When I first started teaching (and that was 20 years ago now), Halloween was all about the costumes and the candy and who could get the most. It’s still all about the costumes and the candy and who can get the most.
What I love about Dav Pilkey’s The Hallo-Wiener (aside from the fact that it stars a Dachshund, a breed to which I’m partial), is that he exploits these two facts to their fullest comic potential. And because he is so funny, Pilkey is able to subtly touch on two themes here that often plague childhood: acceptance for being exactly who you are, and bullying—which are often related.
The other dogs make fun of Oscar because of who he is (“Wiener Dog! Wiener Dog!”). He looks different from the other pups pictured. He’s long and low to the ground. He looks forward to Halloween because he can escape into another identity with his disguise. But his mother, who loves him for who he is, buys him a costume that accentuates the very trait for which he is ostracized (a hot dog bun with mustard). Not only that, but the costume’s unwieldiness slows his pace, and the candy’s all gone by the time he arrives at the front door of each house on his route.
When I hit my teens, my peers began teasing me about my red hair and freckles. I’ll never forget in 8th grade science class, the most popular jock telling me I had “puke-red hair.” And even worse, I remember my mother’s hairdresser, while giving me a haircut, told me, “Don’t worry, you’ll be beautiful when you’re 30.” There I was with my puke-red hair, freckles and braces, and I was miserable! Like Oscar, I wanted to escape into other disguises. So I acted in plays and literally became other characters. Later, I was glad to have had all of my theatre experiences, which I likely would not have pursued if I’d been welcomed into the popular crowd. Today I even enjoy being a redhead. But try telling that to any child or teenager. They still have to live through all of this awkwardness and discomfort.
In this humorous but gently wise tale, the very characteristic that make Oscar the butt of his peers’ jokes—his low point of gravity—gives him the perspective and the strength needed to spot the true identity of the monster and also to unveil the monster for what it is. The other pups are grateful that Oscar saved them, and appreciate his resourcefulness.
Yes, the book is most of all a sweet and satisfying humorous tale in which the underdog winds up on top. But it also has some strong points to make that, after many rereadings, your youngsters will begin to internalize, whether you ever discuss its subtle lessons or not.
So even though much of the fun of Halloween is dressing up and stepping into another identity (and eating bagfuls of chocolate), Dav Pilkey’s clever comedy tells us that, ultimately, we need to be comfortable with who we are all year long.
Friday, October 23, 2009
Friday, October 16, 2009
The Fine Line Between Fright and Humor
How many times have you seen a scary movie and laughed in relief at a false alarm? Laughter is our preferred way to release tension. Harriet Ziefert and Rebecca Doughty in Halloween Has Boo! do a bang-up job of walking that line between funny and gently frightful for toddlers.
Art Spiegelman, who started his career writing and drawing Wacky Packages jokes for Topps gum (like "Quacker Oats," featuring a duck in place of the usual pious gent pictured on the familiar cardboard oats canister), says that much of what we find to be humorous arises out of conquering one's fears. He points to a classic example, the jack-in-the-box. When a child first encounters the toy, he or she does not know what to expect, so when Jack pops out, it's frightening. But once the child knows how the jack-in-the-box works, and that he or she can predict when the doll will pop out, and that replacing the top will close Jack back securely inside, the child thinks it's wildly funny.
As they get older, kids enjoy scary rides at an amusement park, whether that takes the form of exhilarating speed (as in a roller coaster) or tantalizing terror (as in a haunted house tour). Getting through a frightening situation makes us feel braver somehow. One of my favorite things about summer as a kid was gathering in a circle around the campfire and telling ghost stories. In these weeks leading up to Halloween, I'll be posting some more of my favorite spine-tingling tales for young scary story–lovers, but one of the best things about a book is that you can put it down at any point if it gets to be a little too scary.
