Showing posts with label Middle School. Show all posts
Showing posts with label Middle School. Show all posts

Saturday, September 24, 2011

A Teacher and a Former Teacher: An Exchange on The Hunger Games


This is a first on TeachYALit.com. Rather than a typical review of a book or series, I invited a teacher friend of mine to engage in an email exchange to post on the site. As this also was our forum for catching up on a more personal level, the emails have been edited for relevance. Laurie's emails are in green text, while mine are in blue. 


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Dave, 

I'd love to have the e-mail exchange on the teachyalit website.

FYI--I read the trilogy first two back to back and then waited for the third one. and read it early last fall.  I also listened to two of them in audio format before reading them, so the voice on the cd also influenced how I viewed the characters.  

I was intrigued by the premise and setting of the first book and fascinated by the secondary characters more so than the main character, Katniss.  I was never able to see her in the way that Peeta and Gale saw her.  I am not sure if that is because of the point of view, and Katniss has such low self-esteem that her character was suppressed or if I needed a little more back story and exposition to be able to see her more clearly.  One of my issues with all of the books was not being able to identify with her as much as I probably should have given she is the main character and the story unfolds through her eyes.
Laurie

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Laurie,

I completely agree about Katniss. I didn't really think she was believable as a beacon of hope (or as the type of girl for whom boys would be willing to die). It was interesting, though, that Peeta and Gale really seemed to be the only two who really loved Katniss. She seemed to grate on everyone else's nerves, perhaps with the exception of Cinna--but that was a different sort of relationship altogether. There's no doubt that Katniss was tough, but she relied heavily on help from others to survive. That, in and of itself, could be a good lesson for adolescent readers, but I can't help that feel that for a heroine, Katniss was much more pawn than queen. 

The weirdest part of all for me was that, even though I didn't really connect with Katniss or buy her as the savior of Panem, I was pretty enthralled by the books. I found them hard to put down, but I can't quite figure out why. Your thoughts on that?

Until soon,
Dave

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Dave,

I also got absorbed in the fast placed plot and the dystopian world of the stories, even though I did not like Katniss at all.  She did so many of the things that make me crazy for female characters to do, such as lead men on, play the game, pretend to be something she was not, feign affection/love, pout to get her way.  I did keep wondering throughout the book if the author was trying to talk about how real all of those characteristics still are, especially in adolescent girls who are "learning" the role of woman, or if she just couldn't write a story with a stronger female character in light of the success of books like the Twilight series (another weak female role model).  With listening to the audio version, I can't get the sound out of my head of the reader calling out "Peeta."  It had such a pathetic quality to it as opposed to grief.  And that definitely colored my perception of Katniss even more.  When I listen to audio books, I often do the theatre school/ acting training thing and think how would I do it differently, and as I pondered that, I really did begin to wonder what the reader was intended to make of Katniss.  Did the reader of the audio file "read" her right?  And if so, the intent was for Katniss to be a fairly pathetic girl thrust into the spotlight and trying to make the best of it, what does that say about the two other female characters, the mother, who does seem to have much more on the ball as a healer, but also lacks in character at important times, and the sister, who to me is the real feminine hero, combining the best of the mother and of Katniss.  And more importantly, what does it say about the two male characters both of whom want to take care of Katniss, and both of whom do not trust her to make decisions for herself or for the greater good if given all of the facts.  One of my favorite scenes is when Katniss and the young girl in the trees become allies and how Katniss reacts to her death.  This is a moment where Katniss shines as a good role model, but she does not maintain that quality.  And I never got a good answer as to why no one trusts Katniss to see the larger picture, especially after this scene.  Why Peeta is so in love with Katniss and has been since he took a beating to give her bread is also never fully fleshed out-- the only reason we are given is that she is beautiful, another superficial quality.  She is a complex character, but not necessarily in the good way.  I totally agree that she is much more pawn than queen, and I wonder if that was the author's intent and if she is has something larger to say or was trying to say something larger.  I would like to be convinced of that, but I just don't have enough evidence.  If I were editing this story or commenting on it, I would have to say that all of the main characters were uneven.

Fantasy and science-fiction are always commentary on our own world, and for as much as I was drawn into this book, I also felt completely gipped by the end, and cheapened somehow.  

