Teacher as Curator: Learning to Talk about Literature
Author(s): Maryann Eeds and Ralph Peterson
Source: The Reading Teacher, Vol. 45, No. 2, Children's Choices Favorite Books for 1991 (Oct.,
1991), pp. 118-126
Published by: International Reading Association
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_
Eeds
Maryann
Ralph Peterson
as
Teacher
curator:
to
Learning
about
talk
literature
associated
Beds
courses
teach
and Peterson
reading
at Arizona
on
focusing
1938,
(Rosenblatt,
response,
1978), the idea that a reader brings meaning
in literature and literacy in the
division of Curriculum and
Instruction
with reader
as transaction
to and takes meaning
review of the history
reader response
cluded that "the
ture... is to focus
the book and the
ence
and
itself,
State
University.
from a text.
and research
In a recent
related to
con
(1989)
theory, Squire
task of the teacher of litera
on the transaction
between
on
the
reader,
literary experi
on ways
of extending
and
deepening it" (p. 9). It is on this idea-helping
our
curator
A
art, collects
knows
extend and deepen
their literary
we wish to expand.
our experience
that reading
teachers readily accept the idea of transaction,
when
for them
they experience
especially
that are al
selves the diverse
interpretations
read the
ways offered when several individuals
same text. In our university
literature
study
of
classes, we often begin with the discussion
a poem that most of us have found ambiguous
it, cares
for it, and delights in sharing itwith
them see it in ways
others,
helping
if left on their
not
have
discovered
they may
own. We choose this term for teachers who do
this way
these things with literature, opening
the world to their students.
of knowing
a welcome
is presently
There
emphasis
on teaching
literature for its own sake in the
it as a
rather than using
school
elementary
to
teach
way
reading skills.
highly motivating
the philos
have presented
Recent publications
as
as
well
it can
ways
ophy for such teaching
on a first private
1989).
theoretical base for literature study in
school has most often been that
the elementary
Vol.
45,
No.
2
October
in
con
teacher can sit down and collaboratively
struct meaning
and
and share interpretations
a
that
notion
about
text,
although
hypotheses
from traditional
is a major departure
reading
teacher
In a literature
groups.
study group,
and students gather to talk about a book they
as transaction
Teacher
share our
readily accept the idea that children and
The
The 118Reading
As we
the insights that are offered and often change
our own interpretations
based on those put
also
forward by others. Literacy professionals
that are present
the possibilities
discussed
in dialogue
when teacher and students engage
in literature study groups about a work they all
Reading
reading.
terpretations,we find ourselves delighted with
be implemented (Peterson& Eeds, 1990) and
have read (Eeds& Wells,
students
experience?that
It has been
have
1991
all read (see Peterson
? International
Reading Association
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All use subject to JSTOR Terms and Conditions
& Eeds,
1990,
7055-3340/91/US$1.25
for
+ .00
Teacher
and
students
in
dialogue
literature
study
groups
about
a work
they
have
all
read.
Photo by Roben Finken
of
literature
study
description
a
have chosen
Students
generally
groups).
a
want
to
had
week
and
have
book they
study
or two to read it before coming
to a literature
to
it.
in contrast to
discuss
is
This
study group
arises when we
sometimes
But difficulty
to
for
need
teachers
the
go beyond book
on
role
of
the
and
take
good critic?of
sharing
order to help
leader?in
of
curator,
literary
their students develop
literary insight and aes
a traditional reading group in which there is
thetic judgment. As Squire (1989) noted,
and the teach
little choice of reading material,
er's major role is to ask comprehension
ques
or not the students have
tions to test whether
in the same way he or she has.
read a selection
a
In
literature study group, questions with pre
correct answers are not asked. In
determined
in a book
the
teacher
is a participant
stead,
a
fellow
shares
reader
who
group,
joys and
these insights will not "develop automatically
from the
without
and nourishment
guidance
teacher" (p. 10), yet many of the teachers with
whom we work admit to being unsure about
fear
and express
their own literary
insights
a literary
that they will be unable to recognize
if it does occur in a litera
teachable moment
detailed
and
difficulties,
insights
asks only those questions
wonders
about.
and
speculations,
she or he genuinely
stress
are
ture study group. The teachers themselves
often products of college or high school litera
ture classes
in which one accepted
interpreta
and their own transactions
tion was mandated
with the texts were undervalued.
Ifeacher
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as curator
119
Preparing
for literature study
believe
the central
emerge.
they bring about the growth and develop
of characters.
the characters
Place.
