THE DOROTHY CANFIELD FISHER AWARD BOOKLET 1999-2000:

*Copyright notice* These materials may be copied for classroom and library use. Please give credit to the source. To order extra copies, please use the order form on the last page of this booklet, or (if it's lost) send $5.00 (check made out to Vermont Department of Education) to Leda Schubert, Vermont Department of Education, 120 State St. Montpelier, Vt. 05620. This will cover copying, shipping, and handling. Guidelines and materials
Developed by the 1999-2000 DCF committee with the help of past members Sandra Roy and Sue B. Wade.
	1999-2000 DCF Committee:
Thom McAllister, Chair Moretown Elementary School Moretown, VT Frank Green Lyndon State College Lyndonville, VT Linda Morrow		Joanna Rudge Long South Pomfret, VT Sally Margolis Barton Public Library Barton, VT Wistar Rawls Bristol, VT	Consultant to the DCF Award Committee Grace W. Greene Vermont Department of Libraries Montpelier, VT ggreene@dol.state.vt.us Liaison from the Vermont Department of Education Leda Schubert School Library Media Consultant Montpelier, VT lschubert@doe.state.vt.us

Table of contents

Introduction……………………………………………………………..4

The Dorothy Canfield Fisher Children's Book Award..………………......5

Master list/annotations………………………………………………..…6

How the books are chosen……………………………………………..10

Intellectual freedom……………………………………………….……10

Support materials………………………………………………………11

DCF calendar…………………………………………………… …..12

Public library/school cooperation…………………………………..…...14

Conversations about books……………………………………….……15

Suggestions for student book discussions…………………………....….15

Parent-child book groups………………………………………….…...16

General questions for book discussions……………………………....…16

How one teacher made it work…………………………………..……..18

Another story………………………………………………….....…….19

Booktalks………………………………………………………..….....19

Themes and topics………………………………………………...……21

Against all odds………………………………………………….....…..22

Coming of age…………………………………………………...…......24

Dysfunctional adults……………………….…………….……….……..26

Home……………………………………………………..……..……..28

Humor………………………………………………………….………30

Journeys……………………………………………………….……….32

Life stories…………………………………………………..………….35

Loss……………………………………………………………………37

Myth and legend………………………………………..………………39

Only connect…………………………………………..………………..42

Other times and other places…………………………...………………..44

Stories about stories…………………………………..………………...47

A stranger comes to town…………………………..…………………...49

Unconventional narratives…………………………...…………………..51

Who am I?……………………………………….……………………..53

Press release template………………………….…………....…………..55

Assessment…………………………………..……………...…………..56

Professional bibliography…………………...……………………………57

Web support…………………………….……………...……………….58

Publishing information……………………………………....………….…60

Research……………………………….……………………....………...62

Evaluation form………………………...………………………….……...65

Order form…………………………………………………..…………...68

Introduction

Purpose

The purpose of the DCF award is to "encourage Vermont children to become enthusiastic and discriminating readers." We have developed this booklet to encourage reading and discussion. We are not focusing on the teaching of reading or reading strategies, but on the books and conversation about books. We've chosen to provide two entry points for talking about books with kids:

1. We have grouped the books on this year's list according to topics and themes, and provided some discussion questions to encourage comparison, synthesis, conversation, etc. We have listed companion titles for each of the themes using books on previous DCF lists, classic titles, or personal favorites.

2. We have developed general questions about reading to use with individual titles or several titles at once.

Reading the DCF books

We strongly encourage you to read as many of the titles as you can, since students respond more strongly if they know you've read the books; it serves as a good model for students, and it will improve your own life.

Vermont's Framework of Standards

Besides the many ways in which reading for its own sake improves the quality of life and makes better readers, it also helps Vermont students reach standards. Available at the DCF web site is "Elements of a Standards-Based Unit Using the DCF Books." This unit was developed specifically for the 'Teachers Who Write' annual conference, so it emphasizes writing. Feel free to modify any or all of the elements, but also feel free to use this unit to help frame some of your work with DCF titles. School librarians received this unit in Leda Schubert's newsletter in September, 1997.

Ordering the books

It's a good idea to get multiple copies whenever possible. Jobbers are likely to give the best discounts; for info see the Department of Libraries TSU website:

http://dol.state.vt.us/WWW_ROOT/000000/HTML/LLHOME.HTML

However, local independent bookstores deserve your support as well.

Above all, the DCF committee believes in the power of books to change lives. We hope this booklet helps support that premise.

The Dorothy Canfield Fisher Children's Book Award

The Dorothy Canfield Fisher Children's Book Award has a long and proud history. It was first envisioned almost a half century ago at the annual Vermont PTA convention in 1953. The Vermont PTA joined forces with the Vermont Department of Libraries, and in 1956 the first Master List was selected leading to the first award being presented in 1957. From the beginning, the purpose of the award has been to help children become enthusiastic and discriminating readers. Dorothy Canfield Fisher, the Vermont author for whom the award is named, was an avid reader, writer and promoter of good literature, and Vermont honors her goals with this program.

This award is the second oldest child-selected award in the country, (the first being the William Allen White Award in Kansas). Each year a dedicated group of six volunteers plus the Children's Services Consultant of the Department of Libraries and the School Library Media Consultant from the Department of Education creates the master list by selecting thirty titles by living American authors published the previous year. These books are selected for their literary merit and their appeal to children in grades 4-8. Librarians and teachers then make the books available, encourage children to read them, and coordinate the voting in the spring.

The book which receives the most votes is declared the winner, and the author is invited to come to Vermont and receive the award, an illustrated certificate, especially designed by a Vermont artist. The award ceremony is attended by hundreds of children, representing all the schools and public libraries which have voted.

The expenses of administering the award are shared jointly by the Vermont Department of Libraries and the Vermont PTA. The latter sponsor was given a fund by Janice Byington, a longtime member of the DCF committee, to help meet their share of the award's expenses.

The award continues to promote Ms. Fisher's goal of encouraging reading, and has turned thousands of Vermont children into avid readers.

DOROTHY CANFIELD FISHER CHILDREN'S BOOK AWARD

http://www.dcfaward.org

How are the DCF books chosen?

The committee considers books of fiction, information, and poetry that are of commendable quality, that exhibit creativity, that reflect students' interests, and that will increase their enjoyment of reading. To be eligible for the master list:

The book must have been published in the preceding calendar year. Reprints and compilations previously published are not eligible.
The book must have been written by a living author who is a citizen or resident of the United States. Co-authors may be included.

The book must be original or, if traditional in origin, the result of individual research. The retelling and reinterpretation must be the writer's own.

All forms of writing are eligible for consideration - fiction, non-fiction, short stories, and poetry. Poetry and short stories must be by a single author and not previously copyrighted.

Books written by a previous recipient of the DCF Award may be considered at the discretion of the committee.

Books should have children as their intended audience, display respect for children's understanding, ability and appreciation, and be appropriate for students in grades four through eight.

Intellectual freedom

The Dorothy Canfield Fisher committee supports the child's right to read freely. We believe in the principles of the ALA Library Bill of Rights and support the Freedom to Read. Read these statements online at:

http://www.ala.org/work/freedom/lbr.html

The committee selects books for Grades 4-8, but not every book on the list is appropriate for every child in those grades. This is a wide age range with a wider range of sophistication and ability. We choose what we consider to be 30 of the best books written by living American writers during the year. Reading ALL the books on the DCF list during a particular year may not be appropriate for ANY student. Some might include potentially controversial material. We cannot and do not predict what may offend or annoy. The DCF committee has no political or other bias or intent. We therefore encourage you to:

-Pay attention to grade levels in selecting titles. The grades are listed for levels of maturity rather than reading ability. If you're in a K-6 school, for example, you should read the titles for grades 7 and 8 before purchasing.

-Encourage children to read books from past lists or from other lists of good books (review sessions, recommended lists, etc), including classics, if you want students to read a certain number of titles. For voting purposes, we've encouraged students to read at least five books. There are usually five books appropriate for any particular grade level on the list.

-Educate faculty, staff, and board members about the principles of intellectual freedom. Involve faculty and library staff in DCF discussions. Read a book together and talk about it! Discuss if you would have chosen it for the list.

Remember: the point of the award is to get students reading good books - encourage them to read books they're interested in that might not be on the list!

Support materials

To help you promote the DCF program, the following materials are available from the Children's Book Exhibit Center (CBEC), Vermont Department of Libraries, 109 State Street, Montpelier, VT 05609.

stickers Green and white stickers to affix to the winning books (not the books on the Master List) are available in quantity from the CBEC.
posters In 1983 the DCF Committee launched a slogan contest to increase exposure for the award. The official slogan, AThe Kids' Voice, the Kids' Choice,@ was incorporated into a poster designed by Caldecott Medal Winner Trina Schart Hyman. Copies of the poster are available free; they can be picked up in the CBEC.

brochures A one-page (both sides) brochure aimed at adults, gives a short history and explanation of the award as well as a list of the past winners.

bookmarks Bookmarks listing all the winners are available in quantity for schools and libraries.

Before ordering any of these materials, please check for availability by contacting the CBEC at (802) 828-3261; email CBEC@dol.state.vt.us

DCF Calendar

What do you need to do to participate in the Dorothy Canfield Fisher Award Program? Here's a brief month-by-month guide for activities. This calendar begins in March because that's when the new list of DCF titles is chosen.

March

All public libraries and schools receive a mailing from the Vermont Department of Libraries that includes:

the voting form for the current year;
the new Masterlist of 30 titles with annotations;
list of the DCF Committee members;
the new Masterlist of the Red Clover books (Vermont's picture book award)

This information will also be available on the VT Department of Libraries web page: http://dol.state.vt.us , the VT Department of Education web page: http://doe.state.vt.us , and the official DCF web page: http://www.dcfaward.org

Now you can start ordering the books. Books are available for preview at the Children's Book Exhibit Center at the Department of Libraries in Montpelier, and will be at the spring materials review sessions (sponsored by the Department of Libraries and the Department of Education). Select carefully. All of the books are recommended, but you do not need to buy all of them to participate in the program. The books represent a wide level of maturity and reading ability, so buy what's appropriate.

