Wednesday, May 15, 2013

Choosing Texts: Do the Common Core State Standards leave room for teacher discretion?

by Magedah Shabo


No one likes the idea of forced conformity and “one size fits all” solutions. Not surprisingly, one of the chief concerns we hear from teachers about the Common Core State Standards (CCSS) is that they seem to take a cookie-cutter approach to improving education.

Indeed, the standards do represent a general push toward standardization, as their name implies. Perhaps most conspicuously, they propose a universal shift toward more difficult texts and tasks than have traditionally been assigned in recent decades. In the English Language Arts category, there is an emphasis on teaching literary and informational texts that are significantly more difficult than those currently taught in most American schools.

In the Common Core literature, this upward shift in text complexity is described in the rather arcane language of the Lexile Framework, as shown in the chart below.

Text Complexity Grade Bands and Associated Lexile Ranges
Text Complexity Grade Bands and Associated Lexile Ranges
(CCSS English Language Arts Appendix A, page 8)

Looking at these charts and figures, many educators fear that the standards do not adequately account for the variation among students and classrooms. Is it really feasible to take any given twelfth-grade classroom and suddenly begin teaching what we think of as college-level texts? What about the students who are struggling with the less challenging literature they are currently being assigned?

One educator who serves on Prestwick House’s National Curriculum Advisory Board described the concerns of many when she told us, “The idea that all students can learn to the same level of understanding, while high-minded, is just not true.”

There is good news, though. Within the CCSS framework, there is still room for teachers to exercise personal discretion and choose texts that make sense for their students.

The standards do not require teachers to do any of the following:

  • Replace human judgment with Lexile scores.
  • Disregard students’ abilities and backgrounds.
  • Teach from a prescribed list.

What, then, are the standards proposing for the text-selection process?

The CCSS identify three factors to consider when gauging text complexity:

  1. qualitative measures
  2. quantitative measures
  3. reader and task considerations

These three factors are depicted in the standards’ Appendix A as three parts of a triangle—and each element is given equal weight.


It’s important to note that the quantitative element—a computer-generated number, such as a Lexile score—is only one part of the triangle. This is the only factor that is not ultimately left to the judgment of a human being, whether it be a district administrator or an individual teacher.

What’s more, the standards directly state that quantitative measures are not always accurate and should not be used to overrule the judgments of educators. Appendix A says that educators are expected to balance quantitative and qualitative considerations by “employ[ing] professional judgment to match texts to particular students and tasks” (page 7). Quantitative measures will, in fact, be outweighed by the other two-thirds of the triangle in many cases.

In upcoming posts, I’ll be talking about the strengths and limitations of the Lexile Framework and other quantitative measures, as well as their proper application. I’ll also be unpacking the more subjective factors in selecting CCSS-appropriate reading assignments—the “qualitative” and “reader and task” considerations. When it comes to choosing texts for your classroom, the Common Core standards may not be quite as limiting as they initially seem.


Magedah Shabo is the creator and co-author of Prestwick House's Reading Informational Texts series. She is a writer, editor, and community college instructor. Her works are taught in secondary and post-secondary classrooms across the United States and have been featured on reading lists for courses at Harvard, George Mason, Fordham, and American University.


Friday, May 10, 2013

The Making of the Iliad and Odyssey Book Covers

by Larry Knox
Creative Director



We recently decided to rebrand the Literary Touchstone Classics collection, our popular line of classic literature books. Although most of the over 70 titles in the collection will retain their original cover art, a few volumes warrant a fresh approach.

Sold as two separate books, Homer's The Iliad and The Odyssey were prime candidates for new cover imagery. It occurred to me that this would be a perfect opportunity to re-design each so when laid side-by-side they would form one continuous image — a technique I've always wanted to try. Essentially, the covers would represent the journey taken by Odysseus from his service in the Trojan War to his ten-year voyage home to Ithaca.

Starting off, I knew I wanted three major elements: Helen of Troy, an archer, and a Cyclops.

Hoping to use them on a reprint of The Iliad one day, I took photos of my niece a few years ago when she wore a Grecian-style dress to her high school formal. So, Helen was done.

