Acknowledging that students are civic actors and that teaching and learning is always relevant to civic lives, this article addresses how imaginative spaces can be political and if the ways that educators dream and speculate with youth have civic implications. The author first considers how communities and nations are shaped by sociopolitical…

Reflection and revision are the result of knowledge, experience, and the willingness to risk; they are essential, says Wilhelm, to "play[ing] out the big possibilities" in "something as complex and intensely human as teaching." Even as a contributor to the national standards project, various literature anthologies, and reading and composition…

Recognizing the challenge of individualizing instruction, Wilhelm reminds us of some specific areas teachers must focus on: developing apprenticeship and inquiry settings in which student difference is a resource; connecting students to their reading and writing; honoring and using students' first languages; situating instruction in real or…

In this article, the author redefines "text" and "poem" so that attention will be focused on the reader. The text, she argues, lies inert on the page until the reader comes along and brings it to life in the act of reading, reacting, and reflecting. A poem, then, must be thought of as an event in time. It is not an object or an ideal entity. It is…

Considers how to develop students' passion for language and how to get them to stop and look at word choice. Defines a "gem" as a word, phrase, or sentence that is particularly remarkable or moving. Describes working with students to notice the gems, design gem journals, write their own gems, and to create future gems. (SC)

Literacy educators are troubled by the isolated nature of many contemporary reading programs. Too often in middle school classrooms, students read alone, take computerized tests, and do not engage in authentic dialogue with peers. In this article, the authors argue that reading texts individually, while necessary, is not sufficient, and through…

The author of "Candy" talks about the reality that a book is only paper until someone has read it and responded to it emotionally. "When I write a book it's alive in my head, but it only really comes alive when it finds a life in someone else's head." His essay is followed by a chapter from "Candy."

Just watch your characters and tell the story of what they're thinking and doing. It sounds easy, but Adoff confides that he becomes attached to his characters in the process of living in their heads, and sometimes awakens wondering if they're okay. It's that level of intimate storytelling that he hopes will connect with readers, allowing them to…

"[Teen literature] is the only genre of writing that is connected not by theme or style, but by an emotional stage of the reader and characters that populate the stories." Brian James embraces the complexity and unpredictability of his teen characters in hopes that readers will discover something about themselves in a confusing time of life. We…

No one seems to think it necessary to explain what is meant by "literature," or the "aesthetic." If one analyzes the use of these terms in their contexts, a variety of tacit assumptions seems to operate. Sometimes, all that is required is that a text already has been designated as "literature." Sometimes, the presence of story, of a narrative, is…

Discusses how students cite two difficulties that consistently get in the way of their success during content reading: boring texts and too many difficult words. Suggests the use of graphic organizers that help learners break down information they would have overlooked because it seemed too abstract or difficult. Concludes that the best resource…

Corrigan remembers well the angst and conflict of adolescence, as well as how important the right book at the right time could be in helping kids understand themselves and others. That ability to identify closely with teens permeates her story in verse, "Splintering," several verses of which are included here.

Discusses how connecting students to reading requires more than just an energetic approach. Presents a framework for reading experiences: engagement, exploration, collaboration, and individual celebration. Describes a program that gives students varied opportunities to become engaged in literature, choice in what they read, time to actually read,…

To those who would claim that the study of literature is impractical, Probst would respond vehemently, "No, it is essential." The habit of thoughtful reading, insightful questioning, and critical evaluation are learned in English language arts classes where a variety of genres, characters, and situations push students to analyze and debate and…

Describes a critical reading unit in which one seventh-grade class read L. Sacher's "Holes" and three other classes read texts of their choosing along with a partner. Notes that the goal was to set up a context for the students, as readers, to experience the main character's growth--for them to become active, independent, passionate readers. (SC)