April

It's time to vote! The voting form that was sent to you in March will have the deadline date on it, usually mid-April. If you have lost it, you may request another one from the Department of Libraries, or download it from the DCF web page.

May

Watch for your invitation to the award presentation; invitations are sent ONLY TO THOSE SCHOOLS AND PUBLIC LIBRARIES THAT VOTED. Included with the invitation is a list of the top ten books in order of the number of votes received.

Be sure to respond to the invitation telling how many people you are sending. Usually there is a limit of five (5) people per school, so don't promise all your students they can attend.

May/June

If possible, the award ceremony is planned for late May, but sometimes it is held in early June. We have been privileged in the past to have most of the winners present to receive the award, but there is no guarantee that the author will be able to come, so other arrangements may be made.

At the ceremony the author will receive an Ailluminated scroll@ modeled after a design suggested by Dorothy Canfield Fisher. The author's books will be available for sale and there will be pre-autographed bookplates to go with them, but no autographing at the ceremony. After the presentation, children may meet the author in a receiving line.

Summer

Since most school libraries are closed during the summer, it is now the public librarian who has the most opportunity to promote the DCF books. Many schools lend their entire collection of DCF books to the public library in the summer in order to maximize the books' exposure.

Think about applying for the annual Marjorie Gillam Lavalla Memorial Grant. Public libraries or schools may apply for up to $500.00 to establish an innovative program that will promote the Dorothy Canfield Fisher Award. All money is to be spent on books (whether on the current list, back lists or supplemental lists.) Deadline for application is October 1 of each year. For an application, contact Grace Greene, Children's Services Consultant at the Vermont Department of Libraries (828-3261); email CBEC@dol.state.vt.us, or Leda Schubert at the Vermont Department of Education (828-3842); email lschubert@doe.state.vt.us .

September

The start of the school year means it is time to get into full swing to promote the DCF program. Since the purpose of the award is to encourage Vermont children to become enthusiastic and discriminating readers, emphasize the joys of reading rather than competition. Start booktalking the books, begin a book discussion group, display the books, start the DCF quiz.

October - February

Continue the nitty gritty work of promoting the program and exciting children about books. Check the DCF website to find out the latest information on electronic happenings, http://www.dcfaward.org . Read some of your favorite books aloud. Talk up the program at faculty meetings, PTA meetings, with individuals, in your sleep!

Public library/school cooperation

The DCF program is the most effective when the public library and the school work together. Here are some ways of cooperating:

The public librarian and the school librarian can share booktalking by individually preparing some of the books on the list and then doing joint programming, both at the school and the public library.
Do joint publicity about the DCF award. Put articles in the local paper, the library newsletter, the school newsletter.
Form a book discussion group that is led by the public librarian and the school librarian or a teacher. Try a parent/child group in the evening or on weekends.
The public librarian should try to attend a school faculty meeting to let the teachers, librarians and administration know how the public library can promote and participate in the DCF program.
The public library can serve homeschoolers by holding a regular DCF program for them.
When budgets are small, or for schools that serve only some of the DCF grades, the libraries can cooperate on book purchasing, so that all titles can be found in town.
Hold a ABattle of the Books@ at the public library between two neighboring schools.
Hold a town wide voting day for DCF whereby all the schools vote the same day and homeschoolers vote at the public library on that day.
The school can loan all the DCF titles to the public library for the summer.

CONVERSATIONS ABOUT BOOKS

We encourage using the books themselves as the focus of discussion, and returning to the books for evidence for the ideas developed through conversation. There are many options for structuring discussion, however. The important thing is to engage children with good books, develop their passion for literature, encourage the development of personal responses which they can defend, encourage students to talk about books and reading with each other, and build a love of reading. In schools, this booklet can be used to work towards vital results in reading, writing, response to literature, expression, questioning, listening, analysis, comparison, comprehension, synthesis, as well as standards in arts, language and literature. The DCF program is a vital Learning Opportunity.

You can discuss books with kids if you haven't read them yourself, so don't let your stress level get in the way of talking about books. However, you may enjoy the books and it certainly adds to the richness of the discussion if you've read them yourself. It is also important modeling, and it encourages children to read.

Occasionally specific instruction or modeling will be necessary: you may need to explain some of the terms, or give direction about how to conduct group conversations, or hold model discussions.

Some different ways of talking about books:

The Junior Great Books model (see web site: http://www.greatbooks.org/)
General questions for book discussion: open-ended questions, moving away from specific recall to interpretive, challenging ones. (See p. 18.)
Book group models &emdash; wildly popular with adults. Why not let kids run their own?
Thematic/topical groupings
"deep book" discussions &emdash; http://www.toread.com
parent-child reading groups (See p. 16.)
DCF Lunch clubs. (See Deb Armitage's description on p. 18.)

--Add your own!

Suggestions for student book discussions

Readers may take turns acting as group facilitators/moderators.

Or groups may function without a facilitator.

Or the teacher/librarian may moderate.

Participants should:

Be sure to listen to answers with full attention.
Not interrupt.
Rotate leadership.
Look at the person who is speaking.
Stay on the subject at hand.
Leave time to think before responding.
Remember there are no wrong answers.
Refer to the book; take evidence for opinions from the book.
Be in small groups whenever possible.
Encourage a variety of responses.
Encourage everyone to respond.

Parent/Child book groups

Many libraries and schools have been very successful with parent/child book discussion groups. This is a great way not only to have fantastic discussions about books, but also to open up dialogue between parents and their children. Why not choose some of the DCF books that are available in paperback and hold a series of discussions in the evenings or on weekends. Most groups begin on neutral territory (e.g. the public library), but then some opt to meet in people's houses. Allow two weeks - one month between meetings, and don't run it like a class. Let it flow freely. You can facilitate, but let it belong to the kids and their parents.

General questions for book discussions:

There are different kinds of questions: those that clarify, extend, penetrate meaning; and those that assess meaning by involving value judgements, ethical and moral considerations, etc. Here are some examples:

Self-generated: what's the central question that emerges from this book for you? What's the central problem? (Great Books model)
Character: how did the author's character development affect the way you responded? How much control did the character have over actions? Was fate or free will more of a factor? How does the main character change through the book?
Symbolism: what universal, cultural, or other symbols contributed to the story?
Author's purpose: what was the meaning behind the story? Why do you think the author wrote it?
Credibility: did you have to Asuspend disbelief@ as the story developed?
Emotional response: how did you feel at certain key times? What did the author do to make you feel that way?
Resolution: did the ending meet your expectations? Why or why not?
Personal References: how did your personal life experiences contribute to the understanding of the book?
Literary merit: did you think the book was Agood literature?@ why or why not?
Comparison: does this book remind you of any other book you've read? Why, what, and how?
Narrative: what kind of form did the storytelling take? Linear, non-linear, flashbacks, circular, etc.
Theme: what was the story about? Was it about more than one thing?
Point of view: how did the author's or character's point of view affect your response to the book?
Style: how did the language, and sentence structure contribute to the story? What kind of style did the author use?
Setting: how was the setting important to the story? Did it ring true?
Time and memory: what part did time - present, past and future - play in the story? How did the author use memory/flashbacks and other literary devices?
Is this a book you think you'll remember? Why or why not?
Would it make a good movie? Why or why not?
Were there any loose ends? What were they?
Why do you think the author chose the title of the book?
Who do you think is the audience for this book?

Add your own questions:

How one teacher made it work: Deb Armitage's book club

Deb works at the Department of Education as the math assessment consultant. For many years she taught fourth grade in the Northeast Kingdom. Her DCF club is an example of how one teacher successfully encouraged reading.

How it all started:

Each year my fourth graders would read the DCF books (as well as the Red Clover Books). I would read some orally and students would read others on their own. One year I had a group of 5 students (2 girls and 3 boys) who loved to read and loved to talk about the experiences they felt reading a particular book. We used to meet once a week (or sometimes every other week, depending on where we all were in our reading) during lunch and lunch recess. We called it "bring a book to lunch." We would all talk about the DCF book we each were reading.

After a few weeks, everyone agreed that it was hard to all be reading a different book because we were "giving away" the experience, so we decided to all read the same book on the DCF list and then have our lunch discussions. This went on all year. Sometime others would join us from the class but the group of 5 stayed solid all year.

At the end of the year we decided to continue as a group. We called ourselves the TABs (Talking About Books) We selected a book to read (we took turns being the one in charge of selecting the book or we picked a theme (animals, adventure, "real life," disasters, etc.) and read books around that theme for awhile. We met at my house, ordered pizza, and just talked about the book. Sometimes the person who selected the book made up a list of questions to lead the discussion. Other times we selected a particular part of the book to discuss - characters, ( major and minor, male, female), dialogue, setting, beginnings, middles, and endings, etc. At times, these conversations led us to the book we wanted to read next. Books were found on the suggested reading lists from the DOE, off the internet, from friends' suggestions, etc.

We all had such a good time that it just sort of continued for years. The only change now that the kids are older is we often read more than one book around the selected criteria

before meeting because they can all read faster and juggle more than one book's contents at a time. (I'm the one who has to struggle to keep up.)

The group is now in high school and we still meet as much as possible. Parents used to drive the kids to my house and help out with the pizza, soda and cost of paperbacks. Now, the kids drive themselves.

I continued the Bring a Book to Lunch program the remaining years I taught. We just met on a different day than the original 5 did until they left for high school. It was a relaxing time to munch lunch and share a special book. I never regretted establishing this time for kids and books. Even though this group is now in high school, we still read and discuss at least one DCF book each year for "old time's sake"

Another story: From EDUCATING ESME, by Esme Raji Codell (Algonquin Books, 1999). (An extraordinary diary of a teacher's first year in an inner-city Chicago fifth grade).

March 13

I am really liking how we are doing reading now. I spent a fortune on multiple copies of children's books, about eight per title. The kids are arranged in groups, and each child is assigned a role. The "discussion director" makes up questions about the book, the "literary luminary" reads aloud notable parts, the "language lover" defines what she determines to be the hardest words in the section, the "practical predictor" predicts what will happen next, and finally the "process checker" sums it up, keeps track of everyone's participation, and decides how many pages they must read that night. They keep notebooks documenting their work.