Having never been pleased with the existing cover of The Odyssey,
I asked my niece to pose as Helen back in 2009.
Photo by Larry Knox  © 2013 All rights Reserved

The Greek archer on the cover of The Iliad would double as Odysseus on the The Odyssey's side — evoking the archery competition during which Odysseus outshoots and slays his wife's unwanted suitors.  I had the helmet from a previous photoshoot, but the key for this shot would be finding just the right bow and arrow for the period.

Setting up two light sources, each connected to the camera by a transmitter. I took over 75 shots using a 10-second timer, which allowed me to move the front light up or down and left or right.

Three Rivers Archery in Ashley, Indiana, was kind enough to donate the use of a Scythian bow, which is very similar to the ones used by the Greeks during the time of the Trojan War.

The arrow is wood, charred over a candle flame to get the decorative stripped effect. I tied feathers to one end of the arrow with leather string and in Photoshop placed a public domain image of a Hellenistic era arrowhead on the other.

Photo by Larry Knox  © 2013 All rights Reserved
Photo by Larry Knox © 2013 by Prestwick House, Inc.,  All rights Reserved
Photo by Larry Knox © 2013 by Prestwick House, Inc.,  All rights Reserved
Photo by Larry Knox  © 2013 All rights Reserved

For Cyclops I had to look no further than across my office. Chris, a fortuitously one-eyed graphic designer, agreed to portray the one-eyed Polyphemus and for a mere 20 bucks was persuaded to shave his head for the shoot … well, not really, but he did grow out his beard.

Fellow designer Chris agreed to model as the Cyclops Polyphemus. The rock weighed over 50 lb., so poses could be held for only a short time. We shot over 50 images.
Photo by Larry Knox © 2013 by Prestwick House, Inc., All rights Reserved
Photo by Larry Knox © 2013 by Prestwick House, Inc.,  All rights Reserved
Photo by Larry Knox © 2013 by Prestwick House, Inc.,  All rights Reserved
Photo by Larry Knox © 2013 by Prestwick House, Inc.,  All rights Reserved
A close-up photo to use for the Cyclops' eye.
Photo by Larry Knox © 2013 by Prestwick House, Inc., All rights Reserved
Photos from a bonfire taken many years ago have served me well on countless projects.
Photo by Larry Knox © 2013 All rights Reserved
I photographed these "Myth Clouds" a few years ago off Boca Raton, Florida.
Photo by Larry Knox © 2013 All rights Reserved
Another colleague from Prestwick House who is an accomplished photographer graciously allowed me to use this shot he took last fall off the coast of Maine.
Photo by David Zou © 2013 All rights Reserved
An architectural detail photo I took in Alexandria, Virginia, in 2011.
Photo by Larry Knox © 2013 All rights Reserved
A poseable rubber snake was shot at various angles to depict
the seven-headed monster Scylla at the whirlpool Charybdis.
Photo by Larry Knox © 2013 All rights Reserved

A public domain image of the Trojan horse on display in China, along with numerous other public domain images — including a painting of sailors clinging to the remains of ship at sea — complete the details.

Once all the elements were either created or gathered, the process of working out the composition began...







Monday, May 6, 2013

An interactive conversation with Sir Ian McKellen on Shakespeare's Richard III

by Derek Spencer


This interactive presentation is great for teaching Shakespeare beyond the written page:

Sir Ian McKellen discusses Shakespeare's Richard III

This is . . . very, very cool.

Not only does Sir Ian McKellen break down the opening speech from Richard III line by line, he discusses the importance and historical accuracy of the play, explains the relationship between Shakespeare's dramatic methods and the methods used by modern filmmakers, and more. This presentation is a fantastic resource — your students get to listen to a wonderful actor recite famous lines, so they can hear for themselves how a professional would interpret the cadence of Shakespeare's writing.

Check it out if you have a moment — this is something you could definitely use in your classroom, and it's free (always a plus)!

Thanks for reading!

Friday, May 3, 2013

'Gatsby' film posters an intriguing mélange of symbols and style

by Derek Spencer


The new film adaptation of The Great Gatsby drops just one week from today! Of course, we don't yet know what director Baz Lurhmann has done with the film, but we do have some hints as to the visual direction thanks to Esther Zuckerman at The Atlantic:

The Atlantic: "Is the 'Great Gatsby' Movie Just Going to Be High-School English All Over Again?"

