By Courtney Shimek, on behalf of The Biography Clearinghouse 2020 has changed our world in indelible ways. From navigating a global pandemic to fighting social injustices embedded into our everyday lives, we find ourselves overwhelmed, exhausted, and uncertain of the future. In response to these crises and the emotions they produce, we have found solace in picturebook biographies that deliver some much-needed perspective. Reading biographies have become a part of our self-care; they provide archives of the past, context for the present, and hope for the future. At The Biography Clearinghouse, we recognize the potential of biographies to shape readers’ understanding of the world, inform their connection to history, and engender empathy. Through our teaching ideas, we suggest ideas and resources for incorporating biographies into curricula. We also recognize that sometimes picturebook biographies come to life most vividly when read-aloud with young readers. As we maintain our "new normal" of vacillating between online, hybrid, and in-class instruction, reading aloud continues to be a constant beacon of inspiration and connection in our teaching. Our youth are navigating the same chaotic and ever-changing world; given that biographies model the complexities of this world, sharing these perspectives with youth is vital. As such, I share here 3 tips for reading biographies aloud and a few illustrative examples of high-quality biographies. Tip #1: Discuss the Visual Features  Picturebooks are unique artifacts where readers gain information not only from words but also from images. The visual features of biographies provide insights into the emotional experiences of distinctive individuals and offer a deeper understanding of humanity. As you read biographies aloud, begin examining the artistic elements (e.g., design and composition, font styles, use of color, artistic mediums, etc.) and see what you discern about the featured individuals, their emotions, and their experiences. For example, from the beautiful mixed media artwork in Spotted Tail (Weiden et al., 2019), we see how the history of the Lakota people connects to present-day issues through striking photographs, art, textural elements from nature, and quotes. Though Spotted Tail has a text-heavy narrative, the design and combination of photographs and art from Jim Yellowtail and Pat Kinsella provide readers numerous points of discussion and a perspective worth including in your read-aloud rotation. Additionally, in It Began With a Page: How Gyo Fujikawa Drew the Way (Maclear & Morstad, 2019), Morstad’s illustrations show the reader the detail and sense of color Fujikawa used in her work, and real photographs of her family are included throughout the book. In addressing the visual features of books with readers, we learn about people’s beliefs, histories, cultures, and emotions, and learn more information than from the words, alone. Tip #2: Back Matter Matters  Often, when we begin a read-aloud we skip to the beginning of the narrative and stop at the end, but creators of contemporary biographies share exceptional amounts of information in the peritextual elements, or everything in the book which is not the actual narrative. Instead of stopping your read-aloud at the end of the narrative, share some of the information included in the back matter such as authors’ and illustrators’ personal connections to the content, where they sourced research materials, and their creative processes. For example, in Planting Stories: The Life of Librarian and Storyteller Pura Belpré (Denise & Escobar, 2019), Denise provides descriptions of books by Pura Belpré, as well as films, books, and collections about Pura Belpré for further study. Similarly, in A Place to Land: Martin Luther King, Jr. and the Speech that Inspired a Nation, Barry Wittenstein and Jerry Pinkney (2019) provide notes expanding upon their decisions, short biographies about other civil rights leaders, along with sources and a bibliography. Biography creators also include additional content through the book jacket, endpapers, and their dedications. Sometimes, the back matter or other peritextual features might be more text-heavy or smaller in size than the narrative. We suggest projecting these features or displaying them on an interactive whiteboard so that these peritextual features can be explored and discussed collectively. When we only read aloud the primary narrative, we miss out on information that contextualizes the biography, describes the creative process, and inspires readers to search out additional sources. Tip #3: Revisit Writer’s Language  Biographers don’t just share events with readers, they share the essence of a person’s life. After you read a biography aloud, reread the book like a writer and examine how the authors’ word choices shape your understandings of a person, place, or event. In Fight of the Century: Alice Paul Battles Woodrow Wilson for the Vote (Rosenstock & Green, 2020), for example, Rosenstock structures her biography as a boxing match between Alice Paul and Woodrow Wilson. By portraying major events as rounds and including commentary from fight announcers (e.g., “This fight determines whether the women of the United States can vote, folks!”), readers experience how progress is often a battle of wills and experience what a fighter Alice Paul was. Additionally, Nelson’s use of western idioms (e.g., “plain as the ears on a mule” and “fit like made-to-measure boots”) in Let ‘er Buck!: George Fletcher, the People’s Champion (Nelson & James, 2019), drops the reader into the cowboy language and culture of Pendleton, Oregon. Through similes and energetic descriptions of bull riding, we experience how Fletcher was discriminated against and, yet, became a hometown hero. Biographers’ language choices provide us with new ways of looking at historical events, embed us in particular moments of time, and supply inspiration for our own writing processes.
How do you read aloud biographies? We would love to hear your tips through our email, thebiographyclearinghouse@gmail.com, or through comments on Facebook and Twitter #theBiographyClearinghouse. No matter what 2021 brings, we know we will navigate the uncertainty equipped with high-quality, multidimensional biographies and share the reassurances and possibilities they provide through read-alouds. References Denise, A. A., & Escobar, P. (2019). Planting stories: The life of librarian and storyteller Pura Belpré. HarperCollins. Maclear, K., & Morstad, J. (2019). It began with a page: How Gyo Fujikawa drew the way. HarperCollins. Nelson, V. M., & James, G. C. (2019). Let ‘er buck!: George Fletcher, the people’s champion. Carolrhoda Books. Rosenstock, B., & Green, S. (2020). Fight of the century: Alice Paul battles Woodrow Wilson for the vote. Calkins Creek. Weiden, D. H. W., Yellowtail, J., & Kinsella, P. (2019). Spotted tail. Reycraft Books. Wittenstein, B. & Pinkney, J. (2019). A place to land: Martin Luther King Jr. and the speech that inspired a nation. Neal Porter Books Courtney Shimek is an assistant professor at West Virginia University and has been a member of CLA since 2015. BY LAUREN AIMONETTE LIANG Last year, right around this time, the Fall 2019 issue of JCL arrived in the mail. In the President’s Message I had written a bit about my excitement for the upcoming NCTE conference: It starts for me with the airplane travel. Coming from my area, it is rare to board a flight heading to a major conference and not encounter fellow teachers, librarians, and researchers embarking on the same adventure. We wave, ask about colleagues and friends, and buzz a bit with excitement. (I often think the other travelers must later wonder about these groups of individuals who are all grading papers and reading thick books, while simultaneously winning all the in-flight trivia and scrabble games.) Once we arrive at the NCTE city, conference-goers from all over are grabbing bags, looking for shuttles and taxis, and heading off to the area hotels. Immediately there is a shared sense of purpose and anticipation. Conversations break out in the hotel elevators about whether registration is open, and the time of the opening session. Hordes of badge-wearing, tote-bag laden attendees appear in long lines at the coffee stands and take over the sidewalks in their sensible walking shoes as they head off for the day. And then the conference! Hour after hour of thought-provoking sessions, with speakers addressing the important issues in our field, provoking new ideas, and sharing possible solutions. The vibrant displays of new books in the exhibit hall waiting to be shared by knowledgeable and enthusiastic publishers who offer sneak peeks that might be perfect for your classroom. And, best of all, that amazing shared sense of being present with each other—knowing that the people gathered here care just as deeply as you do about supporting children’s and teen’s literacy experiences and growth. The Children’s Literature Assembly events at NCTE are a highlight for many attendees. A history of consistent excellence makes our CLA Notables Session, CLA Master Class, and CLA Breakfast the starred events on many personal conference schedules...
