of books read independently
Student is developing personal preferences in literature
Student tries new book genres

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Checklist for Classroom Environment

The environment of a classroom is determined mainly by what the resident teacher values in
learning and teaching. These values, in turn, determine how the classroom is arranged, which
materials are available, and what sorts of events and activities are regularly scheduled. Figure 12.4
incorporates all of these features.

Checklist for Teaching Activities

Success in making children lovers of books and reading certainly does not depend on generous
supplies of equipment or a certain physical layout, although these can facilitate the job. In the
end, it is what the teacher does with literature that makes the biggest impression on children.
Activities that make the learning experience positive and nonthreatening are generally the most
successful with children. This point of view is evident in Figure 12.5.

Implementing a Schoolwide Curriculum in Literature

Having a schoolwide curriculum in literature benefits teachers and students and is worth pursu-
ing. The main benefit to students is that their teachers’ efforts will be coordinated from year to
year. Repetition of content and titles will be avoided and continuity will be improved. The main
benefits to teachers are that ideas, expertise, and materials will be shared and planning will be
facilitated by knowing what experiences with literature incoming students have had or should
have. The task of developing a schoolwide literature curriculum should be shared by a committee
that has a representative from each grade level and the library media specialist.
A literature curriculum committee’s function is to determine what literature content will be
presented at each grade level. A set of trade books appropriate for delivering the literature cur-
riculum at each grade level can also be suggested by the committee, although the ultimate choice
of books to be used in a classroom will be the individual teacher’s decision. Literature curriculum
committees often select and update their schoolwide read-aloud list. Such a list helps to prevent
duplication of teachers’ read-aloud choices at different grade levels and to assure that students
hear a well-balanced selection of books over the years. Having such a list may also convince some
teachers to begin a read-aloud program.

Supporting Resources and Activities

Effective planning for a literature curriculum includes resources and activities beyond the class-
room. School library media centers, publisher-owned book clubs, bookfairs, parents, guest au-
thors and illustrators, and local public libraries offer invaluable resources and supports.
■ School Library Media Center. The well-stocked, efficiently run library media center is the
heart of a school. Ideally, library media specialists and teachers have a shared responsibil-
ity for teaching. Teachers tell librarians their resource needs, and librarians help teach-
ers by identifying and locating appropriate resources, keeping teachers updated with the
newest literature, and suggesting ways to present books to students. The librarian should
be encouraged to play a key role in planning and developing a schoolwide curriculum in
literature.

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 Figure 12.4 Checklist for Promoting Literature through Classroom Environment

Evaluator: _____________________________ Date: ____________________________________

Behavior Yes No Comment

Physical Layout
Desks are arranged to promote
student-to-student discussion
Classroom has a computer center with several computers
Room arrangement provides quiet areas for
reading and thinking
Reading area is well lighted
Reading area has comfortable seating
Reading area has adequate and
convenient shelving for books
Reading area is well organized and orderly
Student response projects are displayed
Materials
Classroom has a trade book and audiobook library
Classroom library is adequate in
scope (variety of genres, both fiction and nonfiction)
depth (variety of books within a genre)
quality (light reading for entertainment to
excellent quality for study)
providing for varying reading abilities
recent books
multicultural and international books
poetry collections
Classroom has an adequate number of audiobook
players, some for take-home use
Classroom has a temporary collection
Temporary collection
addresses gaps in permanent collection
is exchanged regularly
provides for varying student interests
is coordinated with topics of study
Classroom library materials are
easy for students to reach and reshelve
coded and organized logically
Scheduling
Time is provided for self-choice reading every day
Time is provided for browsing and selecting
books regularly
Time is provided for response to literature

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Figure 12.5 Checklist for Promoting Literature through Teaching Activities

Evaluator: __________________________________ Date: __________________________________

Behavior Yes No Comment

Making Literature Enjoyable

Read aloud daily (high-quality literature)
Select books for read-aloud that
reflect students’ interests
represent a wide variety of genres
represent outstanding examples of each genre
Share poetry orally on a regular basis
Popular poets
NCTE Award–winning poets
Golden Age poets
Share stories through storytelling

Motivating Students to Read

Introduce books regularly through booktalks
Introduce students to interactive computer versions
of books and audiobooks
Encourage students to listen to audiobooks and
read along in print versions
Encourage student response to literature
by asking open-ended or divergent questions
by encouraging varied responses
through oral response
through written response
through graphic response
Allow students to choose books
for independent reading
Make both fiction and nonfiction options
for independent reading
Take class to school library weekly or more
frequently for book browsing or selection
Take class to public library for a field trip
Invite a librarian to your class to booktalk
and tell stories

(continued)

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Figure 12.5 Continued

Modeling Reading Behaviors
Read during silent reading time
Talk enthusiastically about books read
Show students how to select books

Showing the Relevance of Literature

Include literature that is culturally relevant to students
in read-aloud selections
in booktalks
in text sets for group reading
Integrate literature across the curriculum
in health/science
in social studies/history
in language arts/reading
in mathematics

Encouraging Literature Appreciation

Present a yearlong literature curriculum

Reaching beyond the Classroom

Send read-aloud suggestions to parents
Encourage parents to visit library with
their children
Invite parents and community leaders to be guest
readers for read-alouds

Evaluation
Record student growth
in understanding literary concepts
in choices of books to read
in attitude toward reading
in quality of responses (verbal, written, artistic)

■ Publisher-Owned Book Clubs. These clubs offer inexpensive paperback books representing a
full range of quality, from award-winning books to joke books and stickers, so children ben-
efit from teacher guidance in making their selections. Participant teachers often use their
bonus points derived from student purchases to build their classroom book collections. Chil-
dren and teachers who lack access to well-stocked libraries especially benefit from these
clubs.

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■ Bookfairs. A bookfair is a book sale that is organized by a book vendor and held in the school
building for one or more days. Bookfairs always call attention to literature and reading and
can even be considered a reading motivator. They are especially appropriate in areas where
there are no children’s bookstores or well-stocked libraries.
Bookfairs send strong messages to children and their parents about a school’s stance on
reading and about what sorts of reading materials teachers and librarians in the school en-
dorse. When selecting book vendors, make sure that they offer and prominently display good
quality literature.
■ Parent Involvement. Parent involvement in literature begins with getting support for

the school reading program at home. Parents are almost always willing to promote their
children’s academic efforts at home if they are told how to do it. Many teachers give par-
ents lists of activities that support reading, including brief, carefully worded explana-
tions where necessary. Some typical suggestions include reading to their children at
night, listening to their children read aloud, and taking their children to the library to
select books. Some parents are willing to help in classrooms on a regular basis. Ways in
which parents can help teachers include listening to children read orally, reading aloud to
small groups or individual students, and recording stories and poems on audiotapes for
listening.
■ Guest Authors and Illustrators. Professional children’s authors and illustrators often visit

schools to speak to children about their careers and their books. Such visits are power-
ful reading motivators. The procedure for setting up an author visit can often be found
on the publisher’s website. In any case, the first step is to contact the marketing direc-
tor of the author’s publisher. Since established authors’ expenses
can be high, schools within a system often share the author and
expenses.
Go to Activity 2 in the Assign- ■ Local Public Library. The community has no more valuable resource
ments and Activities section of than its public library. Public libraries provide many important services
Chapter 12 in MyEducationKit; in addition to loaning books, including the interlibrary loan system,
complete the activity on explor- summertime reading programs for children, and story hours for young
ing ways to encourage students
to use the public library and to
children. Teachers can help to make the public library more effective by
read during the summer. making students and their parents aware of the library and its programs
and services.

Gaining Experience with Literature in School Practicums

Many elementary and early childhood education programs include multiweek, school-based
practicum experiences. These school participation experiences give preservice teachers opportu-
nities to observe teaching and classroom management styles, acquire firsthand experience work-
ing with children, and test the theories and ideas presented in their teacher training courses, such
as those involving the use of good literature with young people.
An important part of practicum assignments involving literature is the selection of age- and
content-appropriate books that will interest young readers. Although testing one’s own ability

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to select appropriate books is important, it is advisable in school-based practicums to ask the

classroom teacher to approve books prior to their use with children.
In the accompanying box are sample literature activities that we have found to work in
school-based practicums. Observations and lessons learned are even more valuable when shared
with other preservice teachers for similarities and differences.

Learning about Children as Readers

1. Interview three children in the classroom, preferably at three different levels of reading
ability, to find their exposure to literature, their attitudes toward reading, their purposes for
reading, and their sources of reading material.
2. Interview a number of students about their reading interests. Based on your findings,
suggest to students appropriate titles for independent reading from books available in the
school.
3. Conduct a class survey of reading interests. Use the procedure described on pages 27–28.
Compile and analyze findings. Suggest titles for independent reading.

Learning How to Help Children Experience Literature

1. Booktalk a set of four or five books appropriate for students in the class. (See Chapter 13,
pages 284–285.) Be sure to include works of informational and multicultural literature. (See
Chapters 10 and 11.) After the booktalk, display the books in the classroom and observe
students’ interest in reading them.
2. Read aloud one or two picture books and a chapter book. After each read-aloud session,
allow students to give their reactions. Compare your experiences of reading aloud from the
two types of books. Compare students’ responses to the two types of books. For example,
how much attention do children pay to illustrations in a picture storybook?
3. Select a poem, guide students in arranging it for choral reading, rehearse the students, and
present the choral reading to any available audience. (See Chapter 4, pages 70–71.) Note
students’ response to this activity and to the poem selection.
4. Introduce students to a specific children’s book author or illustrator by demonstrating how
to give an author or illustrator profile. These profiles are often required of preservice teach-
ers, but they can be done by students as well and have merit as reading motivators. Author
and illustrator profiles generally include interesting facts about the author, perhaps a recent
picture, the one or two most distinguishing characteristics of the author’s work (such as
favorite topic, themes, style of illustration, or writing style), what the presenter liked about
the author’s work, and other books the author has written. A one-page handout summarizing
this information and listing major works by the author will be appreciated by other preser-
vice teachers and the cooperating teacher. Elementary- and middle-grade students present-
ing author or illustrator profiles can post their summary sheets on the class bulletin board.
Traditionally, author and illustrator reports are presented orally to the class. Interesting
variations include:
■ Presenting the profile in first-person format as the author or illustrator (costumes or
props can be used)
■ Presenting the profile as a biographical skit about the author (presentation by a pair of
students or a small group)

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■ Making a poster or bulletin board display about the author or illustrator

■ Presenting the profile as a pretend interview (one student is the interviewer and one
student pretends to be the author)

Learning about Student Response to Literature

1. Select a picture book or a chapter from a novel that involves four to six characters. Read it
aloud to a group of students. Lead the children in a creative drama, readers’ theatre, or
graphic arts response to the book you have shared. (See Chapter 13 for ideas and guidance.)
Note students’ insights into the work as revealed in their responses.
2. Help students design and construct a literature-related bulletin board. This could range
from a mural based on a whole-class read-aloud selection to response to books read inde-
pendently by students in the class. This display can be mounted in the school hallway for
observation by students in other classrooms. Note students’ interest in the book(s) featured
in the display.

Censorship and the First Amendment

The First Amendment to the United States Constitution guarantees to all citizens the right to free
speech and freedom of the press, among other rights. Teaching children about their First Amend-
ment rights is important because there are those who would take these rights away through
censorship. Censorship is “the actual removal, suppression, or restricted circulation of literary,
artistic, or educational materials . . . on the grounds that they are morally or otherwise objection-
able” (Reichman, 2001). When a person or persons attempt to remove material from the curricu-
lum or library, thereby restricting the access of others, it is called a challenge. Most book challenges
occur locally, and most fail. When a challenge is successful and materials are removed from the
curriculum or library, it is called a banning (www.ala.org/ala/issuesadvocacy/banned/about
bannedbooks/index.cfm).
Our position regarding censorship is:

■ Teachers and schools have the right and the obligation to select reading materials suitable for the
education of their students. With this right comes the professional responsibility to select good
quality literature that furthers stated educational goals while remaining appropriate for the age
and maturity level of the respective students.
■ Parents are within their rights to protect their children from materials or influences they see as
potentially damaging to their children. In the instance that a parent believes that material se-
lected by a school or teacher is potentially harmful to his or her child, that parent has the right
to bring this to the attention of the school and request that his or her child not be subjected to
this material. Parents must indicate the reason for their concern.
■ The school must take the parent’s objection seriously and provide a reasonable substitute for the
material of concern. If an alternative procedure is necessary in order to effect the substitution (for
example, the student will listen to a different book in the library while the teacher is reading aloud),
the alternative provided should respect the student and be sensitive to his or her feelings.

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■ The parent does not have the right to demand that the material in question be withheld from
other students. This would interfere with the right and professional duty of the teacher and school
to educate the students. Once a student is given a reasonable alternative, the school has fulfilled
its obligation and should not interfere with the First Amendment rights of other students.
As adults, we cherish our right to choose our reading material and use it nearly every day of
our lives. Elementary and middle-school social studies and civics textbooks proudly proclaim the
freedom of choice that citizens of the United States have in their daily lives. But do we, as parents,
teachers, and librarians, actually extend these rights to our children? Specifically,
■ Do we allow ourselves to be bullied by outspoken special-interest groups into taking good,
but controversial, books off the library shelves, or do we stand by our convictions and book
selections?
■ Do we self-censor by only selecting books on “safe” topics, or do we select books on the basis
of quality and age appropriateness?
■ Do we listen to young readers’ ideas about the books that they have read, or do we only ask
them comprehension questions?
■ Do we allow children to reject books that they do not like, or do we force them to read what
we have chosen for them to read?
In other words, do we actually teach students, by our actions as well as by our words, about their
First Amendment rights?
According to the censorship database of the American Library Association’s Office of Intel-
lectual Freedom (OIF), from 2001 to 2008 the most censorship attempts came from parents
(51%), other library patrons (11%), and school administrators (6%) (www.ala.org/ala/issues
advocacy/banned/frequentlychallenged/21stcenturychallenged/index.cfm). Of the 3,736 chal-
lenges reported to the OIF in these eight years, 32 percent were based on material perceived to
be “sexually explicit”; 27 percent were based on material perceived to have “offensive language”;
and 19 percent were based on material perceived to be “unsuited to the age group.” It should be
noted that the OIF estimates that 75 to 80 percent of censorship attempts are not reported, so
these figures are approximate.
Another unlikely, but significant, source of censorship is teachers themselves. A study by
Wollman-Bonilla (1998) of pre- and inservice teachers’ ideas about acceptable and unaccept-
able children’s books reveals a tendency toward teacher bias in book selection for children. The
researcher found that teachers “commonly objected to texts that reflect gender, ethnic, race, or
class experiences that differed from their own” (p. 289). This subtle form of censorship is made
worse by the fact that most teachers are unaware of their own biases in text selection (Jipson &
Paley, 1991; Luke, Cooke, & Luke, 1986). Wollman-Bonilla makes a strong point in favor of First
Amendment rights for children when she concludes, “If we are to know how books actually affect
children, we need to hear children’s voices and understand their experiences before, during, and
after reading” (p. 293).

Teaching the First Amendment

Teaching students about their First Amendment rights might begin by posting a copy of the First
Amendment, having students read it, and then discussing what this amendment means to them

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 Planning the Curriculum

and what its loss might mean to them. Lists of children’s books that some have declared “objec-
tionable” could be posted. Children who have read the books could discuss why they might have
been found objectionable and why banning these books would violate their First Amendment
rights. Children’s and young adults’ fiction about censorship could be read and discussed. Good
examples for younger readers are Arthur and the Scare-Your-Pants-Off Club by Marc Brown and
Stephen Krensky (1998) and The Landry News by Andrew Clements (1999); for older readers, see
The Sledding Hill by Chris Crutcher (2005), The Last Safe Place on Earth by Richard Peck (1995),
The Trials of Molly Sheldon by Julian Thompson (1995), and Save Halloween! by Stephanie Tolan
(1993). As teachers and librarians, we should do everything possible to promote the kinds of
books that encourage critical thinking, inquiry, and self-expression, while maintaining respect for
the views of others.

Dealing with Censorship Attempts

The American Library Association’s Office of Intellectual Freedom moni-
tors the challenges made against children’s books in the United States. Most
Go to Activity 3 in the Assign- adults and children who have read the highly regarded books that often
ments and Activities section of appear on these “most challenged books” lists find the reasons given for
Chapter 12 in MyEducationKit;
complete the activity on defend-
the challenges perplexing, if not incredible. The following titles, for ex-
ing the use of a book. ample, appeared on one or more of the ALA’s “Top 10 Most Frequently
Challenged Books of the Year” lists from 2003 to 2008:
Alice (series) by Phyllis Reynolds Naylor (1985) for offensive language and being sexually
explicit
And Tango Makes Three by Justin Richardson and Peter Parnell (2005) for anti-ethnic and
anti-family content, homosexuality, having a religious viewpoint, and being unsuited to
the age group
Bridge to Terebithia by Katherine Paterson (1977) for occult/Satanist content and offensive
language
Captain Underpants (series) by Dav Pilkey (1997) for anti-family content, being unsuited to
the age group, and violence
Harry Potter (series) by J. K. Rowling (1998) for occult/Satanist content
His Dark Materials (trilogy) by Philip Pullman (1996) for political and religious viewpoints
and violence
In the Night Kitchen by Maurice Sendak (1970) for nudity, offensive language, and being
sexually explicit
It’s Perfectly Normal by Robie H. Harris (1994) for sex education and being sexually explicit
It’s So Amazing! A Book about Eggs, Sperm, Birth, Babies, and Families by Robie H. Harris
(1999) for sex education and sexual content
Julie of the Wolves by Jean Craighead George (1972) for being unsuited to the age group and
violence
Olive’s Ocean by Kevin Henkes (2003) for offensive language and being sexually explicit
Roll of Thunder, Hear My Cry by Mildred D. Taylor (1976) for offensive language
Scary Stories (series) by Alvin Schwartz (1981) for occult/Satanist content, religious view-
point, and violence

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 Planning the Curriculum

Summer of My German Soldier by Bette Greene (1973) for offensive language, racism, and
being sexually explicit
Often, individuals challenge books on the basis of a single word or phrase, or on hearsay, and
have not read the book at all. Teachers and library media specialists have found that a written
procedure is helpful for bringing order and reason into discussions with parents who want to
censor school materials. Most procedures call for teachers and librarians to give would-be censors
a complaint form and ask them to specify their concerns in writing. There are advantages to such
a system: Both teachers and parents are given time to reflect on the issue and to control their
emotions; and the would-be censor is given time to read the book in its entirety, if he or she has
not done so already. Developing written procedures and complaint forms for dealing with a
would-be censor are important tasks for the literature curriculum committee. Figure 12.6 presents
a model form produced by the National Council of Teachers of English (NCTE) for reconsidera-
tion of a work of literature.
The American Library Association’s Office for Intellectual Freedom has several publications
about censorship, such as Reichman’s Censorship and Selection: Issues and Answers for Schools (2001),
that provide important and helpful information to schools on this topic. (For a catalog of all ALA
publications, go to www.ala.org.) People for the American Way, an organization that provides advice
and assistance in combating school censorship, can be contacted at www.pfaw.org.
The National Council of Teachers of English also offers a valuable document about censor-
ship, The Students’ Right to Read (Committee on the Right to Read, 1982), which explains the
nature of censorship, the stand of those opposed to it, and ways to combat it. This document and
the Citizen’s Request for Reconsideration of a Work are available free of charge at www.ncte.org/
positions/statements/righttoreadguideline.

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Investigate the issue of censorship of children’s books further by reading the

statement Guideline on the Students’ Right to Read published by the National
Council of Teachers of English online at www.ncte.org/positions/statements/
righttoreadguideline.
■ Investigate the nature of book challenges by reading several of the American Library
Association’s most frequently challenged books listed on pages 273–274. Analyze
them for the reasons the would-be censors found them objectionable. Develop an
argument for or against the censorship attempt for each book.
■ Investigate the inquiry approach to teaching by finding and reading articles explain-
ing the approach and comparing it to the traditional approach to teaching. Consider
whether this approach suits you.

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 Planning the Curriculum

Figure 12.6 Citizen’s Request for Reconsideration of a Work

Author ______________________________ Paperback _________________ Hardcover _________________

Title
Publisher (if known) _______________________________________________________________________
Request initiated by ________________________________________________________________________
Telephone ________________
Address ____________________________________ City _________________ Zip Code _______________
Complainant represents:
___ Himself/Herself
___ (Name Organization) ______________
___ (Identify other group) ______________
1. Have you been able to discuss this work with the teacher or librarian who ordered it or used it?
_____ Yes _____ No
2. What do you understand to be the general purpose for using this work?
a. Provide support for a unit in the curriculum? _____ Yes _____ No
b. Provide a learning experience for the reader in one kind of literature? _____ Yes _____ No
c. Other ____________________________________________________________________________
__________________________________________________________________________________
3. Did the general purpose for the use of the work, as described by the teacher or librarian, seem a suitable
one to you? _____ Yes _____ No
If not, please explain. ___________________________________________________________________

4. What do you think is the general purpose of the author in this book? ______________________________
5. In what ways do you think a work of this nature is not suitable for the use the teacher or librarian wishes
to carry out?
_____________________________________________________________________________________
6. Have you been able to learn what is the students’ response to this work? _____ Yes _____ No
7. What response did the students make?
____________________________________________________________________________________
8. Have you been able to learn from your school library what book reviewers or other students of literature
have written about this work? _____ Yes _____ No
9. Would you like the teacher or librarian to give you a written summary of what book reviewers and other
students have written about this book or film? _____ Yes _____ No
10. Do you have negative reviews of the book? _____ Yes _____ No
11. Where were they published? _____________________________________________________________
12. Would you be willing to provide summaries of the reviews you have collected? _____ Yes _____ No
13. What would you like your library/school to do about this work?
___ Do not assign/lend it to my child.
___ Return it to the staff selection committee/department for reevaluation.
___ Other—Please explain
_____________________________________________________________________________________
14. In its place, what work would you recommend that would convey as valuable a picture and perspective of
the subject treated?
Signature _________________________ Date ___________________

Source: Committee on the Right to Read. (1982). The students’ right to read. Urbana, IL : National Council of
Teachers of English.

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 Planning the Curriculum

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Now go to Chapter 12 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

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 Engaging Children with Literature

Engaging Children
with Literature
I Meant to Do My Work Today
I meant to do my work today—
But a brown bird sang in the apple tree,
And a butterfly flitted across the field,
And all the leaves were calling me.

And the wind went sighing over the land

Tossing the grasses to and fro,
And a rainbow held out its shining hand—
So what could I do but laugh and go?

—Richard LeGallienne

From Chapter 13 of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

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 Engaging Children with Literature

Engagement with literature highlights the potential of a book to capture children’s attention and
invite their participation in a story world. Authentic, well-written books are the first step, but they
must be supported by significant experiences that bring children and books together for a variety
of purposes. These experiences include reading widely for personal purposes, reading critically to
inquire about the world, and reading strategically to learn about literacy.
Teachers are the key to effectively engaging children in these three types of experiences with
literature throughout the school day. Gabriela, a 9-year-old, begins her day by pulling To Dance:
A Ballerina’s Graphic Novel (Siegel, 2006) out of her desk to pursue her personal inquiry on be-
coming a ballerina. After independent reading, the class moves into reading instruction and
guided reading. The teacher works with Gabriela’s group in a guided inquiry to analyze how
authors use dialogue for character development in Wishes Don’t Come True (Bellingham, 2000).
After lunch, the teacher reads aloud from Iqbal (D’Adamo, 2001), the fictionalized story of a boy
who led an influential movement against child labor in Pakistani carpet factories, as part of a
collaborative inquiry on human rights. Students discuss the protagonist’s anger and fear and his
willingness to take action for freedom, despite the risks. They explore his strategies for taking
action and their concerns about whether kids can really make a difference in a world controlled
by adults.
Balancing these experiences supports children’s development as readers and as human beings,
although the emphasis may shift as children become proficient readers and gain life experiences.
Older readers may primarily focus on using reading to inquire, whereas young children focus
more on reading for personal purposes and to learn about literacy. This shift in emphasis does
not exclude the other types; all three should be integrated into the experiences offered to children,
no matter what their age. Each serves a different purpose and highlights different books and roles
for adults and children.

Reading Widely for Personal Purposes

Reading literature widely for personal purposes highlights choice and extensive reading for pur-
poses that are significant to children’s own lives, ranging from enjoyment to personal inquiries
on topics of interest. Reading widely involves engagement and demonstration; students are not
focused on writing or talking about the book or using it for an activity. They just immerse them-
selves in reading alongside other readers. The goal is to create a lifelong habit of reading for
purposes that matter to the reader—not because the teacher said so.
Students should have the opportunity to choose from a wide range of reading materials.
Wide reading provides children with a broad background from which to develop comprehen-
sion and interpretation strategies, promotes positive attitudes about reading, and encourages
the development of lifelong reading habits. Many adults stop engaging with books once they
leave school and view reading as boring because of the lack of choice in schools. In addition,
reading many materials with ease increases children’s fluency and the integration of reading
strategies.
The experiences that encourage reading widely for personal purposes include reading aloud,
independent reading, shared reading, and experiencing literature through multimodal texts. The

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 Engaging Children with Literature

role of the teacher is to provide regularly scheduled reading time and a variety of materials and
to read alongside their students.

Reading Aloud by Teachers

Reading aloud to children by family members and teachers is essential for children’s acquisition
of reading strategies and positive attitudes toward reading. It is the centerpiece of a curriculum
in literature. Beginning in their infancy and throughout the elementary- and middle-school years
and beyond, children should hear books and poems read aloud on a daily basis. This teaching
strategy is just as important in the intermediate grades as it is in primary grades.
Some important reasons that teachers read aloud are as follows:
■ To increase students’ abilities to think critically and comprehend connected discourse
■ To help students understand literary devices and the conventions of

story, such as genres, characters, settings, themes, and plot

■ To expand and enrich vocabulary

■ To provide a model of expressive, fluent reading

Go to Activity 1 in the Assign-
ments and Activities section of ■ To build background and interest in topics and issues related to class-

Chapter 13 in MyEducationKit; room inquiries and content-area units

complete the activity on finding ■ To share exciting and stimulating literature that is beyond students’
read-aloud books that encourage reading ability, but well within their listening ability
movement.
■ To encourage students to love reading and literature

Three distinct aspects of the read-aloud experience need to be examined to make it as effec-
tive a teaching strategy as possible. Those aspects are (1) selecting the literature to read, (2) pre-
paring the students for read-aloud time, and (3) reading the book aloud. Each aspect needs to be
taken into consideration for a successful read-aloud experience.