Now I'm no art scholar, so you might want to take the following with a grain of salt. Possibly even a full shaker. And hey, if I'm way off base, feel free to giggle at my mistakes — just tell me about them in the comments, okay?

Phew. Here goes.

Zuckerman notes the heavy symbolism in the first poster — the green light draws the eye immediately. Gatsby's eyes are very nearly the same color. DiCaprio-as-Gatsby looks serious, determined, making me wonder if the film will portray Gatsby more as a hard-nosed, ruthless gangster than as an idealistic romantic.

The second poster depicts Daisy in the midst of what appears to be a flower garden (no daisies included, thank goodness). I think this one might be based on a still from the film; it looks much more organic than the first. Her facial expression suggests to me a gentleness in her characterization, and the soft pastel colors of the plants reinforce the impression. Note the area of highest contrast: a dark space between the flowers and Daisy's face. This contrast pulls the viewer's attention straight to Daisy's eyes.

As Zuckerman notes, there's definitely some more fun with symbolism going on in poster three. What immediately hits me about this image is just how composed, how assured, how confident Myrtle Wilson looks. Do I detect the slightest whisper of a smirk, as though she were privy to a salacious secret?

I'm excited about the film, and I'm definitely going to catch it while it's in theaters. How about you?

Have a lovely weekend, and thanks for reading!


Wednesday, May 1, 2013

Ten new (or relatively new) nonfiction texts for the modern classroom


by Derek Spencer


Outliers


You might have heard it said that reaching "expert status" in a given profession or activity requires 10,000 hours of dedicated practice — this is the book that helped propel that idea into the cultural conversation. In Outliers, Gladwell examines several people who have achieved extraordinary success and attempts to determine the reasons why.


Outcasts United


If you want to teach students about the challenges people face when trying to live in a new culture, this is a great book. Outcasts United is about a youth soccer team made up of refugees who immigrated to the United States to escape war and oppression. The book does an excellent job of exploring the subject of assimilation and shows ways in which teenagers from various cultures deal with “culture shock.”


The Immortal Life of Henrietta Lacks


Supplementary information for the Common Core stipulates that informational texts aligned with the standards are written so that the majority of readers can understand them — in other words, accessible to laypeople. This is one of those texts.

Not only does The Immortal Life of Henrietta Lacks present scientific information in language that your students can understand without a Ph.D., it also raises pertinent ethical questions that can lead to excellent classroom discussions. The best literature — whether fiction or nonfiction — makes you think about some essential human question. This book fits the bill.


Freakonomics


Your students might think that “dull” is an intrinsic quality of a text about economics, but Freakonomics connects economic principles to real-world situations in an engaging way. The book does explore topics like abortion and drug-dealing (both from an economic standpoint, of course), so it might not be suitable for every classroom.


Fast Food Nation


The subject of heavily processed food has been in the news often recently, as more of us are examining our daily habits and trying to figure out how we can live healthier lives. Fast Food Nation reveals some unsavory practices going on behind the curtain at fast food restaurants, and it has been compared to Upton Sinclair’s seminal work, The Jungle. Certainly it treads some of the same ground — food quality, worker treatment, ethics — but this is no novel. It's a fascinating work in its own right, a snapshot of the modern fast food industry.


The Omnivore's Dilemma


Michael Pollan attempts to answer the question at the heart of the titular dilemma: We have a staggering number of options when it comes to foods, so which foods should we eat? Wander through your local supermarket and you’ll find thousands of items — all manner of flavors and textures, from fruits and vegetables to cookies and corn chips. Out of this bewildering myriad, how do you choose foods that will nourish you and keep you healthy and happy?

It’s a tough question, and Pollan gives you plenty of information to help you figure it out. The book is written in straightforward language, but the Young Readers’ edition may be more digestible for younger students and less-proficient readers.


Moneyball


I read this one in March, and it’s a breezy read. If you want to teach this text, you should know up front that there is some profanity in the book that may offend students and/or their parents. That said, it’s a great text with which to engage students who are excited about sports (specifically baseball). And even if your students aren’t interested in sports, that’s okay. Baseball is the Trojan Horse the book uses to get inside your head; the book’s message has more to do with questioning assumptions and finding innovative ways to solve problems.

