Interactive Images:
I have already completed my review of Peter Fitzsimons’ masterpiece “Kokoda”. But whilst I was drifting across social media I came upon the idea of Book Bento Boxes. Now these are quite fascinating so I had a play creating one using Powerpoint and Thinglink.
I am pleasantly surprised… stay tuned for a more comprehensive analysis of book bentos and their application in teaching and learning.
This is because language is central to cognition and therefore needs to be implemented in all areas of thinking and learning. Literary learning is the use of literature across the curriculum. It is based upon genre theory as language is learned in context and a variety of genres and formats should be made available for all students to (Derewianka, 2015). Whilst the emotive and behavioural benefits of literature are well documented, some teachers may believe that a variety of genres in teaching and learning are unnecessary. Cornett (2014) points out the many cognitive values of literary arts in the curriculum such as promoting literacy, supporting active meaning construction and provoking inquiry, lifelong learning, problem solving and increasing critical thinking skills. The role of the teacher librarian and educator is to increase the implementation of the various forms of literature, such as narratives, expositions, discussions and recounts, in order to increase student exposure to the heterogeneity of discourses available in their subject area.
Literacy for learning is when a student moves from simply being codebreakers and text participants, to using text for learning and analysing. The basis of literary learning is genre theory and programs such as ‘reading to learn’ places an emphasis on students using a variety of literature formats in schooling (Derewianka, 2015). Genre theory has had a great influence on education practices in Australia. It is an extension of Vygotsky’s and Halliday’s theory of language development occurring in social contexts (Derewianka, 2015). The extension is based upon the view that students need access to a variety of genres within their subject matter in order to be able to engage in discourse (Derewianka, 2015). Since each genre has its own identifiable format, it is important that educators offer a variety of genres to maintain equity (Derewianka, 2015). Derewianka (2015) also elucidates the pertinent fact that each key learning area has a particular vocabulary, and that students need to understand and develop experience with this specific language and various formats in order to achieve academic success.
ACARA places great emphasis on literacy, language and literature in the curriculum. It requires students to use language as a method of participating in the learning process (Derewianka, 2015). I have previously elucidated on the importance of literacy, so I will not go into any more detail about that now. But within the General capabilities curriculum, there is a requirement for students to be able to make meaning and critically analyse. Therefore, the use of a variety of genres within teaching and learning practices ensures students are able to meet the learning outcomes set by the standards within the curriculum.
From a pedagogical perspective, literary learning is a child centred approach to teaching and learning. Derewianka (2015) points out that the shift from teacher to child centric pedagogy requires student’s engagement in order for them to participate in the learning. Literature can be used as a method to learn about subject matter as it provides a increased engagement for students and also has a higher recall compared to expository texts (Cornett, 2014, p. 151). Besides being a mode of conveying information, the use of good quality literature has been proven to support construction of meaning, deepen understanding of complex social issues and meet the aesthetic needs of students (Cornett, 2014, p. 151). The latter is very important as motivation is a commitment to extend the reader’s aesthetic experience (Cornett, 2014).
There are some educators that are skeptical of the need to implement literature across the curriculum, even though the implementation of language, literature and literacy across key learning areas has been part of teaching practice for the last few decades. One of the arguments against the implementation of literature, is that some students would struggle against having to negotiate meaning from the text. Students with low literacy and those who speak a second language could find some genres more problematic than others. But Cornett (2014) refuted this argument by determining that literature based learning is beneficial to students combating aliteracy or illiteracy. This is because students that have literature at the core of their learning improve their overall reading levels in comparison to those that do not (Cornett, 2014). Ironically, the use of standarised tests have been proven to have no benefit in improving literacy outcomes but they still happen at regular intervals (Cornett, 2014). But whilst literature have been proven to address cognitive, emotional and developmental needs, not all students (and teachers) like all aspects such as narrative literature. Since choice is an essential aspect of engagement and motivation, it is important to implement a variety of genres and resources in educational practices when planning a unit of work. Astute educators will know that it makes sense to balance pragmatism with literature.
Literary learning is the implementation of literature across the curriculum. By using literature as a method of conveying subject specific information, teachers are improving the learning outcomes of the students. From an evidence based perspective, literature based learning is the better option for students as it allows students to construct their own bank of knowledge from information which is more easily read, understood and comprehended. It allows students to put into context the subject specific vocabulary they have learned and use correctly the variety of formats and genres that are applicable to their discipline. Students no longer just learn to read… they read so that they can learn.
References:
Cornett, C. E. (2014). Integrating the literary arts throughout the curriculum. In Creating meaning through literature and the arts: arts integration for Classroom teachers (5th ed,) (pp144-193) USA
Derewianka, B. (2015). The contribution of genre theory to literacy education in Australia. In J. Turbill, G. Barton & C. Brock (Eds.), Teaching Writing in Today’s Classrooms: Looking back to looking forward (pp. 69-86). Norwood, Australia: Australian Literary Educators’ Association. Retrieved from https://ro.uow.edu.au/cgi/viewcontent.cgi?article=2620&context=sspapers
Title:
Authors and Illustrators:
Darin Strauss, Adam Dalva, Emma Vieveli and Lee Loughridge.
Published by:
Dark Horse Publishers (2019).
Olivia Twist is a dystopian graphic novel parody of the Dickens classic ‘Oliver Twist” that is set in futuristic 2050 London, where society is racially divided and the politically strong have a dependence on artificial intelligence. This particular edition is a compilation of four consecutive stories. Fans of the Dickens narrative would be able to easily identify the several similarities between the traditional version and this text, including the inclusion of characters such as Mr Beedle, Fagin, Artful Dodger and the presence of violent street gangs.
This GN Olivia Twist is a very complex text. The illustrations are brilliant, and much of the storyline is coded within the visual elements. The use of colour, line and framing causes the reader to become immersed in the storyline. As the plot contains several twists and turns, the reader is forced to question the direction of the narrative and make predictions as to the actions of the protagonist. The text contains several attributes that appeal to teenagers. Obviously the predominating feature is that this is a graphic novel. Graphic novels are very popular with children and teenagers, and their multimodality promotes the development of 21st century skills such as visual literacy, critical thinking and intertextuality (Botzakis, 2018). Furthermore, this dystopian text breaks gender stereotypes, contains elements of Bildungsroman, and promotes moral development.
As a fan of the original version, I found it difficult to read this text without comparing it to the original novel. Additionally, my visual literacy is still emerging so decoding the images and illustrations required more time and effort than I expected. I had to read this GN a few times to understand it properly and to see all of its different layers. This book would be suitable for students over the age of 14 due to the presence of swearing and frequent depictions of violence. This GN meets English curriculum links in years 9 and 10 and would make an excellent substitute or alternative novel study to Huxley’s Brave New World, Dashner’s Maze Runner and Collins’ Hunger Games.
Graphic novels (GN) are an excellent addition to school library collections. When used in educational practices, GN fosters comprehension and increases recall. As the text is supported by images, GN are ideally suited to students with developing literacy (Botzakis, 2018). Their visual permanence means that the reader can choose their own reading pace and allows them to re-read as needed. But just reading GN does not mean that the students’ literacy levels will instinctively improve. GN requires the reader to make inferences, which promotes high order thinking, as well as providing contextual information to the reader (Botzakis, 2018). Their complex nature means that educators need to teach decoding and comprehending GN the same way as they teach traditional texts (Botzakis, 2018).