Art Spiegelman, who started his career writing and drawing Wacky Packages jokes for Topps gum (like "Quacker Oats," featuring a duck in place of the usual pious gent pictured on the familiar cardboard oats canister), says that much of what we find to be humorous arises out of conquering one's fears. He points to a classic example, the jack-in-the-box. When a child first encounters the toy, he or she does not know what to expect, so when Jack pops out, it's frightening. But once the child knows how the jack-in-the-box works, and that he or she can predict when the doll will pop out, and that replacing the top will close Jack back securely inside, the child thinks it's wildly funny.
As they get older, kids enjoy scary rides at an amusement park, whether that takes the form of exhilarating speed (as in a roller coaster) or tantalizing terror (as in a haunted house tour). Getting through a frightening situation makes us feel braver somehow. One of my favorite things about summer as a kid was gathering in a circle around the campfire and telling ghost stories. In these weeks leading up to Halloween, I'll be posting some more of my favorite spine-tingling tales for young scary story–lovers, but one of the best things about a book is that you can put it down at any point if it gets to be a little too scary.
Friday, October 9, 2009
Remaining Awake
The theme that unites Shaun Tan’s Tales from Outer Suburbia is to remain awake. With its miles of cement curbs, stop signs, and perfectly mown lawns, the suburbs can lull us into a kind of sleepwalk. We stop noticing the details, the people, the leaves changing, the smoke from a chimney, even the extraordinary water buffalo on the corner (featured in his opening story). And we don’t have to be living in the suburbs to lose our powers of observation. It can happen on city blocks or deep in rural territory.
A few weeks ago, when I interviewed Kate DiCamillo, she said that writing is about “being able to turn and look at everything you might not normally see.” And—these are my words now—good writers describe what they see in ways that are meaningful for someone else, that allow us as readers to enter the experience. Painters often say they paint what they feel more than what they see. But carefully chosen details allow us to stand where the writer or painter is standing and bring our own experience to the situation he or she is attempting to capture.
That’s what Shaun Tan does. He has the advantage of both tools: his text and his artwork. And he wields pen and paintbrush with equal power. He allows us to see the world from what we might normally think of as the constricted viewpoint of the leaf-like close-to-the-ground star of “Eric,” but instead we see a whole world open up in the beauty of a flower-shaped drain, and the surprise of a blossom that springs from bottle caps and peanut shells. Two boys have one opinion of a neighbor, then change it when they witness her transformation after a stranger shows up at her door. And perhaps most inspirational of all, he hints at the secret creative lives that dwell behind those closed suburban doors, and their discarded attempts at a poem gathering strength and letting loose a shower of “faded words pressed into accidental verse.”
“Every child is an artist,” Picasso said. “The problem is how to remain an artist once he grows up.” Children live completely in the moment. They notice everything and want to name everything and learn all that they can learn about the things that interest them. I believe that’s what Picasso was talking about: how do we remain curious and interested and surprised? Tan, like Picasso, suggests that young people point the way. Our challenge is to encourage that impulse in young people as they move from childhood to adolescence, where they begin to explore adulthood and responsibility. And our challenge is to model that even as adults we continue to be open to the little changes and small details that make everyday experiences astonishing.
A few weeks ago, when I interviewed Kate DiCamillo, she said that writing is about “being able to turn and look at everything you might not normally see.” And—these are my words now—good writers describe what they see in ways that are meaningful for someone else, that allow us as readers to enter the experience. Painters often say they paint what they feel more than what they see. But carefully chosen details allow us to stand where the writer or painter is standing and bring our own experience to the situation he or she is attempting to capture.
That’s what Shaun Tan does. He has the advantage of both tools: his text and his artwork. And he wields pen and paintbrush with equal power. He allows us to see the world from what we might normally think of as the constricted viewpoint of the leaf-like close-to-the-ground star of “Eric,” but instead we see a whole world open up in the beauty of a flower-shaped drain, and the surprise of a blossom that springs from bottle caps and peanut shells. Two boys have one opinion of a neighbor, then change it when they witness her transformation after a stranger shows up at her door. And perhaps most inspirational of all, he hints at the secret creative lives that dwell behind those closed suburban doors, and their discarded attempts at a poem gathering strength and letting loose a shower of “faded words pressed into accidental verse.”