Think about whether
or the mood
or the movement
of the story is
how
ment
influenced
by place. How do you know the
and
value
time? How do characters
period
it give you in
various aspects of place? Does
sights into their interests, values, or commit
to
& Flores,
1991). Our ability
Altwerger,
on
to
and
build
notice
those opportunities
them can be greatly enhanced by our own at
to literary
We often use
tention
elements.
ments?
it ordered chronologically? Are there jumps
passage
particular
it is
about
of questions,
following
categories
are
from
and
Eeds
Peterson
(1990),
adapted
of
of
teach
the
types
representative
questions
ers might wish
to focus on during their own
The Reading
Teacher
Vol. 45, No. 2
Is all revealed
and
do without
say
or dra
(an objective
two?
tears to your
thor did to grip you or bring
and how it
eyes? Think about the language
or the feeling of the
to the mood
contributes
piece.
Think
and extended
metaphor.
Symbol
not
about meaning
symbol,
through
suggested
How
how
it
affects
and
you.
stated,
directly
or conflict
has the au
you
October
or
or feel
Mood.
Think about your emotional
a
moment
in
book.
the
state
at
particular
ing
attitude
toward
Or, think about the writer's
about. Think about
what she or he is writing
were
the feeling you have as you read. Where
you moved
by the story? What was it the au
The
120
psy
matic point of view)?
ing.
it? Do
character
through what characters
comment
from the author
that can illuminate how the author has worked
to create the story worlds we will be explor
relieved
operating
time noted? Is time ordered
Point of view. Think about the author's po
narrative
Is it a personal
sition in the work.
in the first person? Or is the work dis
written
third person narration?
tanced by employing
If so, does the author have access to the inner
most
of all the
and motivations
thoughts
or
to a
limited
is
the
characters,
knowledge
sometimes helpful to keep questions inmind
and
of
you have a picture
in time? How is the
chologically (standing still, for example)?
our abilities
to recognize
moments
creasing
when our students touch upon similar topics
our
or passages.
increases
Such preparation
and also provides a ba
readiness for dialogue
the literature
sis for our own sharing within
tension
Do
of all characters
in literature study
their comments
These are places we have noticed
them in
and identifying
the author working,
advance of a literature study is a way of in
set up
or forward?
backward
along with
notebooks.
thor
that provides
language
of
images
place?
Is
about how time is marked.
there
particularly
Time. Think
notes, margin notes, and highlighting
that stand out.
passages
particular
use a more permanent method
of re
Others
cording what they noticed as they reread the
and page numbers
book,
noting quotations
reading.
Think about tension
Structure.
and events that produce them. How
Is
clear
stick-on
to mark
to ask yourself
elements
literary
about how characters
Think
is it that some seem fully devel
How
of
characters.
Is it because
lieve in certain
what they say, or think, or do? Is it because of
what others think about them or how they re
act to them or what they say to them? Are the
characters revealed through the author's narra
tion? Think about the events of the story and
1990) or "loft literary balloons" (Edelsky,
Questions
inci
oped and others flat?Think aboutwhy you be
about children's
talk
in literature study groups, we can expect that
indeed offer us many opportunities
they will
to "shoot literary arrows" (Peterson & Eeds,
in this preparation,
are the key
tension?
Character.
From what we know
To aid
inter
dents thatbuild to the highest tension?What is
and Evans
Corcoran
(1986) have suggested,
to "read like a writer." After
reading a book
once to live the story, we believe
it is also
a
texts
to
second
time as
read
through
helpful
a preparation
for literature study.
group.
and the characters'
an event? What
begin-with
to read wonderful
books and
the opportunity
talk about them with others who are beginning
to explore how such writing
In our
happens.
classes we begin with a story, sharing our in
and discoveries.
terpretations,
appreciation,
as
to discover what
it means,
We also write
study
in the events
actions with them?Why? How does the story
To these teachers who are products of tra
literature classes we suggest the same
ditional
that we want to offer to children:
experiences
1991
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has the author done it?What is the story really
about? Has
the author
abstracted
couldn't
of life and ordered
components
that
way
they are illuminated? Are
versal truths?
have
done
that.
6 Jeff: The other racers had too many dogs and
some of the
them in such a
the men
were
7 Threna:
Yes,
was worried
there uni
bigger.
I
and heavier.
they were
bigger
not win
that Willy
would
the race
when he saw his grandfather looking out the
and
window
started
to stop
the sled.
8 Leah: It said that Stone Fox had never lost a
Literature
The
race.