Good GN possess traditional narrative features such as an overarching theme, depth of plot, character development and use of literary devices (Gonzales, 2016). Additionally, they also have classic film elements such as line, colour, focus, transitioning and framing (Gonzales, 2016). One of the discerning factors between a literary GN and a comic strip is the depiction of women (Gonzales, 2016). Unlike vintage comics where the female characters resemble wasp shaped Amazons that may or may not have floss for brains, modern GN acknowledge that young girls need strong and clever female protagonists. Olivia Twist’s twist on the Dicken’s classic has strong female characters. An example of this strength would be the character of Fagin and her female band of misfits, code named Esthers, all of whom are fiesty women that exhibit racial and physical diversity.
Brannen (2013) believes that teenagers like to read about characters that have personal struggles that relate to ‘coming of age’. In this text, Olivia has lived her whole childhood starved of love and a family. She seems unaware of her own inner strength and manages to overcome all her obstacles with determination and innate need to protect those weaker than herself. After all, isn’t morality and ethics about ensuring all members of society are dealt with fairly? Not just the loudest and strongest, but even the small, weak and innocent.
Whilst Olivia Twist cannot be described as a contemporary realistic fiction due to its dystopian and science fiction characteristics, there are elements of Bildungsroman present within the text. Bildungsroman is a term used to describe texts that are centralised upon the development of a youthful protagonist (Cody, 2005). This development is usually focused on socio-cultural themes such as morality, race and class, as it provokes vigorous social discourse.
The inclusion of these themes and following social discourse allows the adolescent reader to develop their moral compass (Bushman & McNerny, 2004). Olivia’s love for Pip and her determination to keep him safe ends up being the deciding factor in her survival. Moral development in teenagers is shaped by the moral dilemmas they are exposed to. Reading fictitious stories that have moral choices within help students to differentiate between what is right and what is wrong. After all, as Edmund Burke famously said “The only thing necessary for the triumph of evil is for good men to do nothing” (quotationspage.com). When considering this text’s similarity to the previously mentioned texts by Huxley, Dashner and Collins, the similar vein in all three, is an ethical dilemma faced by the fringes of society.
The actions by the protagonist in all of these texts could be viewed as legally wrong by the prevailing standards of their society. The reader is able to engage with these moral and ethical dilemmas and with the help of social discourse, determine if the actions of the character were truly wrong or is the society actually at fault? Society is not an indicator of social morality. History has proven time and time again that what is right and what society determines is right can be two very different things. Just look at the evolution of civil rights. In the 1800’s, women were considered property and did not have the right to own property in their own right or vote. Whilst this has been overturned in most nations, some cultures still inhibit women from equal participation. In Australia, the Indigenous peoples were considered as part of the ‘flora and fauna’ till a national referendum in 1967 revoked that viewpoint and Indigenous people were then included as part of the national census. As individuals, we all play a part in monitoring the morality of society.
Classic young adult novels such as Olivia Twist lure the reader into the storyline with its multimodal format and then provokes them into analysing the character and their actions. The reader is able to evaluate the actions of the protagonist and decide if the action is acceptable or not. It is through this evaluation process that the reader develops their moral compass. Besides addressing curriculum links within the English curriculum, the strong female protagonist in the narrative provides a positive depiction of women and this is really important for young girls. The inclusion of good graphic novels into high school library collections meets the cognitive, behavioural and developmental needs of young adult readers.
References:
Botzakis, S. (2018). Comics in the classroom: Using graphic novels for content learning. In D. Wooten, B. Cullinan, L. Liang & R. Allington (Eds). Children’s literature in the reading program: Engaging young readers in the 21st century, (5th ed., pp. 140-152). Retrieved from Proquest Ebook Central.
Brannen, J. (2013). All about realistic fiction for teens. NoveList. Retrieved from https://www.ebscohost.com/uploads/novelist/pdf/Teen_RealisticFiction_GenreOutline.pdf
Bushman, J.H. & McNerny, S. (2004). Moral choices: Building a bridge between YA literature and life. ALAN Review, 32(1), 61-67. Retrieved August 2016.
Cody, D. (2005). Bildungsroman. Victorian Web – Literature, History & Culture in the age of Victoria. Retrieved from http://www.victorianweb.org/genre/bildung.html
The Quotations Page. (2018). Edmund Burke. Retrieved from http://www.quotationspage.com/quotes/Edmund_Burke/
Gonzalez, J. (2016). Graphic novels in the classroom. [Blog] Cult of Pedagogy. Retrieved from https://www.cultofpedagogy.com/teaching-graphic-novels/
Published: Ink Road, 2018.
Verdict: I AM TOO OLD FOR THIS BOOK!
Ok I am probably being melodramatic here! Price’s book is funny and quirky and everything a tween or younger teen would like.
Reasons being:
I, on the other hand, am about a score of years too old for a book like this!!
Reasons being:
I am too old to be reading books like this.
THE END.
THE BOOK: Kokoda (Teen Edition) by Peter Fitzsimons.
Published by Hachette Australia in 2016
Cover reproduced with permission from Kokoda: Teen edition by Peter FitzSimons, Hachette Australia, 2016.
The Summary: Kokoda is a well written narrative non fiction book by an acclaimed Australian writer Peter Fitzsimons. The story is about a group of young Australian men, most still teenagers, trying to make a stand against the much stronger Imperial Japanese Army in the treacherous terrain of Papua New Guinea. The story of the Kokoda trail is eerily similar to Gallipoli, and for many people this historical event builds upon the ANZAC legend. Aimed at readers over 12 years old, this book is ideal for teenagers to read for recreational and academic purposes.
The Good: Fitzsimons captures the essence of the young Australian men magnificently. His use of colloquial language and casual references to Sydney strests gives the reader confidence in the author’s authenticity and veracity. Kokoda is a well written text that describes the events of 1942 in superb detail. Battle scenes and forced marches are brought to life vividly. His use of language was subtle, allowing the reader to become engaged with the story but at the same time not overwhelming them with military jargon and complex sentences. This book’s storyline and prosaic style would suit teenage boys very well.
The Bad: The format of the book was consistent with other expository texts with the inclusion of a contents page, maps, photographs, reference list and index. But unlike many other information texts, this book did not have any other additional resources, such as links to further reading or websites such as the Australian War Memorial Kokoda Collection.
The Interesting: It was interesting reading Fitzsimons’ perspective on the Kokoda campaign as his stance differs from the viewpoints of other war writers and journalists. Unlike the official war reports, Fitzsimons is quite scathing of the military hierarchy’s competency. He is very blunt in the way he points out that Australians died in New Guinea because of mismanagement. He also points out the conflict between the celebrated MacArthur’s battle plan and Pott’s frontline perspective. Fitzsimons is just short of scathing in the way he refers to MacArthurs’s speaking of battle tactics whilst safely ensconced in his office over 2000 km away from the jungles of New Guinea. He also discusses the Battle of Milne and points out the manner in which MacArthur claimed the victory as part of his plan rather than the effort of Australian boots on the ground.
The Verdict: Kokoda meets content standards within the Year 10 History Curriculum – Experiences of Australians during World War 2. It is an excellent resource for teenagers as it contains both facts and figures, yet written in a narrative style. This style allows the reader to become engaged with the text and have an increased recall of the information within. Intermixing prose and factual information requires the reader to become more analytical and thus improves critical thinking skills. The conflicting views that Fitzsimons offers about MacArther gives the reader a chance to question bias in texts. The book also allows the reader to connect their prior knowledge of the Gallipolli digger to the story of the Kokoda trekker and build their knowledge of Australian history. Additionally, as the book is classified as a non fiction resource, more classroom teachers are comfortable using them as resources for teaching and learning. This is because some educators have an unconscious bias towards the implementation of literature outside the language arts curriculum. Kokoda would be an asset for high school library collections and a useful literacy resource.
