Last week identical responses in
all three classes I teach made me pause. In each class—two
undergraduate classes in social studies methods and one graduate class in
children’s literature—a student asked me, “Are you going to collect this?” This
was in response to my suggestion that they try changing a written text
(provided by me) to a graphic (i.e., table, graph, chart, timeline, flowchart,
cross section, labeled surface diagram) to see how the material changed. What new
discoveries would they make? What information would they emphasize? What
information would they delete? This is not my original idea, but I think it’s a
good one. I learned it by reading Steve Moline’s I See What You Mean: Visual Literacy K-8, an excellent resource for
teaching graphical literacy.
My
frustration is that the students were going to try this if—and only if—I was going to collect and grade
it. Otherwise, they would smile,
play with their pencils, and humor me only as much as needed. I get this. My
students are tired; it’s May. But there is something important lurking here.
That is, I am simply not doing enough to make them want to engage in the
experience. And I suspect I am not alone with this problem.
In
our emphasis on finding information, on testing, on meeting standards, we may
be forgetting that we should be nurturing readers and thinkers—people who
choose to read for pleasure and knowledge. That is why I have begun to rethink
the constant push for skills, strategies, and standards in order to also
include feelings. Years ago, I wrote
about a “facts and feelings” approach to reading nonfiction that I used with
fourth graders. It was hugely successful. Now I want to bring it back. Remember
the I-Search paper developed by Ken Macrorie? He emphasized students’ inquiry
experiences—what they did to answer their own questions. Recently, there has
been revived interest in the I-Search paper for the simple reason that it
celebrates what students do to satisfy their curiosity. It gives them authority
to pursue learning, or in modern education-speak, “agency.”
Let’s
think about putting the “I” back into reading nonfiction. One simple way is to
adapt the idea of the I-Search to develop the idea of I-Read. To put this into practice I began reading Chasing Cheetahs by Sy Montgomery with
photographs by Nic Bishop to open myself up to thinking about my likes and
dislikes while reading. Granted, I was predisposed to like this book. Why?
Because I have read other books by this author-illustrator team and liked them
all. I also like the whole “Scientists in the Field” series. Nevertheless, I
began.
Here
are three things I noticed from the start that drew me into Chasing Cheetahs:
·
The opening illustrations and map swooped me
immediately into the setting. First, I found two full-page color
photographs of a cheetah. Second, there was a map showing Namibia (the setting)
on a world map and in a close up of just Namibia and its neighbors. Third, the
Table of Contents had a double-page panorama of the setting. There was no
guessing as to where this was happening. I enjoyed this visual experience.
·
The written text begins with enticing
details, not a big concept. The author tells us what she and Nic Bishop saw
after leaving the city—straw nests of weaver birds that look like Christmas
ornaments and road signs showing warthogs and crocodiles. The most startling
site is a women dressed in black, with a cheetah on a leash. She is followed by
two other human-cheetah pairs. People—human beings I can relate to emerge on
page one. I enjoy reading about people.
·
The page format is varied. Pictures are placed differently on each
double page spread. There are inserts between many of the chapters providing
additional information. Between chapters 1 and 2 there is an insert entitled
“Fast Facts on the Fastest Cats.” I think a varied format is appealing.
Of course there is a great deal
more to this book, but you get the idea. I truly believe we need to focus not
only on the information in the book, but our experiences as nonfiction readers.
Why not ask your students to spend some time reading and responding to nonfiction
the way that I did. What nonfiction features do they notice? What do they think
about these features? See if they ask you if you’re are going to collect their
work.
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