Moneyball is a concrete example of how critical thinking skills translate to real-world success. If that inspires students to critically evaluate the world around them on a daily basis, you win.


The Last Lecture


This nonfiction text is more inspirational than informational — it’s a collection of anecdotes and advice from a professor who, upon learning he had terminal cancer, wanted to impart to his family as much information as possible about his philosophy of life: how he treated others, whether personally or professionally; how he worked (and played); how he persevered.

If you use this text in your classroom, you should also use the information found at http://www.thelastlecture.com/. The Common Core asks students to be adept at synthesizing information in multiple mediums, and the book can be used in conjunction with the videos on the website as one step in achieving that goal.


The Freedom Writers Diary


A perfect example of how a teacher who teaches with empathy and understanding can make huge changes in the lives of her students. Using texts like Anne Frank: The Diary of a Young Girl, Erin Gruwell showed her students how intolerance and racism have deleterious effects on individuals and whole societies. Inspired, her students (who had been labeled “unteachable”) began to think about the intolerance they had experienced in their own lives, and they began to keep diaries, calling themselves “The Freedom Writers.”

Sex and drugs are discussed in the book, so it may not be suitable for every classroom.


Hiroshima


This title chronicles the lives of six survivors of the atomic bomb dropped on Hiroshima at the end of World War II. Hiroshima can be used to show students a different perspective on a historical event, one that they can’t find in a traditional history textbook.




When reading any nonfiction text, students need to be aware that what they’re reading could be biased in some way — just because they’re reading nonfiction doesn’t mean they’re reading fact. Our book Reading & Analyzing Nonfiction: Slant, Spin & Bias makes a great companion to any of these nonfiction texts. The book helps you teach students to distinguish fact from opinion and interpretation, an essential skill that will protect them from being swayed by poor arguments in college, in their careers, and for the rest of their lives.

Have a fantastic afternoon, and thanks for reading!





Monday, April 29, 2013

New 'Gatsby' cover provokes strong reactions

by Derek Spencer


F. Scott's Fitzgerald's classic novel The Great Gatsby is getting the big-budget Hollywood treatment, and the literary world is all in a tizzy over the cover for the movie tie-in edition of the book. The New York Times details what all the furor's all about:

NYT - "Judging 'Gatsby' by Its Covers"

Palpable outrage from some! Open derision from others! . . . And also some, you know, reasonable discussion. It's a cool article.

When Gatsby was first published, none other than literary luminary Ernest Hemingway denounced Gatsby's original cover — the one now being ardently defended by those who despise the new cover. Is the old cover truly far superior to the new, or are we incapable of divorcing our analysis from the thing's sheer cultural weight? Are we allowing tradition to cloud our judgment?

Well . . . I would say the old cover is indeed superior. One of the best aspects of the traditional cover is that it suggests one of the motifs used in the novel: the billboard displaying the eyes of Dr. T.J. Eckleburg. However, the eyes clearly belong to a lady — most likely Daisy Buchanan. The old cover has a timeless quality to it, one that the movie tie-in edition, with its emphasis on specific actors, cannot capture. The new cover is more like Gatsby's idealized version of Daisy: frozen at a specific moment in time.

And that's fine! While The Great Gatsby is a perennial favorite, the new film can only increase the novel's cultural profile and introduce this American Lit classic to a wider audience. If it takes some flashy images of Leo DiCaprio and co. to do it, well, I'm not too worried. Let's not forget: regardless of any book cover's artistic merit, the ideas on the pages inside are what counts. No new cover can change that.

(And at least the new cover incorporates some nifty Art Deco touches. It's not all bad.)

Which version do you prefer? Let us know what you think in the comments. And, as always, thanks for reading!




Friday, April 26, 2013

Differentiated Instruction: Ideas and resources for professional development

by Derek Spencer


Hi there! Perhaps you've heard a bit about Differentiated Instruction (or "DI" for short) in the past couple of years, but for those who haven't, DI is a teaching philosophy founded on the idea that different students learn in different ways. When we talk about people as "visual learners," or "auditory learners," or "those who learn by doing," we're talking about people who learn best when the instruction they receive is tailored to their unique strengths.