Reading out aloud to children is an effective way of improving literacy and picture books are ideally suited to the task. The whole concept of reading out loud is very familiar to students. Most children understand the notion of a bedtime story or just story time in general and do not view it as a threatening experience. As the text themselves are quite brief and usually accompanied by illustrations, students who have learning needs and or have low literacy, are more likely to participate willingly. Jewett, Wilson & Vanderburg (2011) reminds us that literacy is a dynamic interaction between the reader and the text. Discussion groups can be used to increase the relationship between the two as comprehension of the text increases if there are connections made between real life and the text (Jewett, Wilson & Vanderburg, 2011).
From a pedagogical perspective, there are several benefits to reading out aloud to students of all ages. One reason is that the practice of reading to children (and teenagers), increases fluency and improves comprehension (Winch & Holliday, 2012, p.120; Allington & Gabriel, 2012). This is because the proficient reader models pronunciation, tone and inflexion of the text, allowing the children to piece the visual images, text and sounds together to create a multimodal experience. Other reasons include, increasing vocabulary, improving visual literacy as well as the ability to broach sensitive social issues in a delicate manner. But the greatest benefit that arises from read aloud sessions is the discussion that occurs before, during and afterwards (Allington & Gabriel, 2012; McDonald, 2013). Fisher & Frey (2018) point out that discussions have a very strong influence on student learning as it is based upon the central concept of shared reading or common reading experience (Jewett, Wilson & Vanderburg, 2011).
Discussions can be done as a whole class or small groups, in a book club or literature circle (Fisher & Frey, 2018, p.92). The point of the discussion is to allow students to collaborate with their peers and have a free exchange of ideas in order to critically evaluate the text (Fisher & Frey, 2018, p.92). The role of the teacher and or teacher librarian in these discussions is not to lead the conversation but rather facilitate the collaboration by creating a safe space and implementing strategies that encourage lateral thinking (Fisher & Frey, 2018, p.92).
Good narrative nonfiction picture books are able to give students the same pleasurable experiences and cognitive change as fiction (Kiefer & Wilson, 2010; Morris, 2013). Their use of narrative techniques such as theme, character and plot are cleverly intertwined with factual information to create a format that is appealing and instructive (Morris, 2013; Cornett, 2014, p.151). The picture books listed up above are all cleverly crafted and have the ability to increase cognition in the reader. This cognitive change causes increased self awareness and actualisation within the student (Morris, 2013; Kiefer & Wilson, 2010).
Non fiction picture books are also capable of increasing critical thinking skills. I have previously mentioned the benefit of narrative nonfiction in my book review of “After Auschwitz”, so I will just briefly summarise the following. The interweaving of factual information and prose forces the reader to sieve through the text to determine the critical information. This sieving, analysis and evaluation of text increases critical thinking and promotes good media literacy.
There are many aspects within the role of a teacher librarian. One of these roles is to advocate the role of fiction in the teaching and learning. The reason for this is simple. Fiction, or aka storytelling, is an innate part of being human (Cornett, 2014). It is the simplest and most efficient way humans have of learning about ourselves, our identity, our history, society and language (Cornett, 2014). By implementing narratives and narrative non fiction into the curriculum, educators are increasing the zone of proximal development between the student and the curriculum, which in turn increases engagement with the content (Hashim & VongKulluksn, 2018).
What does this mean for teachers and educators?
It means that there needs to be a more assertive role for narratives in pedagogical practice.
References
Allington, R., & Gabriel, R. (2014). Every child, every day. Educational Leadership, Volume 69 (6). pp.10-15. Retrieved from http://web.a.ebscohost.com.ezproxy.csu.edu.au/ehost/detail/detail?vid=0&sid=af8a4fab-9b19-447e-835f-78f39f145c0b%40sdc-v-sessmgr02&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=73183256&db=ehh
Cornett, C. E. (2014). Integrating the literary arts throughout the curriculum. In Creating meaning through literature and the arts: arts integration for Classroom teachers (5th ed,) (pp144-193) USA
Fisher, D. & Frey, N. (2018). Raise reading volume through access, choice, discussion, and book talks. Reading Teacher, 72(1), 89-97. doi: 10.1002/trtr.1691
Hashim, A & VongKulluskn, V. (2018). E reader apps and reading engagement: A descriptive case study. Computers and Education, 125, pp.358-375. Retrieved from https://www.journals.elsevier.com/computers-and-education/
Jewett, P. C., Wilson, J. L. & Vanderburg, M.A. (2011). The unifying power of a whole school read. Journal of Adolescent & Adult Literacy, 54(6), 415-424. doi:10.1598/JAAL.54.6.3
Keifer, B. & Wilson, M. I. (2010). Nonfiction literature for children: Old Assumptions and new directions. In S. Wolf, , K. Coats, , P. A. Enciso & C. Jenkins (Eds). In Handbook of research on children’s and young adult literature (pp. 290-301). Retrieved from Proquest Ebook Central.
McDonald, L. (2013). A literature companion for teachers. Marrickville, NSW: Primary English Teaching Association PETA.
Morris, R. (2013). Linking learning and literary nonfiction. School Library Monthly, 29(7), 39-40. Retrieved from https://www.slj.com/
Winch, G., & Holliday, M. (2014). Chapter 6 – The reader and the text. In G. Winch, R. Ross Johnston, P. March, L. Ljungdahl & M. Holliday (Eds.) Literacy: Reading, writing and children’s literature (5th ed., pp.109-128). Melbourne: Oxford University Press.
Eva’s autobiography, “After Auschwitz” is an excellent example of narrative non fiction. Beautifully written, this book encapsulated the heartache, loss and survivor’s guilt that Eva felt in the years after the war. The inclusion of narrative techniques such as theme, plot and character development, allows the reader to engage deeply with the text and the author. The story beautifully interweaves factual information with prose, causing the reader to undergo a cognitive and emotional shift towards self actualisation of themselves, their community and greater society.
“After Auschwitz” uses storytelling as a method of affecting the cognitive and emotional development of the reader. From an anthropological perspective, human beings are ingrained to respond to stories as a method of conveying folklore, information and heritage. Literary nonfiction, also known as narrative nonfiction, is a sub genre of literary work that uses fictitious elements to convey important data. Many educators advocate the implementation of literature within the curriculum as a method to engage and inform students. Most commonly seen in art, history and science disciplines, literary nonfiction is often used by educators to impart pertinent information in a captivating format across all levels of schooling. Schloss’ autobiography fulfills Year 10 English and History curriculum as well as the General capabilities in Literacy and Ethical Considerations (ACARA, 2014a; ACARA, 2014b; ACARA, 2014c; ACARA, 2014d). Therefore, from a secondary school perspective, this piece of narrative nonfiction addresses the needs of the students and the curriculum.
Literary nonfiction (NF) is an eminent method of introducing facts to students of all ages as the use of storytelling to convey information is an ancient one. From the time of oral traditions, narratives have been used to instruct and inform (Gill, 2009). Storytelling has the ability to convey social values, improve recognition of self, and increase tolerance and empathy (Comer-Kidd & Castano, 2013). According to Cornett (2014), narrative non fiction allows readers to engage with the narrative overtly and covertly comprehend and understand the facts (p.161). Most commonly seen in the fields of arts, science and history, literary nonfiction has subgenres of exposition, argument and functional (Morris, 2013). Non fiction picture books, biographies such as “After Auschwitz”, autobiographies and memoirs are excellent examples of narrative non fiction texts commonly found in secondary school libraries.