Notable Children’s Books in the Language Arts AwardS
Join the members of the Notable Children’s Books in the Language Arts award committee in a live event on Sunday afternoon from 1:45- 3:00 pm ET. Throughout the fall this blog has featured posts from members of this committee. Join them live for more outstanding 2020 titles and suggestions for classroom use.
Annual CLA Breakfast
Bring your breakfast to listen to amazing author Jason Reynolds, this year’s CLA Breakfast keynote speaker! In a live session Sunday morning from 9:00 – 10:15 am ET, the 2020-21 National Ambassador for Young People’s Literature will talk about his writing and more.
Lauren Aimonette Liang is an associate professor at the University of Utah and the current president of CLA. Living Literately and Mindfully at the Intersection of Mother Nature, the Animal World and Poetry11/9/2020
BY PEGGY S. RICE Consider...
Serenity can be found at the intersection of Mother Nature, the animal world and poetry. I have found that the more time I spend at this intersection, the less anxiety I feel. Following are materials and strategies, my students, daughter and I have found successful:
Poetry Performance
Power of Place Locate a space surrounded in nature that you can visit regularly. I am fortunate, because I live on 7 acres with a pond. When visiting this space, be prepared to engage in mindful listening, see the world with a poet’s eyes and take notes in a writing journal.
Poetry Writing Writing poetry is all about playing with words. Fletcher (2002) encourages us to play with the sounds of words. Consider, rhythm, rhyme, repetition, onomatopoeia and alliteration. He also encourages us to think fragments/cut unnecessary words, consider shape, use white space/experiment with line breaks and end with a bang/sharpen the ending. Each of these aspects of language can be a topic of minilessons connected to poetry performances of mentor poems. Lewis (2012, 2015) has included excellent resources for writing formula poems. Savor... In Beauty May I Walk --Anonymous (Navajo Indian) In beauty may I walk All day long may I walk Through the returning seasons may I walk Beautifully will I possess again Beautifully birds Beautifully joyful birds On the trail marked with pollen may I walk With grasshoppers about my feet may I walk With dew about my feet may I walk With beauty may I walk With beauty before me may I walk With beauty behind me may I walk With beauty above me may I walk With beauty all around me may I walk In old age, wandering on a trail of beauty, lively, may I walk. In old age, wondering on a trail of beauty, living again, may I walk It is finished in beauty It is finished in beauty References
Calkins, L.M. (1994). The art of teaching writing. (2nd ed.). Portsmouth, NH: Heinemann. Fletcher, R. (2002). Poetry matters: Writing a poem from the inside out. New York: Harper Trophy. Lewis, J. P. (2015). National geographic book of nature poetry: More than 200 poems with photographs that float, zoom, and bloom! Washington, DC: National Geographic Partners, LLC. Lewis, J. P. (2012). National geographic book of animal poetry: More than 200 poems with photographs that squeak, soar, and roar! Washington, DC: National Geographic Partners, LLC. Shelton, L. (2009). Banish boring words. New York: Scholastic Peggy S. Rice is an Associate Professor of Elementary Education and Faculty Advisor for the Partners in Literacy Council at Ball State University in Muncie Indiana. She is a member of the Children's Literature Assembly Ways and Means Committee. Exploring Representation and Advocacy in Government with "What Do You Do with a Voice Like That?"11/3/2020
BY SCOTT RILEY AND MARY ANN CAPPIELLO, ON BEHALF OF THE BIOGRAPHY CLEARINGHOUSE  The nation is rattled by a presidential impeachment trial. The economy is held in the grip of a recession. Black Americans demand an end to racism, redlining, and segregated schools. Women insist on equity in the home and in the workplace, control over their finances and their bodies. 2020? No. 1974. The votes cast today, on Election Day 2020, along with the millions of votes cast over the last several weeks, will determine the next president and vice president of the United States of America. Today’s votes will also elect all members of the U.S. House of Representatives and 35 members of the U.S. Senate. How much do our students know and understand about these legislative bodies and the power with which they are endowed? About the people who serve within these institutions? One small way to begin a conversation about these legislative bodies, the legislative process, and the people who fill those seats is with a reading of What Do You Do with a Voice Like That? The Story of Extraordinary Congresswoman Barbara Jordan, written by Chris Barton and illustrated by Ekua Holmes. This 2018 picture book tells the life story of Barbara Jordan, the formidable Congresswoman known for her defense of the Constitution during the 1974 impeachment trial of President Richard Nixon:
Barbara Jordan believed in the Constitution, and she believed in the power of the processes of government to enact change on behalf of the greater good. Throughout What Do You Do with a Voice Like That?, author Chris Barton uses the power and conviction of Jordan’s voice to demonstrate to readers how Jordan worked within the system to advocate for social justice. Through repetition, sentence variety, and precise word choice, Barton captures Jordan’s transition from studious young woman to tireless champion. Ekua Holmes’ mixed-media collages move from intimate close-ups to panoramic views, constantly shifting and changing perspectives to engage the reader in different portraits of Jordan.