“Every child is an artist,” Picasso said. “The problem is how to remain an artist once he grows up.” Children live completely in the moment. They notice everything and want to name everything and learn all that they can learn about the things that interest them. I believe that’s what Picasso was talking about: how do we remain curious and interested and surprised? Tan, like Picasso, suggests that young people point the way. Our challenge is to encourage that impulse in young people as they move from childhood to adolescence, where they begin to explore adulthood and responsibility. And our challenge is to model that even as adults we continue to be open to the little changes and small details that make everyday experiences astonishing.
Friday, October 2, 2009
A Matter of Trust
When Sharon Creech and her editor, Joanna Cotler, talk about how they began to work—and continue to work—together, they both say that it all boils down to trust. Sharon needed to know she could trust Joanna with her words; Joanna needed to learn how Sharon liked to work so that she could earn Sharon’s trust.
The parallel struck me that this is just what children face at the beginning of each school year. Can I trust my teacher to look at my work and see what I’m trying to do beneath that? If I make this new friend, can I trust him or her? Young people may not express it in quite that way, but that’s what is happening—we know that as adults. It takes so much courage to begin to trust. Georgia O’Keefe, whose glorious paintings often feature one flower that dominates an entire canvas, said, “To see a flower takes time./ To make a friend takes time.” Friendship, and trust itself, means seeing someone fully, listening closely, observing carefully.
This is the theme of The Unfinished Angel, Sharon Creech’s novel published this month. Angel observes the little town of Ticino so carefully and over so many hundreds of years that Angel knows its “peoples” and all of the small events that have shaped each one. So when young Zola comes along and notices a group of orphaned children taking refuge in a nearby shed, Angel has trouble believing it. How did Angel miss that turn of events? And who would let a group of children fend for themselves? This becomes the turning point in Angel and Zola’s relationship, and also in their growth as individual beings (one otherworldly, one human). Through that experience of trying to protect the children together, Angel and Zola begin to trust each other.
In this video of a conversation between Sharon Creech and Joanna Cotler, they talk about how they developed that trust, as writer and editor, and they use the example of Love that Dog. But when they move on to talk about its companion, Hate that Cat, they demonstrate what can grow out of that kind of trust--the ability to delve into deep questions together. Joanna asked, of Jack (the hero) but ultimately of Sharon as author, “Why do you write?” Often it’s not about giving someone an answer, it’s about asking the right question and then companionably standing by while she plumbs the depths to find the answers for herself.
The parallel struck me that this is just what children face at the beginning of each school year. Can I trust my teacher to look at my work and see what I’m trying to do beneath that? If I make this new friend, can I trust him or her? Young people may not express it in quite that way, but that’s what is happening—we know that as adults. It takes so much courage to begin to trust. Georgia O’Keefe, whose glorious paintings often feature one flower that dominates an entire canvas, said, “To see a flower takes time./ To make a friend takes time.” Friendship, and trust itself, means seeing someone fully, listening closely, observing carefully.
This is the theme of The Unfinished Angel, Sharon Creech’s novel published this month. Angel observes the little town of Ticino so carefully and over so many hundreds of years that Angel knows its “peoples” and all of the small events that have shaped each one. So when young Zola comes along and notices a group of orphaned children taking refuge in a nearby shed, Angel has trouble believing it. How did Angel miss that turn of events? And who would let a group of children fend for themselves? This becomes the turning point in Angel and Zola’s relationship, and also in their growth as individual beings (one otherworldly, one human). Through that experience of trying to protect the children together, Angel and Zola begin to trust each other.