I was fascinated by the setting though and thought that was where the power of the story lay.  Having a society that so dishonors children as to watch them fight to the death as entertainment was a powerful commentary on greed. It seems to have some roots in sweatshops and outsourced Western work to third world countries where child labor, daily poverty and starvation, and polluting of the environment are daily occurrences.  I do wonder what we as Americans would do, if our reality television relied on workers in those factories.  

I do want to explore the relationship with Cinna and the other adults, and also with family members.  

One thing, is that most of the students whom I talk with about this book also feel very let down at the end of the series.

I am loving these conversations.  We need to choose another YA book or series and read it so we can discuss it.  

Laurie

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Hey, Laurie,


You make a great point about the unevenness of the main characters. (And I think "uneven" is the perfect word, as I wouldn't settle on calling them particularly static or rounded. 10 points to you for word choice.) I also was frustrated with Katniss's approach to "managing" the men in her life. I was also truly surprised at times by how much her emotions seemed to be driven by sexual contact. For all the desire of Peeta and Gale to take care of her, and for all the non-sexual ways that they showed their affection for her, her emotions seemed to hinge more on whom and how frequently she was kissing than on anything else. 

I agree also that the recklessness with which Panem treated the lives of children was fascinating and powerful, although I admit that I did not make the connection to sweatshops, etc. I thought of it at a little more zoomed-out level, wondering if Collins was making a broad statement about ways in which our society may not be great at protecting its children. And I think the relationship of the adults are a perfect example of that. For me, there wasn't a single grown-up character in the series who really stood out as a proper adult. Katniss's mother was a great nurse, but she wasn't much of a parent; Haymitch was a good coach for the Games, but he was an unreliable alcoholic and was willing to risk his proteges in the interest of bringing down Panem. I thought Cinna came the closest to being a proper adult--in some ways, he reminded me of a good teacher: he developed a strong relationship with Katniss, he listened to her problems, he struck a good balance between giving her solutions and planting them inside her to discover on her own--but even he was a bit too passive and not wholly honest. Maybe he can't be blamed too much, though, being that he was pretty entrenched in the Capital way of life. What did you think about Cinna and the other adults?

Also, I'm curious to hear more about what the students have said to you about the books and their ending.

Talk to you soon,
Dave

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And that's all there is on that for now. Please feel free to add thoughts and comments on The Hunger Games, questions for either Laurie or myself to expand on claims we made, or, indeed, suggestions for another book or series for this kind of exchange. And, of course, if we continue to email about the series, further notes will be posted here.

Note: This won't likely be the end of reviews on this site, but I hope to do more of this kind of thing--it was fun. If you would like to submit an (edited) email exchange on a book or series, please email info@teachyalit.com to discuss the particulars. (This is all voluntary, so there's no money in it, but you'll surely get credit as a contributor to the site and we'll happily link to your own personal blog or website.)


Friday, June 10, 2011

A Villain You'll Love to Hate (Review of FIRST FLIGHT | Sean Hayden & Connor Hayden)



TITLE: First Flight (The Magnificent Steam Carnival of Professor Pelusian Minus)
AUTHOR: Sean Hayden and Connor Hayden
PUBLISHER: Echelon Press
DATE OF PUBLICATION: 2011
PAGES: 141 KB (e-book only)
GRADE LEVEL(S): 4-6
RELEVANT CURRICULA: English Language Arts
CLASSROOM USES: Summer/Independent reading, Literature Circles, Read-Aloud

NB: This is the first book in a 6-book series. At time of writing, 2 of the 6 books are available to the public. [UPDATE: The third book is now available.]

Professor Pelusian Minus is more slave driver than carnival proprietor. He loves money and meanness, and not much else. As a reader, I loved to hate him. Minus's actions all contain some amount of venom. He doesn't get up from chairs; he slams them against walls. He calls his minions--er, employees--idiots and morons, and he terrorizes and denigrates the best performers in his carnival.

Minus is a car-wreck of a character: you can hardly stand to look at him, but at the same time, you won't want to miss a single one of his evil words or deeds.

Conversely, brother Dade and sister Paige are just the kind of heroes for whom any reader will want to root. They are kind and protective toward one another, while at the same time sly operators against Professor Minus. On top of that, they're blessed with considerable ingenuity. The irony, of course, is that their inventors' spirits are not only their only hope for escaping Minus's carnival, but also the carnival's only hope of making minus rich. As such, he'll do all in his power to keep them there.