Barbara Jordan - Political Values and Ethics - Fall 1981
By investigating biographers’ research and writing processes and connecting people and historical events to our modern lives, we hope to motivate change in how readers engage with biographies, each other, and the larger world. To see more classroom possibilities and helpful resources connected to What Do You Do with a Voice Like That? The Story of Extraordinary Congresswoman Barbara Jordan, visit the What Do You Do with a Voice Like That? The Story of Extraordinary Congresswoman Barbara Jordan page on The Biography Clearinghouse. Additionally, we’d love to hear how these interviews and ideas inspired you. Email us at thebiographyclearinghouse@gmail.com with your connections, creations, questions, or comment below if you’re reading this on Twitter or Facebook. If you are interested in receiving notifications when new content is added to the Biography Clearinghouse, you can sign up for new content notices on our website. Scott Riley is a middle school instructional coach at Singapore American School where he supports professional learning in and out of classrooms and the debut author of The Floating Field: How a Group of Thai Boys Built Their Own Soccer Field (Millbrook Press 2021). Mary Ann Cappiello teaches courses in children’s literature and literacy methods at Lesley University, blogs about teaching with children’s literature at The Classroom Bookshelf, a School Library Journal blog, and is a former chair of NCTE’s Orbis Pictus Award for Outstanding Nonfiction K-8. BY ELIZABETH M. BEMISSEach year, the Notable Children’s Books in Language Arts Committee (NCBLA) reads and discusses works of fiction, non-fiction, and poetry written for K-8 readers. Committee members, seven dedicated children’s literature enthusiasts, with experience ranging from elementary school teaching, to school librarians, and finally, university faculty with expertise in children’s and young adult literature, consider the requisite qualities for narrowing down the winners to a list of 30 titles. In this post, I will feature two poetic picture books included in the 2020 Notables list, Lion of the Sky: Haiku for All Seasons (2019), and Room on Our Rock (2019).
Teaching Tips for Using the Books as Mentor TextsUtilized as mentor texts, these poetic picture books provide readers with delightful opportunities to craft their own written responses inspired from the texts. The whimsical collection of “riddle-ku” poems in Lion of the Sky invites readers to enjoy a play on language and is an inspiring way to help young writers craft unique poetry of their own. Students can create their own “riddle-ku” poems and invite peers and family members to guess the answer to their “riddle-kus.” To scaffold young writers, teachers can draw from this brainstorming resource from Millbrook Press where students can craft a “Zoo-ku,” or a “riddle-ku” about an animal. Additionally, students can publish their “riddle-ku” on a Padlet Page created by the author, Laura Purdie Salas. Another way students can craft their poems is through Read Write Think’s Interactive Haiku Generator, which guides students through brainstorming, drafting, and publishing, where individual background images can be added to the published “riddle-ku.” The poetic forward and backward reading of Room on Our Rock can foster rich conversations between readers about the varying messages from the book when read forward versus backward as well as discussions surrounding point of view. Teachers can guide students to reflect on the kind of tone and voice needed to read the book forward and how it changed to read the book backward. Teachers could also have students think about how the artwork on each page was used to create the tone of the book from two perspectives. After engaging in deep conversation around the book, students can partner up to write a review of the book and then share their reviews via free audio or video sharing applications. Students can post links to the reviews on a class page such as note.ly or Padlet. Elizabeth M. Bemiss, an Assistant Professor at the University of West Florida, teaches courses in children’s and young adult literature and literacy methods. Elizabeth is a member of the 2019-2021 Notables Committee. BY ALLY HAUPTMAN Why do we teach vocabulary? At its core increasing a student’s vocabulary gives that student power. The power to express ideas, opinions, and feelings. The power to find the right words to persuade, inform, or to bring joy to readers. The power to build knowledge and understand complex concepts across disciplines. To effectively teach vocabulary and empower our students, teachers must provide rich and varied language experiences, learning experiences that connect words within a context, and opportunities to develop word consciousness (Allen, 2014). Students need opportunities to read, write, and talk in authentic ways. Teachers can model how to use words in context, and immerse students in the language of different disciplines. We need to show students how powerful words are in helping us communicate our ideas. We have to show them how to become “word collectors.” We need to teach vocabulary within context, and intentionally put students in situations where they make connections between words and concepts. One of the most effective ways for students to make connections and construct meaning is to make sure new vocabulary is presented within a meaningful context. This is where excellent children’s literature comes into play. There are so many brilliantly written non-fiction picture books that can be used to teach vocabulary within a context. With students, I refer to these non-fiction books that are accessible to young readers and use text features in interesting ways, as jazzy non-fiction. Students are drawn to these texts because they make the subject fascinating for readers. One author whose jazzy nonfiction I often use is Jess Keating. She is an author, artist, and zoologist who creates texts that spark curiosity about animals and women in science. In her World of Weird Animals series, she uses photographs, cartoons, and text features in unique and engaging ways. This is what makes her books so appealing to young readers, but as a teacher I am drawn to the complex vocabulary she uses in her writing. Jess Keating books can be used as mentor texts for writing, sparking a myriad of writing possibilities for students as they begin to see creative ways to write nonfiction. Jess Keating books are perfect for modeling a rich array of metacognitive comprehension strategies like determining importance. Jess Keating books are the best for teaching science concepts and related vocabulary within an authentic context. Cute As an Axolotl: Discovering the World’s Most Adorable Animals
In this text, Jess Keating and David DeGrand present a combination of stunning animal photographs, cartoon animals, and text features that invite readers to learn about some seriously cute creatures. For each animal, Keating lists facts like species name, size, diet, habitat, predators and threats. She also tells the reader strange, interesting facts that leave you wanting to do more research on these adorable creatures.
