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They’re Not Just for Kids Anymore

by Janelle Mathis, University of North Texas, Denton, TX

At the beginning of each semester, many teacher educators are faced with the challenge of inviting secondary preservice teachers, as well as teachers already in classrooms, into the realization that picture books are not just for young readers and that many chapter books written for young adolescent readers can hold their own with the traditional literature of the cannon. The task is not an easy one since these individuals have entered their chosen field, frequently English Education, with a personal background that has focused on the traditional cannon. The majority of students I face have not read children’s or adolescent literature since they were in elementary or middle school and even those titles were limited. Continue reading

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Hesitations About Using Native Language in a Children’s Book

by Monique Storie, University of Guam

Question: When is it okay to use a native language in a children’s book?

This question has been sitting at the back of my mind for some time now. For about fifteen years, I have been working with a group who are passionate about preserving and promoting the indigenous cultures within the Micronesian region. I have participated in events, activities and projects to keep the Chamorro culture alive and the Chamorro language has been a crucial part of these efforts. The Chamorro language is an essential part of the Marianas archipelago’s cultural identity because language is one of the last distinctly Chamorro elements left. Because of that, I am moved by the sound of our elders singing and am filled with hope when I hear young children talking with each other or with their parents in Chamorro. I support publishing books, songs, and news articles in Chamorro. But despite all my pride and elation, despite all my advocacy and academic understanding, I find myself conflicted about using Chamorro for children’s books. Continue reading

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The Emergence of “Fantastic” in Chamorro Literature

by Monique Storie, University of Guam

Cover from The Duendes HunterDuring a discussion on multicultural children’s literature about a decade ago, a comment about modern fantasy shaped the way I watched the growth of Chamorro children’s literature. The comment was that modern fantasy was one of the more challenging genres to write authentically because the author’s need to suspend reality to allow the impossible can sometimes affect his or her ability to present a world that community members will recognize as their own. At the time of this discussion, Chamorro literature was emergent Continue reading

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Adolescents & Adolescent Novels on the Edge: Survival

By Holly Johnson, University of Cincinnati, Cincinnati, OH

Book cover for Once

Perhaps catastrophe is the natural human environment,
and even though we spend a good deal of energy trying to get away from it,
we are programmed for survival amid catastrophe.

–Germaine Greer

So, sometimes when we are standing on the edge of the next place, the next situation, the next move in our lives, we find ourselves pondering the concept of survival–survival of our ideologies and beliefs, our current relationships, or our lives as we know them. What might seem foreign to some readers is that many adolescents in the world are on the edge of survival in any or all of these ways. Continue reading

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Adolescents, Adolescent Novels, and Authors Writing the Edges

By Holly Johnson, University of Cincinnati, Cincinnati, OH

A penny for my thoughts, oh no, I’ll sell them for a dollar They’re worth so much more after I’m a goner And maybe then you’ll hear the words I been singin’ Funny when you’re dead how people start listenin’

Kimberly Perry, The Band Perry

I don’t feel I am in a dark place, but writing about adolescents and novels “on the edge,” well, you have to wonder. Continue reading

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To be or not to be: Graphic Novels in the Classroom?

by Julia López-Robertson, Amber Hartman, Jennifer Judy, Lillian Reeves, University of South Carolina

Many teachers are very hesitant to use graphic novels in their classroom. Much of the hesitation has to do with a personal lack of familiarity with this specific form of literature. For some, the use of graphic novels in the classroom is foreign and scary, some might not even see it as “literature,” while others are actually beginning to see the great advantage of using them to supplement student learning.
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Text Sets as Contexts for Understanding

Kathy G. Short, University of Arizona

Several years ago, Amy Edwards and I worked with her fifth graders in literature circles around a set of novels set in China. Her students had been reading and discussing global literature for several years, and so she didn’t hesitate in beginning the school year with these novels as a way to build off interest in the Beijing Olympics. The problem was that the novels were historical fiction, many set during the time of the Cultural Revolution, and it quickly became apparent that the students were struggling because they did not have enough knowledge about that time period. More worrisome, because the novels were historical, students were forming misconceptions about modern China as a repressive country set back in time.
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Paired Books: Reading a Book in the Context of another Book

Kathy G. Short, University of Arizona

Critically reading books set in global cultures is difficult when you only have surface knowledge about those cultures. In a global literature class, we found that reading a book in the context of other books provided us with perspectives that facilitated more critical reading. One effective strategy was to read paired books that were from the same culture or had similar themes, but provided differing perspectives. These pairings often exposed problematic issues, such as the domination of western views or assumptions about race, class or gender. The books in each pair were selected to reflect opposing points of view and so we were able to read the books against and beside each other, which supported us in uncovering problematic issues. We learned how to read critically as we read globally.

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Never Read a Book Alone

by Kathy Short, University of Arizona, Tucson, AZ

One of the lessons that I have learned as a reader of global literature is to never read a book by itself–to always read a book alongside other books. Over and over, I find that our interpretations and connections change dramatically when we read paired books or read a book within a larger text set or collection. Throughout the next month, my blogs will focus on my experiences of reading books alongside each other, most recently within a graduate course on global literature.

This blog focuses on an example of how our perspectives on a book can change dramatically when we read it within a broader collection. Mirror, written and illustrated by Jeannie Baker (2010), is an Australian picture book that is receiving enthusiastic reviews as visually stunning with a thoughtful message of global interdependence. As an individual piece of literature, this picture book is exemplary and deserving of awards and recognition as an aesthetic masterpiece. When considered within the political structures of our society and the broader collection of children’s books, however, the book is problematic and raises provocative questions about the responsibilities of authors, reviewers, and readers.
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What Makes Small Presses Successful

by Ann Parker, Pima Community College, Tucson, AZ

As we have seen, all of these small book publishing companies are managing to survive in the midst of the large conglomerate companies that have lots of resources at their disposal to publish and market their books. All of these smaller companies specialize in publishing children’s books from outside the predominant cultural perspective in the US, including books highlighting African American, Asian American, Latino, Native American, and international communities. Generally, as is the case with Children’s Book Press, Just Us Books, and Lee and Low Books, these companies were originally founded to meet a need in the community, namely, the need for books that reflected the experiences of children from multiracial and multiethnic backgrounds, but that were so well written that all children could enjoy them.
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