First Flight, well, flies. The story is fast-paced, and the pages are few. It's the perfect book to use for a read-aloud in the last few minutes of class, or to give to a reluctant reader who is wary of a too-long story. Written by author Sean Hayden and his son, Connor, the language strikes a perfect balance: there's an economy of language that demonstrates Sean Hayden's finely honed craft as a writer, paired perfectly with the kind of exuberance that only a student writing for other students could produce.

I could go on, but suffice it to say, First Flight is well worth both your time and your money. At $0.99, it may even be worth the price of that e-reader you've been eyeing. (Note: you can get the Kindle app for almost any mobile device or personal computer for free.) Once you've read First Flight, I'd recommend saving your allowance and putting another five dollars aside. You'll want to move on to Second Chance right away, and you'll be drooling to get your hands on the last four installments.



FTC Disclosure: This review is based on a copy of the book we received from the authors.

Tuesday, January 25, 2011

Review: LEVIATHAN | Scott Westerfeld




Title: Leviathan
Author: Scott Westerfeld
Illustrator: Keith Thompson
Publisher: Simon Pulse, an imprint of Simon and Schuster
Date of Publication: 2009
Pages: 440
Grade Levels: 6-9
Relevant curricula: English language arts, social studies
Bridge texts: WWI history, other World War literature, texts about Darwin and/or genetic engineering, other steampunk

Aleksandar (Alek) Ferdinand is the prince of Austria-Hungary, on the run after the assassination of his father, a peace-loving archduke, and his mother in Sarajevo. Because Alek’s mother was a commoner, Alek isn’t supposed to inherit anything from his family, especially his grandfather’s throne. Alek’s adversaries aren’t taking any chances and hunt him across Austria. His teacher-protectors have given up everything in order to protect Alek and get him to a secret hideout in Switzerland.
Deryn (a.k.a Dylan) Sharp is a British girl disguising herself as a boy to earn a position as a midshipman on one of his majesty’s airships. She has lost her father in a fiery accident. Deryn earns her spot on an airship, a Leviathan-class ship that gives this novel its name, but worries every day that her crewmates will discover her secret.
Europe is divided and on the brink of war. The year is 1914, but not the 1914 that you know from the history books.
Scott Westerfeld has created a steampunk, alternative WWI history in a world where Darwin discovered DNA (the threads of life) and gene splicing. Europe is divided among Darwinist countries, which employ genetic engineering to create incredible creatures to take place of their machines, and Clanker countries, which reject what they see as godless genetic tinkering in favor of engineering elaborate, diesel-driven machines.
Other elements: a heavy pile of gold bullion, a lady scientist with a mysterious cargo bound for Constantinople, flying jellyfish, talking lizards, walking tanks, a tasmanian tiger, and a lot of clart.
The story is fast-paced and exciting, cutting back and forth between the two main characters until they eventually run into each other on a glacier in Switzerland. The audience is privvy to just enough secrets to make us feel involved in the story, but not so many to ruin the excitement and suspense. I love that we don’t know which adults are trustworthy—if any. And I love the afterword, in which Westerfeld sorts out the real history leading up to WWI from his own inventions.
A great middle-grade to young-adult book and the first in a trilogy, followed by Behemoth, released in October 2010, and Goliath, scheduled for release in the fall of 2011.
FTC disclosure: I received this book in a Twitter contest from Simon & Schuster last summer and I’m passing it on to my ten year old. 