Learning Experience Using Cute As an Axolotl
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Investigate
Investigate focuses on authors’ and illustrators’ craft and structure. Suggested mini-lessons, writing opportunities, and talking points invite students to take composition-focused “closer looks” and “tryouts,” accentuating the importance of authors’ and illustrators’ craft from multiple perspectives. For Otis and Will Discover the Deep, we call students attention to the craft of developing narrative tension though words and illustration. We also note the variety of engaging verbs employed by Rosenstock and her precision with language. We suggest an examination of the back matter augmented by listening to Rosenstock’s discussion of the role of back matter in our interview with her. |
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Explore
Explore offers resources to connect ideas, historical events, and scientific discoveries and inventions within the featured biographies to our world. These resources are selected to help readers deepen and extend their understandings of and connections between historical events and eras, scientific progress and modern conveniences, and to illustrate the interconnectedness of life across geographical places/spaces and disciplinary perspectives. Otis Barton and Will Beebe were driven by their curiosity about the ocean depths - what kinds of life would they find in the deep regions? We offer a collection of resources to help students research their own questions about deep-sea animal life. We also suggest a broader exploration of contemporary scientific research about animals and their habits. What kinds of organizations are sponsoring research? Who are the people who are carrying out current investigations? What can be learned about the process of science by learning more about their work? This section also includes ideas to explore social and emotional learning. We offer suggestions for using Dramatic Tableaux as a tool to explore the lived experiences of characters. We also invite teachers and students to consider how personal passions and interests in childhood shape who we become as adults. |
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Create
Create invites readers to apply what they learn and know from the biographies to their current communities and contexts. Acutely aware of time and resources, our suggestions are typically designed to meet educators where they are and offer additional opportunities. For Otis and Will Discover the Deep we suggest engaging students with the history of ocean exploration, the creation of a timeline of key people and key exploration vehicles along with an opportunity to explore the life stories of contemporary oceanographers. We also suggest a focus on the theme of collaboration, inviting students to consider the effective elements of collaborations and the ways that we can all benefit from collaborations that include multiple perspectives. |
Artifacts from Barb Rosenstock & Katherine Joy's Creative and Collaborative Process
Bathysphere Log Cover. Image Credit: WCS Archives Collection 1005J.
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Barb Rosenstock's original idea.
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Katherine Joy's mark-ups on the Ottis and Will manuscript.
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Posing for Katherine Joy's 100,200 feet illustration.
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CREATE with Otis and Will Discover the Deep.
Featured here is one of the teaching ideas inspired by Otis and Will Discover the Deep:
Unlikely Collaborators: Researching Collaboration
When we interviewed Barb Rosenstock about researching and writing, Otis and Will Discover the Deep, we were so surprised to discover that Otis and Will didn’t like each other! Given the incredible teamwork displayed in the book, we were a bit dumbfounded. But as Rosenstock points out, getting a job done does not always require that people like each other. It’s about the commitment to the task at hand and the sharing of talents and information to make it happen. How does teamwork and collaboration happen? Why is it so important?
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Discuss the ways in which Otis and Will, along with an unnamed team of workers, refined their process of collaboration within the book. Next, listen to our interviews with Rosenstock and Katherine Roy. How did each collaborate with other people in order to research and create the book? What collaborations take place in your classroom on a regular basis? In your school? Have students brainstorm additional ways that they might be able to collaborate across the school day. |
Compare and contrast the collaborations you discussed previously and consider the collaborations within the following picturebooks: Side by Side/Lado a Lado: The Story of Dolores Huerta and Cesar Chavez/La Historia de Dolores Huerta y Cesar Chavez by Monica Brown, illustrated by Joe Cepeda Hiawatha and the Peacemaker by Robbie Robertson, illustrated by David Shannon Sit In: How Four Friends Stood Up by Sitting Down by Andrea Davis Pinkney, illustrated by Brian Pinkney Seeds of Freedom: The Peaceful Integration of Huntsville, Alabama by Hester Bass, illustrated by E.B. Lewis Those Rebels, John and Tom by Barbara Kerley, illustrated by Edwin Fotheringham |
Have students identify people in your community who collaborate with one another. For example, your local grocery store might collaborate with a local food bank. A local church might partner with a homeless organization. A local artists’ collective might collaborate with a restaurant to display work. Have students generate interview questions and then conduct in-person or virtual interviews with them about the importance of collaboration. Students could commemorate these collaborations through art and poetry. Or, students could brainstorm a list of new collaborations that might be beneficial to the community, that they can share with local leaders |
By investigating biographers’ research and writing processes and connecting people and historical events to our modern lives, we hope to motivate change in how readers engage with biographies, each other, and the larger world. To see more classroom possibilities and helpful resources connected to Will and Otis Discover the Deep: The Record Setting Dive of the Bathysphere, visit the Will and Otis entry at the Biography Clearinghouse.
Additionally, we’d love to hear how these interviews and ideas inspired you. Email us at thebiographyclearinghouse@gmail.com with your connections, creations, questions, or comment below if you’re reading this on Twitter or Facebook.
If you are interested in receiving notifications when new content is added to the Biography Clearinghouse, you can sign up for new content notices on our website.
Erika Thulin Dawes is Professor of Language and Literacy at Lesley University where she teaches courses in children’s literature and early childhood literacy. She blogs about teaching with children’s literature at The Classroom Bookshelf, a School Library Journal blog, and is a former chair of NCTE’s Charlotte Huck Award for Outstanding Fiction for Children.
Mary Ann Cappiello teaches courses in children’s literature and literacy methods at Lesley University, blogs about teaching with children’s literature at The Classroom Bookshelf, a School Library Journal blog, and is a former chair of NCTE’s Orbis Pictus Award for Outstanding Nonfiction K-8.
Mary Ann Cappiello teaches courses in children’s literature and literacy methods at Lesley University, blogs about teaching with children’s literature at The Classroom Bookshelf, a School Library Journal blog, and is a former chair of NCTE’s Orbis Pictus Award for Outstanding Nonfiction K-8.
By Katie Caprino, Elizabethtown College
One of the reasons I became a teacher was because it was a profession in which I thought I could be creative. A writer, I wanted a position in which I could carry on my passion of writing and inspire student writers.
Reflecting back on my work as a middle and high school English teacher, I lament the limitations I feel were put on my work as a creative person. Even my current role as a literacy teacher educator seems overwhelmed at times by elements which I feel are the absolute antithesis to creativity.
My opportunity to teach the creative methods course at my institution gave me a space to engage with creativity and to help future teachers think critically about what creativity looks like in the classroom and inspire them to be creative teachers. Inspired by Brandt’s (1998) work on literacy sponsors, I believe that teachers, students’ peers, and even students themselves play an important role in being creativity sponsors.
In this blog post, I share a few contemporary books that provide portrayals of creativity sponsors, framing my work in the context of research on creativity. I then provide teachers with some ideas on how to use contemporary children’s literature texts as inspiration to facilitate a creative classroom.
Reflecting back on my work as a middle and high school English teacher, I lament the limitations I feel were put on my work as a creative person. Even my current role as a literacy teacher educator seems overwhelmed at times by elements which I feel are the absolute antithesis to creativity.
My opportunity to teach the creative methods course at my institution gave me a space to engage with creativity and to help future teachers think critically about what creativity looks like in the classroom and inspire them to be creative teachers. Inspired by Brandt’s (1998) work on literacy sponsors, I believe that teachers, students’ peers, and even students themselves play an important role in being creativity sponsors.
