Week Eight Discussion

Chapter twenty ‘Assessment of Writing’ looks at assessment, evaluation and reporting practices, and how they gauge the success of both students and teachers. Assessment is a general term to describe any activities used to judge a students performance. It involves data collection, analysis, and the recording of information about a student’s progress. Good assessment informs teachers of the abilities students have and their relative strengths and weaknesses. Winch (2010) puts forward that both informal and formal assessments are needed in the classroom.

Assessment of writing involves familiarity with the content and structure of different genres as well as control over language features. A student’s ‘writing ability’ may alter, depending on the task and skills needed to construct a text. Validity and reliability are important and complementary aspects of assessment that determine how appropriate, meaningful and useful different assessment practices are. Therefore, different measures of assessment should be used over time. For example: journals, essays and writing tasks, portfolios and mind maps or concept maps.

Week 9 Reading Summary

Happy Birthday Pumpkin and Beanpole written by Anita McEwen

This week I read a children’s flap book called Happy Birthday Pumpkin and Beanpole. It is a story about two witches who leave surprise birthday presents for one another to guess. They attempt to trick each other by wrapping their presents in the shape of common objects. For example: wrapping a hot water bottle and socks in the shape of a teddy bear.

Happy Birthday Pumpkin and Beanpole is an interactive book which encourages readers to use their imagination. The quirky watercolour illustrations and the rhyming phrases help to engage the reader. In addition, an owl appears on most pages in the book. He poses questions to the reader to promote higher order thinking, and sets challenges to extend the link between the text and illustrations. This book would be suitable for lower primary students as the text is minimal and the language used is predictable and repetitive.

Week 8 Reading Summary

Tomorrow, When the War Began written by John Marsden

 

This week I read an adolescent fiction novel called Tomorrow, When the War Began. It tells the story of seven teenagers from a small country town who go on a camping trip to ‘Hell’ during their school holidays. When they are away, they see military aircraft fly overhead. They do not suspect that these planes signify the start of a war, nor do they question their presence. When they return home they find their world’s turned upside down. With no training or advice, they instinctively learn how to escape, survive and fight back against the enemy.

Tomorrow, When the War Began is about how seven ordinary teenagers respond to war. The story is narrated by Ellie, the main character. It is told in first person which prompts heaps of action, adventure, verve, pace and suspense. The characters in this novel could be anyone of us, any group of young people in any country town. They are people you can relate to. This engages the reader in the text as it persuades them to question what they would do in a similar situation. The settings in the book are based on real places in Australia. Therefore, some of the language within the text reflects common Australian slang and jargon. I believe that Tomorrow, When the War Began has a very broad target audience. It appeals to most and is written in a style which is accessible to the younger reader without talking down to the older.

Week 7 Reading Summary

We’re Going on a Bear Hunt written by Michael Rosen and illustrated by Helen Oxenbury

This week I read a children’s picture book called We’re Going on a Bear Hunt. It follows an adventurous family on their journey through the wilderness to search for a bear. On each page, the family comes across different obstacles in nature and must find their way through to continue their hunt. The family meets and describes each location using sensory descriptions such as: long, wavy grass, a deep, cold river, thick, oozy mud, a big, dark forest, a swirling, whirling snowstorm, and a narrow, gloomy cave. When the family reaches their final destination, they see “One shiny wet nose, two big furry ears and two big googly eyes!” But the bear is a lot scarier than what they had first thought, so they run all the way back home.

We’re Going on a Bear Hunt has the perfect elements to be read aloud to young children. It involves repetition (both words and rhythm), plenty of interesting sounds and a sudden change in tempo which keeps the audience engaged and excited. The pencil and watercolour illustrations by Helen Oxenbury alternate between colour and black and white. These double page pictures compliment the text by bringing to life the family’s day out. We’re Going on a Bear Hunt is highly suitable for lower primary students as it is rhythmic and adventurous. They will love interacting with the story by repeating the noise the family makes as they stumble through each setting.

Week 6 Reading Summary

Where the Wild Things Are written by Maurice Sendak

This week I read a children’s literature book called Where the Wild Things Are. It offers a tale of suspense, action, adventure, imagination and fun. The story is about a young boy named Max who is sent to bed without any dinner after making mischief. That night his bedroom transforms into a forest inhabited by creatures known as ‘Wild Things’. After taming the creatures, Max is crowned king of all wild things. He enjoys his time with his new friends, but realises that he wants to be where someone loved him best of all. So he travels back to his bedroom, where he discovers a hot supper waiting for him.