Each student's optimal learning style is just one variable that teachers must account for in a DI classroom, however. DI emphasizes knowing your students — the more you know about your students as individuals, the more effectively you can build your lesson plans and deliver quality instruction. In a DI classroom, your lessons should be structured to reach all of your students, not just a select few. So, one of the keys to true DI is incorporating material for several learning styles into each lesson you plan.

Students are people, and everyone's different; unless your classroom is completely homogeneous (the likelihood of which is minuscule), you're going to have to account for students of different ability levels. One common misconception about DI is that students of lower ability should receive instruction that is fundamentally different from that which higher-ability students receive — don't fall into this trap!

The primary objective for true DI is to get students of all learning types to achieve the same goals — regardless of ability level. All your students should be working toward the same learning objectives; your less-capable students might simply need more scaffolding to achieve those objectives. If you give them this scaffolding and help them develop their weaker skills, they won't be your lower-ability students for long. 


Resources:

This page at The Center for Learning contains a webinar titled How can differentiation be achieved —without putting too much burden on teachers? It's a good introduction to and explanation of DI.

This webinar explains how DI and the Common Core can work together.

We offer many kinds of unit plans and resources for many different types of learners. The Levels of Understanding series is especially suited to a DI approach; it's based on Bloom's Taxonomy, and the questions within help students progress through lower-order tasks and acquire the ability to evaluate texts. If that sounds like something you could use in your classroom, pop on over to prestwickhouse.com and give it a look.

As always, thanks for reading!



Wednesday, April 24, 2013

How Do I Choose Informational Texts for my English Classroom?

by Derek Spencer


The advent of the Common Core State Standards has spurred a good amount of discussion about the role of “informational texts” in the classroom. But what exactly do the Standards mean when they refer to informational texts, and how do you choose informational texts of high quality? We’ll do our best to answer those questions in this article. If you’re teaching in a state that has adopted the Common Core, here’s a quick guide to what you need to know.

Standard 10: Range, Quality, & Complexity

Standard 10 details three aspects that educators should consider when selecting informational texts: Range, Quality, and Complexity. We’re going to tackle each of these items one at a time.

Range

Standard 10 groups English Language Arts texts into two major categories: “Literature” and “Informational Text.” Informational Text includes a range of broad genres: literary nonfiction, historical texts, scientific documents, and technical accounts. The one thing these genres have in common is that they’re all nonfiction.

The standard divides these large genres into several subgenres, including arguments; essays; biographies; journalism; and historical, scientific, technical, or economic accounts. Texts in this last category must be “written for a broad audience.” We interpret this to mean that standards-appropriate texts in this category present the author’s ideas in language that people outside the author’s discipline can understand. Jargon should be kept to a minimum. Where jargon is necessary, it should be clearly defined and thoroughly explained when introduced.

Quality

Of these three aspects, quality is the most subjective. When you’re examining a text’s quality, one of the first things to consider is the text’s importance or significance, whether cultural or historical. For example, the Declaration of Independence is highly significant, both historically and culturally. These qualities, along with the Declaration’s complexity, make it an excellent informational text. As a general rule, a text’s importance correlates strongly with its quality.

Now, this isn’t to say that you should exclude contemporary works — certainly not. However, selecting contemporary texts may be more challenging, especially if a consensus hasn’t been reached concerning the text’s quality. Here are a few questions you might ask yourself while examining a contemporary text:

  • How likely is this text to be historically or culturally significant? 
  • Does this text say something important about human nature?
  • Does this text say something important about the natural world?
  • Does this text say something important about society?
  • Does this text present a philosophy/ideology/technological advancement that is likely to change the way people think, work, live, etc.?


This list is, of course, non-exhaustive; please feel free to add and discuss entries in the comments.

Complexity

When it comes to the standards, we can think of complexity as a synonym for “difficulty.” As students progress through the grades, the complexity of the texts they’re assigned should increase. Supplementary information about the standards presents three attributes educators should evaluate when measuring text complexity: Qualitative factors, Quantitative factors, and Reader and task considerations.

Qualitative factors are those elements of a text that are best measured by human readers, e.g., irony, purpose, multiple meanings, etc. Consider Jonathan Swift’s A Modest Proposal. A human reader will discern that Swift is not actually advocating that the Irish sell their children as food; a computer will likely interpret the satirical essay as straight-faced economic advice.