In this blog post, I share a few contemporary books that provide portrayals of creativity sponsors, framing my work in the context of research on creativity. I then provide teachers with some ideas on how to use contemporary children’s literature texts as inspiration to facilitate a creative classroom.
The Books
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One Time. Creech’s (2001) Love That Dog has been a mentor text for many of my students’ poetry writing. My sixth graders and my preservice teachers laugh at the same parts of this ode to poetry and write beautiful pieces inspired by the poems referenced in the text. It should not be surprising that I was so excited to read Sharon Creech’s (2020) latest middle grades book One Time. Readers are introduced to Gine Filomena, who is an imaginative eleven-year old.
Gina has always had her dad to cultivate her creativity, but she really blooms when Antonio, her creative and somewhat mysterious neighbor joins her class, which is taught by the new and creative teacher Miss Lightstone. Miss Lightstone tries out methods unheard of with the last teacher: time to write, inspiration boards, wordplay, and provocative questions on the board like Who are you? The other students in the class are a bit slower to adopt Miss Lightstone’s methods of giving them choice and few boundaries. They want to know how they will be graded. And exactly what to do. There is mystery and intrigue, and not everything makes complete sense to the characters in or the readers of One Time, but one thing is clear: Gina will always remember her creativity sponsor: Miss Lightstone. This is a powerful book that touches upon issues of creativity and, more broadly, what our schools have become. It is a book that would make a wonderful read-aloud to younger students, a fabulous read at the middle grades level, and a powerful read for preservice teachers. |
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Ish. I have come to love the work of Peter H. Reynolds. As part of my work on this project, I came across his 2004 children’s picture book Ish. This book introduces readers to Ramon, a boy who loves to draw. However, when his brother Leon ridicules him, he gives up. That is, until his sister Marisol brings him into her room full of all of his previous drawings. Marisol helps him understand an important lesson: that the process not the product matters (Resnick, 2018). His sister’s creativity sponsorship motivates him to think differently about his art and writing.
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In the Draw-ish video embedded below, Peter Reynolds takes viewers to a creating adventure by starting with a single dot.
What Ish helps young children and adults realize is that it only takes one person to inspire an artist. When I use this children’s picture book in my creative methods course, I want to ask my students: Do you want to be more like Leon or Marisol in your classroom?
You can also read more about Peter Reynolds’s Animation-ish, a web-based animation program. |
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What If. Writer Samantha Berger and illustrator Mike Curato teamed up to create a wonderful children’s picture book about a little girl’s ingenuity. Letting nothing stop her, she is committed to always creating, even when it means figuring out exactly what materials will help her reach her goal. The beauty of this book is not only in its storyline but also in its creative composition. The mixed-media illustrations give texture to a book that embodies creativity.
A perfect read-aloud title, What If is a creativity sponsor on its own, but I believe younger children will really be motivated by seeing a young girl, with no adult intervention, be creative on her own. The little girl does not have a creativity sponsor; she is capable of being her own. Her resourcefulness is inspiring. The story begins with her writing a story and then imagining if the pencil broke and how she would still create stories. She then shares how she would fold the paper to create stories and then chisel the table and carve the chair when she ran out of paper. And on and on. We want thinkers like this protagonist in our classroom, in our world. We want young children who can create on their own, perhaps with some scaffolds yes, as Resnick (2018) writes in his book Lifelong Kindergarten: Cultivating Creativity through Passion, Projects, Peers, and Play and as Miss Lightstone realizes in Creech’s (2020) One Time, but we want them to have the resilience and confidence to do some of the creative lifting themselves. Resnick (2018) emphasizes the importance of having students engage in the creative learning spiral, a process by which students imagine, create, play, share, and reflect. What if helps young readers see the power of the first three tenets. Teachers and parents would be smart to organize classrooms that facilitate the creative opportunities the story’s lead creative character has. |
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In this video, Resnick discusses how to help kids become creative thinkers.
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On a Magical Do-Nothing Day. One thing I have noticed during the time of COVID was that the people who told me they were bored the least were people whom I would characterize as having hobbies and being readers. Now certainly, I have not validated my hunch through systematic study, but I do wonder if creativity has served some as a type of buffer to the challenges of this unprecedented time for some people. It’s almost as if we have had almost a half of year of what Beatrice Alemagna’s (2016) character in On a Magical Do-Nothing Day experiences.
A young child laments coming to a cabin with their mother. Wanting to only play an electronic game, the child’s mom takes the game away. Of course, the child finds it and heads outside into what is a miserably rainy day - made more miserable when the game is lost. But what the loss of the game allows is for the child to see the world in a new way. This book is less about a young child creating creative products, like in What If, but it is a book about opening oneself up to notice things in different ways. And this is something play allows. Emphasizing the importance of play to the creative process, Resnick (2018) discusses how pivotal it is that we allow students to play. The premise of his entire book, indeed, is that all grades should be more like kindergarten used to be, not overwhelmed with curriculum standards and coverage, but with opportunities for students to engage in his 4Ps: projects, passion, peers, and play. Because these, he claims, open up creativity’s doors. |
Now What?
Certainly, adding the titles shared above to your classroom library is a good start. Sharing these books with students in a way that invites them to discuss what they think creativity is, whether they are creative, and how their schooling experiences have encouraged or restricted creativity could be the next step.
And then I call for a little self-reflection. Are you, as a teacher, more like Leon or Marisol in Ish? How might you be more of a Miss Lightstone from One Time? When you think about your students, do they take risks like the little girl in What If? Or do they ask so many questions about how assignments will be graded and what you want like Gina’s classmates in One Time? Do your students know what to do with some free time like the little child in On A Magical Do-Nothing Day?
These reflections might prompt you to think about how you might use one of the books shared in this post as a mentor text for a lesson idea. Here are some ideas!
● Let your students freewrite, working up to longer periods of time, and share their work. (One Time)
● Provide students with an object and ask them what they would do if that object broke in order to complete an intended
task. (What If)
● Offer spaces in your classroom where your students can explore and play. (On a Magical Do-Nothing Day)
● Invite your students to draw a picture, and post everyone’s picture in a gallery. (Ish)
It is important to think about how important creativity sponsors are in a child’s life. Teachers can be creativity sponsors, but so, too, can peers and children themselves – if we let them! It is my hope that these book recommendations, along with the reflective prompts and lesson ideas, may inspire creativity in you and your students!