Within twenty minutes, each group has a reading meeting with each person doing his or her job. They take turns with a "talking stone" from a collection of beautiful minerals I have; only the person in the group holding the stone may speak. So far nobody has thrown a stone at anyone else. In fact, the children strive to be efficient so their group can have first pick from the minerals the next day.

They are given a test date, and it is their responsibility to have the book completed by that day. Each group is responsible for a presentation &emdash; a diorama, time-line, rap, dramatic scene, whatever- that relates to the book but doesn't give away the ending. Each child takes an individual comprehension test for the book. The groups present their projects the following day. The day after that, we rotate the books. It downplays ability grouping and helps with self-esteem. ..We still have daily read-alouds and Free Reading Time, too. I believe exposure to print is the key to reading achievement. So far, it has also been the key to reading enthusiasm. We are having a good time and reading by the pile. (pp. 118-120).

Booktalks

One of the best ways to get children reading is to do booktalks. Booktalks can be short and off the cuff, or long and prepared. They are not critical or evaluative, but rather serve to give readers a taste of the books to get them interested. Think of booktalks as commercials, enticements to read the book, not reviews. Think about what you would say to get a friend to read the book you just finished and loved, and you're on the right track.

Librarians and teachers booktalk books informally every day to let kids know about particular titles. This is an essential and very rewarding part of the job. However, to tell whole classes about good books you need to do some preparation.

Style, length and method of presentation vary greatly from booktalker to booktalker, but here are some basic rules of thumb:

ALWAYS read every book you booktalk.
When you read (or re-read) the book, jot down exciting or funny incidents, telling details about the characters, things that make you think about other books.
Prepare what you are going to say about each book. You don't need to memorize, but you do need to know the points you are going to make.
Don't tell too much about the book. You want to pull the reader in, but not drag them through the whole book!
Read aloud a passage if you want, but only if it is short and really worth reading. Don't read from every book you booktalk.
Have the books in the order you are going to talk about them and mark the pages for read-aloud passages.
Begin with action, excitement, horror and humor. Grab the kids immediately and then you can lead to other things.
Don't mislead or oversell. They may check out the book, but they won't trust you next time. If the book starts out slowly, warn them.

For more information see:

Bodart, Joni. BOOKTALK! 2: BOOKTALKING FOR ALL AGES AND AUDIENCES. 2nd Edition. H.W. Wilson, 1985.
The basic guide by an expert booktalker. Other titles include: BOOKTALK! 3, BOOKTALKER and THE NEW BOOKTALKER.

Gillespie, John T. and Corinne J. Nader. MIDDLEPLOTS 4. Bowker, 1994.

This is the latest in a series that includes INTRODUCING BOOKS by John Gillespie and Diana Lembo (Bowker, 1970); INTRODUCING MORE BOOKS by Diana L.Spirt (Bowker, 1978); and INTRODUCING BOOKPLOTS 3 by Diana L. Spirt (Bowker, 1988).
Rochman, Hazel. TALES OF LOVE AND TERROR: BOOKTALKING THE CLASSICS, OLD AND NEW. American Library Association, 1987. Tips on how to prepare and how to deliver booktalks, as well as many suggestions for books to use with grades 7 - 12.

Videos - these can be borrowed from the Department of Libraries

BOOKTALKING WITH JONI BODART.

TALES OF LOVE AND TERROR: BOOKTALKING THE CLASSICS OLD AND NEW.

THEMES AND TOPICS

The DCF committee believes the purpose of good literature is to connect us with the hearts and souls of others, to allow us to live in the imagined world of others, to expand our humanity, to see the ways we can express ourselves in words to connect with others, and ultimately to transform us. We are all readers, and we'd like to think the program helps others become readers.

The intention is to have children form connections, form and support opinions, speak effectively and listen well, engage in conversation, analyze, and synthesize, become a community of readers, and above all, love reading.

We hope the questions for discussion will be used as intended, and not as test questions. Of course there are infinite ways to discuss these books. We have selected a few themes and topics for this year's books; you should not see this as an exclusive list in any way, and may like to talk to students about other thematic links they see. Or you can structure conversations according to traditional literary analysis tools. These are suggestions only. Many other themes will occur to you as you read. Here are some more the DCF committee thought of but didn't flesh out:

Adventure

Courage

Cultural Differences

Fantasy

Fitting In

Friendship

Heroes and the hero's journey

Hope

Idealism/Justice

Kids in trouble

Love

Survival

Unforgettable characters

When we were developing these lists, we realized that of course they are extremely fluid, and much of the discussion will end up being about the same ideas. That's fine. These are merely entry points for book discussions.

For each idea, we have suggested a few companion titles for additional reading and discussion. These are meant as suggestions and pointers to other titles: please add to this list freely, and share your discoveries with us! We have grouped them according to: picture books, younger readers (grades 4-6); older readers (grades 6-8).

We have frequently included picture books, since they are so often complex and sophisticated in both art and text and can offer enormous benefits for older children. We encourage you to investigate these books when they're included in the theme, and to discover your own favorites. Poems are occasionally included as well.

Against all odds

Many contemporary writers have created memorable characters who must overcome seemingly impossible odds. These tend to be the characters with whom we identify most closely, whether or not we share their strengths.

Books on the current DCF list that explore this theme:

Blackwood, Gary. The Shakespeare Stealer.

Fenner, Carol. The King of Dragons.

Fletcher, Susan. Shadow Spinner.

Gantos, Jack. Joey Pigza Swallowed the Key.

Greenberg, Jan. Chuck Close, Up Close.

Haddix, Margaret. Among the Hidden.

Hesse, Karen. Just Juice.

Holt, Kimberly. My Louisiana Sky.

Kurtz, Jane. The Storyteller's Beads.

Mazer , Harry. The Wild Kid.

Wilson, Diane Lee. I Rode a Horse of Milk White Jade.

For discussion:

Many of these characters find themselves alone at a young age. What might have happened to them if they had not had the strength to persist?
Overwhelmingly, coping in these examples results not in mere survival but survival with humanity and dignity intact and even strengthened. Could there have been another outcome? How?
The problems in several of these books - learning disabilities, homelessness, physical disabilities - are those we see around us today. Is there a difference in your reaction to the real people you may meet in these circumstances and the fictional people you've met in the books? Why?
Who are some of your favorite characters? Which ones of these characters did you like best and why?
Some of these books are set in the past, some in the present or future. How does the time period affect the odds the character must face?

Companion Titles

Picture books:

Henkes, Kevin. Chrysanthemum. Greenwillow, 1991.

Isaacs, Anne. Swamp Angel. Dutton, 1994.

Stanley, Diane. Saving Sweetness. Putnam, 1996.

Steig, William. Brave Irene. FSG, 1986.

For younger children:

Fleischman, Sid. The Whipping Boy. Morrow.

Levine, Gail Carson. Ella Enchanted. HarperCollins, 1997.

Lindgren, Astrid. Pippi Longstocking. Viking, 1950.

Montgomery, Lucy Maud. Anne of Green Gables. Various editions.

Spinelli, Jerry. Maniac Magee. Little, 1990.

For older children:

Avi. True Confessions of Charlotte Doyle. Orchard, 1990.

Byars, Betsy. The Pinballs. HarperCollins, 1977.

Cushman, Karen. The Midwife's Apprentice. Clarion, 1995.

George, Jean Craighead. Julie of the Wolves. HarperCollins, 1972.

Hesse, Karen. Out of the Dust. Scholastic, 1997.

Paterson, Katherine. Lyddie. Dutton, 1991.

Paulsen, Gary. Hatchet. S&S, 1987.

Night John. Delacorte, 1993.

Coming of age

Like being born and dying, growing up is an inescapable part of living. For some people it happens all in a rush, and for others it is a more gradual process. Some people reach maturity at an early age; others don't 'grow up' until they're older. But whenever and however it happens, coming of age is always difficult. Because it is a universal experience, and because we are fascinated by tales of human triumph over adversity, coming of age is a theme that appears in literature over and over.

Books on the current DCF list that explore this theme:

Bauer, Joan. Rules of the Road.

Blackwood, Gary. The Shakespeare Stealer.

Cameron, Ann. The Secret Life of Amanda K. Woods.

Fenner, Carol. The King of Dragons.

Fleischman, Paul. Whirligig.

Fletcher, Susan. Shadow Spinner.

Haddix, Margaret Peterson. Among the Hidden.

Holt, Kimberly Willis. My Louisiana Sky.

Kurtz, Jane. The Storyteller's Beads.

Lowry, Lois. Looking Back.

Springer, Nancy. I Am Mordred.

Wilson, Diane Lee. I Rode a Horse of Milk White Jade.

Zemser, Amy Bronwen. Beyond the Mango Tree.

For discussion:

How has the main character changed over the course of the book?
Give some details that characterize him/her at the beginning of the book.
Give some details that describe him/her at the end of the book.
Did the main character have to struggle against any obstacles, handicaps, beliefs, parental expectations in order to grow?
Did the character have to give up anything he/she valued in order to move on to the next stage in his/her life?
What did the character gain as he/she grew?
Was there a person(s) in the book who eased the main character's passage to maturity?
Was there a person(s) who hindered the main character's growth?
Was there an event(s) that precipitated the main character's coming of age?
What are some events that can lead to maturity? For instance: puberty, loss, leaving home, increased responsibility, a revelation.
What other books have you read that address the theme of coming of age?

Companion Titles

Picture Books:

Cooney, Barbara. Eleanor. Viking, 1996.

Hoffman, Mary. Amazing Grace. Dial, 1991.

Stevenson, James. I Had a Lot of Wishes. Greenwillow, 1995.

Stevenson, James. I Meant to Tell You. Greenwillow , 1996.

For younger readers:

Alcott, Louisa May. Little Women. Various editions.

Fitzhugh, Louise. The Long Secret. Harper, 1965.

Fritz, Jean. Homesick: My Own Story. Putnam, 1982.