In this video of a conversation between Sharon Creech and Joanna Cotler, they talk about how they developed that trust, as writer and editor, and they use the example of Love that Dog. But when they move on to talk about its companion, Hate that Cat, they demonstrate what can grow out of that kind of trust--the ability to delve into deep questions together. Joanna asked, of Jack (the hero) but ultimately of Sharon as author, “Why do you write?” Often it’s not about giving someone an answer, it’s about asking the right question and then companionably standing by while she plumbs the depths to find the answers for herself.
Friday, September 25, 2009
One Act of Kindness
Yesterday I was talking with a school librarian friend in her office when a third grade teacher came by requesting a picture book about “inclusion.” It’s only the third week of school, and already a group of children were attempting to exclude other children. I kept thinking about how early that impulse starts. And also about how just the right book can get a terrific conversation going among children.
One by Kathryn Otoshi is a great conversation-starter. Not only does Otoshi explore the idea of bullying for very young children, she also reveals how bullies gain power. It’s not by brute force; it’s by subtle acts of cruelty that chip away at a child’s (or adult’s) self-esteem. Red, the bully, continues to insult Blue until he shrinks down to nearly nothing. The bystanders in this book (the other characters—Yellow, Green, Purple, Orange) become complicit in Red’s rise to power because they are silent. They do not stand up for Blue. How many atrocities can we attribute to this turn of events?
But Otoshi gives children a powerful truth: It only takes One. How much sweeping change has come from one person joining with another to take on the people of power? The conductors on the Underground Railroad, women laborers who went on strike after the Triangle Waist Factory fire, the families all over Europe who hid Jews during the Holocaust, the young people who staged sit-ins during the Civil Rights Movement. History is full of examples of brave people often acting alone with their own conscience.
Even for young children, one act of kindness can make a difference: sitting next to a child who's alone at the lunch table, inviting someone to join a game at recess, showing the ropes to a new student, opening the door for someone whose hands are full. That third-grade teacher was onto something. What a great way to begin the school year, to think about all the ways we can make each other feel included.
One by Kathryn Otoshi is a great conversation-starter. Not only does Otoshi explore the idea of bullying for very young children, she also reveals how bullies gain power. It’s not by brute force; it’s by subtle acts of cruelty that chip away at a child’s (or adult’s) self-esteem. Red, the bully, continues to insult Blue until he shrinks down to nearly nothing. The bystanders in this book (the other characters—Yellow, Green, Purple, Orange) become complicit in Red’s rise to power because they are silent. They do not stand up for Blue. How many atrocities can we attribute to this turn of events?
But Otoshi gives children a powerful truth: It only takes One. How much sweeping change has come from one person joining with another to take on the people of power? The conductors on the Underground Railroad, women laborers who went on strike after the Triangle Waist Factory fire, the families all over Europe who hid Jews during the Holocaust, the young people who staged sit-ins during the Civil Rights Movement. History is full of examples of brave people often acting alone with their own conscience.
Even for young children, one act of kindness can make a difference: sitting next to a child who's alone at the lunch table, inviting someone to join a game at recess, showing the ropes to a new student, opening the door for someone whose hands are full. That third-grade teacher was onto something. What a great way to begin the school year, to think about all the ways we can make each other feel included.
Friday, September 18, 2009
Taking in the Details
Alison Jay in her book 1 2 3: A Child’s First Counting Book encourages children to really look at things. With all of the details she includes in her pictures, she asks them to examine each scene carefully. What’s going on in that picture of the three bears? How does that connect to other images in the book that come before and after it? At the same time, she challenges them to draw upon their experiences, what they know already about the three bears, Cinderella, Jack and the Beanstalk. They begin to feel that they already know so much, because the clues they find in front of them connect to a larger body of knowledge they’ve been building all along.