And then I call for a little self-reflection. Are you, as a teacher, more like Leon or Marisol in Ish? How might you be more of a Miss Lightstone from One Time? When you think about your students, do they take risks like the little girl in What If? Or do they ask so many questions about how assignments will be graded and what you want like Gina’s classmates in One Time? Do your students know what to do with some free time like the little child in On A Magical Do-Nothing Day?
These reflections might prompt you to think about how you might use one of the books shared in this post as a mentor text for a lesson idea. Here are some ideas!
● Let your students freewrite, working up to longer periods of time, and share their work. (One Time)
● Provide students with an object and ask them what they would do if that object broke in order to complete an intended
task. (What If)
● Offer spaces in your classroom where your students can explore and play. (On a Magical Do-Nothing Day)
● Invite your students to draw a picture, and post everyone’s picture in a gallery. (Ish)
It is important to think about how important creativity sponsors are in a child’s life. Teachers can be creativity sponsors, but so, too, can peers and children themselves – if we let them! It is my hope that these book recommendations, along with the reflective prompts and lesson ideas, may inspire creativity in you and your students!
Books Referenced
Alemagna, B. (2016). On a magical do-nothing day. New York: HarperCollins.
Berger, S. (2018). What if. New York: Hachette Book Group.
Brandt, D. (1998). Sponsors of literacy. College Composition and Communication, 49(2), 165- 185.
Creech, S. (2020). One time. New York: HarperCollins.
Creech, S. (2001). Love that dog. New York: HarperCollins.
Resnick, M. (2018). Lifelong kindergarten: Cultivating creativity through projects, passion, peers, and play. Cambridge,
MA: MIT Press.
Reynolds, P. (2004). Ish. Somerville, MA: Candlewick.
Alemagna, B. (2016). On a magical do-nothing day. New York: HarperCollins.
Berger, S. (2018). What if. New York: Hachette Book Group.
Brandt, D. (1998). Sponsors of literacy. College Composition and Communication, 49(2), 165- 185.
Creech, S. (2020). One time. New York: HarperCollins.
Creech, S. (2001). Love that dog. New York: HarperCollins.
Resnick, M. (2018). Lifelong kindergarten: Cultivating creativity through projects, passion, peers, and play. Cambridge,
MA: MIT Press.
Reynolds, P. (2004). Ish. Somerville, MA: Candlewick.
Kathryn Caprino is a CLA member and is an Assistant Professor of PK-12 New Literacies at Elizabethtown College. You can follow her on Twitter @KcapLiteracy. She blogs frequently at Katie Reviews Books.
BY JENNIFER SUMMERLIN
The Notable Children’s Books in the Language Arts Committee (NCBLA) read and reflected on over 400 of the newest books (published in 2019) for readers in grades K-8. Committee members considered the following qualities for choosing the final 30 titles to make the NCBLA Notables 2020 list:
I will start by providing a brief summary, followed by corresponding primary source images and instructional strategies for maximizing text and supporting visual literacy. Coupling quality historical fiction texts with visual primary sources like infographics, charts, graphs, photographs, illustrations, or political cartoons affords opportunities to critically explore and unpack images, while building background knowledge and making connections to the text (Lent, 2016; Harris, 2010).
Summary
This beautiful picture book features one strong-willed young girl, Louisa Belinda Bellflower, determined to learn to ride a bicycle. This story, set in Rochester, New York in 1896, tells of a brother and sister (Louisa and Joe) who, like other siblings, play and disagree. Although typical siblings, the difference is the topics of their disagreements, which tend to focus on the things boys can do that girls cannot. Louisa is discouraged from wearing anything other than a dress, limiting her ability to do cartwheels or learning to ride a bicycle (also off limits for girls). Louisa is determined to ride a bike, even if it means contracting “bicycle face,” a permanent result of scrunching your face and bulging your eyes while trying to balance the bike. Louisa Belinda Bellflower will not be stopped as she works to prove to her brother and boys everywhere that girls can and should ride a bicycle.
Primary Visual Source
The Library of Congress website features a variety of visual primary sources depicting women as a collective part of the late 19th century bicycle frenzy. The bicycle, commonly referred to as the wheel, was an instrumental vehicle of progress for the women’s movement and their fight for voting rights. Globally, women began riding bicycles, finding new freedom in their mobility. With this increased transportation came a greater public presence of women, allowing increased likelihood of their voices to be heard.
Two primary visual sources are: The “new” woman and her bicycle by Frederick Burr Opper and Woman in a room with a bicycle saying to a man and child, “Sew on your own buttons, I’m going for a ride” photographer unknown.
- appealing format,
- enduring quality,
- exemplary genre criteria,
- unique language, and
- encouraging active participation and engagement.
I will start by providing a brief summary, followed by corresponding primary source images and instructional strategies for maximizing text and supporting visual literacy. Coupling quality historical fiction texts with visual primary sources like infographics, charts, graphs, photographs, illustrations, or political cartoons affords opportunities to critically explore and unpack images, while building background knowledge and making connections to the text (Lent, 2016; Harris, 2010).
Summary
This beautiful picture book features one strong-willed young girl, Louisa Belinda Bellflower, determined to learn to ride a bicycle. This story, set in Rochester, New York in 1896, tells of a brother and sister (Louisa and Joe) who, like other siblings, play and disagree. Although typical siblings, the difference is the topics of their disagreements, which tend to focus on the things boys can do that girls cannot. Louisa is discouraged from wearing anything other than a dress, limiting her ability to do cartwheels or learning to ride a bicycle (also off limits for girls). Louisa is determined to ride a bike, even if it means contracting “bicycle face,” a permanent result of scrunching your face and bulging your eyes while trying to balance the bike. Louisa Belinda Bellflower will not be stopped as she works to prove to her brother and boys everywhere that girls can and should ride a bicycle.
Primary Visual Source
The Library of Congress website features a variety of visual primary sources depicting women as a collective part of the late 19th century bicycle frenzy. The bicycle, commonly referred to as the wheel, was an instrumental vehicle of progress for the women’s movement and their fight for voting rights. Globally, women began riding bicycles, finding new freedom in their mobility. With this increased transportation came a greater public presence of women, allowing increased likelihood of their voices to be heard.