Book Selection
No matter which book you choose to read aloud, it is essential that you first read the book to
determine whether the story is enjoyable and worthy of children’s time and whether it is appropri-
ate for your students. You also can note ways in which the story lends itself to student response.
Over the course of a school year you will want to read aloud a variety of literature: poems,
short stories, picture books, and chapter books of different genres and moods. You will also want
to ensure that there is a balance of males and females as main characters in the books and that
the main characters come from different backgrounds and cultural settings.
Lists of Excellent Books to Read Aloud are provided in Chapters 5 through 11. You may also
want to look at two reference works that suggest books for reading aloud: Judy Freeman’s Books
Kids Will Sit Still for, 3: A Read-Aloud Guide (2006) and Jim Trelease’s The Read-Aloud Handbook
(2006).
The most recognized works in children’s literature, though sometimes complex, deserve to
be shared with students over the course of their elementary school years. When a book or poem
is challenging for students, you need to be prepared to support their understanding. Without this
help, many children would never experience and enjoy some of the more difficult but worthwhile
pieces of literature. Conversely, you will want to avoid choosing books for reading aloud that

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students can and will consume eagerly on their own, reserving those books for students’ indepen-
dent reading.
When first reading aloud to a new class, however, you will want to start with shorter and
easier works that are popular with students, and gradually build to longer and more challenging
works as you become better acquainted with your students, their interests, and their abilities.

Preparation
For students to profit from read-aloud experiences, they need to be attentive. You can prepare stu-
dents for reading aloud by having them remove distractions, such as pencils and other objects, from
their immediate vicinity; by having them sit quietly in the designated place for read-aloud time; and
by asking them to be ready to listen. If the book has concepts that you believe will baffle your stu-
dents, you may want to quickly establish a context for the book before beginning to read.
Introduce the book by stating the title, author, and illustrator of the book, even with the
smallest children. This will teach children that books are written and illustrated by real people
called authors and illustrators. For international and multicultural literature, use the book jacket
to briefly tell students how the author’s and illustrator’s backgrounds relate to the book’s focus—
for example, “This author lives in the United States, but her parents are from Korea, so she talked
with them about their experiences and did research in libraries.” You may need to look at the
author’s website to get this information, but first check the book jacket and look for an author’s
note or acknowledgment in the book.
Sometimes you may want to ask the students to predict what they believe the story will be
about from looking at the cover and the title; other times you may want to explain briefly why
you chose this book to read to them. For example, you may say that you are going to read this
book because “it’s another story by one of our favorite authors, Anthony Browne” or that “the
book will tell us more about what it was like to live in Korea right after World War II.” Some
teachers read aloud several picture books by the same author over the course of a week to make
students aware of a notable author. Book introductions should be kept short. They serve the
purpose of inviting students to enter into the world of the story with you.

Reading Picture Books Aloud Effectively

Consider the following steps:
■ Position yourself close to the class so that all students can see the pictures.
■ Show the pictures as you read the book. Remember that the text and pictures are carefully
integrated in a picture book to convey the story as a whole. Hearing and seeing picture books
should be simultaneous.
■ After the introduction, read the book aloud, placing emphasis on the meaning of the story.
Think of reading aloud as a type of dramatic performance.
■ Your body movements and facial expressions can enhance the drama of the read-aloud ex-
perience. Leaning forward during a scary, suspenseful part of a story and smiling or chuckling
during a funny part can convey your involvement in the story.
■ Maintain eye contact with your students. Be sure you are aware of their nonverbal responses
to this reading experience to determine if a word of explanation is needed.
■ Read fiction from beginning to end without interruptions except on an as-needed basis. Some
books, such as concept books, informational books, and interactive books, do call for inter-
ruptions in the read-aloud process.

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 Engaging Children with Literature

Reading Chapter Books Aloud Effectively

Many of the same considerations hold true with chapter book read-alouds. Of course, chapter
books have few, if any, illustrations, so holding the book for students to see the pictures is not
necessary. In addition, chapter books are usually read aloud over a relatively long period of time,
from a few days to many weeks.
Practices that teachers have used successfully during chapter book read-alouds to help hook
the students on the book and to keep them tuned in and involved include the following:
■ Keep a chart of the characters—their names, relationships, and roles in the story—as the
characters appear. This strategy is especially helpful if the story has a large number of charac-
ters. For example, in The Westing Game (1978) by Ellen Raskin, the many characters of this
mystery must be remembered for the plot to make sense.
■ Design and display a map of the story setting to track the events of the story in sequence.
In most quest fantasies this visual aid can assist students in following the characters’
journey.
■ Develop a time line on which the dates are set at intervals above the line and the story events
placed below the line at the appropriate date. For historical fiction and biographies, a time
line can also include a third tier of historic events.

Sharing Literature from Oral Traditions through Storytelling

Telling stories to students is particularly important for sharing literature from oral traditions.
Many Native American tribal nations, for example, have long traditions of oral literature. Some
traditional stories are meant to be told only at certain times of the year or to particular audiences,
and so it is not appropriate for these stories to be published as a book that could be read at the
wrong times and places. These stories should be shared in their oral form.
Teachers bring oral stories to life through personal expression and interpretation and can use
them to establish a close connection with students. Oral storytelling should be a regular part of
classroom read-aloud experiences. Suggestions and resources for storytelling are in Chapter 4.

Independent Reading by Students

Another way for students to experience good literature is to read it to themselves. Indeed, the
ultimate goal of a literature program is to turn students into readers who, of their own free will,
read self-selected literature with enjoyment, understanding, and appreciation. To assist students
in becoming independent, lifelong readers, teachers in grades K–8 need to set aside time each day
for students to read independently. Kindergarten and first-grade students may spend only five to
ten minutes reading independently, and often a quiet hum occurs as beginning readers say the
words aloud as they read or tell their own stories based on the illustrations. Fourth- and fifth-
grade students will often read silently for up to an hour.
Many schools have instituted sustained silent reading (SSR) programs on a schoolwide basis
to promote the reading habit in students. A certain time each day is set aside for all students,
teachers, librarians, coaches, principals, custodians, and office and kitchen staff to take a “reading
break.” The philosophy behind SSR programs is that students need to see adults who read and
who place a high priority on reading. Students read materials of their own choosing and are not
usually required to write book reports or give oral reports on these materials.

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If your school utilizes a commercial reading incentive program, you may take advantage
of the availability of the literature that is provided as part of the program. Use the program
flexibly in ways that develop intrinsic motivation for reading, avoid the negative competitive
aspects of the program, and help students achieve individual goals set for their independent
reading.
Whether or not your school that has an SSR program, you will want to provide your students
with an independent reading time each day. Remember that the goal is to have the students read
as many different books and materials as possible, so they should not be required to write long
responses. At most, they might be asked to keep a simple record sheet of what they have read. Tips
for establishing a successful independent reading time include the following:
■ Have a well-stocked classroom collection of books—poetry, plays, picture books, novels, and
information books, along with graphic novels and magazines.
■ Conduct booktalks regularly so that students become aware of books they may wish to
read.
■ Display new books attractively in the classroom and show videos of notable authors
talking about their books and craft. These techniques are effective in “selling” books to
children.
■ Schedule the same time each day for independent reading. Allow enough time for students
to get well into their books and to achieve some level of satisfaction from the reading.
■ Insist on attentiveness to books during this time. With primary-grade students, quiet talking
in pairs about books or individual lipreading aloud may be on-task behavior. Children in
intermediate grades can read silently and usually prefer to do so, although recent research
indicates some boys prefer social interaction while reading.
■ Spend the independent reading period engrossed in books, setting yourself as an example of
a reader. Be knowledgeable of and interested in the books the students are reading.
Retellings and dramatic play are another way that students engage in independent explora-
tion of literature to make the stories their own. As young children tell and retell stories, they
develop their concept of story and expand their oral language. Teachers can encourage retellings
by creating a conducive environment in one area of the classroom with props, such as story pup-
pets, feltboards with cut-out story figures, toys that can be used as characters (stuffed animals,
dolls, plastic figures), wordless books, and favorite picture books. Some children take a book
shared by the teacher during a class read-aloud and page through it, retelling the story from the
pictures; others take puppets and re-create the story or make up an entirely new adventure with
the same characters.
Audio or video recorders can inspire younger students to record and listen to their favorite
stories, and older students can use the recorder to develop radio or television shows based on
favorite books or to record their readers’ theatre performances.

Booktalks
A booktalk is an oral presentation by a teacher, a librarian, or a student who tells about a book to
interest other students in reading it. Booktalks are not book reports, analyses of the author’s style,
or old-fashioned discussion of characters, setting, theme, and plot. Booktalks have been used

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effectively for years by librarians who developed this strategy into an art for the purpose of en-
couraging students to check out books from the library. Teachers can give booktalks on five to
ten books each week from their classroom and school library collections; in this way, they can
entice students to read and experience good literature.
Some teachers who give frequent booktalks also encourage students to give booktalks to
induce other students to read the suggested books. A regular feature of Reading Rainbow, the
public television program about children’s books, is children giving booktalks. One teacher taped
two or three of these Reading Rainbow booktalks and showed them in class to help her students
learn how to give good booktalks. For more tips on booktalks, see www.thebooktalker.com and
www.nancykeane.com/booktalks.
The following are our recommendations for giving a good booktalk:
■ Read the book before trying to do a booktalk.
■ Choose books that you have liked or that you think your students will enjoy. Sincere enthu-
siasm for a book is stimulating and infectious.
■ Have the book available to show to the students as you give the booktalk. Format aspects—
such as cover illustrations, length, size, and shape of the books—which also influence book
choices, can be weighed by students only if they can see the book.
■ Keep the booktalk brief, generally no more than two or three minutes. Do not tell too much
about the book or the students will see no reason to read it. For most books, four to six
sentences will suffice.
■ Tell the topic and something about the action in the story, but do not tell the plot. Feature a
scene or character that the story revolves around, but do not discuss the scene that gives away
the ending.
■ Booktalk a group of books that share the same theme; in this case you will want to talk briefly
about each book and how it fits with the others.
The following is an example of a booktalk on The House of the Scorpion (2002) by Nancy
Farmer:
If you ever think about what life will be like in the future, 100 years from now, you will enjoy read-
ing The House of the Scorpion, a novel about young Matt, who has spent his life locked away in a
hut because he is a clone and clones are outcasts hated by human society. As Matt comes of age he
discovers that he is the clone of El Patrón, the cruel ruler of Opium, a drug kingdom farmed by
“eejits,” brain-dead clones. Opium is located between the United States and Aztlán, once called
Mexico. In El Patrón’s household, Matt finds support from a cook and a bodyguard, and eventually
Maria, who begins to care about Matt. When Matt realizes that his life is at risk, he makes a break
for freedom and escapes to Aztlán, only to face more hardships and adventures. Matt wonders who
he is, why he exists, and whether, as a clone, he has free will. The House of the Scorpion by Nancy
Farmer has received many honors, including winning the National Book Award for young people’s
literature.

After you have given the booktalk, place the book on the reading table for students to peruse
and to consider. Over time, give booktalks on a variety of books at different levels of reading dif-
ficulty, on different topics, and with male and female protagonists from many cultures. In this
way, you will appeal to the wide range of interests and abilities that exist among students in a
classroom.

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Shared Reading
Shared reading is a term we use to describe teaching strategies that attempt to draw on the natural
literacy learning that has long occurred in book-loving homes around the world. These various
strategies—shared-book experience, choral reading, and paired reading—provide children with
opportunities to experience good literature as they are learning to read. The strategies have in
common a modification of the parent–child interaction with repeated readings of favorite books
as the child gradually acquires an understanding of print and its relationship to our sound system
or to the words we speak. A list of pattern books suitable for use in shared reading activities can
be found at the end of Chapter 5.
The shared-book experience is an adaptation of a natural home-learning strategy used with
groups of beginning readers in school settings. Enlarged-text books of 24" × 30" or larger, called
Big Books, usually well-loved and predictable books like Eric Carle’s The Very Hungry Caterpillar
(1968), are presented to groups of beginning readers in a sequence proposed by Holdaway (1982).
First, favorite, well-known poems and songs are repeated in unison by the students and the teacher
while the teacher points to the text of the Big Book. A review story is then used to teach skills in
context. Following this activity, the teacher involves the students in language play, such as alphabet
games, rhymes, and songs that use letter names. Then a new story in Big Book format is presented
by the teacher. Students participate by repeating the story, line by line, after the teacher. Later,
students read independently from a wide selection of favorite books and compose original stories,
often modeled after the new story.
Choral reading is reading aloud in unison or parts with a whole class, small group, or in-
dividual students so that students hear the text at the same time they read it. Choral reading
can involve arranging a poem into speaking parts as a way to enjoy and interpret the poem (see
Chapter 4). Choral reading a range of texts can provide support for students who are struggling
as readers, typically by having less proficient students read in unison with more fluent read-
ers or having a struggling student read chorally with a recorded version of the text. Teachers
can also read one-on-one with a child, so that the teacher initially takes the lead in the choral
reading and then gradually quiets her/his voice as the child gains confidence and takes over the
lead.
Paired reading, also known as partner reading or buddy reading, involves two people sharing
the reading of a text in some way. Two children can share a text by reading back and forth to each
other, changing off every other page or section of the book or taking different voices or parts of
the text. Another variation, often used with struggling readers, involves the teacher and child
reading side by side. The child reads aloud until she or he has difficulty, at which point the adult
supplies the word so that the reading can continue fluently.
In all of these strategies, well-chosen literature is important; the nature of the experience is
companionable, not authoritative; and the child reader must see the text and hear the words si-
multaneously. Sometimes, the adult places a finger under each word as it is being read to draw
the child’s attention to the print. Selecting favorite, loved stories as well as meaningful, predictable
stories is essential because the success of these strategies is contingent on frequent rereadings of
the same book.
All of these variations of shared reading focus on the role of fluent reading experiences and
multiple rereadings in teaching a child to read. As students read stories over and over, they are
able to attend to different aspects of the print and the story, learning something different about

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the text each time. They also develop a feeling of competence in themselves as readers, which is
especially important for struggling readers who may not have experienced fluent reading.

Readers’ Theatre
Readers’ theatre is the oral presentation of literature by two or more actors, and usually a narrator,
reading from a script. Unlike plays, there is little or no costuming or movement, no stage sets, and
no memorized lines. Literature becomes a living experience for readers through the use of facial
expressions, voice, and a few gestures. Students engage in multiple rereadings of the script to
develop a fluent, expressive interpretation of the story to share with an audience. Features typically
associated with readers’ theatre include the following:

■ The readers and narrator typically remain on the “stage” throughout the production.
■ Readers use little movement; instead, they suggest action with simple gestures and facial
expressions.
■ Readers and narrator sit on chairs or stools, and performers usually remain seated through-
out the performance. Sometimes, certain readers sit with their backs to the audience to sug-
gest that they are not in a particular scene.
■ No costumes or stage settings are necessary and, at most, should be suggestive, rather than
complete or literal, to encourage the imaginations of the audience. The use of sound effects
may enhance the performance and give the impression of a radio play.

Scripts can be developed for readers’ theatre by the teacher or by older students adapting a
work of literature enjoyed by the class. Picture books readily lend themselves to adaptation, as do
short stories. Some teachers have successfully adapted well-selected scenes from a favorite chapter
book for readers’ theatre (see Figure 13.1). Alan Armstrong’s novel Whittington (2005), a Newbery
Honor Book, is an animal fantasy that intertwines three plots: the contemporary barnyard, the
medieval folktale, and Ben’s reading problems. The qualities to seek in a promising story are
natural-sounding dialogue, strong characterization, drama or humor, and a satisfactory ending.
If the original work has extensive dialogue, the script writing is a very easy activity. The script
begins with the title of the book, the name of the author, a list of characters, and usually an open-
ing statement by the narrator. Following the introduction, the dialogue is written into script form,
with the narrator scripted for the remaining nondialogue, narrative parts.
Scripts can also be purchased, but finding scripts that are both well written and adapted from
the literature you are using in your classroom may prove difficult. If you decide to develop readers’
theatre scripts from the literature you are using, remember that developing the first script is the
most difficult. Once you have created the first one, you will find out how easy the process is.
Intermediate-grade students take readily to script development once they have a model to imitate.
Aaron Shepard’s RT Page (www.aaronshep.com/rt) is a website guide to readers’ theatre with tips
on scripting, staging, and performing.
Choice of literature to use can include virtually any literary genre—picture storybooks, nov-
els, biographies, long poems, letters, diaries, and journals. See Figures 13.2 and 13.3 for books
suitable for script development. Another example, Paul Fleischman’s Bull Run (1993), a historical
novel set during the Civil War, is written as a series of episodes told by different characters at
different stages of the war. At the end of the book, the author provides a list of each character’s

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Figure 13.1 Sample Page of a Script Developed for Readers’ Theatre

Whittington (adapted from Chapter 1, pp. 2–5)

by Alan Armstrong
Random House, 2005.
CHARACTERS:
Narrator
Whittington (cat)
The Lady (duck)
Other characters appear later in the story

Narrator: This scene takes place in the barnyard.

Whittington: Hello.
The Lady: Who are you?
Whittington: Whittington.
The Lady: Whittington? That’s a funny name for a cat. It’s more like the name of a town.
Whittington: Doesn’t it mean anything to you?
The Lady: No.
Whittington: Then you don’t know history. Whittington is a person in history. He’s in books. Anyway,
what’s your name?
The Lady: They call me Lady because I’m in charge.
Narrator: Whittington, the cat, explains that he needs a place to live.
The Lady: You don’t have a home?
Whittington: I did. A boy took me in when I was a kitten. Then they sent him away because he read
things backwards. They were ashamed. They sent him to a special school out west. He was
going to take me along but they said no.
The Lady: So what do you want from me?
Whittington: A place in the barn.
Etc. . . . .

Figure 13.2 Picture Books Adaptable for Readers’ Theatre Scripts

Buttons by Brock Cole

Chrysanthemum by Kevin Henkes
Dog and Bear: Two Friends, Three Stories by Laura Vaccaro Seeger
Duck on a Bike by David Shannon
Frog and Toad Are Friends by Arnold Lobel
The Great Kapok Tree: A Tale of the Amazon Rainforest by Lynne Cherry
I Am the Dog, I Am the Cat by Donald Hall
The Three Little Wolves and the Big Bad Pig by Eugene Trivizas
Tommy at the Grocery Store by Bill Grossman

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Figure 13.3 Novels Adaptable for Readers’ Theatre Scripts

Bud, Not Buddy by Christopher Paul Curtis

Dave at Night by Gail Carson Levine
Ella Enchanted by Gail Carson Levine
The Giver by Lois Lowry
Out of Order by Betty Hicks
Seedfolks by Paul Fleischman
Whittington by Alan Armstrong
Witness by Karen Hesse

entries that can be used to produce readers’ theatre performances. Variations on readers’ theatre
can be accomplished through the addition of background music, choral poems, and brief scenes
from different stories tied together by a common theme.
Preparation for a readers’ theatre presentation gives students a good opportunity to strengthen
their oral reading abilities and to try out their expressive skills. The group typically reads through the
script once or twice and then works on refining the interpretive aspects of each performer. Decisions
need to be made on the arrangement of chairs and speakers for greatest visual effect. Following each
presentation, an evaluation is made by the group with the goal of improving future performances.
Readers’ theatre is well suited to classroom reenactments of literary experiences. Students
have the opportunity to construct meaning for a literary work in a new medium—the medium
of drama—with considerable ease and pleasure.

Experiencing Literature as Multimodal Texts

Children in today’s world are immersed in mass media, including video games, iPods, and the
Internet, that provide them with interactive digital, visual, auditory, and dramatic texts. Children’s
literature is increasingly available in a range of media, providing important points of access for
many children. These multimodal texts include audiobooks, films, and digital books.
Audiobooks of children’s literature, available today on CDs, provide readings by well-known
actors and professional readers. Reviews of excellent-quality audiobooks can be found in the
major review journals (listed in Chapter 3). The following are websites of publishers of substantial
numbers of audiobooks:
www.randomhouse.com
www.recordedbooks.com
www.scholastic.com
Audiobooks are an excellent teaching tool. Consider some of the following uses:
■ Listen to an audiobook as a class instead of using a teacher read-aloud. The novelty of the
performance—something different from the teacher’s reading—may add interest.
■ Use audiobooks at a listening center where a group of children can work independently.
Provide each child with a copy of the book to follow the narration.

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■ When assigning homework reading to students, offer students who have difficulties in read-
ing the option of listening to the audiobook while following the narration in a copy of the
book. Students who otherwise would be unable to participate in class discussions of the book
with their peers will be able to contribute.
Films based on children’s books provide students with a multimedia experience of a story.
Teachers can engage students in comparing how film is similar to and different from text. Both
have plots, characters, settings, themes, styles, and points of view. Both are edited and both can
have dialogue and narration. However, film differs from text in that it has sound (spoken words,
music, and sound effects) and photography (its use of color or black and white, angles, close-ups,
and panoramas). Additionally, films have actual people or animated char-
acters inhabiting the character roles and actual settings, whereas books ask
readers to form their own images of characters and settings.
Go to Activity 2 in the Assign- With this quick background in the elements of cinema, students can
ments and Activities section of become better “readers” of film, equipped to discuss or write their personal
Chapter 13 in MyEducationKit; responses to films based on literature. Films that support or contradict the
complete the activity on compar-
ing a picture book with its film
content of the book may be suitable for classroom use depending on the
adaptation. teacher’s intent. Generally, teachers show a film based on a book after
the book has been read and discussed. The film then provides an oppor-
tunity to compare and contrast the book and the film while considering the advantages and limi-
tations of the two media. For some students the movie experience may be motivation to read the
book or others in the same series or by the same author.
At the end of Chapters 5 through 11, lists of films related to book categories are provided.
The American Library Association has an annual award, the Andrew Carnegie medal for Excel-
lence in Children’s Video, given to the producer of the video. Teachers will want to select films
based on children’s books that are appropriate to the age level and are connected to classroom
inquiries.
Some sources for films, videos, and DVDs are as follows:
■ The Video Source Book (Syosset, NY: National Video Clearinghouse), published by Gale
Research, Detroit, MI. This annual reference work lists media and provides sources for pur-
chase and rental.
■ Two websites of large video distributors are www.libraryvideo.com and www.knowledge
unlimited.com.
■ The Internet Movie Database (www.imdb.com) is a large film database with production, rat-
ings, and other movie details with links to external reviews.
Digital books are an increasingly popular format for accessing literature. Digital books are
available on websites such as the International Children’s Digital Library (www.en.childrens
library.org), which makes books available in different languages, as well as from a range of chil-
dren’s publishers and software suppliers (see www.childrenssoftwareonline.com). Many of these
books provide interactive components, allowing children to click on a particular character or part
of the setting to get additional information, dialogue, or sound effects, as well as narration that
students can read along with. Digital books are discussed in more detail in Chapter 12.
Plays, as a literary genre, are written, dramatic compositions or scripts intended to be acted.
A play may be divided into parts called acts; in turn, each act may be divided into scenes. The

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script usually has set design, costumes, and stage directions, as well as dialogue provided for each
actor. Plays are usually published in playbooks that can be purchased as a set for use in group
reading situations.
A good play has a subject that appeals to children, an interesting character or two, and a
problem that worsens before being resolved satisfactorily. Humor always appeals to children and
conflict between characters is needed for interest and drama. Some children’s plays are adaptations
of children’s books, while others are original plays—stories originating in play form. The follow-
ing resources can be used to locate plays:

■ Children’s Book and Play Review, an online journal of play reviews (http://cbpr.lib.byu.edu)
■ International Association of Theatre for Children and Young People (U.S. national section is
Theatre for Young Audiences, www.assitej-usa.org)
■ American Alliance for Theatre and Education (www.aate.com)
■ Smith and Kraus, publisher of plays and play anthologies (www.smithandkraus.com)
■ Eldridge Publishing, one of the oldest children’s play publishers (www.histage.com)

Several children’s authors have written play scripts. Examples include Skellig: The Play by
David Almond (2005), Zap by Paul Fleischman (2005), Monster by Walter Dean Myers (1999),
Novio Boy: A Play by Gary Soto (2006), and Pushing up the Sky by Joseph Bruchac (2000). Sharon
Creech’s Replay (2005) has a play included at the end of the novel.
Children create a unique literary experience by performing a play, one that immerses them
in creating a story while building on their natural enjoyment of play. Plays can be read inde-
pendently or in small groups, performed as readers’ theatre, or performed as a drama for an
audience.

Reading Critically to Inquire about the World

Reading literature critically to inquire about the world involves reading to consider issues and
ideas in children’s lives, broader society, and the content areas. These experiences support children
in becoming critical and knowledgeable readers and thinkers. Readers are encouraged to engage
deeply with the text and then to step back to share their connections and reflect critically with
others about the text and their responses.
This focus on the intensive reading of a few books to think deeply and critically balances the
extensive reading of many books. The books chosen for intensive reading have multiple layers of
meaning and invite readers to linger longer. These books invite social interaction and discussion, as
students need others to think with as they struggle with interpretation and understanding. Because
the focus is on dialogue and thinking, the literature may be beyond their reading ability, so the text
should be read aloud to them, particularly in the case of young children and struggling readers.
When students experience a story, they often want to respond or express their reactions to
the experience in some way. Sharing their responses can involve thinking about the experience
through a new form or medium; they develop a better understanding of what they experienced
by organizing and deepening their feelings and thought, and they discover that other readers’
experiences with the same book may have been different. Although it is important to give students

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opportunities to respond to books, not every book needs or merits a lengthy response. Rosenblatt
(1978) reminds us that no two people have the same life experiences and that it is the transaction
that occurs between the text, the reader, and the present context that provokes a particular re-
sponse. Teachers can offer opportunities for students to respond to their literary experiences in
many different ways.
In addition, children can engage with literature as part of thematic studies or inquiries within
content areas, such as math, science, and social studies. They read critically to compare informa-
tion and issues across these books, learn facts about the topic, and consider conceptual issues.
Literature becomes a tool for understanding the world and considering broader social and scien-
tific issues, as well as a means of facilitating children’s interest in a topic.

