AUTHOR STUDY II
In my last blog entry,
I discussed the topic of nonfiction author studies. I’d like to expand on the idea by using the
books of one of the best nonfiction writers for young adults, Jim Murphy. As with studies of fiction authors, a class could
focus together on one book; students could break into small groups that each
focus on a book; or each student could choose a book, meaning that some books
would be studied by more than one student.
Here are ways to approach some of Murphy’s titles:
Read-aloud
Murphy’s 2012 The Giant and How He Humbugged America, which is
112 pages but heavily illustrated, could be read aloud to the whole class.
Murphy tells the story of a hoax involving a 10-foot seemingly petrified giant
in 1869 upstate New York. Possible topics
for group discussion, drawn from the text, include why people were so gullible;
the role of the media; and the lack of expertise at the time. Be sure to read the author’s note in which Murphy
describes how he came to the topic.
Compare with another book Have students read and compare Murphy’s The
Real Benedict Arnold to Steve Sheinkin’s The Notorious Benedict Arnold:
A True Story of Adventure, Heroism, and Bravery, an exercise which meets Common
Core ELA anchor standard 9 to analyze two texts on the same topic in order to
build knowledge and compare approaches.
Visual elements Murphy’s skillful use of visual
elements lends itself to analysis, aligned to anchor standard 7 that looks at
how different media including illustrations, diagrams, and the like convey
information. In The Great Fire, Murphy uses the same map several times with indications
of when and where the fire spread. Have
students consider how effective the maps are compared to descriptions of the
same information. In Inside the Alamo, some of the paintings
and other illustrations reproduced in the book were created years after the
historic event and glorified it.
Captions highlight inaccuracies in the depictions. Have students consider how this compares to
altering photographs today and the implications for our understanding of history.
Fiction
tie-ins Pair a well-written novel set in a time and
place covered by a Murphy nonfiction book.
Pair A Young Patriot: The American Revolution as Experienced by One
Boy in which a young revolutionary soldier spends time at Valley Forge with
Forge by Laurie Halse Anderson, in
which the protagonist is also at Valley Forge.
Another Anderson’s Fever 1793
is set in the time and place of Murphy’s An
American Plague, so they work well together. Pair Murphy’s new Invincible
Microbe: Tuberculosis and the Never-Ending Search for a Cure with Queen of Hearts by Martha Brooks, in
which a teenage girl comes of age in a TB sanitorium in the early 1940s.
I'm a big fan of Jim Murphy's books, and I appreciate all of your suggestions. One thing I'd like to add is having students look at Murphy's word choice. Many of his descriptions appeal to several of the senses. This makes history much more understandable than simply relying on the sense of sight. An analysis of selected passages in THE GREAT FIRE or BLIZZARD! would bring this idea into focus. And, of course it would correspond to CCSS standards about craft of writing.
ReplyDeleteI would add that Murphy's Blizzard has one of the best dedications, in my opinion - of course it might have something to do with where I live:)
ReplyDeleteI wanted to thank Kathleen for this post and for everyone's kind comments. What I am finding intriguing about the on-going discussion about the changes to CCSS and the world of children's nonfiction is how many newer writers are focused so intensely on (for lack of a better phrase) what seem to be the new "rules" about writing such books for kids. (Yes, I used the word 'about' three times in the same sentence!) I've been to a number of writer's conferences over the past few months where the CCSS standards are discussed and interpreted at length, with much note taking. Nothing wrong with this, though I worry that a new crop of books will be written to those rules (which might end up producing texts that are as stiff and predictable as most textbooks). I try to tell people that the books I write are a result of a long term writing evolution rather than a revolution, that it's about loving the topic, characters and themes and letting the resulting emotions direct the path of writing.
ReplyDelete