Two primary visual sources are: The “new” woman and her bicycle by Frederick Burr Opper and Woman in a room with a bicycle saying to a man and child, “Sew on your own buttons, I’m going for a ride” photographer unknown.
Primary Visual Source: The “new” woman and her bicycle
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Website: https://www.loc.gov/item/2012648801/ Title: The “new” woman and her bicycle By: Frederick Burr Opper Publisher: NY: Keppler & Schwazmann, 1895 June 19. Summary: This cartoon was printed on the back cover of the Puck magazine (v. 37, no. 954). The “new woman” stands at the center. The three mice at her feet demonstrate her new strength and lack of fear. This is in contrast to the smaller scene of the older woman in the bottom right-hand corner who stands on a chair at the sight of mice. The “new woman” is surrounded by a variety of women of all ages demonstrating the usefulness and freedom of increased mobility the bicycle provided. Questions for Analysis:
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Text Connection:
Revisit the two-page spread immediately following the dedication page. 
Ask students what they notice about this two-page spread. The illustrations show men riding their bicycles, while the women and children were confined to their homes. Discuss connections between the two-page spread and the cartoon of the “new woman.” Text illustrations depict the various ways the bicycle assists with the men’s daily work.
End this discussion by asking the students to share their observations from the final two-page spread positioned right before the author’s note. The illustration mirrors the cartoon, but features women doing all of the same things the men can do with the assistance of a bicycle. Finally, ask the students what message they believe the cartoonist is trying to convey. 
Ask the students how they think the illustrator came to create both of these two-page spreads. This allows an opportunity for shifting the discussion toward the time spent researching to develop a well-written and illustrated, accurate, and authentic historical fiction. |
Primary Visual Source: Woman in a room with a bicycle saying to a man and child, “Sew on your own buttons, I’m going for a ride”
Website: https://www.loc.gov/pictures/resource/cph.3a50886/
Title: Woman in a room with a bicycle saying to a man and child, “Sew on your own buttons, I’m going for a ride.”
By: Unknown
Date Created/Published: 1899, Stereo Copyrighted B. L. Singley
Summary: This printed photograph was doubled and placed on cardboard to create a stereo card for a stereograph machine. A stereograph machine was used to make pictures look three dimensional, similar to an old-fashioned view-master. To learn more about the stereograph, view the video at the What is a Stereograph? webpage of Middlebury College's Museum of Art.
The image on the photograph is of a woman standing in her home with her bicycle beside her. Looking closely, you see she is gesturing for a little boy to take a piece of fabric or clothing from her. Art critics suggest the picture seems staged because the bicycle being held by the woman is very large and does not have the lower crossbar that is typical of a woman’s bicycle. Notice that the woman’s attire in the picture does not support riding a bicycle. However, as more women began using bicycles for transportation, changes in clothing, such as bloomers, allowed them to ride comfortably. Prior to these changes in clothing styles, women were pictured seated sideways to accommodate their long dresses.
Questions for Analysis:
Title: Woman in a room with a bicycle saying to a man and child, “Sew on your own buttons, I’m going for a ride.”
By: Unknown
Date Created/Published: 1899, Stereo Copyrighted B. L. Singley
Summary: This printed photograph was doubled and placed on cardboard to create a stereo card for a stereograph machine. A stereograph machine was used to make pictures look three dimensional, similar to an old-fashioned view-master. To learn more about the stereograph, view the video at the What is a Stereograph? webpage of Middlebury College's Museum of Art.
The image on the photograph is of a woman standing in her home with her bicycle beside her. Looking closely, you see she is gesturing for a little boy to take a piece of fabric or clothing from her. Art critics suggest the picture seems staged because the bicycle being held by the woman is very large and does not have the lower crossbar that is typical of a woman’s bicycle. Notice that the woman’s attire in the picture does not support riding a bicycle. However, as more women began using bicycles for transportation, changes in clothing, such as bloomers, allowed them to ride comfortably. Prior to these changes in clothing styles, women were pictured seated sideways to accommodate their long dresses.
Questions for Analysis:
- How is this photograph different from the cartoon of the “new woman”?
- What do the differences tell us about this photograph? What can we infer about the picture based on the differences?
- What do you notice about the woman in this picture? Who, do you think, is the boy in the picture? Explain your thinking using specific details from the photograph to support your ideas.
- What do you notice about how this woman is standing? What might her body language convey?
- At the bottom of this photograph it says, “#332—“Sew on your own buttons, I’m going for a ride.” What does this caption reveal about the photograph?
- How might the photographer feel about women’s inclusion in the riding movement? Explain your thinking.
- Based on the photographer’s perception, who do you think might have taken the picture? Why?
Text Connection:
Revisit Born to Ride: A Story About Bicycle Face with students. Before rereading, ask the students to pay close attention to what the women are doing throughout the book. After reading, discuss all of the things the women are doing from the beginning to the end of the text. Begin a conversation about why there might be concern and discouragement from others (men and women) when it comes to women riding bicycles. Ask the students what connections they can make between the photograph and the text. To wrap up the conversation, ask students about potential origins of the “Bicycle Face” affliction. Share the author’s note, “About Bicycle Face” and “From Bicycles to Votes.” To conclude the session, have students work in pairs to complete T-Charts, transcribing their learnings with specific, supporting evidences.
Revisit Born to Ride: A Story About Bicycle Face with students. Before rereading, ask the students to pay close attention to what the women are doing throughout the book. After reading, discuss all of the things the women are doing from the beginning to the end of the text. Begin a conversation about why there might be concern and discouragement from others (men and women) when it comes to women riding bicycles. Ask the students what connections they can make between the photograph and the text. To wrap up the conversation, ask students about potential origins of the “Bicycle Face” affliction. Share the author’s note, “About Bicycle Face” and “From Bicycles to Votes.” To conclude the session, have students work in pairs to complete T-Charts, transcribing their learnings with specific, supporting evidences.
References
(ca. 1899) Woman in a room with a bicycle saying to a man and child, "Sew on your own buttons, I'm going for a ride"., ca. 1899. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2006683468/.
Harris, B.R. (2010). Blurring borders, visualizing connections: Aligning information and visual literacy learning outcomes. Reference Services Review, 38(4), 523-535. doi: 10.1108/00907321011090700
Lent, R. C. (2016). This is disciplinary literacy: Reading, writing, thinking and doing…Content Area by Content Area. Thousand Oaks, CA: Corwin SAGE Publications.