Texts that have multiple layers of meaning, take unconventional structures, use figurative or ambiguous language, and/or assume a high level of knowledge on the reader’s part are complex. Texts that have a single meaning, use conventional structure and direct language, and always present the reader with background on unfamiliar concepts are not.

Quantitative factors are those elements of a text that are best measured by a computer, e.g., word and sentence length — items that can be counted. Several measures have been established to measure quantitative complexity, with Flesch-Kincaid and Lexile measures being two of the more popular evaluation tools.

Reader and task considerations are those best measured by teachers. As a teacher, you know your students best — you know who excels and who struggles when it comes to reading tasks, and the standard allows (and yes, expects) you to tailor your curriculum to your students’ specific needs.

You have the freedom to choose the texts you want to teach; as long as your texts meet the qualitative and quantitative requirements described above, you’re good to go. The Standards do include a list of what they call “exemplar” texts — texts that meet the qualitative and quantitative requirements — but you don’t have to teach a text if you determine it won’t be appropriate for your students.


Take Range, Quality, and Complexity into account when selecting informational texts for your English classroom and you'll never go wrong.

For further reading on text complexity, check out this link:

For a list of text exemplars and sample performance tasks:


If you’re looking for help in teaching informational texts we have a series titled, appropriately, Reading Informational Texts. Each book contains several passages from informational texts, complete with qualitative and quantitative measures of text complexity, annotations, contextual vocabulary definitions, and short-answer and essay questions. Take a look and see what you think!

We welcome friendly discussion in our comments section. If you see any errors or misconceptions, please let us know — we want to hear from you so we can serve you as well as possible. As always, thanks for reading!

Friday, April 19, 2013

A Brief History of Punctuation, Plus: Fun with Manicules

by Derek Spencer


Over at Shady Characters, Keith Houston presents a brief summary of the history of punctuation.


Very cool. I knew the function of the asterism ( , not to be confused with the "therefore" symbol used in logic, ), but I had no idea how the manicule ( ) was meant to be used.

In the case of the manicule, form follows function: it's used to point the reader's attention to important bits of text. Sadly, it looks just awful at smaller sizes — which surely contributed to its falling out of favor. Just look at the manicule in 12 pt type:

Yeah . . . this isn't so good. Sort of looks like a bird —
I'm thinking a cardinal.

The only way I've found to make the manicule look good is to enlarge it to a ridiculous degree. Here it is in glorious 100 pt:
Fantastic.

Of course, if it only looks good at large sizes, using it on a regular basis is probably more trouble than it's worth. A shame for those of us who want to clothe our websites in ostentatious 19th-century trappings.

Stay tuned for Wednesday's edition — we'll be discussing the difference between general nonfiction and informational texts. Thanks for reading!

Congratulations 2013 Pulitzer Prize Winners!

by Derek Spencer


The 2013 Pulitzer Prize winners have been announced! Last year the board didn't award a prize for fiction, so it's great to see a novel recognized this year. Among the winners for 2013:

Fiction

The Orphan Master's Son

by Adam Johnson


Reviewers say this meticulously researched novel gives readers a vital perspective into the lives of ordinary North Korean citizens. Propaganda, moral quandaries, and political intrigue abound. I haven't read this one yet, but I'm definitely putting it on the list.

General Nonfiction

Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America

by Gilbert King


Devil in the Grove details the circumstances surrounding the trial of four young men falsely accused of rape in 1940s Florida. Thurgood Marshall (the lawyer who would later go on to win the landmark civil rights case Brown v. Board of Education) takes up their defense in the face of intense societal pressure and threats on his life.

Biography:

The Black Count: Glory, Revolution, Betrayal, and the Real Count of Monte Cristo

by Tom Reiss


In The Three Musketeers and The Count of Monte Cristo, Alexandre Dumas wrote some of the best-loved adventure stories of his time. It turns out Mr. Dumas had a fantastic model on whom to base his stories of derring-do: his father, a general in the French army. The Black Count details the exploits of the elder Dumas, a fascinating, principled man.


Are you teaching any of these texts in your classroom? Let us know what you think of them in the comments!


See all the winners at the Pulitzer Prize website:
http://www.pulitzer.org/node/8501