Hunt, Irene. Up a Road Slowly. SilverBurdett, 1993.

Lovelace, Maud Hart. Betsy in Spite of Herself. Harper/Trophy, 1994.

MacLachlan, Patricia. The Facts and Fictions of Minna Pratt. Harper, 1988.

Montgomery, L.M. Anne of Green Gables. Various editions

Paterson, Katherine. The Great Gilly Hopkins. Crowell, 1978.

Speare, Elizabeth George. The Witch of Blackbird Pond. HMCO, 1958.

Webster, Jean. Daddy Long-Legs. Meredith Press, 1966.

Wilson, Nancy Hope. Becoming Felix. FSG, 1996.

For Older Readers:

Bloor, Edward. Tangerine. Harcourt, 1997.

Cushman, Karen. The Midwife's Apprentice. Clarion, 1995.

Dickens, Charles. Great Expectations. Various editions.

Fox, Paula. One-Eyed Cat. S&S, 1984.

Freedman, Russell. Eleanor Roosevelt: A Life of Discovery. Clarion, 1993.

Koertge, Ron. The Harmony Arms. Little, 1992.

LeGuin, Ursula. A Wizard of Earthsea. Atheneum, 1991.

O'Neal, Zibby. The Language of Goldfish. Viking, 1980.

Poetry:

Marcus, Leonard S., editor. Lifelines: A Poetry Anthology Patterned on the Stages of Life. OP.

Dysfunctional adults

There's no such thing as a perfect parent or teacher, but some adults are so wound up in their own problems that they fail to take responsibility for children in their care. Worse, whether because they're deeply troubled or just plain wicked, others actively harm children.

Books on the current DCF list that explore this theme:

Bauer, Joan. Rules of the Road.

Conly, Jane Leslie. While No One Was Watching.

Fenner, Carol. The King of Dragons.

Griffin, Adele. The Other Shepards.

Hesse, Karen. Just Juice.

Holt, Kimberly Willis. My Louisiana Sky.

Sachar, Louis. Holes.

Snyder, Zilpha Keatley. Gib Rides Home.

Zemser, Amy Bronwen. Beyond the Mango Tree.

For discussion:

What do you think about the adults in these books?
How would you describe the adults? Are they really evil, or thoughtless, or too busy, or what?
Why do you think they are the way they are?
Do you know any adults like these?
How did reading these books make you feel?
Do you think there's something that can be done to change the way these adults act?
Do you like reading these kinds of books or are they too depressing? Are they realistic?

Companion Titles

For younger readers:

Bawden, Nina. The Outside Child. Lothrop, 1997.

Fisher, Dorothy Canfield. Understood Betsy. Various editions.

Paterson, Katherine. The Great Gilly Hopkins. HarperCollins, 1978.

Sachs, Marilyn. The Bears' House. Doubleday, 1971.

For older readers:

Bloor, Edward. Tangerine. Harcourt, 1997.

Brooks, Bruce. What Hearts. HarperCollins, 1992.

Cassedy, Sylvia. Behind the Attic Wall. HarperCollins, 1983.

Coman, Carolyn. Tell Me Everything. FSG, 1993.

Creech, Sharon. Walk Two Moons. HarperCollins, 1994.

Farmer, Nancy. A Girl Named Disaster. Orchard, 1996.

Fine, Anne. The Tulip Touch. Little, Brown, 1997.

Fox, Paula. The Moonlight Man. S&S, 1986.

Hahn, Mary Downing. Stepping on the Cracks. Clarion, 1991.

Twain, Mark. The Adventures of Huckleberry Finn. Various editions.

Wolff, Virginia Euwer. Make Lemonade. Holt, 1995.

Home

Shelter is one of the basic needs of people; without it, we would die. But what is the difference between shelter and a home? Is it a matter of size, of comfort, of family, of security? The search for home, the meaning of home, coming home are universal themes that appear in many books. Characters often find their true home after a journey (see journey theme) or must choose between two very different situations. Often the reader gets to know characters through what they want for a home, or how they recognize that they are home.

Books on the current DCF list that explore this theme:

Blackwood, Gary. The Shakespeare Stealer.

Conly, Jane. While No One Was Watching.

Fenner, Carol. King of the Dragons.

Fletcher, Susan. Shadow Spinner.

Haas, Jessie. Fire! My Parent's Story.

Haddix, Margaret. Among the Hidden.

Holt, Kimberly. My Louisiana Sky.

Kurtz, Jane. The Storyteller's Beads.

Mazer, Harry. The Wild Kid.

Snyder, Zilpha Keatley. Gib Rides Home.

For discussion:

What does home mean to you? To the characters in the books?
What makes a place a home?
In several of these books, children lost a loved home because of war, natural disaster, or changing family circumstances. How were they able to cope with the changes?
Some of the characters in these books have no stable home (Blackwood, Fenner, Snyder, Kurtz). Compare and contrast how this causes them to act and think.
What do the characters learn about themselves in their quest for home?
Are these characters searching for a physical place to be, or a family to belong to? How do they know when they are truly home?
Not only do the homes in these books vary greatly from book to book, but often within the books themselves. Think of the different homes in Conly, Holt and Snyder for instance. How are they different? What do you like/dislike about each one?
Sometimes home can be painful and frightening. Which books have situations like these? How do the characters cope with them?

Companion Titles

Picture Books:

Blos, Joan. Old Henry. Morrow, 1987.

Cooney, Barbara. Island Boy. Viking, 1988.

Cooper, Susan. Selkie Girl. Macmillan, 1986.

Dragonwagon, Crescent. Home Place. Macmillan, 1990.

Griffith, Helen. Georgia Music. Greenwillow, 1986.

Rylant, Cynthia. The Relatives Came. Bradbury, 1985.

Say, Allen. Grandfather's Journey. HMCO, 1993.

Younger readers:

Anderson, Margaret. Searching For Shona. Knopf, 1978,

Fox, Paula. Monkey Island. Orchard, 1991.

Fritz, Jean. Homesick, My Own Story. Putnam, 1982.

Lyon, George Ella. Borrowed Children. Orchard, 1988.

Sachs, Marilyn. The Bears' House. Doubleday, 1971.

Smith, Doris Buchanan. Return to Bitter Creek. Viking, 1986.

Spinelli, Jerry. Maniac Magee. Little, 1990.

Older readers:

Doherty, Berlie. White Peak Farm. Orchard, 1990.

Ehrlich, Amy. Where It Stops, Nobody Knows. Dial, 1988.

George, Jean. Julie of the Wolves. HarperCollins, 1972.

Holman, Felice. Slake's Limbo. S&S, 1974.

Hotze, Sollace. A Circle Unbroken. Clarion, 1988.

Levitin, Sonia. The Return. Atheneum, 1987.

Voigt, Cynthia. Homecoming. Atheneum, 1981.

Humor

Humor is used for different purposes by most good authors - in fact, the best works, like Hamlet, use humor as ballast in even the grimmest tales. While you'll probably find examples of humor in all the books on this year's list, the books below are examples of a variety of approaches to humor which may be the focus of their books or balance for more serious material.

Books on the current DCF list that explore this theme:

Avi. Poppy and Rye.

Bauer, Joan. Rules of the Road.

Gantos, Jack. Joey Pigza Swallowed the Key.

Gauthier, Gail. A Year with Butch and Spike.

Karr, Kathleen. The Great Turkey Walk.

Lowry, Lois. Looking Back.

Sachar, Louis. Holes.

Warner, Sally. Sort of Forever.

For discussion:

Does this book direct the humor to the reader or is it inherent in the situation or the relationship between the characters? What kinds of things make you laugh out loud? Smile inwardly?
Did this book surprise you into laughing? Or is this the kind of humor which you notice but read calmly?
Is this humor grounded in realism or is the situation highly exaggerated?
Sometimes we laugh and gasp with horror at the same moment. Sometimes joking helps maintain a bond in sad situations. How might scenes in some of these books have been written to eliminate any possibility of humor?
How would the "feel" of the book change without the element of humor?
Find some of your favorite humorous books and compare them to the humor in these books. What makes them different or the same?

Companion Titles

Picture Books:

Christelow, Eileen. Five Dog Night. Clarion, 1993.

Henkes, Kevin. Julius, the Baby of the World. Greenwillow, 1990.

Lester, Helen, Tacky the Penguin. HMCO, 1988.

Marshall, James. George and Martha. HMCO, 1971.

Meddaugh, Susan. Martha Speaks. HMCO, 1992.

Wells, Rosemary. Bunny Cakes. Dial, 1997.

For younger readers:

Byars, Betsy. The Not-Just-Anybody Family. Delacorte, 1986.

Cleary, Beverly. Ramona books. Morrow.

Clements, Andrew. Frindle. S&S, 1996.

Park, Barbara. Operation: Dump the Chump. Knopf, 1982.

Robinson, Barbara. The Best Christmas Present Ever. HarperCollins, 1972.

Rockwell, Thomas. How to Eat Fried Worms. Watts, 1973.

Rodgers, Mary. Freaky Friday. HarperCollins, 1972.

Sachar, Louis. Wayside School stories. Morrow.

Scieszka, John. Time Warp Trio Series. Viking.

Seidler, Tor. Mean Margaret. HarperCollins, 1997.

White, E. B. Trumpet of the Swan. HarperCollins, 1970.

Wrede, Patricia. Dealing with Dragons. Harcourt, 1990.

For older readers:

Bauer, Joan. Squashed. Delacorte, 1992.

Kerr, M. E. Fell. Harpercollins, 1987.

Koertge, Ron. The Arizona Kid. Macmillan, 1988.

Lowry, Lois. Anastasia Krupnik series. HMCO.

Lynch, Chris. Slot Machine. HarperCollins, 1995.

Naylor, Phyllis Reynolds. Alice series. Atheneum.

Plummer, Louise. My Name is Sus5an Smith, the 5 is Silent. Delacorte, 1991.