Opper, F. B. (1895) The "new woman" and her bicycle - there will be several varieties of her / F. Opper. , 1895. N.Y.: Published by Keppler & Schwarzmann. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2012648801/.
Theule, L. (2019). Born to ride: A story about bicycle face. New York, NY: Abrams Books for Young Readers.
Harris, B.R. (2010). Blurring borders, visualizing connections: Aligning information and visual literacy learning outcomes. Reference Services Review, 38(4), 523-535. doi: 10.1108/00907321011090700
Lent, R. C. (2016). This is disciplinary literacy: Reading, writing, thinking and doing…Content Area by Content Area. Thousand Oaks, CA: Corwin SAGE Publications.
Opper, F. B. (1895) The "new woman" and her bicycle - there will be several varieties of her / F. Opper. , 1895. N.Y.: Published by Keppler & Schwarzmann. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2012648801/.
Theule, L. (2019). Born to ride: A story about bicycle face. New York, NY: Abrams Books for Young Readers.
Jennifer Summerlin is an Assistant Professor of Reading at the University of Alabama at Birmingham. Her research examines construction of knowledge among preservice teacher candidates, supporting literacy best practices within the P-12 classroom, and reading intervention. Jennifer is a member of the 2019 Notables Committee. She can be reached at jsummerl@uab.edu.
BY MARY ANN CAPPIELLO on behalf of The Biography Clearinghouse
As we approach the final quarter of 2020, fires rage along the West Coast. Many regions of the United States face drought conditions. Gulf communities are inundated by Hurricane Sally while a string of storms line up in the Atlantic, waiting their turn. The impact of climate change is evident.
COVID-19 continues to wreak havoc on our lives, our health. We bear witness to the disproportionate impact of COVID-19 on minoritized groups, including Black and Latinx communities, Native Americans, and the elderly.
Across America, Black Lives Matter protests carry on, demanding that our nation invest in the essential work necessary to achieve a more perfect union through racial justice.
In 2020, we remember moments of historic change, commemorating the 30th anniversary of the Americans with Disabilities Act and the 100th anniversary of the 19th Amendment.
COVID-19 continues to wreak havoc on our lives, our health. We bear witness to the disproportionate impact of COVID-19 on minoritized groups, including Black and Latinx communities, Native Americans, and the elderly.
Across America, Black Lives Matter protests carry on, demanding that our nation invest in the essential work necessary to achieve a more perfect union through racial justice.
In 2020, we remember moments of historic change, commemorating the 30th anniversary of the Americans with Disabilities Act and the 100th anniversary of the 19th Amendment.
The intensity of this moment can’t be denied. It’s demanding. It’s exhausting. Whether you are a teacher, librarian, or university faculty member, you are likely teaching in multiple new formats and modalities, facing daily logistical challenges. Caregivers also face new hurdles in supporting young people’s learning.
How do you meet the needs of students and the needs of this moment in history? How do you find hope in literature?
Perhaps one way is to turn to the people of the past and the present who are working on the edges of scientific knowledge. Or, to turn to the people of the past and the present who have acted as champions of social justice. Their life stories offer young people models of agency and action, blueprints for change.
To that end, The Biography Clearinghouse shares 20 biographies for 2020, a list of recent picturebook and collected biographies to connect with the challenges of the moment. This list is not comprehensive. It is simply a starting place. We hope these recently published biographies of diverse changemakers can become part of your curriculum or part of your read aloud calendar, in-person or over video conferencing software.
How do you meet the needs of students and the needs of this moment in history? How do you find hope in literature?
Perhaps one way is to turn to the people of the past and the present who are working on the edges of scientific knowledge. Or, to turn to the people of the past and the present who have acted as champions of social justice. Their life stories offer young people models of agency and action, blueprints for change.
To that end, The Biography Clearinghouse shares 20 biographies for 2020, a list of recent picturebook and collected biographies to connect with the challenges of the moment. This list is not comprehensive. It is simply a starting place. We hope these recently published biographies of diverse changemakers can become part of your curriculum or part of your read aloud calendar, in-person or over video conferencing software.
Biographies About Scientists
Biographies About Champions for Change
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All the Way to the Top: How One Girl’s Fight for Americans with Disabilities Changed Everything (2020) by Annette Bay Pimental, illustrated by Nabi H. Ali
Althea Gibson: The Story of Tennis’ Fleet-Footed Girl (2020) by Megan Reid, illustrated by Laura Freeman Finish the Fight: The Brave and Revolutionary Women Who Fought for the Right to Vote (2020) by Veronica Chambers and the staff of The New York Times, illustrated by Monica Ahanonu, Rachelle Baker, Kristen Buchholz, Alex Cabal, Noa Denmon, Ellen Duda, Shyama Golden, Johnalynn Holland, Hillary Kempenich, Nhung Lê , Ella Trujillo, and Steffi Walthall I am Not a Label: 34 Disabled Artists, Thinkers, Athletes and Activists from Past and Present (2020) by Cerrie Burnell, illustrated by Lauren Mark Baldo Lifting as We Climb: Black Women’s Battle for the Ballot Box (2020) by Evette Dion Lizzie Demands a Seat! Elizabeth Jennings Fights for Streetcar Rights (2020) by Beth Anderson, illustrated by E.B. Lewis She was the First! The Trailblazing Life of Shirley Chisholm (2020) by Katheryn Russell-Brown, illustrated by Eric Velasquez Soldier for Equality: José de la Luz Sáenz and The Great War (2019) by Duncan Tonatiuh Spotted Tail (2019) by David Heska Wanbli Weiden, illustrated by Jim Yellowhawk and Pat Kinsella The Teachers March: How Selma’s Teachers Changed History (2020) by Sandra Neil Wallace and Rick Wallace, illustrated by Charly Palmer |
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If you have any picture book or chapter-length biographies or collected biographies for young people that you would like to recommend, please email us at thebiographyclearinghouse@gmail.com. We’re also interested in hearing more about how you’re using life stories in the classroom this year.
Mary Ann Cappiello teaches courses in children’s literature and literacy methods at Lesley University, blogs about teaching with children’s literature at The Classroom Bookshelf, a School Library Journal blog, and is a former chair of NCTE’s Orbis Pictus Award for Outstanding Nonfiction K-8.
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Supporting PreK-12 and university teachers as they share children’s literature with their students in all classroom contexts.
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The opinions and ideas posted in the individual entries are those of the individual authors and do not necessarily reflect the opinions or views of CLA or the Blog Editors.
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