Good narrative NF is designed to give the same pleasure and enlightenment as fiction, using techniques of theme, character and plot development to impart factual information (Kiefer & Wilson, 2010; Morris, 2013). This storytelling execution connects carefully researched factual elements into a structure that is appealing and memorable to the student (Morris, 2013; Cornett, 2014, p.151). Schloss’ heartfelt retelling of her time in Auschwitz is remarkably vivid. Her memories and descriptions of the death camps are carefully crafted together to create a literary work that increase self awareness in the reader, leading to a change in cognition, self awareness and actualisation about the way the reader thinks about themselves, their society and the world in general (Morris, 2013; Kiefer & Wilson, 2010).
Literary NF such as biographies are easier for students to engage with as their structure is familiar and raises less resistance from reluctant readers and students with low literacy (Gill, 2009). Schloss’ text increases vocabulary with subject specific language such as ‘concentration camp’ and ‘Gestapo’ in a non threatening manner (Gill, 2009). Additionally Cornett (2014) found recall of information is higher from narrative non fiction than information texts (p.151). This is shown by the way the reader engages with Eva. This personal engagement with the character increases their cognitive and developmental change and therefore improves their recall of pertinent information.
Narrative NF increases critical thinking skills because the factual information within the text is woven into the storyline (Morris, 2013). This means the reader has to critically analyse the text to infer, evaluate and make their own conclusions. Eva’s survivor guilt manifested by the time and effort she poured into the Anne Frank Centre with her step-father Otto Frank. But this guilt is not explicit in the text. It is implicit and needs to be deduced from the language used within the text and from prior knowledge of other survivors. Students who engage with narrative NF on a regular basis improve their critical thinking skills, which in turn translates to increased ability to comprehend information texts in other disciplines. Literary nonfiction is also an excellent resource for stimulating class discussions, inquiry and other collaborative learning groups (Morris, 2013).
An unlikely benefit of increasing literary non fiction into secondary school collections is meeting the literacy needs of reluctant readers. Many students prefer non fiction texts to fiction, specifically young adolescent males preferring factual texts to fiction as they view fiction as ‘unrealistic’ and ‘unnecessary’ as well as ‘unconnected’ to the real world (Harper, 2016; www.k12reader.com). This disinclination is often visible when students are required to read prescribed texts as part of their teaching and learning. The inclusion of narrative NF means that students who are disinclined to read fictitious texts can be offered a suitable narrative NF as an alternative and thus are able to meet the learning outcomes. It is also important to point out that biographies, autobiographies and memoirs are excellent examples of narrative nonfiction. These texts have all the literary features to placate the soul as well as provide opportunities for students to envision any life long passions and career choices (National library of NZ, 2014).
One of major issues with using literary NF in classrooms is that some students struggle to see the difference between narrative NF and fiction (Kiefer & Wilson, 2010). It is possible that students confuse fictitious texts such as Boyne’s ‘the boy in the striped pajamas’, Zusak’s ‘Book Thief’ and Zail’s ‘The wrong boy’ with Schloss’ biography. But is this not due to a lack of critical literacy? By encouraging the use of narrative NF in classrooms, teachers and teacher librarians are able to explicitly teach students how to analyse the text, make inferences and draw conclusions. It is only by practicing these skills at regularly can students practice their critical thinking skills.
From a collection and curriculum perspective, there is a strong push from curriculum leaders to implement the use of informational texts such as textbooks, with their facts, figures and images rather than narrative NF (McNeil, 2015). This is under the false assumption that texts with clear curriculum links have more value than resources that are aesthetically pleasing and address emotional development (Barone, 2011, p.18). Teacher librarians and educators need to combat this misinformation by using evidence based practice to integrating literature across the curriculum.
Narrative nonfiction is an excellent source of literary text in secondary school classrooms. Their dual functionality of information and prose are able to engage students, provide them with relevant and pertinent information, as well as increasing their cognitive and emotional development. Any fan of Anne Frank’s diary would engage deeply with this biography. “After Auschwitz” addresses the curriculum appropriately, engages deeply with the reader and addresses the emotional, cognitive and behavioural development of adolescents. It would make an excellent resource in high school library collections.
REFERENCES
Australian Government – DET (2018) Reluctant readers, how to help. Learning Potential. Retrieved from https://www.learningpotential.gov.au/reluctant-readers-how-to-help
ACARA. (2014a). F-10 English Curriculum. Educational Services Australia. Retrieved from https://www.australiancurriculum.edu.au/f-10-curriculum/english/
ACARA. (2014b). F-10 History Curriculum. Educational Services Australia. Retrieved from https://www.australiancurriculum.edu.au/f-10-curriculum/humanities-and-social-sciences/history/
ACARA. (2014c). F-10 General Capabilities – Critical and creative thinking . Educational Services Australia. Retrieved from https://www.australiancurriculum.edu.au/f-10-curriculum/general-capabilities/critical-and-creative-thinking/
ACARA. (2014d). F-10 General Capabilities – Ethical understanding . Educational Services Australia. Retrieved from https://www.australiancurriculum.edu.au/f-10-curriculum/general-capabilities/ethical-understanding/
Barone, D. M. (2011). Children’s literature in the classroom: Engaging lifelong readers. New York. Guilford Press.
Comer Kidd, D. & Castano, E. (2013). Reading literary fiction improves theory of mind. Science, 342(6156), 377-380. This article reports experimental evidence that reading passages of literary fiction, in comparison to nonfiction or popular fiction, enhances the reader’s performance on theory of mind tasks.
Cornet, C. E. (2014). Integrating the literary arts throughout the curriculum. In Creating meaning through literature and the arts: arts integration for Classroom teachers (5th ed,) (pp144-193) USA
Gill, S. R. (2009). What teachers need to know about the “New” nonfiction. Reading Teacher, 63(4), 260-267.
Harper, H. (2016) Books for reluctant readers. [Blog post] Readings. Retrieved from https://www.readings.com.au/news/books-for-reluctant-readers
Keifer, B. & Wilson, M. I. (2010). Nonfiction literature for children: Old Assumptions and new directions. In S. Wolf, , K. Coats, , P. A. Enciso & C. Jenkins (Eds). In Handbook of research on children’s and young adult literature (pp. 290-301). Retrieved from Proquest Ebook Central.
K12 reader(2018) Strategies to help engage reluctant readers in reading. Retrieved from https://www.k12reader.com/strategies-to-help-engage-reluctant-readers-in-reading/
McNeill, S. (2015, October). Moment of truth: Trends in nonfiction for young readers. Retrieved from http://authornews.penguinrandomhouse.com/moment-of-truth-trends-in-nonfiction-for-young-readers/
Morgan, N. (2012). What is the future of publishing? Forbes. Retrieved from https://www.forbes.com/sites/nickmorgan/2012/07/12/what-is-the-future-of-publishing/#131aa030647f
Morris, R. (2013). Linking learning and literary nonfiction. School Library Monthly, 29(7), 39-40. Retrieved from https://www.slj.com/
National Library of NZ. (2014). Non-fiction. National Library of New Zealand Services to Schools. Retrieved from https://web.archive.org/web/20160729150727/http://schools.natlib.govt.nz/creating-readers/genres-and-read-alouds/non-fiction
Change is inevitable and society has seen great changes to the way it functions. The current technology revolution has changed the way people earn, communicate, work, live, study and recreate. According to Vygotsky’s socio-cultural theory, reading and learning work symbiotically together with strong influences from language and technology (Hashim & VongKulluksn, 2018). Therefore by this theory, changes in technology resonates how learning, language and literacy manifests in communities. This is evident in the way the definition of literacy has expanded. Previously the term ‘literate’ was used to describe individuals who were able to read and write. But the current definition includes the skills and knowledge required to access, use, understand and express ideas, thoughts and feelings, across multiple modalities, and in all contexts of life (ACARA, 2014). The broadening of the definition is directly related to the evolving nature of technology and its impact upon the way literature and books are read, comprehended and evaluated (Sargeant, 2015; Jabr, 2015).