Journeys

The theme of journeys is allied to that of myth and legend. The basic story pattern of the hero legend always involves a quest which takes the form of a journey. The hero must leave the safety of home and childhood and venture into the unknown, seeking something of value. The hero may be a Bilbo Baggins, seeking a dragon's treasure, or an Odysseus, journeying toward home and family. The most satisfying journey is similar to that undertaken by the mythical hero because the best journey involves transformation, a deeper understanding of world and the self. A journey also provides an author with a convenient structure that allows characters to have a series of adventures along the way, thereby increasing the reader's enjoyment.

Books on the current DCF list that explore this theme:

Avi. Poppy and Rye.

Bauer, Joan. Rules of the Road.

Fleischman, Paul. Whirligig.

Fleischman, Sid. Bandit's Moon.

Griffin, Adele. The Other Shepards.

Karr, Kathleen. The Great Turkey Walk.

Kurtz, Jane. The Storyteller's Beads.

Mazer, Harry. The Wild Kid.

Philbrick, Rodman. Max the Mighty.

Sachar, Louis. Holes.

Wilson, Diane Lee. I Rode a Horse of Milk White Jade.

Zemser, Amy. Beyond the Mango Tree.

For discussion:

What are the characters leaving behind?
To whom or to what are they traveling?
If the major character has a companion, what is the significance of that companion?
What sorts of people do the characters meet as they travel? Do they encounter friends, enemies, indifference on their journey?
What do they learn about themselves on their journey?
What feelings do the characters experience as they travel? Do their feelings change as they near their journey's end?
How have they changed by journey's end?
If the characters make circular journeys, ones that return to the place from which they started, what do they find upon their return?
If they return home, do they fit into the pattern of their old lives?
A journey can also be an internal one, a moving away from old values to a new understanding. What is this journey like? How is it different from a physical journey?
Which do you think is more important, finally arriving at one's destination, or the actual journey itself?
Do these characters' journeys actually end or is one journey merely the prelude to another?

Companion Titles

Picture books:

Coy, John. Night Driving. Holt, 1956.

Gerstein, Mordecai. Jonah And The Two Great Fish. S&S, 1997.

Hest, Amy. When Jessie Came Across The Sea. Candlewick, 1997.

Say, Allen. Grandfather's Journey. HMCO, 1993.

Schur, Maxine Rose. The Day Of Delight: A Jewish Sabbath In Ethiopia Dial, 1994.

Turner, Ann Warren. Nettie's Trip South. Macmillan, 1987.

Winter, Jeanette. Follow The Drinking Gourd. Knopf, 1992.

For younger readers:

Alexander, Lloyd. The Arkadians, (1995), and the Prydain series. Dutton.

Colum, Padraic. The Children's Homer. Aladdin, 1982.

Schur, Maxine Rose. The Circlemaker. Dial, 1994.

Tolkien, J. R. R. The Hobbit. HMCO, various editions.

Van Leeuwen, Jean. Bound For Oregon. Dial, 1994.

Voigt, Cynthia. Homecoming. Atheneum, 1991.

Walsh, Jill Paton. The Green Book. FSG, 1986.

For older readers:

Armstrong, Jennifer. Steal Away. Scholastic, 1993.

Creech, Sharon. Walk Two Moons. HarperCollins, 1994.

Chasing Redbird. HarperCollins, 1997.

Hesse, Karen. Letters From Rifka. Holt, 1992.

Kherdian, David. The Road From Home. Greenwillow, 1987.

Konigsberg, E. L. Father's Arcane Daughter. Atheneum, 1976.

Lasky, Kathryn. The Night Journey. Viking, 1986.

Levitin, Sonia The Return. Atheneum, 1977.

Lowry, Lois. The Giver. HMCO, 1993.

Napoli, Donna Jo. Stones In Water. Dutton, 1997.

Pullman, Philip. The Golden Compass & The Subtle Knife. Knopf, 1996, 1997.

Turner, Megan Whalen. The Thief. Greenwillow, 1996/

Poetry:

Frost, Robert, AStopping By Woods On A Snowy Evening.@

Longfellow, Henry W. AThe Midnight Ride Of Paul Revere.@

Tennyson, Alfred, Lord. AUlysses.@

Life stories

Many books are, in a sense, life stories, since they tell you about the life of the characters. But some are more specifically life stories than others. Some are literally biographies or autobiographies, while others are fictionalized stories about the writer's life. Still others focus on a fictionalized character from birth to death. There are many different ways in which writers choose to tell life stories &emdash; either their own or that of their characters. A writer may use a straight narrative that is mostly true, or a straight narrative that includes a lot of fiction, or may use photos as inspiration, or may use specific events only. What other ways can you think of to tell life stories and what examples can you come up with?

Books on the current DCF list that explore this theme:

Fleischman, Paul. Whirligig.

Greenberg, Jan. Chuck Close Up Close.

Haas, Jesse. Fire! My Parents' Story.

Lowry, Lois. Looking Back.

Springer, Nancy. I Am Mordred.

Wilson, Diane Lee. I Rode a Horse of Milk White Jade.

For discussion:

Why do you think a writer would want to tell his or her own life story?
What do you like about reading life stories?
Do life stories make you think about your own life differently? How?
Why do you think the author chose the format he did?
Who does the author use as a narrator? What is the point of view?
What is the difference between biography, autobiography, and a novel about a person's life?
When a person tells his own life story, he usually doesn't write about his own death. Novels often do include the whole shape of a person's life. Which do you prefer and why?
In any book, the writer has to choose what events to put in and which to leave out. Do you think these writers made good choices about what to put in?
If you wrote your life story, what are some events from your life you would choose to include? Not include?
Which is your favorite way of telling a life story?

Companion Titles

Picture Books:

Adler, David. Lou Gehrig: The Luckiest Man. Harcourt.

Krull, Kathleen. Wilma Unlimited. Harcourt, 1996.

Stanley, Diane. Many picture book biographies, such as Leonardo Da Vinci, Joan of Arc. Morrow, 1996.

For younger Readers:

Avi. The True Confessions of Charlotte Doyle. Orchard, 1990.

Byars, Betsy. The Moon and I. Messner, 1996.

Freedman, Russell. Many titles, such as Lincoln: a Photobiography; Clarion, 1987, Martha Graham, Clarion, 1987, etc.

Fritz, Jean. Many titles, such as Bully For You, Teddy Roosevelt. Putnam, 1991.

Hampton, Wilborn. Kennedy Assassinated. Candlewick, 1997.

Hesse, Karen. Letters From Rifka. Holt, 1993.

Fleischman, Sid. The Abracadabra Kid. Greenwillow, 1996.

Kehret, Peg. Small Steps. Whitman, 1996.

For older readers:

Cleary, Beverly. The Girl From Yamhill. Morrow, 1988.

Creech, Sharon. Walk Two Moons. HarperCollins, 1994.

Dickens, Charles. David Copperfield. Various editions.

Ehrlich, Amy. When I Was Your Age, Volumes One and Two. Candlewick, 1996, 1999.

Fleischman, Paul The Borning Room. Harper, 1991.

Giblin, James. Charles Lindbergh. Clarion, 1997.

Little, Jean. Little By Little. Viking, 1987.

Sleator, William. Oddballs. Dutton, 1993.

Staples, Suzanne Fisher. Shabanu. Knopf, 1989.

Loss

Experiencing a loss and dealing with all the obvious and not so obvious complications and emotions brought about by that loss have provided a rich area of investigation for authors of children's literature. Losses may be clear and substantial (the loss of a home, departure of a parent, death of a close friend) or more subtle and less obvious to the casual observer (the loss of innocence, status, friendship, direction). If the loss is substantial to a main character it will have a strong influence on the structure and development of the book.

Books on the current DCF list that explore this theme:

Fenner, Carol. The King of Dragons

Fleischman, Paul. Whirligig.

Greenberg, Jan. Chuck Close, Up Close.

Griffin, Adele. The Other Shepards.

Haas, Jessie. Fire! My Parents' Story.

Warner, Sally. Sort of Forever.

Zemser, Amy. Beyond the Mango Tree.

For discussion:

What is lost and how important is the loss to the character?
Is the loss obvious to others or seen as important?
How does the structure of the book affect the reader's reaction to the loss? (For example, in Bridge to Terabithia, Katherine Paterson allows the reader to experience the development of the friendship between two characters before death takes one away, while Barbara Park, in Mick Harte was Here, reveals the death of the narrator's brother in the opening paragraphs. Why might these authors have chosen such different approaches and how does each structure affect the story told?)
Are there expectations by other characters about how the main character should react to the loss?
Is the loss replaceable? Is it important? Does it have a major impact on the character's life?
Did this book make you think in a new way about dealing with loss?
Can a loss turn out to be a gain eventually? How?

Companion Titles

Picture Books:

Feiffer, Jules. I Lost My Bear. Morrow, 1998.

Say, Allen. Grandfather's Journey. HMCO, 1993.

For younger readers:

Bauer, Marion Dane. A Question of Trust. Scholastic, 1994.

Dorris, Michael. Morning Girl. Hyperion, 1992.

Jukes, Mavis. Blackberries in the Dark. Knopf 1993.

MacLachlan, Patricia. Sarah, Plain and Tall. HarperCollins, 1985.

Rawlings, Marjorie Kinnan. The Yearling. S&S. Reprint 1985.

Rylant, Cynthia. Missing May. Orchard, 1992.

For older readers:

Berry, James. Ajeemah and His Son. HarperCollins, 1992.

Choi, Sook Nyul. Year of Impossible Goodbyes. HMCO, 1991.

Farmer, Nancy. The Ear, The Eye, and The Arm. Orchard, 1994.

Hesse, Karen. Out of the Dust. Scholastic, 1997.

Hurwin, Davida. A Time for Dancing. Little, 1994.

Rubenstein, Gillian. Galax Arena. S&S, 1994.

Sebestyen, Ouida. Out of Nowhere. Orchard, 1994.

Poetry:

Nye, Naomi Shihab. What Have You Lost? Greenwillow, 1999.

Myth and legend

Myths are the world's earliest literature, stories that attempted to answer the basic questions about life and the natural world: - How did the earth come to be? - How did human beings originate? - Where did the gods come from? - Why do death and evil exist in the world?