Literature Discussion
Whole-class discussion usually accompanies a read-aloud. In these discussions, comprehen-
sion is assumed and the discussion centers on the different ways students feel and think about
the book, characters, events, themes, and outcome. Teachers invite students to share their con-
nections by asking “What are you thinking?” instead of asking questions to check comprehen-
sion. In a class discussion, the teacher often has the pivotal role as discussion leader. However,
only some of the students will have an opportunity to express their viewpoints because of the
group size.
Another format for students to discuss their responses to literature is a literature circle, where
students meet in small groups to share their responses about a book they have read as a group or
a book read aloud by the teacher to the whole class. One of the goals of literature circles is for
children to learn to work and think with one another and to value the opinions and views of
others. The small group format is student led and provides more opportunities for dialogue. The
following features are typically found in literature circles:
■ The books are organized around a particular theme as either shared book sets (multiple cop-
ies of the same text) or text sets (ten to fifteen conceptually related picture books). Each small
group reads a different shared book or text set related to the same broad theme (see Figures
13.4 and 13.5).
■ Students are introduced to the selections through short booktalks and given time to browse
the books. They list their first and second choices on ballots that are used to organize students
into heterogeneous groups of four to six students.
■ Students read the books and prepare for literature discussion.
■ Students reading chapter books determine how many pages to read a day in order to finish

the book in one or two weeks. Reading goals that are not completed at school are consid-
ered homework. Students meet in a mini-circle for ten to fifteen minutes daily to check
in with each other on their reading goals and share connections and confusions. Students
who are struggling with the book can partner with another student from the group or
listen to an audiorecording of the book.
■ Young children may not be able to independently read the more complex picture books

that support literature discussion. The books can be read aloud to them by a teacher, an
older buddy reader, or a family member, or they can listen to an audiorecording. Young

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Figure 13.4 Shared Book Sets on Journeys for Literature Circles

Picture Books
Each literature circle has multiple copies of one of these titles.
Amelia’s Road by Linda Altman
Fox by Margaret Wild
Goin’ Someplace Special by Patricia McKissack
Going Home by Eve Bunting
John Patrick Norman McHennessy: The Boy Who Was Always Late by John Burningham
The Pink Refrigerator by Tim Egan
Sebastian’s Roller Skates by Jeanne de Déu Prats
Something Beautiful by Sharon Wyeth

Chapter Books
Each literature circle has multiple copies of one of these titles.
Becoming Naomi León by Pam Muñoz Ryan
Elijah of Buxton by Christopher Paul Curtis
The Golden Compass by Philip Pullman
Journey by Patricia MacLachlan
The Last Dragon by Silvana de Mari
Lizzie Bright and the Buckminster Boy by Gary Schmidt
When My Name Was Keoko by Linda Sue Park
Wringer by Jerry Spinelli

children benefit from hearing the book read aloud several times. One option is to have
the books read aloud at home for several days before the school discussion.
■ As students read, they respond by writing or sketching their connections, questions, and

concerns to be ready to share with group members. The responses may be in a literature
log, on Post-its placed in the book, or on a graffiti board (see p. 296).
■ Encourage students who finish reading ahead of the rest of the group to read an indepen-

dent reading book thematically related to their literature circle books.

■ Students complete the book and meet in literature circles for extended discussions. These
discussions typically occur after students have read the entire book. Students may need to meet
in literature circles along the way if a chapter book is particularly difficult or if students are
struggling readers or English language learners. Literature circles typically last anywhere from
two days to two weeks, depending on the length of the book and the depth of the discussion
about the book. The discussions are open-ended and provide time for readers to share their
initial responses with each other and then dialogue about several issues in more depth.
■ Students create a web or consensus board to brainstorm the issues that they could explore

further, based on their initial sharing.

■ Students identify a focused anomaly or concern that they want to inquire about together

as a group.

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Figure 13.5 Text Sets on War and Conflict for Literature Circles

Conditions That Lead to War Consequences of War

Baseball Saved Us by Ken Mochizuki The Bracelet by Yoshiko Uchida
The Butter Battle Book by Dr. Seuss Faithful Elephants by Yukio Tsuchiya
I Hate You! I Like You! by Tomek Bogacki Gleam and Glow by Eve Bunting
In the Rainfield by Isaac Olaleye My Secret Camera by Mendel Grossman
The Island of the Skog by Steven Kellogg The Orphans of Normandy by Nancy Amis
The Mightiest by Keiko Kasza Rose Blanche by Roberto Innocenti
Terrible Things by Eve Bunting Sadako by Eleanor Coerr
Tusk Tusk by David McKee Shin’s Tricycle by Tatsuharu Kodama
When I Grow Up, I Will Win the Nobel Peace Prize So Far from the Sea by Eve Bunting
by Isabel Pin Star of Fear, Star of Hope by Jo Hoestlandt
The Wild Wombat by Udo Weigelt
Overcoming War
War as an Institution Alia’s Mission: Saving the Books of Iraq by Mark
The Araboolies of Liberty Street by Sam Swope Stamaty
The Conquerors by David McKee The Brave Little Parrot by Rafe Martin
The Day Gogo Went to Vote by Eleanor Sisulu The Cello of Mr. O by Jane Cutler
The End of War by Irmela Wendt Gandhi by Demi
The Monkey Bridge by Rafe Martin Hiroshima No Pika by Toshi Maruki
The Roses in My Carpets by Rukhsana Khan Let the Celebrations Begin! by Margaret Wild
Sami and the Time of the Troubles by Florence P. Oasis of Peace by Laurie Dolphin
Heide and Judith Heide Gilliland A Place Where Sunflowers Grow by Amy Lee-Tai
The War by Anais Vaugelade Rebel by Allan Baillie
War and Peas by Michael Foreman The Yellow Star: The Legend of King Christian X of
When the Horses Ride By: Children in the Times of Denmark by Carmen Deedy
War by Eloise Greenfield

■ Students prepare for the discussion of the identified issue by rereading sections of the
book, writing or sketching in their logs, marking relevant quotations with Post-its, engag-
ing in further research, or using a particular response engagement.
■ Students share their ideas and connections related to the identified issue and engage in

dialogue around differing interpretations and perspectives.

■ Students can continue their literature circles by returning to their web multiple times to

identify another issue for discussion.

■ Text set discussions begin with each student reading one or two books from the set and meeting
to share their books. Students often move between reading and sharing for a week or two and
then web the connections and differences across the books in their set. They choose one of these
issues to discuss in greater depth through inquiry and critique.
■ Teachers do not need to be in a group, but if they join a group, they participate as a reader
and group member, sharing their thoughts.
■ When students complete their literature circles, they can present the key ideas from their
discussions to pull together their thinking about the book or text set.

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■ They may share informally by talking about their book and showing their web of connec-
tions and issues to the class.
■ They can prepare a formal presentation by listing the most important ideas they want to
share with others about their book and discussion. They then brainstorm different ways
to present these ideas (murals, skits, posters, dioramas, etc.) and choose the one that best
fits the ideas they want to share.
■ They can create a classroom newsletter/newspaper in which each literature group writes
about the books they are reading and includes visual sketches, webs, or charts.
The discussions in literature circles are more complex and generative if teachers embed these
circles within a broad class theme, such as identity or journeys, around which they have planned
a range of engagements, including class read-alouds and browsing of other books on that theme.
This theme may be connected to a unit of inquiry within the curriculum or to issues students are
exploring in their lives.
When students have the opportunity to converse and dialogue about what they are reading,
they explore their “in-process” understandings, consider alternative interpretations, and become
critical inquirers. Literature circles support reading as a transactional process in which readers
actively construct understandings of a text by bringing meaning to, as well as from, that text. They
come to understand that there is no one meaning to be determined, but many possible interpreta-
tions to explore and critique. The primary intent of these discussions is to provide a space for
readers to think about life from multiple perspectives, not to learn about literary elements or
comprehension strategies.

Literature Response Engagements

Requiring students to list the author, title, date, genre, setting, main characters, and summary of
the plot seldom causes students to delve more deeply into literature. Students usually view tradi-
tional book reports as tedious busywork and as a punishment for reading a book. Although
teachers assign book reports to get students to read, students often report
that they never read the book, but instead read the bookflap and a page or
two at the beginning and end.
Go to Activity 3 in the Assignments Recently, some so-called literature response forms or worksheets have
and Activities section of Chapter 13 been published for use by teachers who adopt literature-based reading ap-
in MyEducationKit; complete the
proaches. These worksheets are often little more than disguised book re-
activity on investigating several
response engagements to the port forms. Such comprehension assessment may be occasionally useful
books you are reading. for reading instruction, but is of no use if your interest is students’ re-
sponses to literature.
Readers deepen and extend their interpretations of literature when they respond in a variety
of ways. When readers move from reading to writing, art, or drama, they take a new perspective
on the piece of literature. In the process of exploring their thinking about a book through various
sign systems, they discover new meanings and expand their understandings of that book.
The following response engagements provide structures to encourage students to push their
thinking about a book. These engagements stand in contrast to activities where students write a
summary, retell a book, answer comprehension questions, or make a “cute” art project. Response
engagements challenge students to find and explore the issues that they find significant within a

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book, rather than answer the teacher’s questions about the book. (See Creating Classrooms for
Authors and Inquirers by Kathy G. Short and Jerome Harste, 1996, for more information and
examples of these engagements.)
■ Freewrites. At the beginning of a group meeting, set a timer for five minutes and write con-
tinuously about your thoughts on the book, then turn and talk in the group. If the group is
still not sure how to begin, one person can read aloud all or part of their freewrite. The group
discusses the ideas in that freewrite and then moves on to the next person.
■ Post-ful Thinking. Put Post-its on pages where you have a significant connection as you
read and jot a quick comment. Share these when your group meets to find issues to discuss
together. You can also use Post-its to revisit the book when the group decides to examine a
particular issue. Mark pages relevant to the issue as a way to prepare for the discussion.
■ Literature Logs. Stop periodically as you read and respond to what you are thinking about,
including questions and connections. These entries can take the form of a written response,
a sketch, a web, a chart, quotes you want to remember, and so on. Reread your literature log
right before beginning a group discussion so the issues are fresh in your mind.
■ Collage Reading/Text Rendering. Mark quotes that are significant to you as you read. In
collage reading, group members read aloud quotes to each other. One person reads a quote,
then someone else reads another quote, and the reading continues in no particular order.
Readers choose when to read a quote in order to build off of what someone else has read, but
no comments are made about the quotes. Text rendering is similar, except the reader states
why they chose the quote. There is no discussion until after the text rendering is finished.
■ Graffiti Boards. Put a large sheet of paper on the table. Each group member takes a corner
of the paper to write, web, and sketch their thoughts about the book or text set. The comments,
sketches, quotes, and connections are not organized; the major focus is on recording initial
responses during or immediately after reading a book. Group members share from their graffiti
to start the dicussion. Webbing or charting can then be used to organize the connections.
■ Save the Last Word for Me. As you read, note passages or quotes that catch your attention
because they are interesting, powerful, confusing, or contradictory and put the quote on a
3" × 5" card. On the back of the card, write why you found that particular passage noteworthy.
In the group, one person shares a quote and the group briefly discusses their thinking while the
initial person remains silent. When the discussion dies down, the person who chose the quote
tells why he/she chose it. That person has the last word, then the group moves on to the next
person. Young children can show a page from a picture book instead of reading a quote.
■ Sketch to Stretch. After reading a book, make a sketch (a quick graphic/symbolic drawing)
of what the story meant to you or your connections to the book (not an illustration of the
story). In the group, show your sketch and discuss its symbols and ideas. After sharing the
sketches, choose issues to explore in more depth as a group.
■ Webbing What’s on My Mind. After sharing initial responses to a book, your group brain-
storms a web of issues, themes, and questions that could be discussed from the book or text
set. Using the web, your group decides on the one issue that is most interesting or causes the
most tension to begin discussion. You can continue your discussion by choosing from other
ideas on the web. New ideas are added as they develop from the discussion.
■ Consensus Board. Divide a large board into four sections with a circle in the middle. The
circle contains the book’s title or key theme. In the individual sections, each of you writes or

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sketches personal connections to the book or theme. The group discusses these individual
connections and comes to consensus on the issues or big ideas to explore further. These are
written in the middle of the board for further discussion.
■ Comparison Charts/Venn Diagrams. Read a text set and discuss similarities and differences
across the books. From these discussions, develop broad categories that you want to compare
more closely. Make a chart with the books listed on the side and the categories across the top.
Both pictures and words are used to make the comparisons in the boxes. A Venn diagram (two
circles that overlap in the center) focuses the comparison on one major issue at a time.
■ Story Ray. You each receive a three-foot strip of paper (a ray) on which to create a visual
essence of a selected chapter using colors, images, and a few words with various art media
and little or no white space. Share your rays in the groups and explain their symbolism. The
rays are then assembled on a large mural or wall in the shape of sun rays to reflect the unfold-
ing of the novel.
■ Mapping. Maps provide a way to organize your thinking and explore relationships among
ideas, people, and events. They can take a range of forms to show visual relationships, explore
processes and change, and record movement of people or ideas. Consider using maps to show
the following:
■ The journey of change for a character within a book or of an idea/issue over the course

of the book
■ Symbols that show the heart (the values and beliefs) or the mind (the thoughts and ideas)

of a particular character
■ A cultural “x-ray” in the shape of a person that show a character’s inner values and beliefs

and outer actions and qualities

■ A flowchart that explores how certain decisions made by a character create particular

consequences
■ Time Lines and Diagrams. Time lines can help you think about how particular historical
events influenced the characters in your story. Draw a line on a long strip of paper, placing
the dates below the line on scaled intervals. Note the story events above the line and the events
from history below the line. Time lines are also useful with text sets of historical sources.

Students who are new to working in groups often find that working in pairs is an easier way
to become comfortable with discussion. Any of these response engagements may be used with
partners, rather than in a small group. There are also several response engagements that are par-
ticularly designed for partners.

■ Say Something. Two people share the reading of a short story. The first person reads aloud
a chunk of text (several paragraphs or a page) to the other person. When the reader stops,
both of them “say something” by making a prediction, sharing personal connections, asking
questions, or commenting on the story. The second person then reads aloud a chunk of text
and again both “say something.” The two readers continue alternating the reading of the
story, commenting after each reading, until the story is completed.
■ Written Conversation. Have a silent conversation by talking on paper. Two people share a
piece of paper and a pencil, talking about a book by writing back and forth to each other. No
talking is allowed, except with young children, who often need to write and then read what
they have written aloud in order for the other child to write back.

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Drama as Response
Creative drama is informal drama that involves the reenactment of story experiences (McCaslin,
1990). It is improvisational and involves the actors creating dialogue and movement as they en-
gage in the drama. Props may be used, but not scenery or costumes. Because of its improvisational
nature and simplicity, creative drama places importance on the experience of the participants,
not on performance for an audience.
A picture book, short story, or single scene from a chapter book may be dramatized. The
most suitable stories to start with are relatively simple, involving two to six characters and high
action. Many folktales fit this description. The steps in guiding creative drama in the classroom
are as follows:
■ Students select a story they want to act out, and listen to or read it independently several
times, paying attention to the characters and story scenes.
■ Students list the characters and the scenes on the chalkboard or on chart paper.
■ Students assign parts to actors. If enough students are interested in dramatizing the same
story, two or more casts of actors can be assigned. Each cast of characters can observe the
performances of the others and learn from them.
■ Each cast uses the list of scenes to review the plot, ensuring that all actors recall the events. Dis-
cuss the characters, having students describe the actions, dialogue, and appearance for each.
■ Give the cast of characters a few minutes to decide how to handle the performance. Then run
through it several times to work out the bumpy parts. Lines are improvised, not memorized.
The Fantastic Plays for Kids website (www.childdrama.com) also has useful ideas and lesson plans
for creative drama.
Dramatic inquiry, also known as Drama in Education, involves the use of drama to create an
imaginative space or drama world around critical moments in a story, rather than acting out a
story (Heathcote, 1984). Students develop characters and situations and take on diverse perspec-
tives that go beyond the book. Discussion supports readers in standing back and talking about
events that happened to other people in a different world. Dramatic inquiry puts students in the
middle of events and within the world of the story as they explore their tensions and issues. Stu-
dents explore multiple perspectives within and beyond the story boundaries through strategies
such as the following:
■ Tableaus. Each small group of students creates a frozen image without talk or movement to
represent an idea or moment related to the story.
■ Writing-in-Role. Students assume the identity of a character and write a text from that
perspective, such as a reflection on events or a journal entry.
■ Hot Seat. Students take on the roles of different characters and sit on the hot seat to respond
to questions about their perspective on an issue from the story.
■ News Program. Students take on the role of television or newspaper reporters and interview
characters from the book to retell an event from a range of perspectives.
■ Perspective Switch. Each student shifts perspectives, trying out the perspectives of charac-
ters who are opposed, supportive, or ambivalent to an issue.
These drama strategies take readers beyond reenactments of a story to their own drama
worlds, giving them a lens for critically examining the events and margins of a story. Action Strate-

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gies for Deepening Comprehension (Wilhelm, 2002) offers examples of these drama strategies in
responding to literature.

Literature across the Curriculum

Literature across the curriculum refers to the use of literature to replace or supplement textbooks
in social studies, science, health, and mathematics. Literature provides more interesting and well-
written accounts and perspectives on historical events and scientific information. In addition,
textbooks often superficially cover large amounts of information, whereas nonfiction literature
focuses on a particular topic in more depth, providing a context for inquiry into broader social
and scientific issues. Students who struggle as readers can benefit from attractively illustrated and
more accessible nonfiction literature. A collection of nonfiction literature of varying lengths and
difficulties can meet the needs of students at different reading levels, unlike textbooks written on
a single readability level.
Literature makes social studies content more memorable because the stories are presented
from a child’s point of view, allowing children to see the world through a narrative framework.
Children are more likely to understand and remember history when it is presented as a story with
characters, settings, and events. They can then move from an interest in the narrative to an interest
in the history itself.
Literature also permits students to examine multiple perspectives on a topic, which helps
develop critical thinking. By comparing historical information from various sources, students
encounter differing perspectives on a particular era of history. In addition, literature often relates
political and social events to relevant moral issues. Children can see how these events affected the
lives of real people and understand the morality underlying their choices. Unlike textbook au-
thors, who must write to satisfy all viewpoints, authors of children’s literature are more likely to
face controversial issues head-on. For ideas on planning social studies units incorporating fiction
and nonfiction, see the immigration web in Figure 12.2. Examples of literature offering a range
of perspectives for a social studies inquiry on Japanese-American internment camps and for a
science unit about the moon can be found in Figure 13.6.
Trade books in science and health present different sources of information as a means to
verify facts. Students can compare the facts presented in the textbook with those found in various
books on the same topic. Global warming, a topic frequently in the news, is addressed in a number
of books. For example, Laurence Pringle’s Global Warning: The Threat of Earth’s Changing Climate
(2001) and David Laurie and Cambria Gordon’s The Down-to-Earth Guide to Global Warming
(2007) are two fairly short, well-written informational books, while Marcus Sedgwick’s science
fiction novel Floodland (2001) features a girl who searches for her parents after the sea has risen
as a result of global warming, causing cities to become islands. Another work of science fiction,
The House of the Scorpion (2002) by Nancy Farmer, can become the basis for investigations into
cloning and its ramifications.
Many nonfiction books on health and science present information in interesting ways through
graphs, tables, figures, photographs, and other visual presentations, coupled with a lively writing
style. Comparison of information from different sources can be readily provided when students
are not limited to a single source for their information. Teachers who draw on various types of
texts for their instruction have discovered that literature has the power to educate the mind while
enlightening the spirit.

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Figure 13.6 Text Sets for Multiple Perspectives in Science and Social Studies Units

The Moon Japanese-American Internment Camps/World War II

And if the Moon Could Talk by Kate Banks, Baseball Saved Us by Ken Mochizuki, illustrated by
illustrated by Georg Hallensleben (Realistic Dom Lee (Historical fiction picture book)
fiction) Bat 6: A Novel by Virginia Euwer Wolff (Historical
Comets, Stars, the Moon, and Mars: Space Poems fiction novel)
and Paintings by Douglas Florian (Poetry) The Children of Topaz: The Story of a Japanese
The Dog Who Loved the Moon by Cristina American Internment Camp by Michael Tunnell
Gárcia, illustrated by Sebastia Serra and George Chilcoat (History)
(Fantasy, Cuba) Dear Miss Breed: True Stories of the Japanese
If You Decide to Go to the Moon by Faith American Incarceration during World War II and
McNulty, illustrated by Steven Kellogg a Librarian Who Made a Difference by Joanne
(Fantasy/science) Oppenheim (History)
Many Moons by James Thurber, illustrated Fighting for Honor: Japanese Americans and World
by Louis Slobodkin (Fable) War II by Michael Cooper (History)
The Moon by Robert Louis Stevenson, illustrated Flowers from Mariko by Rick Noguchi, illustrated by
by Tracey C. Pearson (Poem) Michelle R. Kumata (Historical fiction picture
The Moon by Seymour Simon (Science) book)
Moon Man by Tomi Ungerer (Fantasy, France) Home of the Brave by Allen Say (Modern fable,
The Moon over Star by Dianna H. Aston, illustrated picture book)
by Jerry Pinkney (Historical fiction) Journey to Topaz and Journey Home by Yoshiko
Moon Plane by Peter McCarty (Fantasy) Uchida (Historical fiction novels, memoir)
Moonshot: The Flight of Apollo 11 by Brian Floca A Place Where Sunflowers Grow by Amy Lee-Tai,
(History) illustrated by Felicia Hoshino (Historical fiction
Moontellers: Myths of the Moon from around the picture book)
World by Lynn Moroney, illustrated by Greg Under the Blood-Red Sun by Graham Salisbury
Shed (Myths, world) (Historical fiction novel, Hawai’i)
One Giant Leap by Robert Burleigh, illustrated Weedflower by Cynthia Kadohata (Historical fiction
by Mike Wimmer (History) novel)

Content-area reading is the ability to read to acquire, understand, and connect to new content
in a particular discipline. In content-area classes students are often assigned textbooks, a type of
expository text, which they frequently have more difficulty reading and understanding than nar-
rative texts. Teachers can make reading textbooks easier if they teach students how such texts are
structured and explain their specialized features. In Chapter 10, the elements of nonfiction are
explained with examples. Stead (2005) and Hoyt, Mooney, and Parkes (2003) provide many prac-
tical ideas on teaching reading strategies for informational texts.

Reading Strategically to Learn about Literacy

Reading literature to learn about literacy creates strategic readers who reflect on their reading
processes and text knowledge. Adults should encourage these engagements by helping children

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develop a repertoire of strategies to use when they encounter difficulty, either in figuring out
words or in comprehending, and to gain knowledge of text structures and literary elements. Adults
guide children’s reflections on their reading processes by teaching lessons on strategies, literary
elements, and text structures and by having students read literature that highlights particular
reading strategies based on teacher knowledge of children’s needs. Students who have a range of
effective reading strategies and text knowledge can problem solve when encountering difficulty
so as to develop reading proficiency.
Many schools use commercial materials for reading instruction rather
than literature. Although children are taught how to read through these
Go to Activity 4 in the Assign- materials, they do not necessarily develop the desire or habit of reading.
ments and Activities section of They are capable of reading but are not engaged readers who are motivated,
Chapter 13 in MyEducationKit;
knowledgeable, and strategic.
view the video on teaching
students to read like a writer and Engagements with literature that focus on learning about literacy in-
respond to the question. clude guided reading, guided comprehension, conferencing, and mini-
lessons in which students read books in order to examine their current
reading strategies and develop new strategies. Teachers carefully assess which readers are on the
“edge of knowing” and form small groups of students who share similar needs for guided reading
(see Chapter 12). Reading strategies are taught within the context of reading a book for meaning
and then pulling back to talk about the strategies students used to make sense of that book or to
figure out unfamiliar words.
Often literary instruction takes the form of worksheets where students list story elements,
such as character, plot, and conflict, rather than thoughtfully considering how these elements
influence meaning. Recently there has been a strong emphasis on genre studies (see Chapter 12).
Some of these genre studies are formulaic, whereas others involve students in an inquiry approach
to construct their understandings of the genre. (See Cruz and Pollock, 2004, for an example of
how they immersed their students in an inquiry around fantasy.) These genre studies can be an
excellent way for students to explore literary elements and genre within a meaningful context and
can involve the following:
■ Gathering and sorting a wide range of texts to determine which belong to the genre
■ Reading aloud picture books and novels to discuss excellent examples of the genre
■ Independently reading many books in the genre
■ Charting student observations about the genre in various ways
■ Discussing selected books in the genre in small group literature circles
■ Writing their own stories based on their knowledge of the genre
Author studies, in which students immerse themselves in reading and examining an author’s
whole body of work, provide another meaningful context in which students can examine particu-
lar literary elements and genres to learn about literature (see Chapter 12).
Writing often provides an effective way for students to explore language and text structure,
particularly if they use literary works as writing models. When children read and listen to stories,
they accumulate vocabulary, sentence structures, stylistic devices, and story ideas and structures.
Well-written stories and poems, such as those in Tables 13.1 and 13.2, serve as models for children
in their own writing. When an 8-year-old boy who wrote extremely well-developed, interesting
stories was asked how he learned to make up such good stories, he replied, “It’s really a secret, but

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 Table 13.1 Using Literary Works as Writing Models in Grades 2–4
Literary Device or Element Suggested Books

Characterization Olivia by Ian Falconer

Sheila Rae, the Brave by Kevin Henkes
Farmer Duck by Martin Waddell
Duck on a Bike by David Shannon
Dialogue Something Beautiful by Sharon Wyeth
John Patrick Norman McHennessy by John Burningham
The Wild Wombat by Udo Weigelt
Episodic Plot Starring Grace by Mary Hoffman
Dog and Bear: Two Friends, Three Stories by Laura
Vaccaro Seeger
When Mules Flew on Magnolia Street by Angela Johnson
Journal Writing The Journey by Sarah Stewart
Diary of a Fly by Doreen Cronin
Setting Miss Rumphius by Barbara Cooney
The Pink Refrigerator by Tim Egan
Goin’ Someplace Special by Patricia McKissack

Table 13.2 Using Literary Works as Writing Models in Grades 5–8

Literary Device or Element Suggested Books

Characterization Becoming Naomi León by Pam Muñoz Ryan

Lizzie Bright and the Buckminster Boy by Gary Schmidt
Dialogue Ruby Holler by Sharon Creech
Don’t You Know There’s a War On? by Avi
Metaphor Uptown by Bryan Collier
Dovey Coe by Frances O’Roark Dowell
Mood Dawn by Uri Shulevitz
Don’t Let the Pigeon Drive the Bus! by Mo Willems
The Wolves in the Walls by Neil Gaiman
Star of Fear, Star of Hope by Jo Hoestlandt
Journal Writing Diary of a Wimpy Kid by Jeff Kinney
Ways to Live Forever by Sally Nicholls
The Diary of Ma Yan by Ma Yan
Stowaway by Karen Hesse
Point of View Faith and the Electric Dogs by Patrick Jennings
When My Name Was Keoko by Linda Sue Park
Flipped by Wendelin Van Draanen
The Misfits by James Howe
Flashbacks Who Is Jesse Flood? by Malachy Doyle
Racing the Past by Sis Deans
Hush by Jacqueline Woodson
Pictures of Hollis Woods by Patricia Reilly Giff

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I’ll tell you if you won’t tell my teacher. I don’t really make up the stories. When I was little, my
mother read lots of books to me; then in school my teachers read a lot more. So what I do is take
a beginning from one of the stories, a middle from another, and the end from another. And then
I make up a title.” Children who have a rich literary background have a well-stocked storehouse
of ideas and structures to put to use in their storytelling and writing.
Writing a story modeled after another story can be an enjoyable way to explore constructing
meaning through particular text structures. In modeling, the student adapts a story form or idea
into a new creation. Examples include the following:

■ Students create another episode using the same characters.