sik-life / Pixabay – The metamorphsis of the book
The concept of the book changes with every technology revolution and corresponding societal change. From prehistoric stone tablets, to Ancient Egyptian papyrus and Roman vellum scrolls, to the innovative Gutenberg printing press, books have evolved with technology, and at each transformation, the reading paradigm changes (Mangen, Walgermo & Bronnick, 2013). The modern definition of a book can include the traditional paper form, as well as electronic versions that can be read on devices such as mobile phones, tablets and laptops along with audiobooks, online books, and other digital products such as applications and websites (Springen, 2010). This emergence of these new digital texts require additional skills and strategies in order for the reader to comprehend the narrative (Jabr, 2015; Mangen et al., 2013; Sekeres & Watson, 2011). As part of evidence based practice, secondary school teachers are encouraged to adapt their pedagogical practices to address these technological and societal changes to ensure that their students possess the relevant skills and strategies to become active participants in society.
geralt / Pixabay – A is for Apple, B is for Ball…
Reading has often been characterised as the product of an individual’s ability to decode and comprehend the text and is viewed as a fundamental human skill (Moore & Cahill, 2016, p.4). Engagement in reading is linked to improved student learning and long term academic success (Moore & Cahill, 2016; Hashim & VongKulluksn, 2018). Unfortunately many teenagers and young adults are reluctant to read and this reluctance can impact their education as well as their social capital and identity formation (Moore & Cahill, 2016). Many education departments across the world have increased funding for technology in schools to boost literacy and reading rates in an effort to halt declining literacy (Keen, 2016). In turn, educators seek to identify pedagogical practices that will increase student motivation for reading and in turn, improve overall literacy.
Technology has been often cited for its ability to improve educational outcomes due to its engaging format. Morris & Cahill (2016) has determined that technology has a stronger preference in secondary compared to primary aged students. Since motivation to read and cognitive experiences when reading works via a positive feedback mechanism, it makes sense that digital literature should lead to increased reading rates and improved literacy (Hashim & VongKulluksn, 2018). Furthermore, Taylor (2018) suggests that the complex nature of digital storytelling is suitable for teenagers as they are familiar with using devices and are comfortable switching between screens and print.
janeb13 / Pixabay – Portability of Ebooks
Technology in literature, also known as digital literature, encompasses ebooks, audiobooks, interactive media and mobile applications. Each of these technologies, delivers narratives in their own individual way and requires a variety of skills and strategies for decoding and comprehension. Many teachers and teacher librarians are tasked with identifying technology based literature in an effort to increase engagement and improve educational outcomes.
Sargeant (2015) defines an ebook as the static digitised version of a print text with its familiar features of virtual pages, book gutters and page turning animation. Access to ebooks can occur both onsite and offsite as they can be retrieved and delivered digitally to mobile devices with embedded features (Hashim & VongKulluksn, 2018). Examples include Kindle application, where ebooks purchased from Amazon can be accessed through, or BorrowBox and Wheelers, that allow for borrowing of titles and are often affiliated with public and school libraries. Some ebooks for older readers have various levels of interactivity, such as hyperlinks and in built media are commonly found in secondary expository or information texts such as text books (Sargeant, 2015). Their increased popularity with older readers is due to portability and ability to retain text anonymity (Dickenson, 2014). But ebooks that are designed for younger and less literate readers have lower levels of interactivity and contain more skeuomorphic features to reduce distraction from the main point (Sargeant, 2015) .
Jeon (2012) promotes the use of ebooks in schools as they support academic instruction, are time efficient as well as provide a dynamic and cost effective way of managing a collection. Ebooks can also be integrated into library management systems and thus are available for to be borrowed by students at any time, including in times of pandemics and forced isolation (Jeon, 2012). These apps are designed to assist readers in retaining anonymity in title choice, as well as allow access to a wide range of reading levels which encourages independent reading and promotes bibliotherapy (Hashim & VongKulluksn, 2018).
DariuszSankowski / Pixabay – Bibliotherapy
Audiobooks are increasing in popularity with readers from all generations (Moore & Cahill, 2016). The most prevalent use of audiobooks in schools are, students with low literacy and learning difficulties as well as second language learners (Moore & Cahill, 2016, p.5). Hiebert, as cited in Moore & Cahill (2016) argued that language and the fundamentals of narratives can be conveyed through auditory processes, as language-comprehension system in the brain permits text engagement and comprehension (p.3-4). Other benefits to the implementation of audiobooks in teaching and learning processes include, improving vocabulary, promoting oral language, as well as strengthening links between oral and written literacies (Moore & Cahill, 2016, p.4). Audiobooks can be easily accessed on personal devices and offer the same level of anonymity as achieved by ebooks. Anonymity is very important in secondary schools, particularly for students with low literacy who need to access ‘different’ texts (Dickenson, 2014).
sindrehsoereide / Pixabay – Listening = Reading
Whilst there are many different reasons why students struggle to read, the most common reasons in secondary schools include, insufficient vocabulary, incorrect decoding and a lack of fluency (Moore & Cahill, 2016, p.5). Access to audiobooks allows students who struggle with the aforementioned inadequacies to engage with the text and develop their reading accuracy as well as potentially improving any behavioural management that arises from disengagement and disenfranchisement (Moore & Cahill, 2016, p.6). Audiobooks address these needs and therefore it is possible to surmise that this technology is able to provide the reader the same rich experience that is afforded by print text.
472301 / Pixabay – Mobile applications
Interactive media (IM) has exploded in recent years and this is impacting teaching and learning (Cullen, 2015). Some examples of interactive media include digital books, online books, book applications and websites. Lamb & Johnson (2010) argue that IM causes readers to shift from being passive receivers to active participants. This is because IM is able to engage students in the content via multiple entry points and therefore encourages learning through experience and experimentation (Lamb & Johnson, 2010; Cullen, 2015). IM narratives are able to tell dual stories, as well as bring the images to life whilst providing a brilliant way to connect emerging technologies to the curriculum (Cullen, 2015; Taylor, 2018).
One example of IM are book applications (apps). Book apps are software programs that are designed to engage students by delivering high levels of interactive media rich content (Sargeant, 2015). They integrate multiple modes of communication so that the text and visuals are fused to create a story that requires the reader to transform into a user by their interaction in the narrative with a touch screen (Sargeant, 2015). This process of action and outcome is based upon gamification principles already present in the rewards based system currently practiced across most school systems. Gamification uses extrinsic motivation in learning and teaching practice. But Briggs (2016) cautions the use of gamification in assessment. The reason for this caution is that the motivation to succeed arises from the low personal stakes the reader has with the text, as well as the elusive but reachable goals.
IM has the capacity to cater to the needs of a varied classroom because of a student’s ability to work at an individual pace and the multiple entry points allows for differentiation. There is also a possibility for educators to use IM to create scenarios, as a mechanism to introduce students to new units of work, or introduce assessment pieces in an engaging format (Lamb & Johnson, 2010). Cullen (2015) believes that application led learning bolsters motivation and engagement in students, which is essential for improved learning experiences and positive outcomes.
RobertCheaib / Pixabay – Device distractions.