In my interview with Kate DiCamillo, in which she discussed her latest book, The Magician’s Elephant, she talked about art as a way of looking at our world closely. I’ve been thinking about that a lot as the first signs of fall have set in--the shorter days, the crisper temperatures, the quicker step in the already purposeful pace of my fellow New Yorkers. Yesterday I found myself in midtown Manhattan with an hour between appointments. So I walked to the Museum of Modern Art on West 53rd Street and up the stairs to the second floor where an intimate collection of Claude Monet’s Water Lilies are on exhibit. I say “intimate” because there are less than a dozen paintings, and yet I felt enveloped by them (which was Monet’s wish with his larger “decorations,” according to one caption). At various points in the room, I felt as if I were standing on Monet’s Japanese footbridge, or coming upon the pond at the heart of his garden in Giverny.
The paintings in this exhibit were all created toward the end of Monet’s life, and in one I’d never seen, he painted a fiery rendering of the Japanese Footbridge (1920-1922) in mad brushstrokes that look more like pastels than oils, so forcefully and spontaneously is the paint applied. I wondered if he were angry when he did it – almost like it was too soon for autumn to arrive and to have to say goodbye to his garden. Was I projecting?It is an amazing experience, to be enveloped by art, to be so deep in a story that we feel as if we know the characters, to be taken in by a piece of music until it becomes the soundtrack to an episode in our own lives, to be so completely surrounded by a painting that it transports us to another place and time. And I was, in that moment, standing in Monet’s garden in Giverny, watching my parents cross the Japanese footbridge a decade ago, watching the way the sun and clouds reflected back in that pond. I was inhabiting both past and present, mindful of the person I am because of where I’ve been. And I also felt connected to the here and now, to the strangers in the room beside me, each of us sharing this experience, yet having our own private and unique response to the beauty around us.
Children are so awake to the world, so naturally curious and observant. It seems to me that the greatest gift we can give to them—and to each other—is to encourage that wakefulness, that appreciation, that curiosity about the people and places on this planet of ours.
Thursday, September 10, 2009
The Six-Word Obsession
Do you remember when we were growing up, and at the beginning of each school year, the (usually) well-intentioned teacher would ask us to write about our summer vacations? Well, what if he or she instead asked for a six-word summation of the summer? Just imagine how creative we’d have been.
Ever since my interview with Larry Smith and Rachel Fershleiser from SMITH magazine about their book I Can’t Keep My Own Secrets, I have become, well, obsessed with six-word phrases that sum up a situation. (SMITH is an online writing community; founder Larry Smith was inspired by the legend that Ernest Hemingway once wrote a six-word short story, and challenged his community members to write six-word memoirs.) On SMITH’s Web site, they showcase a New Jersey teacher, Mrs. Nelson, and her class of third graders who created a book of extraordinary reflections captured in half a dozen words. Mrs. Nelson and her students have proven that children of all ages can stretch themselves while also having a lot of fun with these six-word puzzles.
Last month, I was visiting my friend Joanne and her two daughters, ages seven and 12. After I explained to both of them the concept of the six-word memoir, they each had a go of it. One of my favorites penned by the seven-year-old was a description of her grandfather, whom she’d recently visited: “Sleep all day, snore all night.” The 12-year-old, anticipating the start of school, came up with this gem: “Grade system: A, B, and flunk.” Throughout my three-day visit, I would notice long silent pauses from the girls, and glance over to see their fingers going as they counted off how many words were contained in the phrases in their heads.
Joanne urged me to pass on the six-word phrase I coined for the advice I was given my first year in the classroom: “Teachers should not smile before Christmas.” The irony: that advice came from a third-grade teacher with a soft spot for bullies and naughty boys. Every year she inspired them to do their best work, and they often emerged from her classroom as bigger and better people. (As if it were a New Year's resolution, she started smiling each January.) I won’t reveal her identity here. After all, it’s the start of a new school year, and those bullies only have until Christmas to shape up.
Meanwhile, here are six great writing tips that editor Rachel Fershleiser adapted for teens….