Reviewed by Dani Smith

Saturday, December 11, 2010

Review: THE EDUCATION OF BET | Lauren Baratz-Logsted



TITLE: The Education of Bet
AUTHOR: Lauren Baratz-Logsted 
PUBLISHER: Houghton Mifflin
DATE OF PUBLICATION: 2010
PAGES: 186
GRADE LEVEL(S): 6-7
RELEVANT CURRICULA: English Language Arts, Social Studies
CLASSROOM USES: Class reading, Literature Circles, Independent Reading
BRIDGE TEXTS: Any 19th-century English literature
Life can hardly ever accurately be described as fair, but young Elizabeth Smith—better known as Bet—has most certainly gotten short shrift. Growing up in the 1800s, Bet had the unfortunate lot in life of being a female from a poor family. At the age of four, her parents were killed by typhoid. She was “rescued,” as it were by the great-uncle of another child, Will, whose parents had also died of the illness. This certainly was preferential to an orphanage, but such was Bet’s family’s social stature, that she could not exactly be treated as Will’s equal. Instead she became a sort of servant and attendant to the old man, while her contemporary was sent off to school.
As luck would have it, though, Will neither excelled at nor was very interested in school, and he was routinely being expelled from one of them or another. Will wanted to join the military. Bet wanted to go to school. They were the same age and, despite the obvious gender-related differences, looked strikingly similar. 
Thus Bet hatched her plan to dress herself as a boy, assume Will’s identity, and go to school for him. This way, they would both get what they wanted. Bet would have an education; Will would have freedom; and his great-uncle (not privy to the plan) would be satisfied that his young ward had finally succeeded in school. Nothing could go wrong. 
As people are wont to do, Bet had idealized what getting an education would truly be like, and she finds that school is not the academic haven she had expected.
Some of Bet’s challenges are predictable. She has to look, dress, and act like a boy. More troubling, she realizes, she has to live among boys. Even the best of disguises, however, cannot hide one’s true identity, and Bet has many more obstacles to face in passing herself off as a boy than she first anticipated. Ultimately, she is a young woman, with all the hormones and other trappings incumbent to them. 
The Education of Bet would make a fantastic read for many young girls, and quite possibly for quite a few young boys as well. Her story is intriguing, her character endearing, and the writing flows easily. Students will root for Bet in making her dream of an education come true, and they will root for her in other aspects of life, as well. 
And in the end, no one will be disappointed.



FTC Disclosure: This review is based on a copy of the book we received from the author.

Sunday, November 7, 2010

Review: THE HUNGER GAMES (Book 1 of the trilogy) | Suzanne Collins

AUTHOR: Suzanne Collins
PUBLISHER: Scholastic, Inc.
DATE OF PUBLICATION: 2008
PAGES: 374
GRADE LEVEL(S): 7-8
RELEVANT CURRICULA: English Language Arts
CLASSROOM USES: Class reading, Literature Circles

NB: This review is based on the text of Book 1 of The Hunger Games Trilogy. Later reviews will cover the remainder of the series.

Adolescence is marked by struggling to find the line between right and wrong, between making choices and following directions. Every day of his life, every middle school students feels that his free will has been undermined, that he has suffered some injustice. It is the condition of being an adolescent.

What student hasn’t felt trapped—either at home, at school, or both? What student hasn’t felt that she has been wrongly vilified due to some arbitrary decision made by an authority figure? What student hasn’t attempted to elude the watchful eye of a parent, teacher, or administrator, hasn’t broken some rule in order to achieve something that she knows just has to be done. And what student hasn’t felt, at one time or another, that she has been pitted against her peers for no good reason? 

The Hunger Games attacks all of these adolescent struggles in a fast-paced story that teaches strong lessons, but never feels didactic.

The story is set in an almost post-Apocalyptic version of North America called Panem, in which the main role of government is to suppress any sort of uprising of the micro-communities under its control. Each “District” is self-contained, except for once a year, when one boy and one girl from each locality are sent to the capital for a televised fight to the death. The “tributes,” as they are called, are to serve as reminders of the complete control that the central government has over its citizens.

Katniss Everdeen—the book’s heroine and narrator—has fought to survive for most of her life, but never on the level that she will when she is sent as a tribute in the Hunger Games. She faces the very same issues that every student faces in their own lives—feeling trapped, victimized, forced to break the rules—but on a scale they can only imagine.

Parents have protested the inclusion of the Hunger Games Trilogy as required reading in their children’s school’s curricula, and there are legitimate questions to be raised about the content. The Hunger Games does not portray adults—particularly those in positions of authority—in a favorable light. Events of the book are sometimes violent, and almost always hard to fathom.

Ultimately, however, The Hunger Games provides teachers and parents to broach difficult issues. Moral issues abound in this novel, but even for those who want schools to avoid as much as possible the teaching of moral issues, this book cannot be ignored. Students will relate to Katniss and her plight, and The Hunger Games is a wonderful tool to get students to think about big questions. Keep it out of schools, and—don’t look now, but—you’ll be putting the same kind of restraints against students and teachers as the rule-makers in Panem’s capital city put on their districts.