There are valid contraindications to the use of technology in educational settings. Studies have shown comprehension is lower in narratives and expository texts when a device is used (Jeon, 2012; Mangen et al., 2013). Jeon (2012) believes that within some forms of technology, the complex nature and formatting of the text causes too great a cognitive load on students and thus it negatively affects comprehension. Hashim & VongKulluksn (2018) concur and point out that students often become distracted in their attempt to multitask on devices, which leads to decreased metacognitive regulation and reduces text completion.
The format of text is also important for comprehension. Digital literature in all forms have lower comprehension rates in comparison to traditional texts (Jeon, 2012; Mangen et al., 2013). One of the other main reasons for this unfavourable comparison is visual ergonomics. Visual ergonomics, such as lowered spatial stability, leads to a negative mental representation of the text (Mangen et al., 2013, p.66). Good readers have a high mental recall of information positioning in text. Consequently, limited mental representation restricts recall and makes it harder for students to construct new banks of knowledge from individual pieces of information. One suggestion to combat this limitation and to promote a more equitable approach in classrooms is to limit digital reading to short extracts only, and it to be of low stakes value rather than summative assessment (Mangen et al., 2013, p.66).
Hashim & VongKulluksn (2018) suggests that whilst e-readers provide context and analysis, it lacks the social factor that discussion groups and literature circles provide. There is also an implication that educators fail to treat e-readers like they treat print texts, and therefore provide less scaffolding to students leading to lower comprehension rates. This failure could be due to a lack of personal knowledge to the functionality of e-readers, or simply that teachers are not physically able to see how much of the text the student has engaged with and thus forget to offer assistance (Hashim & VongKulluksn, 2018). Therefore, in the interests of equity, it is important that ebooks are scaffolded in the same way as a print books because, as students gain mastery in their reading, scaffolding can be adjusted to help their progress from a low to a higher mental function (Hashim & VongKulluksn, 2018).
geralt / Pixabay – Pedagogy matters
There are other obstacles to using ebooks in educational settings. Primarily, students are not motivated to use e-readers for learning. This could be due to the fact that e-readers are no longer considered a novelty, that devices themselves are commonplace, and lastly, that traditional texts actually provide greater enjoyment than digital literature (Hashim & VongKulluksn, 2018). Ebooks have also been known to cause eye irritation which in turn reduces surface legibility, and increases eye strain and mental fatigue (Jeon, 2012). These physical demands lead to an increased error rate and reduces overall comprehension, which in turn leads to a lower perception of ereaders and ebooks (Jeon, 2012). Other than diminishing comprehension, ebooks can also be seen as tedious in comparison to other entertainment found on devices (Jeon, 2012). Though there is some suggestion that digital natives are resistant to these issues as they are more familiar with technology (Jeon, 2012).
Some educators are reluctant to provide audiobooks to their students in lieu of print texts as they can be viewed as ‘cheating’. But Dahl (2016) disagrees with and finds that audiobooks provide the same learning experience as reading after a certain level of literacy has been reached. This is based upon the theory that the decoding specific to reading becomes instinctive after a certain point in literacy is achieved (Dahl, 2016). The reasoning is that ‘reading comprehension’ is similar to ‘auditory comprehension’ and that echoic memory is comparable to the visual system of eye regression, though the concept of ‘flipping back’ is a bit more problematic in an audiobook (Dahl, 2016).
The current predominate argument surrounding school is that digital media will engage reluctant readers and therefore improve learning outcomes (Springen, 2010; Cullen, 2015). But some educators argue that these alternative texts lack equity as they are limited to students and schools with digital access and financial security (Sekeres & Watson, 2011). Sekeres & Watson (2011) even go further to suggest that educators need to be aware that children are often targeted as consumers in their own right and therefore teachers need to be circumspect when they select digital literature that it actually leads to learning and not just entertainment.
From a school collection perspective there are significant issues with ebooks and audiobooks, namely access and cost (O’Connell, Bates & Mitchell, 2015). This is due to the fact that both ebooks and audiobooks require a personal device such as a mobile phone or tablet and many younger students do not have that level of access. They also require a financial contribution and or a library membership, which again can be limiting for younger students to practice their digital literacy skills. One suggestion to address the rising cost of digital literature is to promote public library memberships in schools. Students who have library memberships at school, local and state libraries, have access to a wide range of texts in both print and digital formats. Some larger institutions also offer electronic access to databases and periodicals which is very useful for secondary students. This reduces the cost to the individual and school systems without limiting access to information.
Licencing and leasing are problematic when it comes to digital literature. Physical books are bought by the library, require no device to use, and are useful till the book gets lost, deselected or falls into disrepair. Ebooks in comparison, are either downloaded (purchased), or borrowed and both require a device and the internet to be used. These devices, such as iPods, ereaders, laptops and tablets can be quite expensive for school libraries and students to purchase and maintain (Gray, 2017). Additionally, if a school library chooses to use a platform such as Borrowbox or Wheelers as their access point for ebooks and audiobooks, they are limited by that publisher’s collection as to what titles meet the developmental needs of the students and curriculum requirements (Gray, 2017). Teacher librarians need to be cautious when selecting platforms for digital literature that they are not limiting their readers to resources based upon publishing contracts and nepotism. Furthermore, the school may not own ‘loaned titles’ and may have to pay a leasing or access fee on a yearly basis. So whilst there seems to be great flexibility, especially with regards to remote access, there can be some stringent financial restraints for schools when it comes to building a robust ebook and audiobook collection.
O’Connell, Bates & Mitchell (2015) suggest that the goal of school libraries is to adapt to the digital needs of the student cohort, which means that the reading culture has to be addressed as well as ensuring a divergence of media is available. Therefore, teacher librarians and school library collections are tasked with ensuring students are given ample access to the different forms of media for teaching and learning across the curriculum as well as for recreational purposes. This means access to both traditional and digital forms of literature. But promotion of wide reading programs and access to emerging literature trends needs to be buttressed by pedagogical practices that support reading and comprehension across the various domains.
The question for teachers, teacher librarians and other educators is that will these new media forms benefit the teaching and learning practices in classrooms, and more specifically, secondary classrooms? It is clearly evident that the information revolution has changed the way society is functioning. Therefore it is important that students gain the skills and knowledge to succeed in this modern world. From the evidence provided, secondary students are more receptive to digital literature because of its engaging format, portability and text anonymity. But many lack the reading and comprehension skills to fully understand the nature of the text and therefore are at a literacy disadvantage. Educators need to recall the importance of culture and tools in Vygotsky’s theory of learning and provide access to a range of literature across the various forms of media. The reading paradigm has changed and teachers must change their teaching and learning to suit this new world.
REFERENCES
Australian Curriculum, Assessment and Reporting Authority (2018). Literacy. In Australian Curriculum. Retrieved from http://www.australiancurriculum.edu.au/generalcapabilities/literacy/introduction/introduction
Dahl, M. (2016, August 10). To your brain, listening to a book is pretty much the same as reading it. The Cut. Retrieved from https://www.thecut.com/2016/08/listening-to-a-book-instead-of-reading-isnt-cheating.html
Dickenson, D. (2014). Children and reading: Literature review. Australia Council 2014. Retrieved August 2016.
Gray, M. (2017). Ebooks: To subscribe or not to subscribe? Connections, 101. Retrieved from scis.data.com/connections/issue-101/ebooks-to-subscribe-or-not-to-subscribe
Hashim, A & VongKulluskn, V. (2018). E reader apps and reading engagement: A descriptive case study. Computers and Education, 125, pp.358-375. Retrieved from https://www.journals.elsevier.com/computers-and-education/
Jabr, F. (2013). The reading brain in the digital age: The science of paper versus screens. Scientific American.