While gods are at the center of myth, legends and hero tales are more likely to take place in the world we know, and feature the exploits of great men and women of the human race. These heroes represent the heights to which humans may aspire and the depths to which they may descend.

Some authors delight in reworking these ancient tales, using them as a framework upon which they weave new stories, thereby revealing vivid and dramatic facets of stories we thought we already knew. Two examples of this are:

Fletcher, Susan. Shadow Spinner.

Springer, Nancy. I Am Mordred.

Other authors may not be aware of the scraps of myth and legend embedded in their stories. There lie buried deep in our unconscious minds patterns of story common to every human culture. The hero story is a very basic example -- an individual sets out on a difficult journey with a goal in mind, undergoes great trials, then returns to where the journey began, a changed person.

Books on the current DCF list that explore this theme:

Avi. Poppy and Rye.

Fleischman, Paul. Whirligig.

Griffin, Adele. The Other Shepards.

Mazer, Harry. The Wild Kid.

Sachar, Louis. Holes.

Wilson, Diane Lee. I Rode a Horse of Milk White Jade.

For discussion:

One of the main features of myth and legend is the importance of the quest. Upon what sorts of quests do the characters in these stories embark?
Are they successful in their quests? Explain.
How do their quests change them? Do the characters effect change upon others during and after their heroic quests?
What role does fear play in the pursuit of these quests? What other emotions drive the characters in their various quests?
What role do fate, coincidence and magic play in the lives of these characters?
Read the ancient Greek story of the 12 labors of Heracles (Hercules), and think about Holes & Whirligig. What connections can you find?
What, if any, connections exist between Poppy and Rye and the ancient Greek story of Orpheus and Eurydice?
What connections do you see between the Native American experience of the vision quest and the experience of the characters in The Wild Kid?
One of the hallmarks of the mythic story is the appearance of a helper, sometimes a god, disguised as an ordinary person, or sometimes as an animal guide, who offers the hero assistance or sometimes a treasure of great price. The story of Jason and his encounter with the goddess Hera is an example of this type of auspicious meeting. Does this mythic device occur in any of the discussion stories, and if so, what form does the encounter take?
What heroic qualities do the characters in these stories exhibit?
Many of these characters have some sort of tragic history or handicap. Are their histories and handicaps a source of strength or are they a hindrance? How do the characters rise above their flaws in fulfilling their heroic destiny?

Companion titles

Picture Books:

Climo, Shirley. Atalanta's Race. Clarion, 1998.

Geringer, Laura. The Pomegranate Seeds. HMCO, 1995.

Gerstein, Mordecai. Noah And The Great Flood. S&S, 1999.

Goble, Paul. The Girl Who Loved Wild Horses. Simon & Schuster, 1983.

Hastings, Selina. Sir Gawain and the Loathly Lady. Lothrop, 1985.

Kherdian, David. The Rose's Smile. Holt, 1997.

Riordan, James. The Twelve Labors Of Hercules. Millbrook, 1997.

Wisniewski, David. Golem. Clarion, 1996.

Yep, Lawrence. The Khan's Daughter. Scholastic, 1997.

For younger readers:

D'Aulaire, Ingri, and Edgar P. D'Aulaire. D'Aulaires' Book Of Greek Myths. Doubleday, 1962.

Rowling, J. K. Harry Potter and the Sorcerer's Stone, Harry Potter and the Chamber of Secrets, Harry Potter and the Prisoner of Azkaban. 1998, 1999. Scholastic.

Yolen, Jane. The Young Merlin Trilogy: Merlin, Hobby, and Passager. Harcourt Brace.

Zeman, Ludmilla. Gilgamesh The King. Tundra, 1992.

For older readers:

Alderson, Brian. The Arabian Nights Or Tales Told By Sheherezade During a Thousand Nights And One Night. Morrow, 1995.

Alexander, Lloyd. The Arkadians. Dutton, 1995.

Bennett, James. Dakota Dream. Scholastic, 1994.

Cohen, Barbara and Bahija Lovejoy. Seven Daughters And Seven Sons. Atheneum, 1982.

Colum, Padraic. Children's Homer: The Adventures Of Odysseus. Aladdin, 1982.

Cooper, Susan. The Grey King. Atheneum, 1975.

Farmer, Nancy. The Ear, The Eye and The Arm. Orchard, 1994.

Hamilton, Virginia. The People Could Fly. Knopf. 1993.

McGraw, Eloise. The Moorchild. Margaret McElderry, 1996.

McKinley, Robin. The Blue Sword and The Hero And The Crown. Greenwillow, 1983.

Pullman, Philip. The Golden Compass & The Subtle Knife. Knopf, 1996, 1997.

Sutcliff, Rosemary. The Sword And The Circle; The Light Beyond The Forest & The Road To Camlann. (Arthurian Trilogy). Dutton, 1980, 1981, 1982.

Poetry:

cummings, e. e. Ain just spring.@; Rosetti, Christina, "Goblin Market.@; Yeats, William Butler AThe Song Of The Wandering Aengus@

"Only connect"

We keep what we know in different compartments in our minds, often not thinking to link actions with their consequences &emdash; or to combine separate thoughts into new ideas. It's fun to stay up late, but lack of sleep can make you lose tomorrow's race. You think you're hitting your sister because she's a pain, but maybe it's because your dad hit you first. "Only connect" the things you know, and you'll learn a lot about why things happen and how they might be changed. You may even make some entirely new discoveries. The world's extremely complex interconnections have recently led to a branch of science known as chaos theory, in which scientists might speculate, for example, that a butterfly flapping its wings in Hong Kong could lead to a thunderstorm in New York several weeks later (Edward Lorenz, 1960).

Similarly, connections between and among people can make all the difference. We all need each other. Some of these stories may make you say "Aha! That's how it all fits together!"

The phrase, "only connect," closes Howards End, by E. M. Forster.

Books on the current DCF list that explore this theme:

Blackwood, Gary. The Shakespeare Stealer.

Fleischman, Paul. Whirligig.

Gantos, Jack. Joey Pigza Swallowed the Key.

Greenberg, Jan. Chuck Close, Up Close

Hesse, Karen. Just Juice.

Kurtz, Jane. The Storyteller's Beads.

Lowry, Lois. Looking Back.

Sachar, Louis. Holes.

Wolff, Virginia Euwer. Bat 6.

For discussion:

Which of the connections the characters made seem particularly important to you? Why?
What kind of connections made a difference to the characters in these books?
Genius is sometimes described as the ability to make connections no one else has. Can you see examples of this in any of these books?
How did the authors set up the pieces for you to connect to each other?
Do you see connections in the books which the author implies, but does not state?
Looking back, can you see that some of the connections you made were predictable?
What connections do you see among the books? How are they alike? Different?

Companion Titles

For younger readers:

Burnett, Frances Hodgson. The Secret Garden. Various editions.

Hampton, Wilborn. Kennedy Assassinated. Candlewick, 1997.

King-Smith, Dick. Martin's Mice. Crown, 1988.

Tolkien, J.R.R. The Hobbit. HMCO, and various editions.

Williams, Vera. Scooter. Greenwillow, 1993.

For older readers:

Brooke, William J. Teller of Tales. HarperCollins, 1994.

Dickinson, Peter. A Bone from a Dry Sea. Delacorte, 1992.

Fleischman, Paul. The Borning Room. HarperCollins, 1991.

Hamilton, Virginia. Cousins. Philomel, 1990.

Hesse, Karen. Phoenix Rising. Holt, 1995.

Konigsburg, E. L. The View From Saturday. Atheneum, 1996.

Levine, Gail Carson. Ella Enchanted. HarperCollins, 1997.

MacLachlan, Patricia. Journey. Doubleday, 1991.

Maguire, Gregory. Missing Sisters. McElderry, 1994.

Mahy, Margaret. The Other Side of Silence. Viking, 1995.

Paterson, Katherine. Park's Quest. Dutton, 1988.

Snyder, Zilpha Keatley. Cat Running. Delacorte, 1994.

Turner, Megan Whelan. The Thief. Greenwillow, 1996.

Westall, Robert. The Machine Gunners. Greenwillow, 1976.

Other times and other places

What must it have been like to live hundreds of years ago when people walked or rode on horses because there were no cars, when houses didn't have indoor toilets and people ducked behind the nearest tree or used a smelly hole in the ground? Imagine living in a place where another language is spoken, where people wear different clothes and eat different foods, where girls have none of their brothers' opportunities simply because they are girls. What must it have been like to live in constant fear, or to be hated just because you had a different religion, and be forced to leave your beloved home and family just to stay alive? Have you ever dreamed of living in a time when magic was real, and powerful men and women practiced sorcery and cast spells, and kings with enchanted swords ruled the land?

Sometimes there isn't a dramatic difference between how people lived many years ago and the way we live now, and even though space and time separate us, we still recognize those people, understand their stories, and care for them.

Books on the current DCF list that explore this theme:

Cameron, Ann. The Secret Life of Amanda K. Woods.

Fleischman, Sid. Bandit's Moon.

Fletcher, Susan. Shadow Spinner.

Haas, Jessie. Fire! My Parents' Story.

Haddix, Margaret. Among the Hidden.

Holt, Kimberly. My Louisiana Sky.

Karr, Kathleen. The Great Turkey Walk.

Kurtz, Jane. The Storyteller's Beads.

Peck, Richard. A Long Way From Chicago.

Snyder, Zilpha Keatley. Gib Rides Home.

Springer, Nancy. I Am Mordred.

Wilson, Diane Lee. I Rode a Horse of Milk White Jade.

Wolff, Virginia Euwer. Bat 6.

Zemser, Amy. Beyond the Mango Tree.