■ Students write a different ending to the story.
■ Students recast the story from the perspective of another character. Examples of a change in
point of view can be found in Jon Scieszka’s The True Story of the 3 Little Pigs by A. Wolf
(1989), which gives the Big Bad Wolf ’s version, and Scieszka’s The Frog Prince Continued
(1991), which tells the shocking truth about “happily ever after.”
■ Students write a prequel to a story.
■ Students take a story set in the past and rewrite it with a modern-day setting. Alternatively, a
character from the historical narrative can become a visitor to modern times.

Many cultures view reading as necessary to a well-ordered society and to the moral well-being
of the individual. Engagement with literature invites children to make meaning of texts in person-
ally significant ways in order to facilitate learning of content and to develop positive lifelong
reading attitudes and habits. In addition, children gain a sense of possibility for their lives and for
society, along with the ability to consider others’ perspectives and needs. Engagement with litera-
ture thus allows them to develop their own voices and, at the same time, go beyond self-interest
to an awareness of broader human consequences.

&
I s s u e s T o p i c s for FURTHER INVESTIGATION

■ Select a picture book or scene from a novel to rewrite into a script for readers’
theatre. If possible, try the piece with a group of children and reflect on their
engagement.
■ Read aloud a picture book to a group of students and engage them in a discussion
using one of the literature response engagements. Reflect on this experience and
what you learned from the students’ responses. Read teacher vignettes from WOW
Stories (www.wowlit.org/on-line-publications/stories), in which teachers reflect on their
use of these engagements with students.
■ Put together a group of text sets around a theme, such as power, conflict, change,
journeys, identity, or relationships. Include a range of perspectives, genres, and cul-
tures within your set of books. You might also include multimodal texts and oral liter-
ature as well as written literature.

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Amis, N. (2003). The orphans of Normandy. New York: ———. (2002). Ruby Holler. New York: Harper-
Atheneum. Collins.
Armstrong, A. (2005). Whittington. New York: Random Cronin, D. (2007). The diary of a fly. Illustrated by H.
House. Bliss. New York: Joanna Cotler Books.
Aston, D. (2008). The moon over star. Illustrated by J. Cruz, M., & Pollock, K. (2004). Stepping into the ward-
Pinkney. New York: Dial. robe: A fantasy genre study. Language Arts, 81(3),
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Banks, K. (1998). And if the moon could talk. Illustrated Cutler, J. (1999). The cello of Mr. O. Illustrated by G.
by G. Hallensleben. New York: Frances Foster. Couch. New York: Puffin.
Bellingham, B. (2000). Wishes don’t come true. New D’Adamo, F. (2001). Iqbal. New York: Aladdin.
York: Mondo. David, L., & Gordon, C. (2007). The down-to-earth
Bogacki, T. (1997). I hate you! I like you! New York: guide to global warming. New York: Orchard.
Farrar. Deans, S. (2001). Racing the past. New York: Holt.
Bruchac, J. (2000). Pushing up the sky: Seven Native De Deu Prats, J. (2005). Sebastian’s roller skates. Illus-
American plays for children. New York: Dial. trated by F. Rovira. LaJolla, CA: Kane/Miller.
Bunting, E. (2001). Gleam and glow. Illustrated by P. Deedy, C. A. (2000). The yellow star: The legend of King
Sylvada. San Diego, CA: Harcourt. Christian X of Denmark. Illustrated by H. Sørensen.
———. (1998). Going home. Illustrated by D. Diaz. Atlanta, GA: Peachtree.
New York: HarperCollins. de Mari, S. (2006). The last dragon. New York:
———. (1998). So far from the sea. Illustrated by C. Hyperion.
Soentpiet. New York: Clarion. Demi. (2001). Gandhi. New York: M. K. McElderry.
———. (1989). Terrible things. Illustrated by S. Gam- Dolphin, L. (1993). Oasis of peace. Illustrated by B.
mell. Philadelphia: Jewish Publication Society. Dolphin. New York: Scholastic.
Burleigh, R. (2009). One giant leap. Illustrated by M. Dowell, F. O. (2000). Dovey Coe. New York: Atheneum.
Wimmer. New York: Philomel. Doyle, M. (2002). Who is Jesse Flood? New York:
Burningham, J. (1987). John Patrick Norman McHen- Bloomsbury.
nessy: The boy who was always late. New York: Dr. Seuss. (1984). The butter battle book. New York:
Knopf. Random House.
Carle, E. (1968). The very hungry caterpillar. New York: Egan, T. (2007). The pink refrigerator. Boston: Hough-
Philomel. ton Mifflin.
Cherry, L. (1990). The great kapok tree: A tale of the Falconer, I. (2000). Olivia. New York: Atheneum.
Amazon rainforest. San Diego: Harcourt. Farmer, N. (2002). The house of the scorpion. New York:
Coerr, E. (1993). Sadako. Illustrated by E. Young. New Atheneum.
York: Putnam. Fleischman, P. (1993). Bull Run. New York: Harper-
Cole, B. (2000). Buttons. New York: Farrar. Collins.
Collier, B. (2000). Uptown. New York: Holt. ———. (1997). Seedfolks. New York: HarperCollins.
Cooney, B. (1982). Miss Rumphius. New York: Viking. ———. (2005). Zap. New York: Candlewick.

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 Engaging Children with Literature

Floca, B. (2009). Moonshot: The flight of Apollo 11. New Innocenti, R. (1985). Rose Blanche. Minneapolis, MN:
York: Atheneum. Creative Education.
Florian, D. (2007). Comets, stars, the moon, and Mars: Jennings, P. (1996). Faith and the electric dogs. New
Space poems and paintings. New York: Harcourt. York: Scholastic.
Foreman, M. (2002). War and peas. Atlanta, GA: Johnson, A. (2000). When mules flew on Magnolia Street.
Andersen Press. Illustrated by J. Ward. New York: Knopf.
Freeman, J. (2006). Books kids will sit still for, 3: A Kadohata, C. (2006). Weedflower. New York: Ath-
read-aloud guide. Portsmouth, NH: Libraries eneum.
Unlimited. Kasza, K. (2001). The mightiest. New York: Putnam.
Gaiman, N. (2003). The wolves in the walls. New York: Kellogg, S. (1973). The island of the Skog. New York:
HarperCollins. Dial.
Garcia, C. (2008). The dog who loved the moon. Illus- Khan, R. (1998). The roses in my carpets. Illustrated by
trated by S. Serra. New York: Atheneum. R. Himler. New York: Holiday.
Giff, P. R. (2002). Pictures of Hollis Woods. New York: Kinney, J. (2007). Diary of a wimpy kid. New York:
Wendy Lamb. Amulet.
Greenfield, E. (2006). When the horses ride by: Children Kodama, T. (1992). Shin’s tricycle. Illustrated by N.
in the times of war. Illustrated by J. S. Gilchrist. Ando. New York: Walker.
New York: Lee & Low. Laurie, D., & Gordon, C. (2007). The down-to-earth
Grossman, B. (1989). Tommy at the grocery store. Illus- guide to global warming. New York: Orchard.
trated by V. Chess. New York: Harper. Lee-Tai, A. (2006). A place where sunflowers grow. Il-
Grossman, M. (2000). My secret camera. San Diego, CA: lustrated by F. Hoshino. San Francisco: Children’s
Gulliver. Book Press.
Hall, D. (1994). I am the dog, I am the cat. Illustrated by LeGallienne, R. (1969). I meant to do my work today.
Barry Moser. New York: Dial. In L. Untermeyer (Ed.), The Golden treasury of
Heathcote, D. (1984). Dorothy Heathcote: Collected writ- poetry. Illustrated by J. W. Anglund. New York:
ings on education and drama. London: Hutchinson. Golden Press.
Heide, F. P., & Gilliland, J. H. (1992). Sami and the time Levine, G. (1999). Dave at night. New York: Harper-
of the troubles. Illustrated by T. Lewin. New York: Collins.
Clarion. ———. (1997). Ella enchanted. New York: Harper-
Henkes, K. (1991). Chrysanthemum. New York: Green- Collins.
willow. Lobel, A. (1970). Frog and Toad are friends. New York:
———. (1987). Sheila Rae, the brave. New York: Green- Harper.
willow. Lowry, L. (1993). The giver. New York: Houghton.
Hesse, K. (2000). Stowaway. New York: McElderry. MacLachlan, P. (1993). Journey. New York: Yearling.
———. (2001). Witness. New York: Scholastic. Martin, R. (1998). The brave little parrot. Illustrated by
Hicks, B. (2005). Out of order. New Milford, CT: Roar- S. Gaber. New York: Putnam.
ing Brook. ———. (1997). The monkey bridge. Illustrated by F.
Hoestlandt, J. (1995). Star of fear, star of hope. Illus- Amiri. New York: Knopf.
trated by J. Kang. Translated by M. Polizzotti. New Maruki, T. (1980). Hiroshima no pika. New York:
York: Walker. Lothrop, Lee & Shepard.
Hoffman, M. (2000). Starring Grace. Illustrated by C. McCarty, P. (2006). Moon plane. New York: Holt.
Binch. New York: Fogelman. McCaslin, N. (1990). Creative drama in the classroom
Holdaway, D. (1982). Shared book experience: Teaching (5th ed.). New York: Longman.
reading using favorite books. Theory Into Practice, McKee, D. (2004). The conquerors. New York:
21, 293–300. Handprint.
Howe, J. (2001). The misfits. New York: Atheneum. ———. (1990). Tusk tusk. LaJolla, CA: Kane/Miller.
Hoyt, L., Mooney, M., & Parkes, B. (2003). Exploring in- McKissack, P. (2001). Goin’ someplace special. Illustrated
formational texts. Portsmouth, NH: Heinemann. by J. Pinkney. New York: Atheneum.

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McNulty, F. (2005). If you decide to go to the moon. Il- Shannon, D. (2002). Duck on a bike. New York: Blue
lustrated by S. Kellogg. New York: Scholastic. Sky.
Mochizuki, K. (1993). Baseball saved us. Illustrated by Short, K., & Harste, J. (1996). Creating classrooms
D. Lee. New York: Lee & Low. for authors and inquirers. Portsmouth, NH:
Moroney, L. (1995). Moontellers: Myths of the moon Heinemann.
from around the world. Illustrated by G. Shed. Flag- Shulevitz, U. (1974). Dawn. New York: Farrar.
staff, AZ: Northland. Siegel, S. (2006). To dance: A ballerina’s graphic novel.
Myers, W. D. (1999). Monster. New York: Harper- Illustrated by M. Siegel. New York: Simon &
Collins. Schuster.
Nicholls, S. (2008). Ways to live forever. New York: Simon, S. (2003). The moon. New York: Simon &
Scholastic. Schuster.
Noguchi, R. (2001). Flowers from Mariko. Illustrated by Sisulu, E. B. (1996). The day Gogo went to vote. Illus-
M. R. Kumata. New York: Lee & Low. trated by S. Wilson. Boston: Little, Brown.
Olaleye, I. O. (2000). In the rainfield. Illustrated by A. Soto, G. (1997). Novio boy: A play. New York:
Grifalconi. New York: Blue Sky. Harcourt.
Oppenheim, J. (2006). Dear Miss Breed: True stories of Spinelli, J. (2004). Wringer. New York: Harper.
the Japanese American incarceration during World Stamaty, M. A. (2004). Alia’s mission: Saving the books
War II and the librarian who made a difference. of Iraq. New York: Knopf.
New York: Scholastic. Stead, T. (2005). Reality checks: Teaching reading com-
Park, L. S. (2002). When my name was Keoko. New York: prehension with nonfiction K–5. Portland, ME:
Clarion. Stenhouse.
Pin, I. (2005). When I grow up, I will win the Nobel Peace Stevenson, R. L. (2006). The moon. Illustrated by T. C.
Prize. New York: Farrar. Pearson. New York: Farrar.
Pringle, L. (2001). Global warming: The threat of earth’s Stewart, S. (2001). The journey. Illustrated by D. Small.
changing climate. New York: SeaStar. New York: Atheneum.
Pullman, P. (1996). The golden compass. New York: Swope, S. (1989). The Araboolies of Liberty Street. Illus-
Knopf. trated by B. Root. New York: Sunburst.
Raskin, E. (1978). The westing game. New York: Thurber, J. (1971). Many moons. Illustrated by L.
Dutton. Slobodkin. New York: Harcourt.
Rosenblatt, L. M. (1978). The reader, the text, the poem: Trelease, J. (2006). The read-aloud handbook (6th ed.).
The transactional theory of the literary work.Car- New York: Penguin.
bondale: Southern Illinois University Press. Trivizas, E. (1993). The three little wolves and the big
Ryan, P. M. (2005). Becoming Naomi León. New York: bad pig. Illustrated by H. Oxenbury. New York:
Scholastic. Macmillan.
Salisbury, G. (1994). Under the blood-red sun. New York: Tsuchiya, Y. (1988). Faithful elephants. Illustrated by T.
Delacorte. Lewin. Boston: Houghton Mifflin.
Say, A. (2002). Home of the brave. New York: Houghton Tunnell, M., & Chilcoat, G. (1996). The children of
Mifflin. Topez: The story of a Japanese American internment
Schmidt, G. (2004). Lizzie Bright and the Buckminster camp. New York: Holiday.
boy. New York: Clarion. Uchida, Y. (1993). The bracelet. Illustrated by J. Yardley.
Scieszka, J. (1991). The frog prince continued. Illustrated New York: Philomel.
by S. Johnson. New York: Viking. ———. (1978). Journey home. New York: Aladdin.
———. (1989). The true story of the 3 little pigs by A. ———. (1971). Journey to Topaz. New York: Aladdin.
Wolf. Illustrated by L. Smith. New York: Viking. Ungerer, T. (2009). Moon man. London: Phaidon.
Sedgwick, M. (2001). Floodland. New York: Delacorte. Van Draanen, W. (2001). Flipped. New York: Knopf.
Seeger, L. V. (2007). Dog and bear: Two friends, three Vaugelade, A. (2001). The war. Minneapolis, MN:
stories. New York: Roaring Brook. Carolrhoda.

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Waddell, M. (1992). Farmer Duck. Illustrated by H. Wilhelm, J. (2002). Action strategies for deepening com-
Oxenbury. Cambridge, MA: Candlewick. prehension. New York: Scholastic.
Weigelt, U. (2001). The wild wombat. Illustrated by Willems, M. (2003). Don’t let the pigeon drive the bus.
A. K. Piepenbrink. New York: North-South. New York: Hyperion.
Wendt, I. (1991). The end of war. Illustrated by A. Wolff, V. (1998). Bat 6: A novel. New York: Scholastic.
Boratynski. New York: Pitspopany. Woodson, J. (2002). Hush. New York: Putnam.
Wild, M. (2006). Fox. Illustrated by R. Brooks. LaJolla, Wyeth, S. (2002). Something beautiful. Illustrated by C.
CA: Kane/Miller. Soentpiet. New York: Dragonfly.
———. (1991). Let the celebrations begin! Illustrated by Yan, M. (2005). The diary of Ma Yan. New York: Harper-
J. Vivas. New York: Orchard. Collins.

Now go to Chapter 13 in the MyEducationKit (www.myeducationkit

.com) for your book, where you can:

■ Complete Assignments and Activities that can enrich and extend your knowledge of
chapter content.
■ Expand your knowledge with content-specific Web Links.
■ Review the chapter content by going to the Study Plan, taking a chapter quiz, and receiving
feedback on your answers.
■ Access the Children’s Literature Database for your own exploration.

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 appendix

Professional Resources

Books The children’s catalog (19th ed. with supplements in

Barr, C., & Thomas, R. L. (2008). Popular series fiction 2007, 2008, and 2009). (2006). New York: H. W.
for K–6 readers (2nd ed.). Santa Barbara, CA: Li- Wilson.
braries Unlimited. Part 1 lists books and magazines recommended for
———. (2008). Popular series fiction for middle school preschool children through sixth-graders, as well
and teen readers (2nd ed.). Santa Barbara, CA: Li- as useful professional resources. Part 2 helps the
braries Unlimited. user locate entries through one alphabetical, com-
prehensive key that includes author, title, subject,
Guides to the best and most popular series, includ- and analytical listings.
ing series titles, all books in a given series, and sug-
gestions for similar series. De Las Casas, D. (2006). Kamishibai story theater: The
Barstow, B., Riggle, J., & Molnar, L. (2007). Beyond art of picture telling. Illustrated by P. Chow. Santa
picture books: Subject access to best books for Barbara, CA: Libraries Unlimited.
beginning readers (3rd ed.). Santa Barbara, CA: Practical information on developing a kamishibai
Libraries Unlimited. program using large illustrated cards, based on the
Subject guide to 3,600 titles for beginning readers street art form seen from the 1920s to 1950s in Ja-
ages 4 to 7. Includes a list of 200 outstanding first pan. See Allen Say’s Kamishibai Man (Houghton,
readers. 2005) for a story about an itinerant storyteller.
Bishop, R. S. (2007). Free within ourselves: The develop- Fox, D. L., & Short, K. G. (Eds.). (2003). Stories matter:
ment of African-American children’s literature. The complexity of cultural authenticity in chil-
Westport, CT: Greenwood. dren’s literature. Urbana, IL: NCTE.
The evolution of fiction written for black children Social responsibility of authors, cultural sensitivity
and by black authors and illustrators within the and values, authenticity of content and images,
context of African-American social and literary his- and authorial freedom addressed by many con-
tory. Profiles of contemporary African-American tributors, including authors, illustrators, editors,
authors and illustrators conclude the book. publishers, educators, librarians, and scholars.
Brozo, W. (2002). To be a boy, to be a reader: Engaging Freeman, J. (2007). Once upon a time: Using storytell-
teen and preteen boys in active literacy. Newark, ing, creative drama, and reader’s theater with chil-
DE: International Reading Association. dren in grades pre-K–6. Santa Barbara, CA:
Ideas for using literature with positive male arche- Libraries Unlimited.
types to motivate boys to read. Tried-and-true stories, ideas, and activities for
Buss, K., & Karnowski, L. (2000). Reading and writing storytelling with children, including a bibliog-
literary genres. Newark, DE: International Reading raphy of over 400 children’s books to adapt for
Association. creative drama and/or readers’ theatre.
Offers readers and writers suggestions on how to Garcha, R., & Russell, P. Y. (2006). The world of Islam
understand and model a variety of different genres in literature for youth: A selective bibliography for
of literature and their elements. K–12. Lanham, MD: Scarecrow.

From Appendix B of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

307
 Appendix: Professional Resources

Sixteen chapters present various aspects of Islam Varied uses of biography, types of biographies, their
and the Muslim culture with annotated books; changes over time, and an extensive bibliography
video and audio resources and teaching sugges- are presented, with age appropriateness indicated.
tions are included in separate chapters. Moss, B. (2003). Exploring the literature of fact: Chil-
Gebel, D. J. (2006). Crossing boundaries with children’s dren’s nonfiction trade books in the elementary
books. Lanham, MD: Scarecrow. classroom. New York: Guilford.
Includes annotations of nearly 700 international Discusses how to address children’s literacy needs
children’s books published between 2000 and using children’s nonfiction trade books.
2004, as well as selected American books set in NCTE bibliography series (National Council of Teach-
countries other than the United States. ers of English):
Hall, S. (1990, 1994, 2002). Using picture storybooks to Adventuring with books: A booklist for pre-K–
teach literary devices: Recommended books for grade 6 (13th ed.). (2002). Urbana, IL: NCTE.
children and young adults (Vol. 1, 2, & 3). Phoenix,
Kaleidoscope: A multicultural booklist for grades
AZ: Oryx Press.
K–8 (4th ed.). (2003). Urbana, IL: NCTE.
Offers strategies for using picture books to teach
Your reading: An annotated booklist for junior high
complex literary devices.
and middle-school students (11th ed.). (2003). Ur-
Jobe, R., & Dayton-Sakari, M. (1999). Reluctant readers: bana, IL: NCTE.
Connecting students and books for successful read-
All of these books include annotated listings of fic-
ing experiences. Markham, Ontario: Pembroke.
tion and nonfiction books recommended for chil-
Activities and books for teachers and librarians to dren and young people in the grades specified in
engage reluctant readers. each title.
Leeper, A. (2006). Poetry in literature for youth. Lan- Reynolds, M. (2004). I won’t read and you can’t make
ham, MD: Scarecrow. me: Reaching reluctant teen readers. Portsmouth,
Innovative ways to integrate poetry into the K–12 NH: Heinemann.
curriculum and annotations of over 900 poetry The author shares her many experiences, both as
books are included in this guide. an author and as a teacher, with motivating reluc-
Lehman, B. (2007). Children’s literature and learning: tant young readers. Her techniques and sugges-
Literary study across the curriculum. New York: tions include questionnaires and forms for guided
Teachers College Press. response and book completion.
Theories and methods for teaching literature Robb, L. (2003). Teaching reading in social studies, sci-
across the curriculum. ence, and math. New York: Scholastic.
Lehr, S. S. (Ed.). (2008). Shattering the looking glass: Provides practical ways to weave comprehension
Challenge, risk & controversy in children’s litera- strategies into content-area teaching.
ture. Norwood, MA: Christopher-Gordon. Stan, S. (Ed.). (2002). The world through children’s
Politics, controversial issues, and recent change in books. Lanham, MD: Scarecrow.
the world of children’s literature. A guide to international children’s books pub-
Lima, C. W., & Lima, J. A. (2006). A to zoo: Subject ac- lished in the United States from 1996 to 2000, in-
cess to children’s picture books (7th ed.). Westport, cluding a selection of children’s books written by
CT: Libraries Unlimited. U.S. authors but set in other countries. An anno-
This index indicates the subject matter of 14,000 tated bibliography is included.
picture books for children with access through Sullivan, M. (2003). Connecting boys with books:
author, illustrator, and title, as well as 800 What libraries can do. Chicago: American Li-
subjects. brary Association.
Lukenbill, W. B. (2006). Biography in the lives of youth: Suggestions for program changes to address the
culture, society and information. Englewood, NJ: problem of low reading skills among pre-adolescent
Libraries Unlimited. boys.

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 Appendix: Professional Resources

———. (2009). Connecting boys with books 2: Closing dren’s literature (2nd ed.). Aldershot, England:
the reading gap. Chicago: American Library Gower.
Association.
A strategic plan for boys and reading through
stimulating a sense of excitement in reading. Bibliographies: Annual Lists
Tatum, A. W. (2005). Teaching reading to black adoles- “CCBC Choices.”
cent males: Closing the achievement gap. Portland, An annual spring annotated booklist, published by
ME: Stenhouse. and for the members of the Friends of the CCBC,
Practical suggestions for providing meaningful Inc. (Cooperative Children’s Book Center). For
and culturally responsive reading strategies and information about CCBC publications and/or
assessment for black males and guidelines for se- membership in the Friends, send a self-addressed
lecting and discussing nonfiction and fiction texts stamped envelope to Friends of the CCBC, P.O.
with them. Box 5288, Madison, WI 53705-0288.
Van Orden, P. (2000). Selecting books for the elementary “Children’s Choices.”
school library media center: A complete guide. New This yearly list of newly published books, chosen
York: Neal-Schuman. by young readers themselves, appears each Octo-
An essential tool for new school libraries and use- ber in The Reading Teacher as a project of the In-
ful for most libraries in balancing collections. ternational Reading Association/Children’s Book
Vardell, S. M. (2008). Children’s literature in action: A Council Joint Committee.
librarian’s guide. Santa Barbara, CA: Libraries Un- “Notable Children’s Books.”
limited. This annual American Library Association list ap-
Practical information for the preservice school or pears in the March issue of School Library Journal
public librarian. and also in the March 15th issue of Booklist.
“Notable Children’s Books in the Language Arts (K–8).”
Books about the History of Children’s Literature This annual list of outstanding trade books for
Bingham, J., & Scholt, G. (1980). Fifteen centuries of enhancing language awareness among students in
children’s literature: An annotated chronology of grades K–8 appears in each October issue of Lan-
British and American works in historical context. guage Arts.
Westport, CT: Greenwood. “Notable Social Studies Trade Books for Young People.”
Gillespie, M. C. (1970). History and trends: Literature This list appears in the April/May issue of Social
for children. Dubuque, IA: Brown. Education and at www.cbcbooks.org.
Hunt, P. (1995). Children’s literature: An illustrated his-
“Outstanding Science Trade Books for Students
tory. Oxford, England: Oxford University Press.
K–12.”
Hunt, P., & Ray, S. G. (1996). International companion
This list appears in the March issue of Science and
encyclopedia of children’s literature. London:
Children and at www.cbcbooks.org.
Routledge.
Marcus, L. (2008). Minders of make-believe: Idealists, “Teachers’ Choices.”
entrepreneurs, and the shaping of American chil- This yearly list includes books recommended by
dren’s literature. Boston: Houghton. teachers. It appears each November in The Read-
A 300-year history of children’s book publishing, ing Teacher and at www.reading.org.
showing the evolution of the field from a local “Young Adults’ Choices.”
endeavor to an international, entrepreneurial The books on this annual list are selected by readers
business. in middle, junior high, and senior high schools. It
Marshall, M. R. (1988). An introduction to the world of appears in the November issue of Journal of Adoles-
children’s books: Books about the history of chil- cent and Adult Literacy and at www.reading.org.