Jeon, H. (2012). A comparison of the influence of electronic books and paper books on reading comprehension, eye fatigue, and perception. The Electronic Library, 30(3), 390-408. doi: 10.1108/02640471211241663
Keen, N. (2016). Stopping the slide: improving reading rates in the middle school. Connections, 99. Retrieved from https://www.scisdata.com/connections/issue-99/stopping-the-slide-improving-reading-rates-in-the-middle-school/
Lamb, A., & Johnson, L. (2010). Divergent convergence part 2: Cross-genre, multi-platform, transmedia experiences in school libraries.Teacher Librarian, 38(1), 64-69. Retrieved from http://teacherlibrarian.com/
Cullen, M. (2015, December 21). How is interactive media changing the way children learn. In EducationTechnology. Retrieved from https://educationtechnologysolutions.com.au/2015/12/how-is-interactive-media-changing-the-way-children-learn/
Mangen, A., Walgermo, B. R. & Bronnick, K.A. (2013). Reading linear texts on paper versus computer screen: Effects on reading comprehension. International Journal of Educational Research, 58, 61-68.doi:10.1016/j.ijer.2012.12.002
Moore, J., & Cahill, M. (2016). Audiobooks; Legitimate ‘reading’ material for adolescents? Research Journal of the American Association of School Librarians. Retrieved from www.ala.org/aasl/slr/volume19/moore-cah
O’Connell, J., Bales, J., Mitchell, P. (2015). [R]Evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal, 63(3), 194-208. DOI: 10.1080/00049670.2015.1048043
Sargeant, B. (2015). What is an ebook? what is a book app? And why should we care? An analysis of contemporary picture books. Children’s Literature in education, 46, 454-466. doi: 10.1007/s10583-015-9243-5
Sekeres, D. c. & Watson, C. (2011). New literacies and multimediacy: The immersive universe of the 39 Clues. Children’s Literature in Education, 42, 256-273. Doi: 10.1007/s10583-011-9133-4
Springen, K. (2010, July 19). The digital revolution in children’s publishing. Publisher’s Weekly. Retrieved from http://www.publishersweekly.com/pw/by-topic/childrens/childrens-industry-news/article/43879-the-digital-revolution-in-children-s-publishing.html.
jewhisperer / Pixabay – The enemy is invisible
Wilder Girls (2019) by Rory Power is a dystopian novel set in a boarding school on an island off the American seaboard. A strange, body transforming disease that infects all living life, lurks in the forest surrounding the school and has started to infect everything on the island. The authorities, worried about this disease leaking out, have shut down all access to the island leaving the girls to fend for themselves. With an eerie similarity to Golding’s Lord of the Flies, Wilder Girls highlights humanity’s anthropological need to set up a social hierarchy in the absence of an established system. But unlike Golding’s work, Power showcases the strength of human connectedness between the protagonist Hetty and her best friend Byatt. It is this robustness of this connection that spurs Hetty to search for her friend in the disease ridden woods.
sweetlouise / Pixabay – Being connected
Dystopian novels have always been traditionally favoured with teenagers. Marsden’s Tomorrow when the war began, Grant’s Gone, Roth’s Divergent, Dashner’s Maze Runner and Collin’s Hunger Games are just some examples of this genre and are all popular titles. Dystopian fiction has traditionally been based around conflict between an individual and society and often has fantastical elements. Their appeal to teens is based upon their ability to address inner angst in teenagers and rebellious ideologies (Basu, Broad & Hintz, 2013). Additionally, this genre allows the reader to make moral observations about society in general. In Power’s Wilder Girls, Hetty and Byatt have a physical altercation over an orange even though they are best friends. In their mind, it’s perfectly acceptable to resort to violence to obtain food, whereas to my mind, it seems abhorrent and distasteful. But I am not hungry, and in many parts of the world, people DO fight for food. In this way, Power points to the quick demise of social trappings of sophisticated society in times of survival and that actions and circumstances need to be evaluated together rather than in isolation. Remember, people were fighting over toilet paper in February and March 2020.
Alexas_Fotos / Pixabay – Toilet paper gate of 2020
Wilder Girls was outside my comfort zone as I originally picked it up as a bit of a lark due to the current COVID-19 pandemic. But whilst the book’s storyline itself was not to my liking ( pandemic and all, yes, I agree, completely wrong time to read this book!), I loved the way Power showcased the friendship between Hetty and Byatt. The sheer connection between these two girls gave Hetty the will to strike out into the unknown to look for her best friend amazed me and brought cheer to my spirit. It reminded me of the movie, Forrest Gump when Forrest went to look for Bubba in the jungles of Vietnam. I won’t tell you the ending of Wilder Girls but I will say that friendship matters.
truthseeker08 / Pixabay – Staying in touch
Peer relationships are important for teenagers, and for people of all ages. It is our relationships, and conflict within these associations with our friends and family that set up our social and emotional frameworks. Reading fiction covertly teaches the reader about emotional regulation that accompanies conflict. This regulation is essential for social development and human interactions and the ability to regulate such emotions is known as emotional literacy (Laurie, 2016). The reading of Wilder girls did not bolster my belief in #scottyfrommarketing to resolve the current COVID pandemic, but rather instead made me reach for my phone to text my girlfriends and say “Hey, I miss you”.
Basu, B. Broad, K.R., & Hintz, C. (2013). Contemporary dystopian fiction for young adults: Brave new teenagers. Oxfordshire, UK. Routledge. Retrieved from https://ebookcentral.proquest.com/lib/CSUAU/detail.action?docID=1186446
Laurie, H. (2016). Using picture books to promote social-emotional literacy. YC Young Children, Volume 71(3). pp80-86. Retrieved from https://www.naeyc.org/
rolandmey / Pixabay
Literature has always been the core of schooling (Ross Johnston, 2014). From Seneca to Homer, Chaucer to Fielding, Bronte to Orwell, Dickens to Zusak, literature has formed the framework of teaching and learning from the ancient Greeks to current digital natives. ACARA (n.d.b) points out that the English curriculum is structured with literature, language and literacy at its core. This clearly implies that students need to achieve competency in all three strands in order to be considered proficient.
Literacy has evolved from its traditional stance of reading and writing in this information age. ACARA (n.d.a) believes that literacy is the ability to access, interact with, decode, comprehend, use and present information in a meaningful manner. Ross Johnston (2014) concurs that language is useful in organising thought and thus metacognition is the most profound aspect of literacy. Literacy is no longer limited to text but now includes multiple modalities such as written, oral, visual, print and digital forms of information; as well as non traditional text forms such as Braille, Auslan and other gestural sign language. This plethora of modes means that students need to be proficient across multiple literacies for success in this new world order (Wolf, 2014).
Picture books (PB) are commonly used in teaching and learning for young children. Early childhood and primary school teachers often use picture books to teach literacy, content and concepts to their students. But these books are pushing the boundaries in educational practice. Research has shown that picture books can be used to teach older students multiliteracies, curriculum content and broach sensitive subjects (Marsh, 2010). Their use of illustrations and text provoke the reader to look past the overt narrative and search for the covert message. Picture books’s application in literacy and learning is extensive and therefore should be defined as literature.
Traditional picture books follow a linear movement of text and images. Marsh (2010), believes that both images and texts are required for decoding. Unlike illustrated books, where images are the supporting act to the main text event; picture books require images to be the central feature with text working concurrently with the picture (Barone, 2011). Children are able to follow the story as images are often clear and the tone is developmentally appropriate (Marsh, 2010). Titles such as Mem Fox’s Where is the green sheep and Alison Lester’s Are we there yet are perfect examples of traditional picture books. Their format is ideal for younger children as the illustrations assist the reader in decoding the text.