For discussion:

It might help to make a map and a time line to locate these stories in space and time.
What specifically makes the characters in these stories different from the people around you?
What aspects of these characters' lives do you recognize and to which can you relate? Can you put yourself in any of their shoes?
Which characters seem most like you or someone you know?
Which characters seems most strange or unfamiliar to you? Why do these characters seem strange to you? If you were to think a little longer, could you find some aspects of these characters' lives or personalities that might be familiar?
What sorts of journeys are these characters making?
What are they seeking?
What role does love of and desire for family play in their journeys? How do these characters find (or not find) their special place within a kindly group?
What feelings drive these characters? Fear, hope, a desire to prove oneself, the need to belong, the need to be separate, the need to survive, the need to be loved, a hunger for friendship, for knowledge, for God, a desire to escape from something harmful, curiosity, hatred, love, etc.?
How does the gender of the characters in these stories determine their lives? How much equality and freedom of choice do the boys and girls in these stories have?
How does language give a flavor of the period and the place of the setting? Have you ever tried to write as if you lived in a different time and place?

Companion Titles

Picture books:

Daly, Niki. Not So Fast, Songololo. McElderry, 1986.

Fleischman, Paul. Weslandia. Candlewick, 1999.

McCully, Emily Arnold. Beautiful Warrior. Scholastic, 1998.

McMillan, Bruce. Nights of the Pufflings. HMCO, 1995.

Pyle, Howard. Bearskin. Morrow, 1997.

Young, Ed. Lon Po Po. Philomel, 1989.

For younger readers:

Hill, Kirkpatrick. Toughboy and Sister. McElderry, 1990.

Paterson, Katherine. Jip: His Story. Dutton, 1996.

Rowling, J.K. Harry Potter and the Sorcerer's Stone. Scholastic, 1998.

Tolkien, J. R.R. Farmer Giles of Ham. HMCO, 1948.

Warren, Andrea. Orphan Train Rider. HMCO, 1996.

For older readers:

Avi. Beyond The Western Sea, Parts 1 & 2. Orchard, 1996.

Curtis, Christopher P. The Watsons Go To Birmingham - 1963. Delacorte, 1995.

Cushman, Karen. The Midwife's Apprentice. Clarion, 1995.

Freedman, Russell. The Life And Death Of Crazy Horse. Holiday House, 1996.

Giblin, James Cross. Charles A. Lindbergh. Clarion, 1997.

Hesse, Karen. Out Of The Dust. Scholastic, 1997.

LeGuin, Ursula. A Wizard Of Earthsea. Parnassus, 1968.

McGraw, Eloise. The Striped Ships. McElderry, 1991.

McKinley, Robin. Beauty. HarperCollins, 1985.

Nye, Naomi Shihab. Habibi. S & S, 1997.

Park, Ruth. Playing Beatie Bow. Atheneum, 1980.

Pullman, Philip. The Ruby In The Smoke. Knopf, 1985.

Rostkowski, Margaret. After The Dancing Days. HarperCollins, 1986.

Snyder, Zilpha K. Song Of The Gargoyle. Harcourt, 1993.

Speare, Elizabeth. The Witch Of Blackbird Pond. HMCO, 1958.

Staples, Suzanne Fisher. Shabanu. Knopf, 1989.

Stolz, Mary. Bartholomew Fair. Greenwillow, 1990.

Sutcliff, Rosemary. Flame-Coloured Taffeta. FSG, 1986.

Poetry:

Coleridge, Samuel Taylor "Kubla Khan.@

Shelley, Percy Bysshe AOzymandias.@

Turner, W. James ARomance.@

Stories about stories

Stories play an enormous part in our lives, from bedtime stories we hear as very young children to the recounting of Awhat happened this morning on the way to work.@ We use the stories to communicate, to entertain and to teach. Our parents tell us family stories we pass on to our children and we have a sense of family, of continuity. Our religions and beliefs provide archetypal, moral and historic stories to guide the way we live. Folktales, created and re-created through the oral tradition, bring us truths about the world and our lives. Lucky is the person who knows stories of all these types and luckier still are the ones who share them with others. As Marjan says in Shadow Spinner, AWhen you tell the old tales, like Shahrazad, you become a keeper of ancient lore. You collect the wisdom of the world, and you remember. Next, you brush off the dust, press out the wrinkles, maybe mend a tear or two. Then you present the old tales as gifts to your listeners. You might alter the cut of a story as well, or embroider in some touches of your own. But your tales have a history before you.@ (p. 60)

Books on the current DCF list that explore this theme:

Blackwood, Gary. The Shakespeare Stealer.

Fletcher, Susan. Shadow Spinner.

Haas, Jessie. Fire! My Parents' Story.

Kurtz, Jane. The Storyteller's Beads.

Lowry, Lois. Looking Back.

Sachar, Louis. Holes.

For discussion:

How and why are stories powerful?
Why were stories important to the children in these books?
Why do people like to hear the same story over and over? What stories have you liked to hear over and over?
What makes a good storyteller?
How do stories change the lives of these characters?
In their books, Haas and Lowry tell us family stories. How are these stories important to them? To the reader?
All books tell stories of one kind or another. Which of this year's DCF books have stories that speak to you most directly?
Can you think of any stories that have helped you out in your life?

Companion Titles

For younger readers:

Hamley, Dennis. Hare's Choice. Delacorte, 1990.

Patron, Susan. Maybe Yes, Maybe No, Maybe Maybe. Orchard, 1993.

Pryor, Bonnie. Seth of the Lion People. Morrow, 1988.

Pullman, Philip. Clockwork: or All Wound Up. Scholastic, 1998.

Rocklin, Joanne. Strudel Stories. Delacorte, 1999.

For older readers:

Porte, Barbara Ann. I Only Made up the Roses. Greenwillow, 1987.

Thesman, Jean. The Rain Catchers. HMCO, 1991.

Thesman, Jean. The Storyteller's Daughter. HMCO, 1997.

Yep, Laurence. Child of the Owl. HarperCollins, 1977.

A Stranger comes to town

It has been said that much fiction can be fit into two plots: "A Stranger Comes to Town" or "You go on a Journey." Using the theme of a stranger coming to town allows the author to create conflict immediately. Familiar routines are disrupted, emotions are often dramatically changed, characters enter into different relationships with each other. The stranger may be good or evil or both, but in any event he or she sets the plot in motion. The stranger doesn't literally need to be a stranger, of course. It could be someone the characters already know.

Books on the current DCF list that explore this theme:

Blackwood, Gary. The Shakespeare Stealer.

Fleischman, Paul. Whirligig.

Griffin, Adele. The Other Shepards.

Haddix, Margaret. Among the Hidden.

For discussion:

Can you think of examples from your own life when a "stranger" has come to town?
Who is the stranger in the books you're reading?
How does the "stranger" change the events of the book?
Why do you think the writer chose the particular stranger?
What kind of person was the stranger? Did he or she stand for something?
Is the stranger an important character through the whole book or just in the beginning?
Does the stranger seem to be a real person, or a catalyst for events?
How do the other characters think of the stranger?
Could the book have been written without the stranger? What would have happened?

Companion Titles

Picture Books:

Yorinks, Arthur. Company's Coming. Crown, 1988.

Van Allsburg, Chris. The Stranger. HMCO, 1986.

For younger readers:

Babbitt, Natalie. Tuck Everlasting. FSG, 1975.

Boston, Lucy. A Stranger at Greene Knowe. Harcourt, 1961.

Gauthier, Gail. My Life Among the Aliens. Putnam, 1996.

Giff, Patricia. Lily's Crossing. Delacorte, 1997.

Hahn, Mary Downing. Wait Till Helen Comes. Clarion, 1986.

Hunter, Molly. A Stranger Came Ashore. HarperCollins, 1975.

Paterson, Katherine. Jip. Dutton, 1996.

Twain, Mark. A Connecticut Yankee in King Arthur's Court. Various editions.

For older readers:

Almond, David. Skellig. Delacorte, 1999.

Dickens, Charles. Great Expectations. Various editions.

Konigsberg, E.L. Father's Arcane Daughter. Atheneum, 1976.

Marino, Jan. The Day that Elvis Came to Town. Little, 1991.

Poems:

Walter de La Mare, "The Traveller"

Noyes, Alfred. "The Highwayman."

Browning, Robert. "The Pied Piper"

Unconventional narratives

For years critics have proclaimed the "death of the novel." Writers have sought new and unconventional ways to tell their stories partially in the hope that by breaking the bounds of convention they will postpone that death. Also, subject matter occasionally demands radically different styles. Furthermore, we are all being affected by changes in the media around us: more leaps, hypertext, MTV, the internet. We can all think of books that don't follow traditional narrative structure, but we may not often think about why the author chose such a form. There are many different ways to break form: by having more than one narrator, by using flashback, by spiraling, by using stream of consciousness, by using hypertext. What else can you think of that fits this category?

Books on the current DCF list that explore this theme:

Wolff, Virginia Euwer. Bat Six.

Fleischman, Paul. Whirligig.

Sachar, Louis. Holes.

Lowry, Lois. Looking Back.

Warner, Sally. Sort of Forever.

For discussion:

Did you notice the structures or were they unobtrusive?
Why do you think the authors chose this kind of narrative?
Is the structure part of the book &emdash; necessary - or does it seem an add-on?
Do you feel you have to work harder to read these books? Why or why not?
What do you like or not like about books with unconventional narratives?
Do you think the increased use of information technology makes these books more common? Why or why not?
Do you think the writer intended to involve you more? How?
Writers speak of a narrative arc or trajectory that guides the story from beginning to end. How do these books create a narrative arc?
In day to day life, we sometimes live in the past or the future, daydream, forget where we are, make connections &emdash; how do these books try to reflect life? How well do they succeed?
Are these stories really different form conventional narratives? Why or why not?
Which of these books did you like the best and why?
Why do you think each author chose to tell the story the way he or she did?

Companion Titles

Picture Books:

Cole, Joanna. The Magic School Bus (many titles). Scholastic.

Macaulay, David. Black and White. HMCO, 1990.

Macaulay, David. Why the Chicken Crossed the Road. HMCO, 1987.

Scieszka, John. The Stinky Cheese Man. Viking, 1992. (and other books by Scieszka and Smith)

Sis, Peter. Starry Messenger: Galileo and Tibet. FSG, 1996 and 1998.

For younger readers:

Cleary, Beverly. Dear Mr. Henshaw. Morrow, 1983.

Cushman, Karen. Catherine, Called Birdy. Clarion, 1994.