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 appendix

Children’s Magazines
The following list includes some of the most popular and language CDs. 6 issues/year. Order at http://
children’s magazines available to young people today. It teacher.scholastic.com/products/classmags
is organized by subject of primary emphasis. ¿Qué Tal? Topics of interest to 12- to 18-year-olds
in Spanish. Information and cultural details of
Drama Spanish-speaking countries. Read-aloud plays and
Plays, the Drama Magazine for Young People. Scripts language CDs. 6 issues/year. Order at http://teacher
for plays, skits, puppet shows, and round-the-table .scholastic.com/products/classmags
readings (a type of readers’ theatre). 8–10 scripts
per issue. Ages 6–17. 7 issues/year. Order at www Language Arts
.playsmag.com
Read. Classic and contemporary fiction and nonfic-
Health tion, plays, personal narratives, poetry; read-
ers’ theatre plays; articles on developing writing
Turtle. Articles, fiction, and activities with an emphasis skills. Ages 11–16. 16 issues/year. Order at www
on health, nutrition, and fitness. Ages 3–5. 6 issues/ .weeklyreader.com
year. Similar magazines for different age groups
by the same publisher include Humpty Dumpty’s Scholastic Scope. Plays, short stories, nonfiction, writ-
Magazine (ages 5–7) and Jack and Jill (ages 8–12). ing exercises, and skill builders. Ages 11–15. 17
Order at www.cbhi.org issues/year. Order at http://teacher.scholastic.com/
products/classmags
History Stone Soup: The Magazine by Young Writers and Artists.
Stories, poems, book reviews, and art by children.
Calliope. Articles, stories, time lines, maps, and authen-
Ages 8–13. 6 issues/year. Order at www.stonesoup
tic photos to generate an interest in world history.
.com
Themed issues. Ages 9–14. 9 issues/year. Order at
www.cobblestonepub.com Storyworks. Focuses on development of grammar, writ-
ing, vocabulary, test-taking. Includes read-aloud
Cobblestone. Articles about U.S. history. Themed is-
plays. Ages 8–11. 6 issues/year. Order at http://
sues. Ages 9–14. 9 issues/year. Order at www
teacher.scholastic.com/products/classmags
.cobblestonepub.com

Language Literature
Allons-Y. Topics of interest to 12- to 18-year-olds Cricket. Fiction, nonfiction, book reviews, activities.
in French. Information and cultural details of Features international literature. Ages 9–14. 9
French-speaking countries. Read-aloud plays issues/year. Order at www.cricketmag.com
and language CDs. 6 issues/year. Order at http:// Lady Bug. Fiction, poems, songs, and games. Ages 3–6.
teacher.scholastic.com/products/classmags 9 issues/year. Order at www.cricketmag.com
Das Rad. Topics of interest to 12- to 18-year-olds in Spider. Fiction, poems, songs, and games for the begin-
German. Information and cultural details of ning reader. Ages 6–9. 9 issues/year. Order at www
German-speaking countries. Read-aloud plays .cricketmag.com

From Appendix C of Essentials of Children’s Literature, 7/e. Carol Lynch-Brown, Carl M. Tomlinson, Kathy G. Short.
Copyright © 2011 by Pearson Education. All rights reserved.

311
 Appendix: Children’s Magazine

Mathematics New Moon: The Magazine for Girls and Their Dreams.
DynaMath. Humorously formatted word problems, An international magazine by and about girls.
computation, and test preparation; careers in math- Builds healthy resistance to gender inequities. Ages
ematics feature. Ages 8–11. 8 issues/year. Order at 8–12. 6 issues/year. Order at www.newmoon.com
http://teacher.scholastic .com/products/classmags Nick Magazine. Nickelodeon television channel enter-
Scholastic Math Magazine. Math problems, compu- tainment and humor magazine with television-
tation, statistics, consumer math, real-life ap- related celebrity interviews, comics, puzzles, and
plications, career math, critical reasoning. Ages activities. Ages 6–14. 10 issues/year. Order at www
11–15. 12 issues/year. Order at http://teacher .nick.com/shows/nick_mag
.scholastic.com/products/classmags Sports Illustrated for Kids. Stories about sports and
sports celebrities, amateur sports, trivia. Poster in-
Nature cluded with each issue. Ages 6–10. 12 issues/year.
Order at www.sikids.com
National Geographic Explorer. Classroom magazines
featuring nonfiction and nature photography Science
aligned with science and social studies curricu-
lum. Four levels (grades K–1, 2–3, 4–6, 6–12). 7 Current Science. News in science, health, and technol-
issues/year. Order at www.nationalgeographic ogy; science activities; U.S. national science proj-
.com/ngkids ects; science mystery photos; and kids in the news.
Ages 11–16. 16 issues/year. Order at www.weekly
National Geographic Kids. Nonfiction articles and na- reader.com
ture photography. Promotes geographic aware-
ness. Ages 6–14. 10 issues/year. Order at www Odyssey. Theme-based issues explore the latest science
.nationalgeographic.com/ngkids news. Ages 9–14. 9 issues/year. Order at: www
.cobblestonepub.com
Ranger Rick. Fiction and nonfiction, photoessays, jokes,
Science World. Articles, experiments, and news to sup-
riddles, crafts, plays, and poetry promoting the ap-
plement the science curriculum. Ages 11–16. 14
preciation of nature. Superlative nature photogra-
issues/year. Order at http://teacher.scholastic.com/
phy. Ages 7–12. 12 issues/year. Order at www.nwf
products/classmags
.org/magazines
SuperScience. Science concepts, critical thinking, and
Your Big Backyard. Animal and nature stories and pho- reasoning through hands-on activities and experi-
tography for the preschooler. Ages 3–7. 12 issues/ ments; science news stories; interviews with sci-
year. Order at www.nwf.org/magazines entists. Themed issues. Ages 8–11. 8 issues/year.
Order at http://teacher.scholastic.com/products/
Recreation classmags
Boys’ Life. News, nature, sports, history, fiction, science,
comics, Scouting, colorful graphics, and photos. Social Studies
Published by the Boy Scouts of America. Ages Faces. Articles and activities exploring world cultures. Ages
7–18. 12 issues/year. Order at www.boyslife.org 9–14. 9 issues/year. Order at www.cricketmag.com
Electronic Gaming Monthly. Gaming software and Junior Scholastic. Features U.S. and world history, cur-
hardware previews and reviews. Ages 12 and up. rent events, world cultures, map skills, and geog-
12 issues/year. Order at www.1UP.com raphy. Ages 11–14. 18 issues/year. Order at http://
Highlights. General-interest magazine offering fiction teacher.scholastic.com/products/classmags
and nonfiction, crafts, poetry, and thinking fea- Muse. Wide-ranging articles exploring ideas in science,
tures. Ages 6–12. 12 issues/year. Order at www history, and the arts. Ages 10–15. 9 issues/year.
.highlights.com Order at www.cricketmag.com
Junior Baseball Magazine. Articles on baseball skills, Skipping Stones: An International Multicultural Maga-
sportsmanship, safety, and physical fitness. zine. Articles by, about, and for children about world
Ages 10–14. 6 issues/year. Order at www.junior cultures and cooperation. Multilingual. Ages 7–
baseball.com 17. 5 issues/year. Order at www.skippingstones.org

312
Index
Page references followed by "f" indicate illustrated 214, 229, 231, 278, 283, 288, 308, 311 reasons for, 21
figures or photographs; followed by "t" indicates a mental, 4, 12, 151 social studies, 309
table. Agee, Jon, 72 Assessments, 18
AIDS, 113, 190, 197, 201, 206 of students, 18
Alabama, 162, 189-190 Assignments, 3, 6, 14, 21, 28, 30, 57, 66, 68, 75, 113,
A Alaska, 153, 184 117, 126, 128, 133, 137, 143, 146, 155, 163,
Aardema, Verna, 122, 126 Albertine, 240 167, 171, 173, 192, 195, 199, 210, 220,
Abandonment, 155 Alcoholism, 146, 150 226-227, 241, 279, 288, 293, 299, 305
Abilities, 9, 11-12, 16, 23, 115, 133, 171, 279-280, 283, Alexander, Lloyd, 130, 134, 141 Assistance, 6, 13, 135
287 Alexie, Sherman, 226, 234 Association, 13, 18, 29-30, 70, 129, 189, 199, 227,
Abstraction, 26-27 Aliki, 208 288-289, 307-309
Abulafia, Yossi, 239, 241 ALLIANCE, 207, 289 Assonance, 55
Abuse, 153, 202 Alliteration, 55, 68 assumptions, 215
acceptance, 151, 163, 173, 180, 199 Almond, David, 134, 136, 138, 140, 230, 289 atmosphere, 200
ACCESS, 14, 30, 75, 118, 126, 143, 192, 210, 287, Alternative family, 151 Attending, 7
305, 307-308 Alternatives, 13 Attention, 3, 10, 19, 61, 65, 153, 158, 179, 196, 200,
Accountability, 16-19 American Indians, 21, 180, 216, 219 220-221, 228, 278, 284, 294, 296
Accuracy, 5, 8, 167, 218 Analysis, 6, 9, 29, 57, 68, 120, 218, 232 and reading, 278
Achieve, 28, 66, 150, 202, 282 story, 120, 218, 232 positive, 3, 61, 65, 220, 278
Achievement, 7-8, 13, 17-18, 20-22, 30, 195, 212, Ancona, George, 206, 215, 225, 234 student, 19, 284, 296
223, 309 Anderson, Marian, 189-190 Attitudes, 6-7, 17, 20, 29-30, 146, 172, 278-279, 301
grouping, 7 Ando, 303 teacher, 17, 20, 29-30, 278-279, 301
tests, 7, 18, 21 Angel, Carl, 236 Attraction, 155
Achievement gap, 18, 21-22, 30, 212, 309 Anger, 145, 278 Audience, 61, 67, 112-116, 118, 120, 130, 148,
Achievement tests, 7 Angles, 288 170-171, 197, 217-219, 285, 289, 296
Acquisition, 6, 30, 65, 279 Animal fantasies, 130, 133-134, 137, 139 Audio, 120, 171, 282, 308
language, 30, 65 animals, 24, 56, 58, 73, 117-118, 124, 128, 132-133, digital, 120
vocabulary, 6, 279 146, 149, 152, 159, 197, 200, 204, 209, television, 282
ACT, 6, 17, 21, 160, 167, 288, 296 223-224, 234, 282 Audiobooks, 213, 287
Acting out, 296 Annotations, 308 Audiotapes, 67
actions, 56, 118, 146, 172, 201-202, 214, 295-296 Anthologies, 52-53, 61, 67-69, 71, 289 Austria, 178, 184, 240
Activities, 3, 6, 9, 14, 19, 21, 23, 28, 30, 52, 57, 66-68, of literature, 52-53 Authenticity, 167, 172, 217-220, 226, 231, 307
75, 113, 117, 124, 126, 128, 133, 137, 143, of poetry, 52-53, 61, 67-68, 71 AUTHOR, 119, 124, 128-130, 132-134, 142-143,
146, 150, 155, 163, 167, 171, 173, 192, 195, Anticipation, 2 146-147, 153, 163, 166-172, 175, 191-192,
199, 201-202, 207, 210, 220, 226-227, 241, Appelt, Kathi, 72, 129, 139 194, 198, 201, 209, 214, 216-221, 224, 226,
279, 284, 288, 293, 299, 305, 307-308, Appleton, Victor, 130-131 229-230, 232, 240, 280, 282, 285, 288, 293,
311-312 Applications, 202, 312 299, 307-308
instructional, 6, 21 Appreciation, 4, 10, 18, 58, 63, 69, 152, 217, 226, 281, Authority, 60
learning, 3, 6, 9, 14, 19, 21, 23, 28, 30, 195, 202, 312 Authors, 5, 25, 61, 68, 75, 112, 114, 128, 132,
284, 299, 308 Apprehension, 3 134-135, 137, 143, 146, 148, 151, 157, 163,
planning, 173 Approaches, 5-6, 16-17, 293 166-170, 174, 191-192, 195, 199, 210, 214,
space for, 293 Appropriateness, 156, 180, 204, 308 216-217, 219-222, 225, 227, 232, 241, 278,
varying, 23, 128, 146, 171 Area, 6, 16, 18, 29, 203, 217, 279, 282, 298, 308 280, 282, 289, 294, 297, 304, 307-308
Actors, 285, 287, 296 Aristotle, 133-134, 139, 208 Autism, 158, 184
Adams, John, 166 Arizona, 186-187 Autobiographies, 170
Adaptation, 8, 140, 284-285, 288 Armer, Laura, 221 Availability, 7, 282
Adaptations, 289 Armstrong, Alan, 139, 285-287 Average, 6, 21-22, 27, 196, 212
Addition, 4-6, 22, 24, 53, 57, 65, 67, 128, 137, 151, Armstrong, Jennifer, 185, 206 Averages, 18
174, 196, 218, 222, 227, 278, 281, 287, 290, Aronson, Marc, 173, 183 Avi, 129, 139, 141, 175, 181, 183, 300, 302
297, 301 Art, 10, 59, 66, 68, 72-74, 112, 120, 172, 177, 180, Awards, 152, 173, 219-221, 227-228
Adjustment, 148 183, 188, 199, 202, 208-209, 234, 283, 293, Awareness, 5, 17, 151-152, 154, 195, 214, 301, 309,
Adjustments, 56, 150, 223 295, 307, 311 312
Administrators, 3, 12, 18, 152 defining, 202 self, 5, 151, 301, 309
educational, 18 music, 66, 68, 120, 202, 208 Azarian, Mary, 192
school, 12, 18, 152 responding to, 66
adolescence, 2 talking about, 293, 295 B
Adolescents, 20, 115, 137, 152-153, 155, 225 Articles, 6, 9, 120, 137, 311-312 Back, 16, 62, 64, 72, 113, 127, 129-130, 136, 139-140,
Adult literacy, 30, 309 Artifacts, 174, 195 168, 176, 193, 221, 284, 289, 294-296, 299
Adulthood, 155, 195 Artist, 10, 175, 186, 188-190, 202, 208 Background, 10, 27, 112, 173-174, 218, 278-279,
middle, 195 Arts, 13, 18-19, 29-30, 70, 165, 202, 208, 302, 309, 287-288, 301
young, 155 311-312 Background knowledge, 27, 174
Adults, 7, 19-20, 26, 29, 52, 59, 61, 113, 118, 129-131, Asia, 112, 177-179, 219, 225, 229 Baker, Alan, 122
133-137, 147-151, 159, 166-167, 175, 180, Asian Americans, 21, 214 Baker, Jeannie, 237
194, 228, 230, 278, 281, 298-299, 308-309 values, 214 Balance, 170, 197, 203, 219, 223, 279
Advertisements, 3 Asian-American literature, 221 Ballads, 63
advice, 202 Assessment, 19, 21, 212, 293, 309 Balliett, Blue, 152, 160
Aesop, 116, 118-119, 125 alternative, 293 Banks, Kate, 156, 298
Affect, 17, 19, 29 culturally responsive, 309 Barahona Center, 225
Africa, 74, 123, 178-179, 185, 190-191, 229, 237-238, formal, 293 Barrows, Annie, 12
240 grades and, 21 Barton, Jill, 238
African Americans, 21, 73, 179, 212, 214, 216, 220, group, 21, 293 Basal reading programs, 27
222-224, 232 guidelines for, 309 Base, Graeme, 237
demographics, 216 history, 309 BASIC, 18, 147
African-American literature, 221-222, 232 in grades, 309 Bat-Ami, Miriam, 187
Age, 4, 7, 9-12, 18-19, 24, 27, 53, 57-58, 61, 68, 71, mathematics, 19 Bateson, Catherine, 151, 156, 237
115, 120, 123, 133, 135, 140, 146, 149, 151, plan for, 309 Bauer, Joan, 162
155, 176, 178-181, 189, 191, 198, 200, 203, problem, 19, 212 Beast tales, 117

313
Bedard, Michael, 162 Brown, Marcia, 122, 124-125 127-138, 143, 145-156, 161, 163, 165-170,
Begay, Shonto, 214, 226, 234 Browne, Anthony, 122, 215, 230, 280 172-176, 179-180, 190-192, 193-204,
Beginning reading, 17-18 Bruchac, James, 122 206-210, 211-214, 216-223, 225-231,
Beginning reading instruction, 17 Bruchac, Joseph, 122, 139, 182, 224, 226, 234, 289 233-237, 239, 241, 277-299, 301-305,
Beginning reading skills, 18 Bryan, Ashley, 72, 122, 211, 222, 232 307-309, 311-312
Behavior, 133, 282 Buchholz, Quint, 239 art of, 112, 120, 208, 307
challenging, 133 Buddhism, 118 bilingual, 72, 124, 209, 213, 219, 221, 225, 227,
dangerous, 133 Buddy reading, 284 235-236
simple, 282 Budhos, Marina, 233 focus on, 13, 67, 129, 170, 213-214, 218, 220, 223,
social, 282 Buildings, 201 225-226, 278, 284, 289, 299
Behavioral challenges, 158 Bulletin boards, 69 homeless, 175
Behaviors, 202 Bullies, 124 language development in, 5
Being in the world, 214 Bullying, 151, 202 Chinese Americans, 185, 223, 231
Beliefs, 112, 118, 214, 218, 295 Burgess, Melvin, 237 Choice, 4, 6-8, 18, 20, 23, 25, 27-28, 30, 54, 57, 68,
Bell, Hilari, 135, 140, 142 Burleigh, Robert, 121, 170-171, 178, 183, 185, 298 136, 152-154, 188, 195-196, 213, 278, 285
Bellairs, John, 132 Burns, 205 restricted, 4
Benally, Kendrick, 124 Butler, Dorothy, 12 Choldenko, Gennifer, 157
Benefits, 3, 5, 16, 29, 170, 173, 215, 217 Butler, Geoff, 239 Choral poetry, 66-68
Bennett, Nneka, 186 Choral reading, 17, 67, 284
Berger, Carin, 73 C Christensen, Bonnie, 189, 207
Bernard, Fred, 239 CAGE, 182 Christianity, 118, 177, 182, 226
Berry, James, 67, 72 California, 59, 184-185, 189, 207, 214, 224-225 Christiansen, Lee, 73
Bertozzi, Nick, 186 Cambodian, 233 Chronological plots, 24
Bhabha, Shiraaz, 235 Cameron, Ann, 152, 159, 217 Ciardi, John, 56-57
Bias, 172 Canada, 149, 153, 178-179, 184, 188, 190, 228-229, Cinquain, 63
Bibliography, 57, 72, 231, 307-308 234, 237-239 Cinquains, 62-63, 68-69
Bibliotherapy, 201-202 Canales, Viola, 159, 223 Circles, 214, 220, 290-293, 295, 299
Big books, 284 Capacity, 4, 19 Citizenship, 154
Big ideas, 295 Cards, 307 Civil rights movement, 175, 179, 186, 189-190, 207,
Bilingual, 72, 124, 185, 209, 213, 219, 221, 225, 227, Career, 312 220, 232
235-236, 240 Caregivers, 6, 58, 196 Civil War, 176, 178, 183-185, 190-191, 207, 285
Bilingual poems, 72, 236 Carilho, Andre, 138 Clarke, Judith, 237
Bill of Rights, 206 Caring, 133, 154, 202 Class discussions, 288
Biographical fiction, 172 Carmi, Daniella, 228, 239 Classics, 126, 146, 227
Biography, 4, 165-192, 203, 207, 223, 232, 308 Carnegie, Andrew, 288 Classification, 114
Bipolar disorder, 151 Carnegie Medal, 134, 230, 288 Classroom, 2-3, 6, 8-10, 14, 17, 23, 25-26, 28, 30,
Birdsall, Jeanne, 147, 151, 156 Carpenter, Nancy, 138, 186-187 52-53, 57, 61, 67-70, 118, 137, 148, 174,
Birth defects, 181 Carrer, Chiara, 239 180, 195-196, 203, 213-215, 218, 220,
Birthday, 224, 233 Carrick, Donald, 123, 188 281-283, 285, 287-288, 293, 296, 303, 308,
Bishop, 194, 198, 201, 204-205, 209, 222, 231, 307 Carroll, Lewis, 60, 74, 130-131, 134, 229 312
Bishop, Nic, 194, 198, 201, 204-205, 209 Cart, Michael, 142 arrangements, 67
Black Death, 201, 206-207 Carter, Don, 73 conference, 213
Blackall, Sophie, 238 Cartoons, 183 displays, 69, 214
Blake, Quentin, 238 Case studies, 202 environment in, 282
Blake, William, 61, 74 Case study, 180 visitors, 137
Blegvad, Erik, 74, 170, 186 CAST, 28, 111, 296 Classrooms, 2, 7, 9, 13, 26, 65, 70, 118, 151, 174,
Bloch, Serge, 240 Categories, 11, 117, 132, 148, 216-217, 288, 295 196, 212-213, 219, 230-231, 294, 304
Blues, 73, 224, 233 Catrow, David, 71 regular, 151
Blumberg, Rhoda, 185 Cause and effect, 194 special, 151, 212, 231
Blume, Judy, 149 Censorship, 129, 135, 148, 150 Cleanup, 160
Blumenthal, Karen, 206 Census, 18, 22, 30, 212, 225, 232 CLEAR, 10, 19, 196
Body image, 159, 202 Centers, 136, 147, 290 Cleary, Beverly, 133, 139
Boeke, Wanda, 240 science, 136, 290 Clements, Andrew, 137, 142
Bogacki, Tomek, 292 Cerebral palsy, 159, 188 Climate, 297, 304
Bontemps, Arna, 220-221 Chains, 182 Clips, 120
Book reports, 281-282, 293 Change, 19, 22, 54, 66, 120, 128, 137, 147, 153, 155, Clothing, 3, 167, 174, 218
traditional, 281, 293 174, 178, 215, 220, 226-227, 231, 295, 301, Clues, 11, 152, 160, 207, 209
Books:, 30, 52, 307-309 308 Coaches, 281
CD-ROM, 208 attitude, 220 Codes, 206
in a series, 169 essential, 220 Cohn, Rachel, 157
multicultural, 213-224, 230, 232, 280, 308 in schools, 174 Cohoe, Grey, 165
picture, 7, 10-11, 24, 27, 52-53, 121, 136, 156, 175, resistance to, 22 Cole, Brock, 139, 171, 183, 286
180, 185, 197-202, 204, 208, 213, 215, Changes, 20, 155, 212, 222, 228, 308 Collecting, 69, 174
219, 221, 223-224, 226-227, 229-230, economic, 212 College students, 7
232, 237, 279-280, 282, 285-286, 288, Chants, 113 Collier, Bryan, 190-191, 223, 300
290-291, 299, 301, 307-308 Character, 4, 114, 117, 132-133, 138, 152-154, 156, Collins, Suzanne, 141
recorded, 120, 146, 284 166, 184, 189, 202, 228, 278, 283, 285, color, 201, 204, 220, 222, 230, 234, 288
talking, 25, 124, 201, 208, 278, 282, 293, 295 288-289, 295-296, 299, 301 Colorado, 171, 175, 187, 190
Booktalks, 174, 214-215, 220, 282-283, 290 Character development, 278 Colors, 10, 59, 72, 74, 191, 209, 227, 236, 295
Bootman, Colin, 154, 161, 183 Character education, 4, 154 Com, 14, 27, 30, 59, 68, 75, 119, 126, 134, 143, 153,
Boring, Mel, 190 Characterization, 285, 300 163, 175, 192, 201, 209-210, 219-220, 224,
Borrowing, 13 Characters, 3-4, 8-9, 11-12, 24, 53, 112, 115-120, 230, 241, 283, 285, 287-289, 296, 305,
Borthwick, Prudence, 240 128-130, 132, 134, 137, 139, 146-148, 311-312
Boundaries, 178, 296, 308 151-155, 166-168, 171-172, 174, 201, 218, Comenius, 199-200, 229
Bowen, Betsy, 123 220, 222, 224-225, 232, 279, 281-282, comets, 59, 72, 298, 303
Boyce, 228, 237, 240 285-286, 288-290, 293, 295-297, 301 Comics, 158, 312
Boys, 11, 13, 22, 24, 29-30, 51, 70, 72, 148, 152, 157, relationships between, 218 Commitment, 213
176, 187, 189, 191, 200, 204, 224, 232-233, Charles, Dorthi, 64 Communication, 54, 69, 112, 118
282, 307-309, 312 Charting, 294, 299 boards, 69
Brain, 204, 283 Charts, 195, 197-198, 293, 295 good, 112, 118
Branley, Franklyn M., 205 comparison, 295 Communications, 19, 178
Brashares, Ann, 163 Chen, 114, 121, 228, 239 Community, 152, 184, 209, 213, 227
Bravo, Constanza, 125 Cherry, Lynne, 286 groups, 213
Brazil, 184 Chess, 233, 303 schools and, 213
Brennan, Neil, 73 Chicago, 13, 30, 70, 184-185, 188, 207, 231, 308-309 Comparison, 55-56, 194, 218, 295, 297
Bridges, Ruby, 171, 190, 232 Child development, 231 Comparisons, 112, 295
Brissenden, Constance, 238 Child needs, 53 Compassion, 151
Brochures, 19, 30 Children, 1-14, 15-17, 19-26, 29-30, 51-61, 63, 65-73, Competence, 285
Brooks, Gwendolyn, 72 75, 111-115, 117-118, 120, 122, 124, 126, Competing, 199