Conversely postmodern picture books are designed to provoke and stimulate the reader with absent or contradictory text (Aitken, 2007). The absence of text encourages the reader to ‘self author’ and fill in the dialogue (Aitken, 2007), as Wiesner’s Flotsam exhibits. In Flotsam, the reader superimposes their own prior knowledge and understanding of the beach to decode the illustrations (Panteleo, 2018). With most Australians living within an hour of the coast, readers readily identify with the illustrations and corresponding fantasies (ABS, 2017). Older readers are able to see the overt message of escapism and fantastical stories as well as the covert message of tradition and conservation. Whereas another Wiesner’s book, Three Pigs, has several contradictions between words and images, forcing the readers to re-read the page and search for details previously missed (Aitken, 2007).
Compared to traditional picture books where the author’s voice is strong, postmodern picture books allow for a change in narration and perspective (Aitken, 2007). In Flotsam, the reader superimposes their own knowledge onto the narrative. This change allows the reader to engage more deeply with the storyline and characters, and in turn, more likely to experience an emotional or cognitive change in thought.
Sophisticated picture books are also known as picture books for older readers, and they are extremely useful in secondary school classrooms. They have great capability to provide teaching and learning experiences and can be used as a vehicle to teach content, literacies and influence social and emotional development (Pantaleo, 2014). Marsdens The Rabbits’ (1998), Tan’s Red Tree (2001), Whatley’s Ruben (2018) and Wild’s The feather (2018) are all excellent examples of sophisticated picture books. It must be noted that post modern books can be for both younger and older readers, but sophisticated PB are primarily for older readers but can have postmodern elements. Tan’s Red Tree and Marsden’s The Rabbits are both examples of sophisticated PB with postmodern elements.
This ability to decode and make cognitive connections is not inherent. Children and young adults often need to re-read such books multiple times and have a discussion with an adult and peers in order to understand the various nuances within (McDonald, 2013). Additionally, these nuances will manifest differently to readers. The manifestations will depend upon personal cognition and experience. This means that sophisticated picture books are ideal for classrooms with diverse needs as the book itself differentiates the lesson.
There are many advantages to using PB in a secondary classroom. The obvious advantage is their brevity. Brevity in books is a great tool for constructing engaging thematic units of work. It also provides a valid alternative as a class text for disinterested teens, reluctant readers, students with low literacy and those that do not speak English at home. Another advantage is the innocence that surrounds PB (Marsh, 2010). Their familiar structure reassures students as many remember them from their own childhood and early schooling. Consequently, these books are seen as non threatening and student’s resistance is reduced.
The ‘image’ has become essential to daily communication and has supplanted the alphabet in terms of importance (Short, 2018; Ross Johnston, 2014). One only needs to walk through playgrounds to know that tiktok, snapchat and instagram are the preferred social media platforms of teens. Ross Johnston (2014, p.619) is adamant that students need to be competent in image analysis across various contexts. But in order for teens to be able to make successful connections between literacy and comprehension, they need to learn the skills to decode language and symbols.
Since visual culture is proving to be a driving force for the 21st century, visual literacy needs to be explicitly taught and sophisticated picture books are eminently qualified for the task (Harvey, 2015; Short, 2018). Exposure to picture books regularly encourages visual literacy as the reader is encouraged to use both the images and the text to decode and comprehend the story. These skills of decoding and comprehending are the cornerstone of literacy proficiency. As discussed previously, the notion of literacy has evolved over the past century and picture books promote multiliteracy as they are a multimodal form of literature. Picture books connect well with popular culture and the new texts, technologies and literacies that accompany it (Flores-Koulish & Smith- D’Arezzo, 2016).
Haven (2007) reminds us that storytelling is the most basic way humans have sought to understand the complexities of life. Therefore narratives are the base level of understanding and within everyone’s capability. Traditional stories with clear demarcations of beginning, middle and end, allow children to organise information in a logical manner (Haven, 2007). But sophisticated PB with contrary and or absent text, force the reader to make their own connections which promotes critical thinking through their multilayering of overt message and underlying tone (Short, 2018).
Critical media literacy is also enhanced by picture books. In a world filled with fake news and the ‘Toilet paper gate of 2020’, it is patently clear that society needs immediate action regarding media literacy. Flores-Koulish & Smith- D’Arezzo (2016) point out that media is part of the socialisation process and requires skills as it is intrinsic to cultural practice and will differ between societies. Unfortunately media literacy is not addressed appropriately and equally across Australian schools. The combination of the digital divide and lack of appropriately skilled teachers has meant students are not taught the relevant skills, nor have access to technology required to decode and interpret images. The importance of media literacy can never be dismissed, after all, one only has to recall the bizarre result of the 2016 Presidential election to remember that media literacy cannot be treated lightly.
It has been well established that emotional regulation is important for social development and is the basis of human interactions (Laurie, 2016). Laurie (2016) believes that picture books provide an excellent framework to teach humanity about empathy and tolerance which comes under social and emotional intelligence. This regulation, or emotional literacy, is the ability to regulate one’s emotions in social situations. In fact as Laurie (2016) pointed out, humans require skills in emotional regulation prior to social literacy competency. Conflict resolution, common in playgrounds, sports grounds, canteens, boardrooms and bedrooms; all require competence in social and emotional literacy. In fact any positive social interaction between peers needs both parties to be emotionally literate. Reading, discussing and the analysis of literature lures the reader into connecting with the character, which leads to increased levels of sensitivity and empathy. PB are able to broach sensitive issues with ease as their innocent appearance lulls readers into a sense of security (Barone, 2011).
Literature’s strength lies in the fact that readers are able to vicariously experience the character’s conflict and thus develop an understanding of appropriate responses. Sophisticated picture books use the illustrations and text to elicit an emotional response in the reader. Whatley’s Ruben uses monochromatic images to show the harsh dystopian world that the protagonist has to survive in. Wild’s The Feather uses orientation to draw the reader into the image. Marsden’s The Rabbits draws the invaders as pompous, barrel shaped creatures who are oblivious to the presence of the original inhabitants. This allegorical tale uses satire to point out the devastation the colonisers inflicted on the Indigenous peoples and forces the reader to re-evaluate the history book’s version of events. Tan’s story of a forlorn child in Red Tree gives the reader a visual representation of what depression can feel like. The vivid imagery of a monstrous fish, etchings of endless days and drowning gives readers a chance to understand how depression affects people. It also gives students who suffer mental health illness a language to use to describe their mental state.
Short (2018) reiterates literature’s ultimate purpose in identifying the inner humanity of individuals and ensuring fundamental experiences of life are accessible to all. The current trend towards standardised tests and prescribed reading has disengaged students from engaging with books purely for emotional benefit (Flores-Koulish & Smith-DÁrezzo, 2016; Short, 2018, p.291). As mentioned previously, due to brevity, older students can be encouraged to engage with picture books but without the guilt of ‘wasted time’.
Sophisticated picture books are an excellent tool for addressing the various cognitive, behavioural and developmental needs of the reader. Images are superseding text in this modern age, therefore it is important that visual literacy is explicitly taught through the curriculum. But PB’s greatest impact on adolescents is upon the development of emotional literacy in adolescents. Therefore, it can be argued that picture books are literature because they are able to affect the reader so significantly (Ross Johnston, 2014). Picture books are multimodal in nature and their sophistication in addressing issues of a sensitive nature as well as problematic relationships, makes it an important part of a high school collection.
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