Where the Wild Things Are was first published in 1963 and has been named one of the true classics of children’s literature. The text and the artwork compliment one another, moving the story along seamlessly. The coloured pen and ink illustrations in muted colours are both humorous and sometimes a little scary, reflecting both Max’s imagination and anger. The theme, conflict and characters are ones with which readers of all ages can identify and enjoy. I believe Where the Wild Things Are would be most suited to lower primary students as they can make connections with Max’s emotions, thoughts and imagination. However, the simplicity of the language is deceptive at times and therefore lower primary students may find the text somewhat challenging to read.

Week 5 Reading Summary

The Moment written by Sean Doherty

This week I read a picture book called The Moment. It captures some of surfing’s most renowned and beautiful happenings through the lenses of the world’s finest contemporary surf photographers. Sean Doherty, one of Australia’s best surf journalists, has gathered a series of compelling surfing images and the true stories behind them. He describes The Moment as a book “where the great surfing photo and the classic surf story meet”.

The stories behind each of the incredible surf images are exciting, real and have you re-living ‘the moment’ as told by the surfers and photographers involved. These short stories explain what happened before the photo was taken, what happened after that split second, what was going through the surfers mind, etc. The Moment would appeal to adolescent and adult readers who are interested in surfing. Each story is only a few paragraphs long, however the writing is small and the language used is more suited to mature readers.

'Possum Magic' by Mem Fox

Possum Magic is an award-winning picture book by Australian author Mem Fox. The two main characters are Grandma Poss and Hush. Hush has been made invisible by Grandma to protect her from Australian bush dangers. The story details the duo's adventures as they tour Australia searching for the secret to Hush's visibility. It is a rhythmical story of Australia's varied landscapes and the animals in them.

Many cultural markers are included in this enchanting picture book. Young readers will enjoy the literary and visual references to Australia and the bush culture. Fox consciously uses language to evoke the essence of the country. The author’s description of Grandma Poss’ bush magic, which turns “wombats blue and kookaburras pink,” refers to a practice that is distinctly Australian. Her inclusion of native Australian animals places the reader firmly in this unique territory. The possums’ search for “people food” sends them on a culinary tour of Australia and readers discover cultural treats like anzac biscuits and minties.. The ‘Possum Magic’, the illustrations complement and extend the text to create a memorable literary and visual experience.

Look! A book! by Libby Gleeson

Look! A Book!

written by Libby Gleeson

& Illustrated by Freya Blackwood

Look! A Book! written by Libby Gleeson is a children’s literature picture book with hardly any text. The reader is given multiple perspectives to interpret this book from the illustrations. With each turn of the page is another vivid illustration capturing the moment the two characters are imagining.

The exposition/orientation is interpreted by the reader from the illustrations. The field is set within an unprivileged society, which are based upon stereotypes. The two characters within the book (unnamed) find a book on the ground. From this book the character’s imaginations transform their reality.

Since, there is minimal text the reader much interpret the complications and climax of the narrative through the illustrations. As the scenes become a magical journey it teaches younger readers about the magic of imagination that can come from reading a book.

For All Creatures by Glenda Millard

For All Creatures written by Glenda Millard and illustrated by Rebecca Cool

For All creatures written by Glenda Millard is a children’s literature book about all creatures big or small. The author sends the reader on a tongue twisting tale of describing words to describe animals of all sorts.

Instead of naming each creature, Glenda describes a different creature and uses imagery, adjectives and adjectival phrases to describe the creatures “For weavers and wisps. For silk spinners and spiderlings, lace and loveliness and for webs, we are thankful” (Millard, 2012).  Millard uses similes and metaphors to describe her creatures to create a vivid and life-like image in the readers mind. Each paragraph is a repetition from the previous with a familiar verse taking on a similar structure. Each paragraph ends with ‘we are thankful’ and begins with ‘for’.

Young readers will be introduced to new vocabulary within ‘For all Creatures’ and is a good engaging activity to introduce adjectives and adjectival phrases to children or for creative and expressive writing. This book offers a reminder to be thankful and appreciative towards creatures, big or small.

No Bears by Meg Mckinlay

'No Bears'

written by Meg Mckinlay

& Illustrated by Leila Rudge

No Bears written by Meg Mckinlay is a book about a child who wants to tell the reader about a story with no bears. Some narratives are structured differently from the traditional way of using plot, character and setting and this book is no exception. The author has made the narrative from the perspective of second person where the story is told to the reader. Within this story the child protagonist interrupts the story being read and addresses the reader directly by commenting on the characters and the events “On no it’s getting scary” (Mckinlay, 2012). This way the book is conveying multiple perspectives to the reader.

Multiple viewpoints are also seen as the illustrations within this picture book show a different story to the one being read. The illustrations are showing things which have not been written. The book is about ‘no bears’ so the bears are hidden behind the illustrations and popping up behind the pictures “I had lots of fun illustrating No Bears and have always loved the idea of images revealing an alternative story to the text” (Rudge, 2011).