314
Complex sentences, 26-27 Criticism, 18, 135, 137 Digital storytelling, 120
Complexity, 26-27, 115, 136, 195, 197, 214, 231, 307 Critiquing, 213 Dillon, 71, 122-124, 126, 156, 221-224, 232
studies, 195, 214 Cronin, Doreen, 300 Dillon, Leo, 71
Components, 5, 28, 146, 288 Cross, Gillian, 135, 140 Dimensions, 197, 215
Composition, 166, 228, 240 Crossley-Holland, Kevin, 141, 237 Direct approach, 25
Comprehension, 5-6, 8, 16-17, 21, 27-28, 278, 290, Crutcher, Chris, 140 Direct instruction, 8
293, 297, 299, 304-305, 308 Cullen, Countee, 61 Directions, 202, 289
and vocabulary, 5, 27 Cultural, 4, 19, 21-22, 53, 112-114, 118, 120, 132, 169, Disabilities, 4, 150-151, 170, 216
Comprehension strategies, 293, 308 174, 176-177, 179, 191, 197, 201-202, 206, Disability, 151, 184
Computation, 312 212-215, 218-219, 223-224, 227, 230-231, Disaster, 157
Concept, 10-11, 13, 121, 138, 146, 195, 197-198, 200, 279, 295, 307, 311 Disasters, 2
227, 236, 280, 282 Cultural artifacts, 174 Discipline, 298
Concept books, 10-11, 280 Cultural diversity, 197, 213 Discourse, 172, 279
Concepts, 2, 4, 11, 16, 28, 137, 154, 198, 203, 280, Cultural norms, 22 discrimination, 155, 187, 202, 215, 217
312 Cultural sensitivity, 307 Discussion, 6, 10, 66, 129, 135-136, 148, 151, 220,
of print, 16 Culturally responsive teaching, 231 282, 289-296, 301
scientific, 137, 198 Culture, 4, 12, 19, 59, 69, 72, 113-114, 121, 135, 146, Discussions, 154, 213, 216, 288, 290-293, 295
Conceptual knowledge, 17 151-152, 169, 175, 177, 212, 214, 216-219, conceptual, 290
Conceptual understanding, 197 222, 225-226, 230, 308 conflict, 154, 292
Concrete poems, 59, 64, 69, 72-73 high, 113, 135, 218-219, 225-226, 308 issue, 292, 295
Concrete poetry, 63-64 influence of, 212 Disney, 72, 74, 113, 120, 138, 238
Conferences, 25 mainstream, 212, 214, 216, 218-219, 226 Distractions, 280
Confidence, 284 of power, 218 Distress, 125, 194, 206
Conflict, 119, 132, 136, 147, 151, 154, 159, 206, 238, popular, 59, 146, 152 Diversity, 8, 197, 212-215, 218
289, 292, 299, 301 Cummings, Pat, 122, 208 ethnicity and, 214
resolution, 132 Curiosity, 194, 200, 202-203 Division, 18, 29, 61, 165
conflicts, 153, 179 Current events, 312 Divorce, 150-151, 202
Connecticut, 166, 183-184, 187, 189 Curriculum, 6-10, 16, 18, 57, 137, 173-174, 196, Doctrine, 118
Connections, 8, 53, 289-292, 294-295 212-216, 219, 279, 293, 297, 308, 312 Documentation, 171
Consciousness, 215 aligned, 312 Donnan, Kristin, 205
Consequences, 4, 28, 30, 135, 153, 292, 295, 301 explicit, 9 Donnelly, Jennifer, 184
Conservation, 231 literature in, 6, 9-10, 16, 18, 213, 216, 219 Doubt, 19, 117, 134, 136
Consideration, 24, 279 No Child Left Behind Act of 2001, 6 Dowd, Siobhan, 228, 237
Consistency, 128 relationships and, 215 Downing, Julie, 154, 161, 182
Consonance, 55 small group, 174 Doyle, Brian, 237
Constitution, 175, 183 trends, 6, 18, 216 Doyle, Malachy, 300
Contact, 150, 280 Cushman, Karen, 168, 175, 181, 184, 189 Drama, 54, 112, 280, 285, 287, 289, 293, 296-297,
Contemporary realism, 146, 149 Cycle format, 128 303, 307, 311
Contemporary stories, 215, 224 Dramatic performance, 280
Content, 2, 7, 9-10, 14, 22, 30, 52, 75, 115, 119, 126, D Dramatic play, 282
143, 156, 163, 180, 192, 194, 197, 203-204, Darwin, Charles, 187 Dramatizing, 296
210, 214, 217, 222, 241, 279, 288-290, Dash, Joan, 208 Draper, Sharon M., 184
297-298, 301, 305, 307-308 Data, 18, 23-24, 203 Drawing, 52, 56, 65, 160, 187, 202, 294
knowledge, 2, 14, 30, 52, 75, 126, 143, 163, 192, Databases, 27 Drolls, 117
194, 210, 241, 288, 298, 305 Day, Larry, 168, 176, 183, 186, 198, 206-207 Dropout rates, 212, 232
Context, 9, 27, 170, 173-174, 188, 226, 280, 284, 290, Deans, Sis, 160, 300 Drugs, 150
297, 299, 309 Death, 60, 113, 135, 150, 160, 170, 181, 183, 190, Duncan, Lois, 158
Continuity, 19, 118 201-202, 206-207, 226 DuPrau, Jeanne, 12, 142-143
Control, 131, 137, 158, 178 Declaration of Independence, 175, 183, 207 Durability, 10
Conventions, 279 Decoding, 16-17, 21 Dyssegaard, Elisabeth, 239
Conversations, 65, 75, 133-134, 143, 153, 163, 171, Deduction, 5
175, 192, 195, 208, 210, 225-226, 233, 241 DeFelice, Cynthia, 135, 140, 154, 160-161, 168, 176 E
beginning, 163 Definition, 2, 5, 61, 72, 136, 146, 166, 170, 216 Early childhood, 178
Cooking, 150 Defoe, Daniel, 148-149, 229 Earth, 115, 130-131, 157, 181, 185, 197-198, 204-205,
Cooney, Barbara, 300 Delacre, Lulu, 53, 71, 157, 225, 234 209, 297, 302-304
Cooper, Susan, 143 Delgado, Francisco, 236 Earthquakes, 200, 205
cooperation, 312 DeLucio-Brock, Anita, 236 Easy-to-read books, 11, 22
Copyright, 1, 15, 51, 55-56, 62-64, 111, 127, 145, 165, Demi, 121-122, 125, 182, 226, 235, 292, 302 Eating disorders, 158
193, 211, 277, 307, 311 Democracy, 178, 186 Ecology, 200
Core values, 154 Christian, 178, 186 Economic factors, 19
Coretta Scott King Award, 219-221 Demographics, 216 Economics, 230
Correlation, 19 Deployment, 188 Edison, Thomas, 186
Corwin, Lena, 208 Depression, 158, 169, 175, 179, 187-188, 206 Education, 1, 4-6, 13, 15-18, 21-22, 27, 29-30, 51, 111,
Cottage tales, 116 Depth, 52, 171, 197, 214, 291-292, 294, 297 127, 145, 151, 154, 165, 168, 178, 180, 193,
Couloumbis, Audrey, 162 Description, 6, 26, 56, 132, 146, 166, 170, 194, 296 199-200, 203, 211-213, 215, 220, 231-232,
Counting, 11, 27, 178, 185, 234 Descriptions, 17, 146, 176 277, 289, 296, 303, 307, 309, 311
counting on, 178, 185 Desegregation, 179 at home, 21, 30
Counting on, 178, 185 Design, 2, 25, 28, 69, 209, 281, 289 colonial, 168, 178
Couplets, 62-63 Designs, 202, 236 funding for, 18
Courses, 16 Desimini, Lisa, 72-73 global, 212, 215, 231, 303
Courtesy, 26 Despair, 2, 178 perspectives on, 215, 231
Cowler, Rose, 205 Development, 5, 7, 9-12, 17, 21, 28, 118, 130-131, supports, 212, 296
Cowley, Joy, 198, 201, 204 148, 168, 174, 179, 183, 199, 221, 225, 228, Education evaluation, 6, 13
Coy, John, 160 231, 278, 285, 307, 311 Education programs, 4
Crafts, 312 Devices, 6, 9, 12, 19, 156, 172, 179, 279, 299, 308 Educational research, 13
Craig, Colleen, 152, 159 Dewey, Ariane, 122 Educators, 6, 18, 30, 173-174, 216, 307
Crampton, Patricia, 239 Diagrams, 195, 295 Effectiveness, 5
Crane, Walter, 56 Venn, 295 Effort, 65, 68, 188, 230
Creating, 68, 208, 219, 225, 231, 282, 289, 294, 296, Dialects, 12 Einstein, Albert, 190
304 Dialogue, 6, 25, 146, 167, 172, 178, 184, 218, 232, Electronic media, 19-20
Creative drama, 296, 303, 307 278, 285, 288-293, 296, 300 Elementary grades, 70, 134, 195, 200
Creativity, 227 silent, 6, 184 Elementary school, 70, 133, 279, 309
Creech, Sharon, 61, 153, 157, 162, 289, 300 Diaries, 171, 285 Elementary schools, 4
Crews, Nina, 71, 73 DiCamillo, Kate, 129, 133-134, 139, 152, 159, 163 Ellington, Duke, 191
Crises, 217 Dickinson, Peter, 140, 177, 181 Ellis, Deborah, 190, 206, 217
Crisis, 153, 191, 205 Diet, 148 Ellis, Sarah, 147, 162
Criterion, 166, 196 Differences, 11, 17, 24, 30, 120, 214, 218, 222, 230, Embarrassment, 21
Critical literacy, 215 292, 295 Emotion, 218
Critical thinking, 28, 297, 312 Digestive system, 205 Emotional realism, 146

315
Emotions, 54, 115, 133, 174 Falconer, Ian, 300 Formula poems, 68
portraying, 133 Falls, 135 Formulas, 27
empathy, 202 FAME, 130, 151, 158, 168 Forward, 1-2, 131, 280
Employment, 135 Families, 19, 59, 71, 74, 146, 148, 150-151, 153, 156, Foundations, 13
Enactment, 17 200, 204, 207, 213-215 Frames, 213
Encouragement, 21 foster, 151 France, 53, 59, 116, 118, 122-124, 130-131, 177-179,
Endowment, 18, 29-30 images of, 214 181-182, 188, 211, 216, 228-229, 239-240,
Energy, 171 needs, 148, 207, 213 298
Engagement, 19, 278, 292, 301 single-parent, 151 Franco, Betsy, 72, 159
English, 2, 13, 16, 18, 21-22, 57, 59, 70, 116, 124, Family, 7, 23, 25, 59, 72, 114, 130, 133, 135-136, 139, Franco, Sharon, 236
130, 168, 182, 185, 199, 213, 216, 221, 223, 146, 148-153, 155, 169, 176, 179, 184-185, Frank, Anne, 173, 189, 191, 239
225, 227-229, 231-232, 234-237, 240, 291, 187-190, 201-202, 214-215, 217, 223-224, Frank, Mitch, 206
308 229, 232, 234-236, 279, 290 Franklin, Benjamin, 183
Middle, 13, 18, 57, 59, 70, 124, 182, 228, 308 Family members, 7, 133, 150, 279 Frazee, Marla, 11, 53, 71, 147, 158
Modern, 2, 130, 182, 223, 229 Family story, 148-149, 229 Free time, 25
proficiency in, 199 Family structure, 214 Free verse, 58, 63-64, 157-159, 161, 186-189
Standard, 130 Fantasies, 128-130, 133-137, 139, 238, 281 Freedman, Russell, 172-173, 175, 182-183, 186, 201,
English language, 21, 216, 221, 237, 291 Farmer, Nancy, 134, 137, 140, 142, 283, 297 206, 234
story of, 221 Fathers, 59, 72-73, 232 Freedom, 7, 73, 151, 155, 158-159, 168, 171, 176,
English language books, 216, 237 fear, 60, 174, 278, 292, 300, 303 184-187, 189-191, 206-207, 215, 223-224,
English Language Learners, 21, 221, 291 Feedback, 14, 30, 75, 126, 143, 163, 192, 210, 241, 232-235, 278, 283, 307
Enlarged-text books, 284 305 Freedom of expression, 190
Enrichment, 168 feelings, 52, 54, 57, 69, 72, 146, 201, 289 Freire, Paulo, 215
Enthusiasm, 11, 24 Feiser, Stephen, 125 French, Jackie, 237
Environment, 23, 68, 155, 173, 200, 209, 227, 282 Females, 21, 124, 279 French, Simon, 162
home, 23 Fensham, Elizabeth, 237 Frequency, 27, 150
Epics, 115, 121 Ferri, Giuliano, 125 Friendships, 59, 151, 155
Episodic plots, 24, 133 Fever, 176, 182, 187, 201, 207 Fritz, Jean, 168, 173, 175, 183, 192, 208
Equipment, 207 Fiction, 2, 4, 9, 12, 19, 22, 24-25, 54, 118, 128, Frost, Helen, 61, 152-153, 158-159, 175, 184, 204
Equity, 215 130-132, 134, 136-137, 142, 145-163, Fry, 27
Erdrich, Louise, 168-169, 184, 224, 226, 234 165-192, 194, 196, 201, 203, 214, 218-219, Fun, 60-61, 157
Eriksson, Eva, 239 223-226, 230-231, 280-281, 297-298, Functioning, 201
ESCAPE, 143, 182, 189 307-309, 311-312 Functions, 200
Estes, Eleanor, 149 historical, 4, 12, 132, 134, 136-137, 146, 154, Funding, 18
Etchemendy, Nancy, 141 165-192, 214, 219, 223-226, 231, 281, Funke, Cornelia, 140, 143, 230, 239-240
Ethics, 154 297-298, 309 Futuristic fiction, 131, 137
Ethnic, 21, 114, 119, 172, 212-217, 219-220, 222 modern fantasy, 128, 130-132, 134, 136-137, 142 Fyleman, Rose, 60
Ethnic group, 222 nonfiction and, 226, 309, 312
Ethnic groups, 119, 213 novels, 22, 24, 130-131, 134, 136-137, 147-148, G
Ethnicity, 214 152-153, 156, 169, 173-175, 177, 180, Gaiman, Neil, 135, 140, 143, 300
European Americans, 225 218, 223-224, 226, 230, 298 Gall, Chris, 74
Evaluation, 6, 13, 113, 166, 170, 287 short, 22, 24, 54, 145, 156-157, 162, 165, 178, 180, Games, 19, 24, 53, 71, 284, 287, 311
Events, 4, 21, 58, 61, 115, 119-120, 128, 135-137, 218, 224, 231, 280, 297, 307, 311 organized, 53, 311
140, 146-148, 153, 163, 166-168, 170, short stories, 162, 178, 311 Gangs, 155, 202
173-174, 177, 180, 201, 217, 223, 281, 290, theme in, 223 Gans, Roma, 200
295-297, 312 young adult, 134, 175 Gantos, Jack, 153, 157-158
Evidence, 9, 13, 195, 212 Field, Eugene, 60 Garns, Allen, 71
Evolution, 203-205, 307, 309 Field, Rachel, 60 Gay, Marie-Louise, 238
Excellence in Poetry for Children Award, 57 Fifth grade, 65, 133, 136 Gender, 18, 29-30, 120, 214, 312
Exclusion, 17 Fighting, 298, 302 stereotypes, 120, 214
Exercises, 4, 311 Figurative language, 27, 54-55, 58 Generalization, 24
Exhibits, 54 Files, 139 Generalizations, 219
Experience, 4, 6, 9-11, 58, 74, 133, 137, 148, 195-196, Filipovic, Zlata, 239 Genres, 22-23, 25-26, 132, 134, 199, 201, 203, 216,
218-219, 224, 279-281, 283-285, 288-289, Film, 3, 150, 288 219, 279, 299, 301, 307
296, 301, 303 Findings, 6-9, 17, 19-20, 23-24, 29, 58, 196 of stories, 25
experiences, 2-5, 16, 22, 28-29, 52, 57-59, 65, 69, Fine, Anne, 139, 158, 237 Geography, 4, 161, 176, 200, 209, 312
112, 130, 150, 169-170, 202-203, 212-214, fire, 2, 74, 136, 140, 142, 159, 181, 187, 190, 201, George, Madeleine, 158
216-218, 220, 222, 224-226, 278, 280-281, 205, 207, 232 Georgia, 68, 151, 158, 178, 183-185, 189-190
284, 287, 289-290, 296, 308 First Amendment, 129 Germany, 116, 122-125, 179, 181-182, 184, 188,
in school, 29, 284 First grade, 203 228-229, 239-240
Experiments, 202, 312 Fish, 56, 168, 175-176, 188, 204-205 Ghigna, Charles, 51, 72
Experts, 27, 200 Fisher, Aileen, 57, 204 Gibbons, Gail, 206
Explanation, 19, 113, 137, 197, 280 Fitch, Sheree, 127 Gilmore, Rachna, 233, 238
Expository text, 195, 298 Fitzhugh, Louise, 149-150 Gioia, Dana, 19
Expository writing, 194 Flashbacks, 300 Giovanni, Nikki, 72, 190, 222
Extended families, 150 Fleischman, Paul, 59, 61, 67, 72, 114, 122, 215, 285, Girls, 22, 24, 61, 72-73, 125, 148, 152-153, 155, 200,
Extensions, 137 287, 289 204, 206, 312
Extensive reading, 278, 289 Fleischman, Sid, 160, 171, 186, 189 Glatshteyn, Yankev, 176
External reviews, 288 flight, 176, 186, 190, 199, 211, 234, 298, 303 Gleeson, Libby, 238
Eye contact, 280 Floods, 145 Globalization, 216
eyes, 2, 59-60, 72, 74, 140, 160, 171, 175-176, Florian, Douglas, 53, 59, 72, 298 Glossaries, 197
187-188, 190, 232 Flow, 227, 238 Goals, 4, 28, 282, 290
Fluency, 5, 17, 21, 278 Goble, Paul, 119, 121-122, 224, 234
F oral reading, 17 Godwin, Laura, 134, 139
Fables, 116, 118-119, 125 Fluent reading, 17, 279, 284-285 Golden Age of Poetry for Children, 61
FACES, 135, 138, 154, 167, 312 FOCUS, 13, 18, 67-68, 119, 129, 133, 135, 151, 170, Golden Rule, 183
Facilitating, 290 202, 209, 212-214, 216, 218, 220, 223-226, Government, 6, 13, 17, 30, 174, 177, 179, 201
Fact books, 198 278, 280, 284, 289, 294, 299 Grades, 6, 8, 17-18, 20-22, 24, 57, 70, 133-134,
Faction, 194, 201 Fogelin, Adrian, 157, 159 195-196, 198-200, 215, 279, 281-282, 300,
Factors, 12, 19, 27 Folders, 25 307-309, 312
Facts, 11, 59, 65, 136, 146, 166-167, 170, 172, 174, Folklore, 112, 119, 122, 222, 226 Grading, 28
180, 183, 195-197, 218, 290, 297 Folktales, 11, 113-117, 119, 122-123, 125, 130-132, assigning, 28
Factual knowledge, 4 134, 138, 219, 222-226, 229, 234, 296 level, 28
Factual realism, 146 Food, 167, 202, 205, 218, 225 multiple, 28
Failure, 18 Food preparation, 167 Graffiti, 291, 294
repeated, 18 Forbes, Esther, 166, 168-169, 182 Graham, Bob, 216, 228, 230, 238
Fairness, 154 Forms, 19, 25, 54-55, 59-60, 63, 65, 67, 71, 73, 118, Grammar, 16, 311
Fairy tales, 59, 116-117, 120, 123, 125, 130-131, 138, 152, 201, 293, 295, 308 Graph, 27, 208
229 Formula, 27, 68 Graphic novels, 213, 282

316
Graphics, 197, 199, 312 Hoose, Phillip, 171, 191, 206 Intervention, 6, 12
Graphs, 297 Hope, 2, 20, 64, 147, 157, 159, 238, 292, 300, 303 Interviewing, 203
Gravett, Emily, 230, 238 Horse, 54-55, 64, 114, 121, 141, 143, 149, 152, 162, Interviews, 75, 143, 163, 192, 203, 210, 241, 312
Great Depression, 179, 187, 206 177, 181-182, 188, 198, 204, 208, 224, 234 intrinsic motivation, 282
Greek, 115-116, 121, 177 Horvath, Polly, 147, 150, 153, 157, 162 Introduction, 24, 30, 53, 64-65, 71, 156, 199, 280, 285,
Greenberg, Jan, 72, 175, 186, 190 Hot seat, 296 309
Greenfield, Eloise, 57, 222, 292 Howe, James, 158, 161, 300 Investigator, 160
Greste, Peter, 204 Huck, Charlotte, 123, 125 IPods, 287
Grey, Mini, 129, 132, 138, 237-238 Hudson, Wade, 61, 73, 232 Iron, 113, 142-143, 163, 176, 191
Grifalconi, Ann, 126 Hughes, Dean, 176, 187 Isaacs, Anne, 138
Grimes, Nikki, 57, 59, 63, 67, 72, 157, 159, 189, 222, Hughes, Shirley, 123 Isadora, Rachel, 123-124
232 Human condition, 3-4 Islam, 175, 182-183, 307-308
Grimm, Jakob, 116 Human rights, 278 Islamic religion, 177
Grimm, Wilhelm, 122, 229 Humor, 24, 52, 58, 61, 115, 117, 130, 148, 230, 285, Issues, 9, 12, 19, 29, 52, 69-70, 120, 137, 146, 148,
Grooming, 161 289, 312 151, 153, 156, 180, 190, 202-203, 209,
Grossman, Bill, 286 Hunter, Mollie, 181 215-217, 222, 230-231, 279, 289-297, 301,
Group discussion, 294 Hyperactivity, 151, 158 308, 311-312
Group size, 290 Hyperbole, 56 controversial, 12, 146, 297, 308
Grouping, 7 Hypotheses, 136 Italy, 122, 130-131, 179, 181, 211, 228-229, 239
Groups, 18-21, 23-24, 58-59, 67-69, 112, 119, 135, Items, 194
150, 169, 196, 198, 212-213, 215-219, I Ives, David, 148, 159
222-223, 284, 289-290, 295, 299, 311 I PLAN, 211 Iwai, Melissa, 73
Growth, 12, 19, 29, 132, 136, 155, 199, 221, 227, 232 Ibbotson, Eva, 140, 184, 238
Guidance, 12, 201, 220 Id, 160 J
Guided reading, 8, 278, 299 IDEAL, 150, 216 Jackdaws, 174, 180
Guidelines, 309 Idealization, 170 Jacobs, Joseph, 116
Guides, 24, 197, 202, 307 Ideas, 3, 17, 26-27, 52, 54, 57, 68-69, 174, 206, 289, Jacobsen, Kathy, 122
292-299, 301, 307, 312 Jacobsson, Anders, 228, 240
H identity, 129, 137, 142, 151, 158, 212, 293, 296, 301 Japan, 123-125, 177-179, 216, 228-229, 240, 307
Haiku, 58, 63-64, 69, 73 ignorance, 230 Japanese Americans, 188, 190, 223, 231, 298, 302
Hakim, Joy, 208 Ihimaera, Witi, 163, 238 Jaramillo, Ann, 223, 234
Hale, Christy, 73 Illinois, 175, 184, 188, 304 Jarrell, Randall, 123
Hale, Dean, 134, 138 Illustration, 10-11, 53, 157, 198, 225, 294 Jataka Tales, 118
Hale, Shannon, 132, 134, 138, 141 Illustrations, 10-11, 24, 54, 57, 74, 113, 195, 197-199, Jefferson, Thomas, 170
Hall, Donald, 71, 286 201, 218-219, 226, 228, 281, 283 Jennings, Patrick, 139, 300
Hamilton, Virginia, 114, 121, 150, 220, 222, 232 Imagery, 54, 56, 230 Jews, 188
Handwriting, 65, 68 Imagination, 2, 67, 194 Jiang, Ji-li, 217
Hans Christian Andersen Award, 228 Imitation, 69, 149 Jinks, Catherine, 152, 160, 181
Happiness, 54, 240 Immigration, 176, 178, 184-185, 297 Johnson, Angela, 154-155, 223-224, 300
Happy family stories, 149 Implementation, 18 Joint, 309
Hardware, 312 Importance, 3, 18, 20-21, 28, 170, 173, 179, 296 Jokes, 112, 312
Harrington, Janice, 189 Inclusion, 150-151, 216 Jonas, Ann, 205
Harris, Robert, 182 Income, 18 Jordan, Sandra, 175, 186, 190
Harris, Robie H., 204 Independent reading, 6, 16, 20, 23, 29-30, 53, 174, Journal writing, 25, 300
Harry Potter, 129, 131-132, 134, 136, 142-143, 216, 214, 278, 280, 282 Journals, 6, 23, 141, 219, 285, 287
230, 238 Indexes, 53, 113, 195, 197 Joysmith, Brenda, 74
Hartinger, Brent, 155, 161 India, 118, 121, 123, 125, 175, 177-178, 188, 224, Judgment, 194
Hartlove, Chris, 208 229, 238, 240 Just Us Books, 220, 232
Hartnett, Sonya, 187 Indiana, 184, 188 Juster, Norton, 151, 157
Hatkoff, Craig, 204 Individual differences, 30 Justice, 4, 69-70, 136, 215
Havill, Juanita, 176, 187 Industry, 61, 133, 230
Health, 7, 158, 204, 209, 297, 311-312 Inequity, 215 K
Heard, Georgia, 68 Infants, 10 Kadohata, Cynthia, 168, 190, 225, 233, 298
heart, 3, 11, 68, 70, 72, 123, 138, 142, 230, 235, Infectious disease, 204 Kahumbu, Paula, 204
238-239, 295 Influence, 6, 177-179, 212, 214, 283, 299 Kalman, Maira, 207
Heathcote, Dorothy, 303 Influenza, 207 Kalmanovitz, Manuel, 236
Helping, 12, 20, 68, 173, 183, 231, 298 Informal drama, 296 Kansas, 162
Henkes, Kevin, 11, 151, 155, 158, 162, 286, 300 Information, 2, 4-5, 7, 9-10, 13, 23-27, 68, 119, 153, Kelley, 187
Heo, Yumi, 123, 233 170-171, 194, 196-199, 203, 213, 218, 226, Kellogg, Steven, 121, 292, 298
Hero cycle, 136 280, 282, 288, 290, 294, 297, 307-309, 311 Kelly, Eric, 169
Hesse, Karen, 61, 169-170, 175-176, 182, 186-187, Informational books, 4, 22, 175, 193-210, 280, 297 Kennedy, Dorothy, 71
235, 287, 300 how to read, 195 Kentucky, 184-185
Hiaasen, Carl, 159-160, 163 reading aloud, 196, 280 Kephart, Beth, 155, 161
Hicks, Betty, 157, 287 Informational reading, 195, 199 Kerley, Barbara, 186
High schools, 309 Informational texts, 9, 16, 196, 203, 298, 303 Kerrin, Jessica, 11
Hillenbrand, Will, 71, 207 Inquiry, 214, 278, 292-293, 296-297, 299 Kiesler, Kate, 72
Hints, 120 Inspiration, 130, 170, 202 Kim, 185, 226, 234, 236, 240
Hispanics, 21 Instincts, 115 Kimmel, Eric A., 121, 123, 235
Historical fantasy, 132, 136, 141, 167 Institute of Education Sciences, 6, 13 Kindergarten, 65, 281
Historical fiction, 4, 12, 136, 146, 165-192, 214, 219, Institute of Ethics, 154 King Arthur, 115, 122, 142, 177, 181
223-226, 231, 281, 298 Instruction, 2, 5-6, 8-9, 13-14, 16-17, 20, 30, 180, 199, Kipling, Rudyard, 130, 229
notable authors of, 174 278, 293, 297, 299 Kitchen, Bert, 124
Historical periods, 173, 176-177 balanced, 199 Kleven, Elisa, 71
History, 4, 7, 69-70, 73, 113, 136, 166-167, 170-171, unit, 180, 293, 297 Knowledge, 2, 4-5, 14, 16-17, 24-27, 30, 52-53, 75,
173-176, 178-180, 184, 191, 195, 197, 199, Instructional strategies, 16 116, 126, 143, 163, 173-174, 179, 192, 194,
201, 206-207, 209, 214-215, 217, 225, 231, Integration, 190, 214, 218, 225, 278 196, 210, 212-213, 241, 288, 298-299, 305
235, 286, 295, 297-298, 309, 311-312 Integrity, 133 episodic, 24
Hobbs, Valerie, 158, 189 Intellectual development, 21 factual, 2, 4, 174, 194
Hobbs, Will, 153, 155, 162 Interaction, 282, 284, 289 of genres, 25
Holbrook, Sara, 66, 72 International Association of Theatre for Children and prior, 27, 174, 196
Holes, 160, 163 Young People, 289 prior knowledge, 27, 174, 196
Holocaust literature, 226 International literature, 212, 214, 216-217, 219-220, syntactic, 27
Holub, Josef, 184 228, 230, 311 topic, 24, 27, 53, 194, 196
Home, 5, 7, 11, 20-21, 23, 30, 115, 127, 167, 184-185, foreign language books, 216 Koch, Kenneth, 69
188, 191, 196, 214, 217, 221, 235, 237, 284, International Reading Association, 13, 29, 307, 309 Koertge, Ron, 160
286, 291, 298, 302, 304 Internet, 19, 22, 287-288 Krommes, Beth, 74, 123
Homework, 15, 29, 158, 288, 290 inquiries, 288 Krull, Kathleen, 71, 182
Homogeneous grouping, 7 Interpretation, 118, 172, 278, 281, 285, 289 Krumgold, Joseph, 220
Honey, 72, 121 Interpreting, 66