Monday, October 11, 2010

Re: Teaching Poetry in Middle and High School

Here are a couple of poem-novels I've loved and used in classrooms, probably best for 5th or 6th grade, but also could be all be used creatively with older students in a two- or three-lesson mini-unit.

The poetry is extremely teachable, and the stories are extremely compelling.

Dialog: Poets and Teachers on Teaching Poetry in Middle and High School

Here's a wonderful exchange--beginning with an email from a high school English teacher--on the poet John Gallaher's blog. Questions/discussion topics include:

  • elements of poetry that should be included in middle and high school classrooms; 
  • successful poetry lessons/activities from middle/high school classrooms; and
  •  how to get beyond the need to decode poetry in order for teachers to teach it and students to appreciate it.
It's an important pedagogical issue, and a there is a fascinating discussion about it unfolding in the comments section of the post. To my mind, the most essential elements of poetry to teach in secondary schools are word play and word choice. 
  • Word Play: There are so many poems from so many eras that demonstrate just how much fun the English language can be. From Catullus to Shakespeare to William Carlos Williams to Billy Collins, poetry can teach students to enjoy words in a way that no other use of the English language can.
  • Word Choice: The words in a poem do more work than the words in any other subset of literature. Diction is, of course, critical to all good writing, but the importance that each word carries its weight is especially evident when seen in the context of a poem's structure and rhythm.
A side benefit of focusing on these aspects of poetry is that this kind of approach gives us another way into the poem. Job one does not have to be to decode the poem, but in exploring the way the words work and play together, some meaning is more likely to come organically from it.

For anyone interested in finding lesson plans for poetry for all grade levels and content areas, I highly recommend the Louisiana Poetry Project (for which I periodically contribute lesson plans). As the name suggests, the organization is focused on poets and poetry from Louisiana, but of course the poems are relevant anywhere. There is a poem and at least one lesson plan for every school day of the year, and some of the plans could be adapted to fit other poems as well. It's a great place to start if you want help and ideas for teaching poetry.

And don't forget to check out the exchange on Gallaher's blog, and to share your thoughts both here and there!

HT: Thanks to The Rumpus for publicizing the question.

Thursday, October 7, 2010

Review: WHEN YOU REACH ME | Rebecca Stead




TITLE: When You Reach Me
AUTHOR: Rebecca Stead
PUBLISHER: Wally Lamb Books
DATE OF PUBLICATION: 2009
PAGES: 208
GRADE LEVEL(S): 5-7
RELEVANT CURRICULA: English
CLASSROOM USES: Required reading, Summer/Independent reading, Literature Circles
BRIDGE TEXTS: A Wrinkle In Time


The first time I wrote anything--in fact, the only time I wrote anything--about When You Reach Me, I could hardly think of words to do the book justice. I quoted from commentary from Nancy Pearl on NPR (which was how I first learned about the book), and then wrote:
When You Reach Me is a wonderful descendant of Madeline L'Engle's A Wrinkle In Time; it never once even comes close to imitation, or cheap knock-offery.  No, it's the classiest of descendants--it's an evolution.
One of the most beautiful aspects of fantasy is how completely it takes the reader from her/his own world into that of the novel. What better way for students to learn first-hand of the magic of literature than by being transported to the planet Uriel? Or to Narnia? Or Middle-earth? Or Oz?


But Stead's novel takes place in New York City. (No doubt, NYC can be magical and unreal, but it's no outer space...) Miranda, Stead's protagonist, is a relatively normal girl, living in a relatively normal world, with the everyday drama that inhabits the world of every 11 year-old. 


The fantastical elements of When You Reach Me are subtler than magic or space travel. Stead's fantasy world is more mysterious than magical, as Miranda receives unexplained notes about events yet-to-happen in her life. Miranda is understandably skeptical; this could as easily be a prank as it is magic, and neither Miranda nor the reader has to take a huge leap of faith to feel that life is carrying on more or less as usual.


This fantasy-based-in-realism approach is sheer brilliance. By staying firmly rooted in real-world places and problems, Stead's novel will appeal to students who may already possess a bit of world-weary reluctance to get fully sucked into a novel. Any reader unwilling to blast into outer space will slowly but surely get sucked in by the bully on the block or the struggles of growing up with a single parent. But magic will just seep in, slowly but surely--and before long, When You Reach Me will make readers out of kids today in the same way that A Wrinkle In Time made readers of them in 1962.