The illustrations are also showing another perspective to the book as some of the illustrations are making direct links with popular fairtales. Within the illustrations red riding hood, Repunzel, three little pigs, Hansel and Gretel and other fairy tales can be seen.

Overall this book is a comical children’s book for lower primary students. Even though ‘no bears’ are in this book, one bear manages to find his way onto each page and eventually have one of the starring roles.

Diary of a Wombat by Jackie French

'Diary of a Wombat'

Written by Jackie French

& illustrated by Bruce Whatley

The book ‘Diary of a Wombat’ by Jackie French is a delightfully humorous story about a wombat. The wombat has new neighbours move in (humans) and the wombat trains the humans to give him treats on demand. French (2003) does not write much text within the book, as the books viewpoints come from the perfectly illustrated pictures.

This book would be a perfect engagement book about Australian animals as the wombat is an Australian animal.

This book is using the week days to indicate time and features of a typical day such as morning, afternoon and evening. As this book is essentially a wombat’s diary it is written in first person from the perspective of the wombat.

Throughout the book the reader has multiple perspectives as the illustrations show more than the text reads. Essentially the story is told from the viewpoint of the illustrations. There is more of the story being told in the illustrations then there is in the text. Within the illustrations, rather than being a visual reference for the events described in the text, is instead essentially a new story being told.

'The lost thing' By Shaun Tan

The Lost Thing, first published in 2000, is both simple and complex - depending upon how the reader chooses to interpret it. Characteristic of Tan’s literature, the story is strangely familiar and yet completely bizarre. When a young boy discovers a lost “animal” whilst collecting bottle tops on the beach he is compelled to find out who owns it or where it belongs. As the boy attempts to place this huge tentecaled monster, which is not quite animal or machine, the reader is taken on a whimsical guided tour through the, un-coincidently, grey, industrial and unfriendly society in which the boy lives.

The text’s casual and dry first person narration give little away. “That’s the story,” the boy tells us at the end. “Not especially profound, I know, but I never said that it was. And don’t ask me what the moral is.” (Tan, 2000) The reader is left to discover meaning, and in the absence of explanation one cannot help but ask questions. Why are the colours limited to industrial greys and browns? What is that strange place glimpsed through a doorway at the end of an anonymous alley? Is this the future of the present? Why doesn’t anybody notice the lost thing? Why are all the citizens so unhappy? It is Tan’s ability to provoke the readers’ curiosity which makes his works valuable resources when attempting to develop critical, visual and deep literacy skills within students.

Under the strand Literacy, Sub-strand Interpreting, Analysing and Evaluating, the Australian Curriculum requires year six students to “Analyse how text structures and language features work together to meet the purpose of a text” (ACARA, 2012). Working with The Lost Thing, students could question how and why the young boy’s narration has been constructed to give the impression of disinterest and nonchalance. Students could be asked ‘What is the purpose of this text?’ and encouraged to give reasons to support their response.  The teacher may choose to read the text aloud without showing the illustrations to emphasise the relationship between visual and textual literacy within the book.

 Shaun Tan redefines the typical audience parameters of picture books, no longer are they simply the literature of children, but complex and layered narratives which readers, of all ages and literacy-levels, can get as much or as little of as they wish from. Tan supports his point by suggesting that;

“Simplicity certainly does not exclude sophistication or complexity; we inherently know that the truth is otherwise. “Art,” as Einstein reminds us, “is the expression of the most profound thoughts in the simplest way.””(cited in Macintyre, 2002, p.46)

'The Catcher in the Rye' by J.D. Salinger

The Catcher in the Rye, first published in 1951, is a fictional novel narrated by sixteen year old Holden Claufield, which touches on some very real adolescent issues. “The content of the modern adolescent novel has always been focused on the controversial social issues seen to be pertinent to youth” (Nimon & Foster, 1995, p.52). Some sixty years on themes such as loneliness, relationships, belonging & not-belonging, intimacy, sexuality, deception and mental illness remain inherent to the genre of adolescent literature.

Salinger explores these themes in the first person which draws the audience in and pressures them to question the trials and tribulations of ‘the teenage experience’.

Salinger’s contradictory, colloquial and cynical writing style constructs protagonist and narrator Holden, as self-absorbed, violent, disconnected and disengaged from society and his family in particular. At the beginning of the novel, Holden indicates that he has been hospitalized for a nervous breakdown, the story of which is revealed over the course of the novel. ‘I got pretty run down and had to come out here and take it easy’ (1951, p. 1), he says. Whilst the underlying influences such as lack of stability, family breakdown and mental illness are hinted as the root of Holden’s ‘issues’, the overall construction of adolescents is explored in a fairly negative and thought provoking manner. Holden seemingly has problems, both psychological and sociological which weigh heavily throughout the text.