317
Ku Klux Klan, 187 Limericks, 58, 60, 63, 68-69 Mathenge, Wanjiku, 236
Kulikov, Boris, 114, 125, 171, 182, 189 Limitations, 288 Mathers, Petra, 188
Kung, Annie, 125 Lincoln, Abraham, 172-173, 184, 186-187 matter, 2, 20, 24, 132, 142, 150, 231, 278-279,
Kuskin, Karla, 57, 73 Lindgren, Astrid, 130, 229 307-308
Lines, 53-55, 59, 63, 65-67, 190, 224, 285, 295-296, Mattern, Scott, 72
L 311 Matthew effects, 30
Labels, 174, 197 Lipsyte, Robert, 160 McCarty, Peter, 298
Lagarrigue, Jerome, 176, 189, 233 Listening, 2, 6, 13, 23, 25, 52, 56, 65-66, 145, 156, McCaughrean, Geraldine, 121, 147, 162, 174, 181,
Lakas and the Makibaka Hotel/Si, 236 173, 195, 279, 287-288 184
Lakas at ang Makibaka Hotel, 236 to poetry, 56, 66 McClintock, Barbara, 122-123
Land of the Nutcracker Men, 188 to understand, 173 McCord, David, 57
Lang, Andrew, 116 Listening center, 66, 287 McCurdy, Michael, 122, 183
Language, 3, 5, 7, 9-10, 13, 16, 18, 21-22, 27, 30, 52, Literacy, 6, 9-10, 13, 16-17, 19, 22, 29-30, 65, 203, McDaniels, Preston, 124
54-56, 58, 65-66, 70, 72, 112, 118, 167, 195, 213, 215, 218, 227, 278, 284, 298-299, McDermott, Gerald, 121, 123
203-204, 212-214, 216, 218, 221-222, 227, 307-309 McKay, Hilary, 157, 238
237, 282, 284, 291, 299, 302, 309, 311 Literacy instruction, 13 McKinley, Robin, 134, 138, 140
acquisition, 30, 65 Literary criticism, 137 McKissack, Patricia, 124, 138, 191, 223-224, 232,
animal, 56 Literary devices, 279, 308 291, 300
body, 10, 13, 112, 216, 222, 299 Literary folktales, 132 McNulty, Faith, 298
clear, 10 Literature, 1-14, 15-30, 51-54, 60-61, 65, 70, 75, Mean, 208, 286
difference, 27, 167 111-126, 127-129, 134-136, 138, 143, Meaning, 5, 9, 16-17, 54, 65-67, 119, 280, 287, 289,
informative, 22 145-146, 148-149, 151, 154, 163, 165, 168, 293, 299, 301
written, 9, 16, 22, 27, 58, 65, 112, 167, 216, 173, 175, 180, 192, 193-203, 210, 211-241, meaning-based reading instruction, 16
221-222, 299 277-299, 301-305, 307-309, 311 of words, 54
Language and culture, 72 awards for, 219-220, 227 Meanings, 64-65, 293
Language arts, 13, 30, 70, 302, 309, 311 graphic, 135, 138, 180, 195, 213, 278, 282, 294, Measurements, 186
Language development, 5, 7, 10 304 Measures, 8
use, 7, 10 graphics and, 197 Media, 10, 19-20, 25, 126, 143, 163, 192, 195, 202,
Language skills, 16 writing about, 220 206, 209-210, 217, 241, 287-288, 295, 309
Languages, 221, 227, 288 Literature circles, 214, 220, 290-293, 299 paintings, 202
Larrick, Nancy, 71, 220-221 Little, Jean, 238 Memories, 60, 75, 189-190
Larson, Kirby, 187 Little people stories, 137 Memorization, 65
Lasky, Kathryn, 181, 183, 186 Liu, Siyu, 73 Memory, 11, 119, 138
Lat, 240 Living conditions, 178 Mental health, 158
Latinos, 212, 216, 221, 225 Lobel, Anita, 123, 125, 235 Mental retardation, 151, 159
Lauber, Patricia, 207 Lobel, Arnold, 11, 53, 71, 286 Merriam, Eve, 57
Law, 18, 206 Lofting, Hugh, 220 Messages, 120
case, 18 Look, Lenore, 12, 158, 224-225, 233 Metaphors, 54
Lawrence, Iain, 161-162, 182, 188, 190 Lord, Cynthia, 147, 151, 158 Mexican Americans, 216
Lawson, Robert, 130 Loss, 19, 224 Mexico, 122-123, 153, 171-172, 182, 188, 215, 219,
Lazarus, 147, 151, 158 Lotan, Yael, 239 234, 236, 283
Leaders, 6, 19, 172, 175 Louie, Ai-Ling, 123, 225 Meyer, Stephenie, 135, 140
Leadership, 118, 218 Louisiana, 187, 191 Michigan, 187, 189-190
values and, 218 Love, 2, 7, 13, 19-22, 24, 57, 65, 123, 133-136, 158, Middle Ages, 60, 175, 181, 206
Leads, 3, 9, 129, 208 161-162, 171, 181, 208, 215, 234, 238, 240, Middle grades, 17, 24, 57, 195
Lear, Edward, 60, 63, 229 279 Middle school, 13, 59, 70, 307
Learners, 18, 21, 213, 221, 291 Lowry, Lois, 131, 134, 137, 140, 142, 147, 154, 158, Mikaelsen, Ben, 162, 188
Learning, 1-14, 15-30, 58, 151, 180, 194-195, 161, 184, 287 Milk, 224-225, 233
202-203, 212-213, 223, 284, 299, 301, 308 Lucas, Katherine, 72 Milky Way, 193
Learning:, 308 Lundell, Margo, 171, 190, 232 Minilessons, 299
attitude toward, 30 Lunn, Janet, 182, 238 on teaching, 299
discovery, 27 Lupica, Mike, 160 Minor characters, 151, 166
enjoyable, 3, 58, 301 Lynch, Chris, 162 Minorities, 21, 61, 114, 150, 172, 216, 220-221
events, 4, 21, 58, 180, 223 Lyric poetry, 61 Minority groups, 150
mastery, 8 Missouri, 185
to learn, 7, 25, 202, 213, 299 M Mistry, Nilesh, 121
Learning disabilities, 151 Macaulay, David, 201, 208-209 Mochizuki, Ken, 233, 292, 298
Learning theories, 17 MacDonald, George, 130 Modeling, 301
Lee & Low Books, 220 machines, 70, 174, 202 Models, 6-7, 9, 17, 21, 69, 113, 174, 299-300
Lee, Dom, 189, 233, 298 Mackler, Carolyn, 157 Modern English, 229
Lee, Ho Baek, 240 MacLachlan, Patricia, 191, 291 Modern folktales, 130-132, 134, 138, 223, 229
Legends, 112, 115, 119, 121, 168, 224 Magazines, 7, 22, 196, 213, 282, 307, 311-312 Modification, 284
Legislators, 154 Magic tales, 117 Mohammed, 191
Legitimacy, 12 Mak, Kam, 73 Mollel, Tololwa, 124
Leisure, 26, 201 Malcolm X, 232 Money, 160-161, 199, 201
Lenses, 215 Malone, Peter, 73 Monologue, 172
Lenski, Lois, 150 Management, 28 Montana, 187
Leonard, Elmore, 133, 139 Mankell, Henning, 190 Montgomery bus boycott, 206
Lesson plans, 296 Manuals, 213 Moore, Lilian, 57
Lessons, 10, 12, 125, 172, 299 Map skills, 312 Mora, Pat, 138, 224, 234
Lester, Julius, 121, 123, 125, 138, 178, 184, 222, 232 Maps, 174, 195, 197, 295, 311 Moral development, 10, 12
Letter names, 16, 284 character, 295 Moral reasoning, 4, 154
Letters, 5, 11, 16, 54, 171, 285 Marcellino, Fred, 124 Morales, Yuyi, 223-225, 234
Level, 4, 12, 17, 22, 26-28, 137, 156, 171, 198, 203, Marking, 292 Morality, 148, 297
282, 288, 297 marriage, 145, 156 Morimoto, Isao, 124
Levine, Ellen, 168, 190-191, 223, 240 Marsden, Carolyn, 159 Morimoto, Junko, 124
Lewin, Betsy, 29 Marshall, James, 123, 126 Moriuchi, Mique, 204
Lewin, Ted, 185-186 Maruki, Toshi, 292 Morpurgo, Michael, 141, 188, 238
Lewis, J. Patrick, 73, 184 Mason, Simon, 150, 157 Morris, Ann, 207, 215
Liano, Dante, 121 Mass media, 287 Morse, Joe, 75
Liberty, 206-207, 292, 304 Massachusetts, 184, 186-187 Moser, Barry, 72, 114, 121, 124, 181, 303
Libraries, 3, 7, 21, 28, 30, 58, 71, 195, 218, 220, 225, Mastery, 8 motion, 51, 64, 70, 72, 205
227, 280, 303, 307-309 Matching, 25 Motivation, 8, 16, 26, 282, 288
Library, 2, 13, 23, 25, 29-30, 58, 67, 70, 129, 137-138, Materials, 5, 7-8, 13, 16, 20, 22-23, 26-27, 52, 134, achievement, 8
148, 191, 195-196, 199, 203, 220, 224, 234, 136, 142, 150, 154, 174, 196, 200, 213, 216, intrinsic, 282
283, 288, 308-309 230, 238, 278-279, 281-282, 299 states, 8
life experiences, 59, 130, 278, 290 adaptation of, 8 Mourning, 208
Life stories, 166, 170 complexity of, 26-27, 136 Mouse, 64, 120, 125, 133, 139, 145, 230, 238
Lifestyles, 12 Mathematics, 7, 9, 17, 19, 201, 209, 297, 312 Movement, 68, 116, 149, 175, 177-179, 186-187,

318
 189-190, 199, 207, 220, 232, 278-279, 285, 173-175, 177, 180, 213, 218, 223-224, 226, Performance, 18, 28, 66-67, 70, 202-203, 213, 280,
295-296 228, 230, 282, 285, 287, 298-299 285, 287, 296
Movies, 24, 189 Nuclear family, 150 level of, 28
Multicultural education, 215, 232 Numbers, 11, 13, 19, 25, 53, 71, 207, 227-228, 287 of drama, 287, 296
Multicultural literature, 216, 219, 221-224, 280 Numbskulls, 117 Period, 18, 28-29, 61, 148, 161, 166-168, 174,
African American, 224 Nursery rhymes, 10-11, 17, 52-53, 58-60, 69 177-180, 185, 217, 281-282
Native American, 219, 223-224 Nutrition, 311 Perrault, Charles, 53, 59, 116, 124, 229
Multimedia, 288 Personal experience, 4
Murphy, Jim, 183, 194, 197, 201, 205, 207 O Personal factors, 12
Music, 52, 66, 68, 120, 202, 208, 240, 287-288 Obesity, 202 Personal growth, 136
listening to, 288 Object, 55-56, 133-134, 174 Personification, 56, 197
poetry as, 68 Objectivity, 167 Persuasion, 148
Myers, Anna, 184 Observation, 203 Peterson, 129, 137, 141-142, 167
Myers, Laurie, 141 Observations, 24, 29, 299 Pets, 23, 200
Mysteries, 132, 135, 148, 152-153, 160, 207-208 oceans, 200 Phi Delta Kappan, 14, 29
Mystery fantasy, 136, 140 Odes, 59, 74 Philadelphia, 70, 182, 302
Myths, 114-115, 117, 120-121, 136, 298, 304 Ohio, 111, 184-185 Philbrick, Rodman, 162-163
Oklahoma, 167, 174-175, 184, 187-188 Philippines, 239
N Older adults, 19 Philosophy, 17, 281
Nadel, Marc, 191 Onomatopoeia, 55, 68 Phonics, 5-6, 8, 16-17
Naidoo, Beverley, 159, 230, 238 On-task behavior, 282 reading program, 8, 17
Narrative poems, 53, 57-58, 66, 72, 187 Open Court, 8 Phonics-based reading instruction, 16
Narrative poetry, 61 Opinions, 12, 197, 290 Photoessays, 312
Narrative texts, 298 Opium, 185, 283 Photographs, 54, 71, 74, 120, 174, 195, 198, 201,
Narrative writing, 13, 194 Oppel, Kenneth, 141 204-205, 232, 297
Narratives, 7, 54, 112, 120, 160, 184, 311 Opposites, 11, 209 Photography, 187, 204-205, 208, 288, 312
National Center for Education Statistics, 21-22, 30, Oppression, 201, 214-215, 223, 226 Physical development, 10
212, 231 of immigrants, 214 Physical fitness, 312
National Center for Educational Statistics, 222 Oracle, 141 Physical science, 200, 205, 207
National Council of Teachers of English, 13, 57, 59, Oral histories, 206 Picasso, 208
70, 199, 231, 308 Oral language, 10, 16, 65, 282 Picture, 7, 10-11, 24, 27, 52-54, 59, 74, 121, 136, 138,
National Council of Teachers of English (NCTE), 57, Oral reading, 17, 287 156, 173, 175, 180, 185, 190-191, 197-202,
59 Oral reports, 281 204, 208, 213, 215, 219, 221, 223-224,
National Geographic, 181, 183-184, 186, 188, 190, Oral tradition, 58, 112, 114, 118, 128, 132, 222 226-227, 229-230, 232, 237, 279-280, 282,
204-209, 234, 312 Orbis Pictus Award for Nonfiction, 173 285-286, 288, 290-291, 294, 296, 298-299,
National Reading Panel, 5, 8, 13, 17, 29-30 Oregon, 138 301, 307-308
National Reading Panel (NRP), 5 Org, 119-120, 219-220, 227, 288-289, 301, 309, recipes, 208
National Reading Panel Report (2000), 17 311-312 Picture books, 7, 10-11, 24, 199, 201, 213, 215, 219,
Nationality, 214 Organization, 199, 220, 227 223-224, 226-227, 229-230, 279-280, 282,
Native American literature, 226, 234 Organizing, 173, 289 285-286, 290-291, 299, 307-308
Native Americans, 169, 178, 186, 212, 214, 216, Orientation, 155, 200, 212 fiction, 24, 201, 219, 223-224, 226, 230, 280,
225-226, 231 Orphanage, 185 307-308
Nature, 12, 59, 61, 63, 112, 115, 117, 153, 170, 178, Ouriou, Susan, 125 Pictures, 11, 72, 120, 157, 199, 280-282, 295, 300,
194, 204-205, 212, 226, 284, 296, 312 Outcomes, 4, 18 303
NCES, 19, 30, 231-232 Overlap, 295 Pinkwater, Daniel, 133, 139
needs, 4, 8, 11, 24, 53, 58, 65, 148, 196, 203, 207, Pinkwater, Jill, 139
213, 279, 286, 290, 297, 299, 301, 308 Place names, 228
P Placement, 197
Nelson, Kadir, 71, 75, 122, 168, 184, 187, 207, Page, Robin, 11, 194, 198, 205
223-224, 232-233 planets, 200, 205
Painting, 172, 183, 202 Planning, 173, 297
Nelson, Marilyn, 74, 186, 189, 222-223, 232 Paintings, 53, 72-73, 112, 119, 174, 181, 183, 202,
Net, 59, 153, 224, 230 Play, 19, 22, 53, 56, 62, 65, 71, 117, 135, 150, 157,
208, 224, 236, 298, 303 183, 206, 282, 284-285, 288-289, 302, 304
New England Primer, 200 Panchatantra Tales, 118
New Jersey, 186 Plays, 16-17, 53, 67, 71, 213, 215, 282, 285, 288-289,
Pantomime, 71 296, 302, 311-312
New Orleans, 185, 190 Paragraphs, 295
New York, 13-14, 29-30, 70-72, 74, 120, 138, 180, Pledge of Allegiance, 207
Paraplegia, 158 Plot, 9, 26-27, 114, 117, 119-120, 129, 132-133, 147,
182-184, 187-188, 205-206, 231-232, Parents, 2-3, 6, 12, 18-21, 27, 61, 66, 129, 135, 137,
302-305, 307-309 166, 279, 281-283, 293, 296, 299-300
150, 152, 154, 194, 196, 200, 204, 280, 297 Plots, 9, 11-12, 24, 27, 112, 117, 128, 133, 285, 288
New York City, 182-183, 205 as teachers, 2, 66
New York State, 187 Pockets, 64, 70
involvement, 280 Poems, 17, 51-61, 63-74, 112, 127, 145, 152, 157,
Newbery, John, 148 Parkins, David, 121
Newbery Medal, 59, 131, 134, 153, 168-169, 173, 175, 159, 184, 187, 189, 211, 223-224, 229,
Parks, Rosa, 172, 191, 233 231-236, 279, 284-285, 287, 298-299, 303,
180, 200, 220-221 Parra, John, 185
News, 195, 296-297, 312 311
Participants, 296 Poetic form, 53, 58, 62-63, 68-69
News stories, 312 Participation, 19, 198, 278
Newspapers, 174 Poetry, 2, 4, 16, 51-75, 153, 180, 186, 222, 229,
Partner reading, 284 235-236, 282, 298, 303, 308, 311-312
Nicholls, Calvin, 122 Partridge, Elizabeth, 189
No Child Left Behind, 6, 12, 17, 29 anthologies of, 61, 69, 71
Paschkis, Julie, 71, 74, 122 cinquain, 63
No Child Left Behind Act, 6, 17 Paterson, Katherine, 124, 126, 151, 153-154, 157-158,
No Child Left Behind Act (NCLB), 17 cinquains, 62-63, 68-69
161, 163, 178, 184, 191 discussing, 2, 4
No Child Left Behind Act of 2001, 6 Path, 205
Noise, 59, 61, 67, 72, 193 first-person, 73
Pattern books, 17, 284 for choral reading, 67
Nonfiction, 2, 9, 24-25, 168, 172-173, 194, 196-197, Patterns, 10-11, 24, 54-55, 58, 69, 113, 218
199-200, 203, 213, 223, 226, 229, 231, found, 16, 53, 58, 63, 65, 68, 180
growing, 11 free verse, 58, 63-64, 186
297-298, 304, 308-309, 311-312 number, 113
autobiography, 173 haiku, 58, 63-64, 69, 73
Paulsen, Gary, 153, 162-163, 176, 186 limericks, 58, 60, 63, 68-69
fiction and, 2, 168, 172-173, 194, 223, 226, 231, Paying attention, 296
297, 308, 311-312 memorizing, 66-67
Peacock, Shane, 152, 160 notable poets, 57
informational books, 194, 196-197, 199-200, 203, Pearsall, Shelley, 176, 184
297 performing, 66
Pearson, Ridley, 140 poets on, 57
themes in, 226 Peck, 175, 184, 188
Noodleheads, 117 prose and, 2
Peck, Richard, 175, 184, 188 publishing, 61, 64
Norm, 214 Pedagogy, 231
Norms, 22, 167 sonnets, 74
Peer pressure, 20 Poetry books, 52-53, 57, 67-68, 71, 308
North Carolina, 187 peer relationships, 151
Norton, Mary, 130-131, 142 Poetry writing, 69-70
Pencils, 280 Point of view, 4, 166, 187, 297, 300-301
Norway, 116, 122-123, 181, 228, 239 People of color, 222
Notes, 25, 157, 162 Pointing, 202
Perception, 20, 22 Policies, 6, 18, 179
Novels, 11, 22, 24, 29, 61, 121, 130-131, 133-134, Perceptions, 21, 30, 52, 65
136-138, 147-148, 152-153, 156, 169, Policy, 6, 17-18, 29