Fleischman, Paul. Seedfolks. Holt. Also Bull Run. HarperCollins, 1993.

Hesse, Karen. The Music of Dolphins. Scholastic, 1996.

Hesse, Karen. Out of the Dust. Scholastic, 1997.

Konigsburg, E.L. The View From Saturday. Atheneum, 1996.

Pilkey, Dav. The Adventures of Captain Underpants. Scholastic, 1997.

Raskin,Ellen. The Westing Game. Dutton, 1978.

Seabrooke, Brenda. Judy Scuppernong. Cobblehill, 1990.

Voigt, Cynthia. Bad Girls. Scholastic, 1996.

For older readers:

Avi. Nothing But The Truth. Orchard, 1991.

Cormier, Robert. I am the Cheese. Knopf, 1977.

Spiegelman, Art. Maus and Maus II. Pantheon, 1986, 1991.

Thomas, Rob. Rats Saw God. S&S, 1996.

Walter, Virginia. Making Up Megaboy. DKInk, 1998.

Wolff, Virginia Euwer. Make Lemonade. Holt, 1995.

Poems:

Fleischman, Paul. Joyful Noise. HarperCollins.

"Who am I?"

The search for one's identity has been a common theme in literature, particularly when the protagonists are children or adolescents. Sometimes a character (such as the title character in Laura Roybal's Billy) is forced to literally find a new identity when information or a situation emerges and destroys all the assumptions on which the original identity was based. More often the search is simply part of growing and maturing, finding one's place (as the narrator of Kevin Henkes's Protecting Marie does) among one's family, friends and acquaintances.

Books on the current DCF list that explore this theme:

Blackwood, Gary. The Shakespeare Stealer.

Fleischman, Paul. Whirligig.

Gantos, Jack. Joey Pigza Swallowed the Key.

Griffin, Adele. The Other Shepards.

Haddix, Margaret. Among the Hidden.

Philbrick, Rodman. Max the Mighty.

Springer, Nancy. I Am Mordred.

For discussion:

How does the search for identity fit into the structure of the book?
Is the search for identity one of choice or necessity?
Is the character aware of the search?
How does the character's sense of self change over the course of the book?
Is there a clear answer to the question "Who am I?"
Are there other characters searching for their own identities? What role do they play?

Companion Titles

Picture books:

Fleischman, Paul. Weslandia. Candlewick, 1999.

Stewart, Sarah. The Gardener . FSG, 1997.

For younger readers:

Ehrlich, Amy. Where It Stops, Nobody Knows. Dial, 1988.

Little, Jean. Kate. HarperCollins, 1971.

Lord, Bette Bao. Year of the Boar and Jackie Robinson. HarperCollins, 1984.

Paterson, Katherine. Lyddie. Dutton, 1991.

Wilson, Nancy Hope. Becoming Felix. FSG, 1996.

For Older Readers:

Bloor, Edward. Tangerine. Harcourt, 1997.

Coman, Carolyn. Tell Me Everything. FSG, 1993.

Cormier, Robert. I am the Cheese. Knopf, 1977.

Curtis, Christopher P. The Watsons Go To Birmingham - 1963. Delacorte, 1995.

Hamilton, Virginia. M.C. Higgins, the Great. S&S, 1974.

Pope, Elizabeth. The Perilous Gard. HMCO, 1974.

Paterson, Katherine. Jacob Have I Loved. Crowell, 1980.

Pullman, Philip. The Golden Compass. Knopf, 1996.

Salisbury, Graham. Blue Skin of the Sea. Doubleday, 1992.

Staples, Suzanne Fisher. Shabanu. Knopf, 1989.

Woodson, Jacqueline. From the Notebooks of Melanin Sun. Scholastic, 1995.

Press release template

(May be used/adapted by library/school program.)

Dorothy Canfield Fisher books coming to ________________ (library or school):

For more than forty years children in grades 4-8 have been involved in Vermont's children's choice book award, the Dorothy Canfield Fisher Award.

Named for Dorothy Canfield Fisher, a Vermont writer, the award is chosen by the children who read the books. Each year a dedicated group of children's literature experts reads over 300 current books, fiction and non-fiction, and chooses the 30 most outstanding titles. Based on this list, schools and libraries purchase and publicize the books. Children are encouraged to read at least five titles from the list so they can make an informed choice when it is time to vote for their favorite title in April. All public libraries and schools in Vermont are eligible to submit votes, and the winning author is invited to speak at an awards ceremony in late May or early June.

This year the 30 nominees include fiction and non-fiction and range from Lois Lowry's bittersweet memoir, Looking Back, to the 1999 Newbery winner, Holes, by Louis Sachar. In addition to classroom discussions, young readers will be able to visit the official Dorothy Canfield Fisher website for online contact with other students around the state who are reading the same books.

For more information about the list or the award, please call your local school or public library or visit the website at http://www.dcfaward.org

Assessment

Student book discussions provide powerful learning opportunities for students to make progress towards standards. How might that progress be evaluated? Some teachers may choose to use some informal process assessments at various points during the course of discussions. Rubrics, checklists, and documented observation notes may be appropriate, keeping in mind that you want to draw criteria from the standards. Make sure that students have these rubrics or checklists for self-assessment as well.

At various points during the year, you may want to use a more summative assessment: e.g. at the end of a unit or semester. These might include standards-based performance tasks that are related to the experiences students have had during these book discussions. For example, students might do a booktalk, might write a book review, might identify a theme of their own from a collection of books, pose questions and lead a small discussion group. In such cases, again, it's important to keep in mind that the task does not by itself constitute an assessment: there also needs to be some type of scoring guide (rubric, self-assessment, performance scale) to evaluate the degree to which the student's performance meets the standards.

Try to avoid:

Counting the number of pages

Giving food as a reward (see Alfie Kohn, Punished by Rewards, Houghton paper, 1995)

Contests

Yes-no questions/single answer questions

Bad books

Reading only from specific genres

Overemphasis on product or projects

Overanalysis of books

Professional bibliography

(places to look for more ideas, clarification, inspiration, etc.)

Atwell, N. IN THE MIDDLE: WRITING, READING, AND LEARNING WITH ADOLESCENTS. Portsmouth, NH: Heinemann, 1989.

Good ideas and examples of reading conferences, journals and a reading program based on student choice.

Beck, I., McKeown, M., Hamilton, R. & Kucan, L. (1997). QUESTIONING THE AUTHOR: AN APPROACH FOR ENHANCING STUDENT ENGAGEMENT WITH TEXT. International Reading Association, 1998.

Particularly useful when dealing with non-fiction text.

Daniels, Harvey. LITERATURE CIRCLES: VOICE AND CHOICE IN THE STUDENT-CENTERED CLASSROOM. Stenhouse, 1994.

Gambrell, Linda B. LIVELY DISCUSSIONS: FOSTERING ENGAGED READING. IRA, 1996.

National Council of Teachers of English. (1997). TEACHING LITERATURE IN THE MIDDLE SCHOOL: FICTION. NCTE, 1997.

A collection of articles focusing on reading and responding to fiction.

Parsons, L. RESPONSE JOURNALS. Heinemann, 1990.

The use of journals to develop critical response skills.

Rosenblat, L. THE READER, THE TEXT, THE POEM.: THE TRANSACTIONAL THEORY OF THE LITERARY WORK. Southern Illinois University Press, 1978.

A classic work on the development of critical readers.

Sloan, G. THE CHILD AS CRITIC: TEACHING LITERATURE IN ELEMENTARY AND MIDDLE SCHOOLS. Teachers College Press, 1991.

A comprehensive text applying theories of Frye, Rosenblat, etc. in realistic classroom settings.

Vermont Center for the Book. THE CLASSROOM GUIDE AND CATALOGUE: A READING AND DISCUSSION RESOURCE FOR TEACHERS. 1999 edition. VCB, 256 Haywood Rd., Chester, VT 05143. 802-875-2751.

Web support

Here are just a few of the MANY web sites that might support this work.

The DCF web site is maintained by Roger Crowley at Main Street Middle School. Roger volunteers to do this because he loves both books and technology. To visit the site, which has support material for this booklet, go to: http://www.dcfaward.org

The DCF discussion site is maintained by Holly Kruse. To participate with your students, go to: http://www.vetc.vsc.edu/DCF

The Department of Libraries Children's Book Exhibit Center lists past DCF titles as well as other book lists. Go to:

http://dol.state.vt.us/GOPHER_ROOT5/LIBRARIES/CBEC/cbec_biblio_etc.html

The American Library Association maintains information on Caldecott and Newbery books, the new TeenRead initiative, the Alex award, as well as other info of general interest.

www.ala.org (visit ALSC or YALSA or AASL from this site)

For adults interested in children's books, there are several listservs and sites of interest.

CHILD_LIT

http://www.rci.rutgers.edu/~mjoseph/childlit/about.html

The Cooperative Children's Book Center at the University of Wisconsin, Madison:

http://www.soemadison.wisc.edu/ccbc/

The Children's Literature Web guide is a great starting place for lots of information on children's lit in general. Following the links there can take you to great sites. http://www.acs.ucalgary.ca/~dkbrown/index.html

A great site that indexes much of what's available in children's literature on the web is: http://home.revealed.net/albee/pages/KidLit.html

The Children's Book Council, an organization of publishers, maintains publishing info at: http://www.cbcbooks.org

Kay Vandergrift's web site is good for serious study of children's literature. http://www.scils.rutgers.edu/special/kay/childlit.html

her young adult page is: http://www.scils.rutgers.edu/special/kay/yalit.html

Author pages available through many links.

One is at the children's literature web guide. Here's another one. http://www.scils.rutgers.edu/special/kay/author.html

Children's literature review journals such as School Library Journal, Booklist, Horn book, Bulletin all have home pages and some have online reviews.

School Library Journal: http://www.bookwire.com/slj

Horn Book: http://www.hbook.com/

Booklist: http://www.ala.org/booklist/

Bulletin of the Center for Children's Books: http://edfu.lis.uiuc.edu/puboff/bccb/

Publishers Weekly: http://www.publishersweekly.com

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