 “As social commentators, authors have in effect provided a snap shot of [adolescent] life based on what they understand the situation to be” (Foster, Finnis & Nimon, 2005, p.72). Therefore the depictions of adolescents and their lives are based heavily around the ideologies and perceived normalcies held by the author. A critical stance must be taken when considering social texts; we as the reader must consider “what choices have been made in the creation of the text” (Janks & Ivanic, 1992, p.316). It is through this reflective/ critical approach that adolescent ‘constructions’ can be recognised and thus compared with personal experiences.

The text presents readers with new models of adolescent behaviour that rejects and modifies those common in the 1950’s which remained more innocent and childlike in nature. Holden is portrayed not completely as a child, neither as an adult; he possesses the characteristics of both. Whilst he drinks heavily, has sexual desires and exerts a large degree of freedom, he is also uncomfortable talking to girls, disregards authority figures, and is dependent on adults.

You can see him floating in the no man’s land of adolescents, wanting freedom and independence, yet dependent on adults for financial as well as psychological support. He lacks respect for the ‘phony’ adult world and hence is determined, even by the end of the novel, to not ‘grow up’. Holden’s silent contempt for adults and the adult ‘world’ is highlighted in chapter two, when his History teacher tries to make him play by the rules:

“Life is a game, boy. Life is a game that one plays according to the rules.”

“Yes, sir. I know it is. I know it.”

Game, my ass. Some game. If you get on the side where all the hot-shots are, then it’s a game, all right—I’ll admit that. But if you get on the other side, where there aren’t any hot-shots, then what’s a game about it? Nothing. No game.

It is clear that Holden identifies with those on the “other side” of the game. He feels alienated and angry beneath his compliant veneer. Holden learnt early on in life, from the trauma of his younger brother Allie’s death, that the cards in this particular “game” are not evenly stacked. This critical awareness of adult imperfection, positions Holden as sensitive and intelligent, he no longer sees the world through the innocent eyes of childhood but rather as an overtly cynical young man.

'Soraya the story teller' by Rosanne Hawke

Rosanne Hawke explores cultural identity, ideas of social inclusion, exclusion and racism in a way that allows and/or pressures the audience to question the trials and tribulations of ‘the asylum seeker experience’. The reader is positioned to empathise and in some ways relate to the participants, in particular with the story’s protagonist, twelve year old Soraya. This corresponds with Ferrarelli’s idea that children’s literature can be used ‘to promote sensitivity to culture, gender and ethnic differences’ (Ferrarelli, M 2007, p. 63).    

    

Hawke creates a glimpse of the trauma suffered by a broken family who escaped the upheaval of Afghanistan. Soraya and her now small family have seen and experienced terrible things under the rule of the Taliban. Having lost four members of her family and for fear of losing more, they were forced to flee Afghanistan, risking their lives in order to escape those who persecuted them. Soraya arrived in Australia with surviving family members, her mother, younger brother and sister only to be met with, not a place of freedom where they would be welcomed, but a detention centre where depression and post-traumatic stress compound there negative experiences. Granted a three year temporary protection visa, Soraya tries to adjust and adapt to her new country and longs to stay there in safety. “Through her storytelling we learn about the bravery and the reality of Soraya’s life, the fear and terror she and her family have left and the shocking uncertainty that they now face, still not knowing what the future holds”(Hawke 2011). This medium provides children with a text that is accessible and meaningful to the intended audience. 

The use of lead character which corresponds with the intended primary school audience leads to increased identification and empathy with the characters. Children are able to identify with Soraya’s familiar family dynamics at a level which helps to breakdown pre-existing cultural boundaries. For example an ‘annoying’ younger brother for whom Soraya wishes she knew “how to make him shut his mouth” (Hawke 2004 p.61) and a grandma who reads her bedtime stories. The familiarity of playing in the park and making new friends is set against the unfamiliarity of severe post traumatic stress and depression experienced by the mother due to the trauma of losses and relocation. This juxtaposition of familiarity and unfamiliarity allows for the reader to place themselves in the characters ‘shoes’.

Hawke portrays the non-Anglo-Celtic protagonist as misunderstood and scrutinised; positioned as the victim, Soraya constantly reminded she does not ‘belong’. “You’re not like us, and this is all some people notice” (Hawke 2004 p.130).

Hawkes’ intent is to highlight the naivety and ignorance which forms the foundations of intolerance, and how it promotes a cultural void between Anglo-Celtic and non-Anglo-Celtic Australians. Throughout the text adjectives such as different, strange, foreign, wog and weirdare commonly used by other school kids to describe Soraya and her family (Hawke 2004). It is made clear that these descriptions are to be seen in a negative light, reinforcing the sometimes brutal and harsh environment with which she must contend.