319
 government, 6, 17 Reformation, 178
Politi, Leo, 221 R Refugees, 187-188
Popular children, 311 Rabinovici, Schoschana, 226, 235 Regional stories, 150
Population, 19, 136, 178, 219, 222, 225, 227, 232 Race, 18, 59, 72, 122, 142, 153, 185, 189, 199, 206, Reichstein, Alexander, 125, 240
Populations, 212 217, 222, 239 RELATE, 4, 57, 195, 200, 280
Posters, 69, 293 Racism, 146, 187, 202, 220, 222, 226 Relationship, 176, 284
Potential, 10, 278 Radio, 282, 285 Relationships, 16-17, 64, 133, 146, 150-151, 153, 155,
Potter, Giselle, 138 Rainbow Reading, 20, 283 182, 201, 205, 212, 215, 218, 224, 281, 295,
Pourquoi tales, 117 Range, 10, 53, 59, 64, 119, 147, 152, 156, 198, 202, 301
Poverty, 146, 188, 190, 217, 225 209, 214-215, 218-219, 223, 278, 283-284, Relf, Pat, 200, 205
power, 19, 22, 113, 115, 134-136, 141, 178-179, 205, 287-288, 293, 295-297, 299, 301 Reliability, 18
215, 218, 230, 297, 301 Ransome, James, 75, 123-124, 189, 232 Religion, 118, 136, 177, 214, 217, 226
Practice, 5, 7, 16-17, 20-21, 27, 30, 65, 68, 120, 151, Rappaport, Doreen, 187, 191, 207 Religious cultures literature, 235
303 Rash, 142 Religious stories, 118, 125
Praise, 232 Raskin, Ellen, 281 Renaissance, 177, 206
Pratchett, Terry, 132-134, 139-141, 238 Rates, 21, 212, 232 Repeated readings, 284
Predictable books, 284 Ray, Delia, 188 Replay, 157, 289, 302
Prediction, 6, 212, 295 Rayner, Mary, 139 Reporters, 296
Pregnancy, 147, 155, 182 Reaching, 14, 30, 190, 224, 227, 234, 308 Reporting, 172
prejudice, 28, 188-189, 214, 217, 223, 226, 230 Read, Kevin, 240 Reports, 18-19, 24, 28, 62, 195, 212, 281-282, 293
Prelutsky, Jack, 53, 58, 69, 71, 73 Readability, 26-28, 297 library, 195
Prerequisite knowledge, 2 Reading, 1-9, 11-14, 15-30, 52-53, 65-70, 75, 120, Representation, 219
Preschool, 59, 134, 307 128, 133, 137, 143, 148, 155-156, 163, 170, Representations, 219
Preschool children, 307 173-174, 180, 192, 195-196, 198-199, 201, Rereading, 292
Presence, 167, 196 203, 210, 212-214, 217-218, 220, 231, 241, Resau, Laura, 147, 159, 234
Presentation, 26, 28, 56, 66-67, 197-198, 282, 285, 278-285, 287-295, 297-299, 301, 303-304, Research, 5-6, 9, 12-14, 18-20, 23, 29-30, 69-70, 126,
287, 293 307-309 143, 163, 172, 180, 192, 195, 199, 203, 210,
Pretest, 28 aloud, 3, 5-7, 9, 12, 17, 23-24, 52, 65-70, 120, 128, 217-218, 241, 280, 282, 288, 292
Pride, 11, 191 133, 195-196, 198, 214, 220, 278-282, contemporary issues, 217
Priestley, Alice, 233 284, 287, 289-291, 294-295, 299, 301, findings, 6, 9, 19-20, 23, 29
Princess Furball, 123, 125 303-304 scholarly, 6
Principals, 281 choral, 17, 66-68, 284, 287 Research articles, 6
Pringle, Laurence, 297 content-area, 217, 279, 298, 308 Resistance, 20, 22, 188, 312
Print, 2, 13, 16, 19, 23, 66, 118, 284 cumulative, 66-67 Resistant readers, 8, 14, 16, 20, 22, 30
Print materials, 23 difficulties, 21, 288, 297 Resolution, 132
Printing, 13, 30, 177 extensive, 24, 278, 285, 289, 308 Resources, 68-69, 119, 194, 219, 228, 281, 289,
Problem and solution, 194 partner, 284, 290 307-309
Procedures, 6, 18, 23 shared book, 290-291, 303 Respect, 154, 170
Product, 2, 194 summer, 156, 163 Responding, 66, 167, 171, 297
Products, 3, 126, 143, 163, 192, 210, 241, 311-312 to students, 5, 7, 17, 65-66, 68, 174, 196, 201, context for, 297
Professional resources, 307-309 212-213, 281, 288 to literature, 297
Profiles, 307 wide, 2, 5, 13, 22, 25, 52-53, 156, 174, 198, 278, Response, 16, 25-26, 66, 113, 199, 221, 279, 290,
Profits, 1 283-284, 299 292-295, 301, 308
Programs, 4, 8, 13, 16-17, 19-20, 27-28, 30, 154, 197, with expression, 65 Responses, 12, 25, 52, 68, 137, 195, 203, 218, 280,
221, 227-228, 281 Reading accuracy, 8 282, 288-291, 293-294, 301
Progress in International Reading Literacy Study, 203 Reading at home, 30 selection, 12, 203
Progress reports, 212 Reading comprehension, 5-6, 17, 304 Responsive teaching, 231
Project, 12, 14, 161, 191, 219, 223-224, 233, 293, 309 Reading First, 5-6, 13, 280 Retrieval, 53
Projects, 152, 202, 208, 312 funds, 5 Reward system, 28
Pronunciation guides, 197 Reading fluency, 17 Rewards, 28, 65, 147
Props, 67, 120, 282, 296 Reading gap, 22, 30, 309 Rhymes, 10-11, 17, 52-53, 58-60, 69, 71, 73, 112, 284
Prose, 2, 52, 65 Reading instruction, 2, 5-6, 13, 16-17, 20, 180, 278, Rhyming words, 55
Protagonists, 11, 134, 146, 152, 155, 283 293, 299 Rhythm, 51-52, 54, 58, 60, 64, 66, 117
Protopopescu, Orel, 73 guided reading, 278, 299 Rinaldi, Ann, 185
Prue, Sally, 141 phonics, 5-6, 16-17 Ringgold, Faith, 72, 172, 191
Psychologists, 201 Reading interest inventories, 25-26 risks, 278
Psychology, 172 Reading interest inventory, 25-26, 29 Rituals, 118, 207
Puberty, 200 Reading Mastery, 8 Robinson, Jackie, 170, 190
Publications, 220, 227, 231, 301, 309 Reading materials, 5, 8, 13, 16, 20, 22, 26, 213, 278 Rockwell, Anne, 182, 187, 198, 205
Publishing, 61, 64, 204, 207, 230, 289, 309 Reading performance, 203 Rodda, Emily, 142, 238
Puerto Ricans, 216, 225 Reading process, 8, 16 Rohmer, Harriet, 236
Pullman, Philip, 129, 134, 136, 138, 140, 142-143, reading in, 8 Roles, 2, 61, 178, 185, 218, 278, 281, 288, 296
230, 238, 291 Reading programs, 8, 27, 30 Roosevelt, Eleanor, 189
Punishment, 60, 293 literature-based, 8 Root, Phyllis, 125
Puppets, 282 Reading rates, 21 Roots, 4, 118, 128, 224, 226, 233-234
Purchasing, 28 Reading skills, 6, 16, 18, 20, 308 Roots and Wings, 233
Puzzles, 312 Readings, 67, 284, 287, 311 Rosoff, Meg, 238
Pyle, Howard, 122, 169 Realistic stories, 134, 146-149, 151, 154, 156 Ross, Tony, 158
Realistic tales, 117 Roth, Roger, 206
Q Reasoning, 4, 154, 180, 312 Roy, Jennifer, 168, 176, 179, 188
Quality, 2-3, 6, 8-9, 16, 22, 24, 30, 57-58, 113, 137, Reauthorization, 18 Ruffins, Reynold, 124
169, 178, 199, 203, 219, 225-226, 287 Recall, 5, 21, 296 Rules, 69, 147, 151-153, 157-158, 160, 186
Quantity, 30, 169 Receiving, 14, 30, 75, 126, 143, 163, 192, 210, 241, Rush, 167, 184-185, 207
Quatrains, 62-63, 69 305 Rylant, Cynthia, 11
Quest stories, 136, 141 Recitation, 67
Questioning, 215 Reciting, 66 S
Questionnaires, 308 Recognition, 61, 130-131, 150, 169 Sachar, Louis, 135, 140, 160, 163
Questions, 3, 21, 25, 113, 117, 137, 155-156, 190, Recommendations, 24, 283 Safety, 312
193-194, 200-202, 204, 206, 215, 218, 233, Recorders, 282 Salerno, Steven, 72
290-291, 293-296 Recording, 66, 294 Salisbury, Graham, 162, 168, 175-176, 188, 233, 298
easy, 3 Records, 2, 24, 58, 150, 195, 198, 206 Salten, Felix, 229
investigating, 293 Reeder, Carolyn, 185 Sampson, Michael, 53, 71, 207
leads, 3 Rees, Celia, 182 Sandburg, Carl, 139, 191
miracle, 233 Reeve, Philip, 139, 142 Sanderson, Ruth, 124
poor, 3, 113 Reeves, James, 55 Sandin, Joan, 240
what if, 206, 215 Reference, 57, 113, 126, 143, 163, 166, 180, 192, 197, Saport, Linda, 124
Quotation marks, 172 210, 213, 241, 279, 288 SAT, 54
Quotes, 294 Reference aids, 113, 197 satellites, 179
Reflecting, 60, 133, 226-227 Satisfaction, 282

320
Satrapi, Marjane, 228, 240 Siblings, 23, 150 Stepparents, 151
Savadier, Elivia, 11, 215, 234 Sidman, Joyce, 59, 74 Steptoe, Javaka, 72-73, 223, 232
Save the Last Word for Me, 294 Siebert, Diane, 74-75 Steptoe, John, 72, 114, 124, 150
Say, A., 304 Sierra, Judy, 124 Stereotypes, 120, 214, 219, 222, 226
Say, Allen, 221, 224-225, 298, 307 Sign systems, 293 Stewart, Sarah, 300
Schecter, David, 236 Signals, 54, 155 Stop, 19, 158, 167, 174, 184, 211, 278, 294
Schedules, 17 Significance, 116, 131, 149, 169, 173, 200, 218, 221 Stories, 2-4, 6, 8-9, 11-12, 16-17, 24-25, 30, 52, 59,
Schemata, 196 Silence, 168, 184, 189, 224, 234 72, 74, 112-121, 123-125, 128-137, 139,
Schlosser, Eric, 205 Silent reading, 5, 17, 20, 28-30, 281 141-142, 146-159, 162, 166-168, 170, 172,
Schmidt, Suzy, 186 Sillies, 117 174-178, 183, 185, 190, 201, 204, 206,
Schoenherr, John, 162 Silverstein, Shel, 58, 74 208-209, 215, 220, 222-226, 228-229, 231,
School, 5-13, 17-18, 20-22, 24-25, 27-30, 52, 56, Simile, 55 234-238, 279, 281-282, 284-287, 289,
58-59, 64-65, 67, 69-71, 133, 135, 140, Singing, 63, 66, 71, 202 296-301, 304, 307, 311-312
151-152, 184, 189-190, 194-195, 198-199, Sitaraman, Sumeya, 233 dramatizing, 296
201, 203, 209, 212-213, 216, 218, 232, 240, Situational realism, 146 interest in, 114, 116, 133, 172, 201, 231, 279, 297,
278-279, 282-284, 286, 290-291, 301, Sixth grade, 27, 153 311
307-309 Size, 204, 283, 290 retelling of, 222
School day, 278 Sketch to stretch, 294 theme of, 131, 135
School district, 17 Skills, 6, 9, 11-12, 16, 18, 20, 23, 284, 287, 308, Storms, 205
School districts, 5 311-312 Story elements, 136, 299
School Library Journal, 29, 309 speaking, 6, 284, 311 Strategies, 5-6, 16-17, 20, 173, 213, 278-279, 284,
Schooling, 3 Skimming, 28 293, 296-299, 305, 308-309
Schools, 4-5, 8-10, 16-19, 22, 28-29, 120, 129, 135, Slade, Arthur, 141, 238 for nonfiction, 173
154-155, 174, 179, 195, 200, 212-213, 278, Small group, 67, 174, 284, 290, 295-296, 299 Stratton, Allan, 159
281, 299, 309 Small groups, 68, 289-290, 299 Stress, 65
decline in, 18-19 SMART, 157, 202, 209 Strikes, 201, 206
in the United States, 18, 22, 179, 212 smiles, 157 Stringer, Lauren, 72
urban, 8, 212 Social action, 217 Strom, Yale, 233
vouchers for, 18 Social interaction, 282, 289 Structure, 16, 26, 69, 133, 136, 194-195, 214, 299
Schusterman, Neal, 147-148, 151, 158 Social issues, 69, 215 Struggling readers, 21, 284-285, 289, 291
Schwa, 148, 158 Social problems, 215 Student achievement, 18, 30
Science, 7, 9, 12, 19, 24, 74, 130-132, 134, 136-137, Social responsibility, 307 individual differences, 30
142, 178, 182, 190, 194, 198-209, 214, 290, Social studies, 4, 7, 167-168, 173-174, 209, 214, 218, Students, 3, 5-10, 12-14, 16-29, 52, 57-58, 65-69, 119,
297-298, 308-309, 312 290, 297-298, 308-309, 312 129, 133-136, 148, 151-153, 156, 167, 171,
new, 12, 19, 74, 130, 132, 137, 142, 178, 182, 190, Social values, 172 173-174, 180, 186, 195-196, 199, 201-203,
199-200, 202-203, 205-207, 209, 298, Socioeconomic backgrounds, 212 212-215, 217-218, 220, 231, 278-285,
308-309, 312 Socioeconomic status, 21 287-293, 295-299, 301, 308-309
Science and social studies, 298, 312 Sociology, 172 differences between, 24
Science curriculum, 214, 312 Socrates, 181 reluctant, 22, 29, 308
Science fiction, 12, 24, 130-132, 134, 136-137, 142, Software, 288, 312 Students at risk, 12, 14
297 Solutions, 194 Studies, 4-9, 20, 23-24, 58, 167-168, 173-174,
Science trade books, 199, 309 Soman, David, 232 195-196, 202, 209, 214, 217-218, 290,
Sciences, 6, 13, 199, 202 Songs, 52-53, 60, 71, 122, 140, 174, 189-190, 206, 297-299, 308-309, 312
Scientific knowledge, 179 284, 311 D, 173, 209, 308
Scientific research, 5, 29 Sonnets, 74, 157 G, 195, 202, 298, 309
Scientists, 190, 198, 208-209, 214, 312 Sorting, 299 Style, 3, 10, 27, 68, 112-114, 128, 130, 133, 148, 168,
Scoliosis, 151 Soto, Gary, 59, 74, 223-225, 234, 289 195-196, 198-200, 225, 282, 297
Scope, 213, 311 Sound, 7, 16-17, 54-55, 58, 66, 113, 284-285, 288 Suggestions, 22, 66, 68-69, 213, 281, 307-309
Scores, 6, 17-19, 21-22, 195 Sounds, 5, 16, 52, 54-56, 60, 65 Sunburst, 304
Scoring, 18 Space, 72-73, 131, 137, 142, 179, 194, 199, 202, 208, Support, 5-6, 9, 13, 17, 53, 57, 199, 201, 203,
Script, 150, 285-287, 289, 301 239, 293, 295-296, 298, 303 215-216, 228, 279, 283-284, 288-290, 293
Search, 136, 160, 176, 190, 205, 208, 213-214, 219, space exploration, 179, 199 Supporting, 195, 213
227 Speaking, 6, 66, 228, 284, 311 Survey:, 232
Searches, 297 Special education, 18, 151 Surveys, 6, 19, 58, 148
Seattle, 153, 162 Special education students, 18, 151 Survival stories, 12, 155
Secondary characters, 166, 172, 220 Special needs, 148, 207 Sustained silent reading, 20, 29-30, 281
Section, 3, 5-6, 10, 21, 28-29, 57, 65-66, 68, 75, 113, Speech, 70, 113, 167, 173, 218 Sustained Silent Reading (SSR), 281
117, 128-129, 133-134, 137, 143, 146, 153, speed, 5, 54, 56, 133 Sutcliff, Rosemary, 121, 169, 181
155, 163, 166-167, 170-171, 173, 175, 192, Spellbound, 152, 159 Swartz, Leslie, 124
195, 198-199, 210, 220, 225-227, 241, 279, Spelling, 5, 228 Sweden, 228-229, 239-240
284, 288-289, 293, 299 Sperm, 204 Swift, Jonathan, 129, 131, 229
Seidler, Tor, 139 Spillebeen, Geert, 188 Switch, 296
Self, 5, 21, 69, 128, 136, 150-151, 155, 190, 196, 217, Spinelli, Jerry, 153, 157-158, 161, 163, 188, 215, 291 Syllables, 54, 63
220, 281, 301, 309 Spirituality, 28 Symbolism, 12, 26-27, 115, 295
constructing, 301 Sports, 24, 152, 160, 175, 198, 223, 312 Symbols, 118, 294-295
self-esteem, 151, 217, 220 Spowart, Robin, 71 System, 24, 27-28, 178, 200, 205, 207, 212, 220, 284
Selling, 131-132, 134, 168, 230, 282 Spreads, 55 Systems, 17-18, 137, 177, 215, 293
senses, 52, 56, 204 Springer, Nancy, 160
Sensitivity, 153, 307 Spudvilas, Anne, 239 T
Sentences, 26-28, 283 Sputnik, 179, 199 Taback, Simms, 10, 124
Separation, 151, 179 Sputnik I, 179 Tables, 6, 25, 113, 195, 197-198, 297, 299
September 11, 231 Spyri, Johanna, 149, 229 Take from the, 15
Sequence, 61, 120, 194, 281, 284 Stability, 177 Tal, Eve, 176, 185
in informational books, 194 Staff, 224, 281 Talking, 25, 74, 117, 119, 123-124, 201, 208, 278, 282,
Setting, 71, 75, 115, 117, 128-129, 132, 136-137, 152, Staffing, 232 293, 295-296
167, 169, 180, 281-282, 288, 293, 300-301 Stages, 285 Tan, Shaun, 135, 140, 215, 230, 239
Sex, 147, 149, 151, 155, 185, 200, 203-204 Standards, 128, 154 Tasks, 26
Sex education, 200 Stanley, Diane, 129, 132, 139, 175, 182-183 Taylor, Mildred D., 185
Sexual orientation, 155, 200 State and local, 18 Taylor, Theodore, 162
Shadow, 181, 188, 201 States, 2, 5, 8, 18-19, 22, 29-30, 57, 60-61, 72, 112, Teacher, 8, 10, 12-14, 16-18, 20-21, 24, 27-30, 58, 65,
Shapes, 64 121-124, 128, 130-131, 148-149, 153, 166, 68, 70, 126, 137, 143, 152, 163, 174, 184,
Shared reading, 17, 278, 284 168, 177-179, 188, 194-195, 212, 216-217, 192, 203, 210, 232, 241, 278-279, 282-285,
Sharing, 6-7, 23, 25, 52, 57, 68, 70, 118, 173, 180, 219-229, 231-232, 236, 280, 283, 294, 308 287-288, 290, 294, 299, 301, 308-309,
281, 284, 289, 291-292, 294-295 Statistics, 21-22, 24, 30, 198, 212, 222, 231, 312 311-312
Sharratt, Nick, 239 Stauffacher, Sue, 158 teacher read-aloud, 17, 287
Shepard, 70, 139, 285, 303 Steig, William, 143 Teacher training, 17
Short stories, 119, 162, 178, 279, 285, 311 Steinhardt, Bernice, 189 Teachers, 2-3, 5, 7, 9, 12-13, 16-28, 52-53, 57-59, 61,
Shub, Elizabeth, 124 Stepfamilies, 202 65-66, 68-70, 118-119, 129, 152-154, 156,
Shulevitz, Uri, 182, 300 Stepmothers, 113 174, 194, 196, 199-202, 212-214, 219,

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 222-223, 231, 278-285, 288, 290, 292-293, for women, 179 Werlin, Nancy, 153, 157, 160
297-299, 301, 308-309 Trend, 17, 19-20, 22, 61, 150-151, 169, 172, 199 Whelan, Gloria, 159, 175, 185, 188
caring, 154, 202 Trends in research, 6 White, Ruth, 168, 190
educators, 18, 174 Trivizas, Eugene, 286 Whitman, Ruth, 145
experience of, 288 Trueman, Terry, 159 Whitman, Walt, 186
head, 2, 297 Truth, 1, 74, 118, 159, 180, 187, 205, 222, 230, 238, Whole, 25, 69, 71, 146, 150, 176, 186, 197, 202, 208,
substitute, 12 301 280, 284, 290, 299
Teaching, 5-7, 9, 13, 16-18, 22, 30, 56, 69-70, 147, Turns, 53, 67, 152, 159 Whole-class discussion, 290
212-213, 231, 279, 284, 287, 298-299, Twain, Mark, 148-149, 171, 186 Wick, Walter, 205
303-304, 308-309 Twice Told: Original Stories Inspired by Original Wide reading, 13, 278
Teaching Children to Read, 5-6, 13, 30 Artwork, 157 Widener, Terry, 185, 188
Teaching strategies, 5, 213, 284 Wild, Margaret, 161, 228, 230, 239, 291-292
Techniques, 10, 69, 202, 282, 308 U Willard, Nancy, 61, 74-75
Technology, 178, 199, 312 Uchida, Yoshiko, 169, 188, 233, 292, 298 Williams, Garth, 139
Tejima, 125 Understanding, 2, 11, 16, 151, 154, 172-173, 175, 194, Williams, Margery, 130
Television, 3, 20, 24, 168, 282-283, 296, 312 197, 202, 206, 212, 214, 217, 230-231, 279, Williams, Vera B., 157
Tennessee, 189 281, 284, 289-290, 298 Williams-Garcia, Rita, 159
Tercets, 62-63 Undocumented immigrants, 215 Wilsdorf, Anne, 158
Test, 6, 17-18, 21-22, 28, 195, 311-312 Ungerer, Tomi, 298 Wilson, Charles, 205
Test preparation, 312 Uniqueness, 230 Wimmer, Mike, 186, 298
Test scores, 6, 17-18, 21-22, 195 United States, 2, 8, 18, 22, 30, 57, 60-61, 72, 112, Windling, Terri, 138
testing, 17, 28, 155 121-124, 130-131, 148-149, 153, 168, Winfrey, Oprah, 20
Tests, 7, 18, 21, 28 178-179, 188, 195, 212, 216-217, 219-229, Wisdom, 4, 125
select, 21 231-232, 236, 280, 283, 308 Wisniewski, David, 125
Texas, 189 Units, 65, 176-177, 279, 297-298 Wittlinger, Ellen, 161
Text, 2, 5, 10-11, 16, 21, 26-28, 56, 63-64, 113, 120, University of Wisconsin, 231 Wizards, 129, 137
167, 174, 195-199, 203, 214, 218, 227, 231, Untermeyer, Louis, 193 Women, 72-73, 122, 124, 148-149, 170-172, 179,
236, 280, 284-285, 288-290, 292-296, Updike, John, 74 185-187, 190
298-299, 301, 304 U.S. Department of Education, 5, 29, 203, 212, 232 Wonder tales, 117
expository, 195, 298 Utomo, Gabhor, 187, 189 Wood, Don, 162
readability of, 28 Woodman, Nancy, 205
Text sets, 174, 214, 290, 292, 295, 298, 301 Woodson, Jacqueline, 61, 153, 159, 161, 176, 185,
Text structure, 195, 299 V 188, 215, 223-224, 233, 300
Textbooks, 2, 195, 212, 215, 217-218, 297-298 Valentine, 160 Word choice, 27, 68, 195
The Parent, 284 Values, 3, 112, 147, 154, 156, 166, 172, 214, 218, word problems, 312
The Republic, 75, 229 295, 307 Wordplay, 59-60
The Song of Roland, 115 Vathanaprida, Supaporn, 236 Words, 5, 11, 16, 21, 26-27, 52, 54-55, 64-68, 70, 73,
Theater, 307 Vecchione, Patrice, 74 117, 132, 172, 186-187, 191-192, 203, 219,
Theatre, 17, 282, 285-287, 289, 301, 307, 311 Veciana-Suarez, Ana, 176, 190, 234 225, 232, 234, 281, 284, 288, 295, 299
Thematic poetry books, 71 Venn diagrams, 295 Work, 2-3, 20, 24, 26-28, 54, 60, 68, 70, 126, 130,
Theme, 57, 67, 70, 131, 135, 147, 149, 167, 171, 174, Vermont, 182, 184-185, 187 134-135, 137, 143, 147, 152, 163, 167, 169,
180, 195, 215, 223, 282-283, 287, 290, Verne, Jules, 130-131 172, 174, 183, 185, 187, 192, 194-195, 200,
293-295, 301, 312 Verse, 52-53, 58-61, 63-64, 74, 115-116, 153, 202, 206, 208, 210, 212, 214-215, 217, 219,
theories, 17, 114, 197, 308 157-159, 161, 169, 176, 183-184, 186-189, 222, 225-226, 230, 241, 277, 285, 287-288,
Theory, 113-114, 197, 303-304 208 290, 296-297, 299, 303-304
Think, 3, 56, 66, 68-69, 156, 213-214, 227-228, Vicarious experiences, 28 Worksheets, 293, 299
279-280, 283, 289-290, 293, 295 Video, 3, 19, 21, 24, 68, 120, 126, 143, 155, 163, 171, Wormell, Christopher, 125
Thinking, 22-23, 28, 69, 112, 118, 132, 197, 230, 192, 209-210, 241, 282, 287-288, 299, 308 Worth, Valerie, 57, 74
289-290, 292-295, 297, 312 Video games, 19, 287 Writers, 6, 57, 65, 69-70, 134, 148, 208, 307, 311
Thomas, 74, 124, 140, 170, 186, 206, 222, 233, 307 Videos, 125-126, 142-143, 163, 191-192, 209-210, Writing, 3, 6-7, 9, 13, 16-17, 25, 27, 29, 57, 68-70, 72,
Thompson, 142, 204, 239 240-241, 282, 288 118, 120, 148, 150, 152, 170, 180, 187, 194,
Thompson, Carol, 204 Videotapes, 67 196, 198-199, 206, 208, 219-220, 222, 228,
Thompson, Kate, 142, 239 Vietnamese, 223, 236-237 278, 285, 291-293, 295-297, 299-301, 307,
Threats, 135 Vietnamese Americans, 223 311
Thrust, 61 Vignettes, 301 about literature, 299
Time, 2, 4, 7-8, 11, 16, 18, 20, 24-25, 29, 51, 65-66, violence, 113, 217, 231 artistic, 3
68, 112, 115, 120, 129-131, 133, 136-137, Virtue, 172 form of, 69, 150, 222, 299
142-143, 146-147, 150-151, 153, 158, Vision, 186, 224, 234 genres, 25, 199, 219, 299, 301, 307
166-167, 172, 174, 177-178, 180, 183, 195, Vivas, Julie, 237-239 kid, 300
212, 217-218, 226, 237, 279-285, 290-292, Vocabulary, 5-6, 11, 17, 26-29, 113, 195, 279, 299, 311 responses to literature, 293
295, 301, 303, 307-308, 311 ideas and, 299 right, 16, 222
to think, 68, 279 Vocabulary Development, 11 sequels, 180
units, 65, 177, 279 Vocabulary instruction, 5 talking and, 25
Time-warp fantasy, 136 Voice, 66, 182, 190, 215, 284-285 Writing development, 9
Title, 23, 65, 119, 206, 225, 280, 285, 293-294, 301, Voicing, 70 Writing folders, 25
307-308 Volume, 125, 236 Writing skills, 9, 311
Tolan, Stephanie S., 157 Volunteerism, 19 Written language, 112
Tomes, Margot, 192 Vouchers, 18 Wynne-Jones, Tim, 230, 239
Tone, 113, 115, 136, 195, 199 Vowel sounds, 54 Wyss, Johann, 148-149
Tools, 118, 120, 174
Topics, 2, 6-7, 9-10, 12-13, 22, 25-26, 29, 52-53, 61, W Y
64, 69, 120, 131, 135, 137, 147, 150, 152, Waldman, Neil, 125 Yaccarino, Dan, 73
156, 172, 180, 198-200, 203, 222-223, 231, Walls, 213, 300, 303 Yates, Elizabeth, 220
278-279, 283, 301, 311 wants, 171 Yep, Laurence, 176, 185, 233
Tornadoes, 205 Ward, John, 74 Yin, 124, 185
touch, 56, 72, 127 Warmth, 74 Yolen, Jane, 53, 71, 125, 142, 182, 191
Touching, 162 Washington, 13, 29-30, 171-172, 182-183, 189, 203, Young adult literature, 227
Toys, 3, 132-134, 137, 139, 174, 193, 202, 282 206, 214, 232 Young children, 5, 23, 52-53, 65, 70, 113, 117, 133,
trade books, 2-3, 7, 9, 13, 23, 150, 167, 199, 203, 218, Washington, George, 171-172, 183, 189, 206, 214 170, 200, 278, 282, 289-290, 294-295
297, 308-309 Watson, 176, 187, 208 Yumoto, Kazumi, 216, 228, 240
Traditional fantasy, 116, 128, 137 Wattenberg, 125
Traditional literature, 111-126, 128, 214, 219, 224-226 Watts, James, 73
Training, 17, 188 Waugh, Sylvia, 137, 142, 239 Z
Traits, 52, 151, 154, 156 Wealth, 118 Zeldis, Malcah, 191
Transformation, 189 Websites, 22, 68, 119-120, 126, 143, 163, 192, 210, Zelinsky, Paul O., 125
Translation, 219, 227-228 218, 241, 287-288 Zemach, Margot, 124-125
Travel, 131, 137, 160, 183, 211 Weissberger, Ela, 189 Zero, 230, 239
Travers, Pamela, 130 Well-being, 301 Zusak, Markus, 188
Treatment, 146, 149, 151, 179, 188, 197, 202, 220 Wells, Rosemary, 11, 71, 176, 185, 188 Zwerger, Lisbeth, 119, 122, 125

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