9 Threna:
That's right.
was
10 Gary:
But Willy
eryone.
of literature study
the rich array of
excerpts
illustrate
following
in action
groups
in action
groups
way
far out
ahead
of ev
possibilities for building on children's refer
11 Leah: It said on page 73 that Stone Fox made
to literary elements
in
that are present
20-minute
any given
period.
are from
literature
These
typescripts
who
teachers
undertaken
by
study groups
12 Jeff: Yeah, he started to pass all the other
his move.
ences
were trying them for the first time. All of the
teachers were
part of ongoing groups in which
in literature stud
participated
in their awareness
of
growing
and in their ability to recog
literary elements
when
nize moments
they could help enrich
they themselves
ies. They were
their students'
literary
is the story of a small boy whose
grandfather,
threatened with the loss of the family farm,
get out of bed.
up on life and won't
Willy decides to use his college money as the
race, hoping
entry fee into an annual dogsled
with his win
that he can pay off the mortgage
nings. The race has been won every previous
year by Stone Fox, but this yearWilly and his
Searchlight
are ahead.
They
are al
most at the finish linewhen Searchlight's heart
gives
out. But
instead of racing past
the griev
ing boy, Stone Fox holds back all the other
to carry his dog
racers and motions
for Willy
across the finish line.
and
The teacher is Threna Schumacher,
are Leah,
and
who
is nine,
the children
Jeff, and Gary, all of whom are eight.
Robert,
This is their first day of talking about the
book,
and they discuss
their feelings
of sad
ness when Searchlight died and their fear that
Willy would fall through the icewhen he took
a shortcut
across
1 Gary:
lake.
a lake.
It was
scary
he went
across
the
2 Leah: Well, he askedMayor Smiley if he could
go across the lake and he said yes as long as he
took
the south
road.
3 Gary: And he did, he took a short cut.
4 Threna: Willy felt pretty confident about going
across
In lines 1-13, the members
of the
not only go back and discuss
the events
story, they also focus on tension and
it for
parts of the book that increased
group
of the
on the
them.
cross
is
concerned
about
Gary (line 1)
Willy
ing the ice with the sled. Others aren't as wor
sled
ried as he is, citing evidence
that Willy's
father at the window (line 7) and others that
Stone Fox would win (lines 8 and 11). They
use words
like "It was
ried" that indicate
sion in the story.Would Willy win? Would he
have pictures so you can imagine in your head
what you want to see," a clear reference to the
she is reading.
imagery evoked by the words
The group then has a period of collaborative
one member
because
be
meaning-making
lieves that the author was not clear enough
about saying exactly who won the race. He
won.
thinks the words
should say that Willy
This leads to a discussion
of who crossed the
finish line first.
37 Robert: Little Willy, he carried his dog across.
That
was
really sad.
It was sad. When
I read
the part where
she died, I cried.
39 Robert: I think Little Willy cried too.
40 Threna: On page 77 it says: "Searchlight gave
it everything she had. She was a hundred feet
from the finish line when her heart burst. She
died
instantly.
There
was
no suffering."
41 Jeff: I bet Little Willy was crying.
42
the lake.
5 Robert: His sled was real light. It said his sled
lifted off the ground and if it wasn't light, it
scary" and "I was wor
the ten
they were feeling
fall through the ice? Would
Stone Fox, the un
the
defeated racer, win this one too? Although
teacher doesn't
label the element
of tension,
the feeling.
she certainly validates
As she and the children continue
to dis
cuss the book, Leah comments
that "It's kind
of neat to have these kinds of books that don't
38 Threna:
when
too.
lighter (line 5). The teacher voices worry
thatWilly would stop when he saw his grand
John Reynolds Gardiner's book Stone Fox
old dog
nervous
was
insights.
Third graders discuss Stone Fox
has given
I was nervous.
I was getting
racers.
13 Threna:
Gary:
He was.
it was
on page
43 Robert: Yeah, doesn't it say that he was? I think
78.
Teacher
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as curator
121
44 Leah: In the picture it shows that he is laying
on his dog. It looks like he's not very happy. It
says, "Stone Fox brought his sled to a stop
alongside Willy. He stood tall in the icy wind
and
looked
at the young
down
and
challenger,
at the dog that lay limp in his arms."
45 Jeff: Iwas just reading that part too.
46 Threna: I think it's interesting how John
us
showed
have felt.
Gardiner
Fox must
in those words
how
Stone
47 Leah: I thought in the beginning that Stone Fox
wasn't
48
Threna:
going
Yes,
to letWilly
win
the race.
in the beginning,
the author
Stone Fox seem cold and unfriendly
He
Little Willy.
one but himself,
didn't
seem
and about
to care
winning
made
toward
about any
the race.
49 Robert: I think Stone Fox was sad too.
50 Leah: It showed that he cared because he
stopped and put his hand on Searchlight's
chest.
51 Gary: And he looked at Little Willy
52
and the
boy understood.
Threna:
He understood...
53 Gary: That the dog was dead.
54 Robert: Stone Fox felt sorry forWilly.
55 Threna: On page 80, themiddle of the page, it
"No one spoke. No one moved.