SIX TIPS FOR GREAT SIX-WORD MEMOIRS
By Rachel Fershleiser
1. Be specific. "Homecoming king with a septum ring" says more than just "punk but popular"; "We are banned from Wal-Mart forever"—not just "my family is embarrassing."
2. Be honest. Many of the most interesting memoirs are so raw ("First time hazy. Blame the booze"; "Hung myself. Sister found me. Alive") I'd personally be too chicken to put my name on them.
3. Forget the thesaurus: Choose interesting words, but only ones that come naturally to you.
4. Use your speaking voice: With "Got three sisters and two dads" and "Hair’s pink to piss you off" you can hear them saying it.
5. Experiment with structure. Two three-word sentences. Three two-word sentences. One statement or six separate ones. Repetition can be powerful and punctuation is our friend: "Fat camp makes fat campers fatter"; "Never been drunk. Never been happier."
6. Stop trying so hard. Or "Write carelessly; edit carefully." Throw a million ideas down and then decide. These aren't epic novels or Supreme Court decisions. Just start scribbling and see what catches your eye. In our experience, peoples' first instincts are usually the best.
Ever since my interview with Larry Smith and Rachel Fershleiser from SMITH magazine about their book I Can’t Keep My Own Secrets, I have become, well, obsessed with six-word phrases that sum up a situation. (SMITH is an online writing community; founder Larry Smith was inspired by the legend that Ernest Hemingway once wrote a six-word short story, and challenged his community members to write six-word memoirs.) On SMITH’s Web site, they showcase a New Jersey teacher, Mrs. Nelson, and her class of third graders who created a book of extraordinary reflections captured in half a dozen words. Mrs. Nelson and her students have proven that children of all ages can stretch themselves while also having a lot of fun with these six-word puzzles.
Last month, I was visiting my friend Joanne and her two daughters, ages seven and 12. After I explained to both of them the concept of the six-word memoir, they each had a go of it. One of my favorites penned by the seven-year-old was a description of her grandfather, whom she’d recently visited: “Sleep all day, snore all night.” The 12-year-old, anticipating the start of school, came up with this gem: “Grade system: A, B, and flunk.” Throughout my three-day visit, I would notice long silent pauses from the girls, and glance over to see their fingers going as they counted off how many words were contained in the phrases in their heads.
Joanne urged me to pass on the six-word phrase I coined for the advice I was given my first year in the classroom: “Teachers should not smile before Christmas.” The irony: that advice came from a third-grade teacher with a soft spot for bullies and naughty boys. Every year she inspired them to do their best work, and they often emerged from her classroom as bigger and better people. (As if it were a New Year's resolution, she started smiling each January.) I won’t reveal her identity here. After all, it’s the start of a new school year, and those bullies only have until Christmas to shape up.
Meanwhile, here are six great writing tips that editor Rachel Fershleiser adapted for teens….
SIX TIPS FOR GREAT SIX-WORD MEMOIRS
By Rachel Fershleiser
1. Be specific. "Homecoming king with a septum ring" says more than just "punk but popular"; "We are banned from Wal-Mart forever"—not just "my family is embarrassing."
2. Be honest. Many of the most interesting memoirs are so raw ("First time hazy. Blame the booze"; "Hung myself. Sister found me. Alive") I'd personally be too chicken to put my name on them.
3. Forget the thesaurus: Choose interesting words, but only ones that come naturally to you.
4. Use your speaking voice: With "Got three sisters and two dads" and "Hair’s pink to piss you off" you can hear them saying it.
5. Experiment with structure. Two three-word sentences. Three two-word sentences. One statement or six separate ones. Repetition can be powerful and punctuation is our friend: "Fat camp makes fat campers fatter"; "Never been drunk. Never been happier."
6. Stop trying so hard. Or "Write carelessly; edit carefully." Throw a million ideas down and then decide. These aren't epic novels or Supreme Court decisions. Just start scribbling and see what catches your eye. In our experience, peoples' first instincts are usually the best.
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