All eyes
on the Indian,
the one called
Stone Fox,
the one who never
lost a race, and now had an
his grasp."
other victory within
says,
were
56 Leah: That means he could have kept on going.
He
57
have won
could
Threna:
Yes,
the race.
have.
he could
58 Gary: But he didn't.
the children
In lines 37-43,
and teacher
talk about how they were affected by the story
to tears, a clear
and where
they were moved
indication of mood. Then they begin to dis
cuss
the character
of Stone
Fox
and how
he
changed within the story (lines 44-58). The
teacher
and extends
corroborates
feelings
"I
think
it's interest
about
character.
thought
us in
how
author
"showed
she
the
says,
ing,"
those words
how Stone Fox must have felt"
(line 46). She is demonstrating talk about lit
erature
it?and
for the students?how
the author did
she does this again regarding charac
ter change in line 48. The children pick up on
of
change and evidence
after the teach
her comments
she says "It showed that he cared..."
the idea of character
it. Leah models
er's when
in Stone Fox's character. De
change
on
of the book, a litera
the
richness
pending
ture group might
continue
their study for
showed
is clear that eight- and nine
evidence
are
out the
year-olds
quite capable of working
a
text
of
meaning
interpret
together, actively
lit
various
ing what they read, and discussing
and
such as tension, mood,
erary elements
their
Notice
how
character
development.
The
teacher gently points out the author's work and
that she doesn't
from asking questions
wonder
about. This was a first day
genuinely
and there were many possibilities
discussion,
refrains
The Reading Teacher
Vol. 45, No. 2
using topics for the next
from each day's dialogue.
several
days,
study derived
day's
Fifth graders discuss The Secret
Garden
is from a study of
second typescript
Burnett's classic The Secret
Hodgson
a spoiled
the story of Mary Lenox,
Garden,
and neglected
child orphaned by a cholera epi
to live with an
demic. She is sent to Yorkshire
The
Frances
uncle, but he is still grieving the death of his
wife ten years before and has no time
a
for her or for his own son who has become
cannot
who
believes
he
walk.
tyrant
hysterical
beloved
the discovery
and restoration
(with
Through
a child of the moor)
of Dickon,
the assistance
two
and Colin,
of a neglected
garden, Mary
to
children,
incredibly unlovely
begin
change
into
loveable
(almost)
strong,
healthy,
children.
a first-year
Teacher
Mark
Routhier,
teacher trying literature studies for the first
timewhen this video was filmed, is discussing
how the characters have changed with Randall
of this
the only two members
and Shant?,
literature
study group who were
fifth-grade
present that day.
1 Mark:
Since we're talking about Mary
changing,
2 Randall:
more.
let's talk about Mary
the garden
Yeah,
and
and
the garden.
to grow
started
3 Mark: The garden did?
4 Randall: Yeah. It's likemagic. It just started to
blossom and stuff the way she took care of it
and...
5 Shant?: I likes the way Dickon described the
way
ering
(line 50).
122
to
and children could choose
next
the
back
for
and
consider
go
day's topic.
They could explore how the mood was cre
the incidents
that increased
their
ated, map
or
note
of
how
the
author
tension,
feelings
that the teacher
they, they weren't
or whatever
he
dead
said
but they were wick
that word..
.when you
break one you break it in half they wasn't like
dead and all like that there was still some roots
and that getting ready to grow. They're still
wickered or something like that.
6 Randall: Wickered! I think wickered means,
uh,
still alive
but doesn't
appear
like
that.
7 Shant?: Still in good health. From the outside
it's like dead and all dried up and when you
break it in half on the inside the inside is still
good and it can still grow as soon as the right
time or season
comes.
8 Randall: Like if you pick a fruit? And it looks
ripe on the outside and you end up biting it? In
the inside
and
it's all green
October 1991
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All use subject to JSTOR Terms and Conditions
or something.
9 Shant?: Nasty!
10 Mark: Sounds sort of the other way around
though because she's saying it looks dead on
the outside but it's still live on the inside.
11 Randall: Yeah.
12 Mark: I'm thinking about people when you say
that.
13 Shant?: You'd break people in half? (Randall
laughs and Shant? smiles at the teacher.)
14 Randall: No. Like if they, if they're still alive
but they look dead, they, they would bury him
and they'd end up being buried alive or some
thing.
see
You
that a lot on
soap operas.
17 Randall: Only now they have different things to
um your
.things to see
then you're dead.
see..
out,
If it goes
heartbeat.
18 Mark: I'm thinking as you say that about the
in the book.
characters
(with a look of dawning):
19 Shant?
seem..
They
she was
Imean Mary,
on the outside.
.like Martha,
and nasty
real mean
like
20 Randall (interrupting Shant?): But then she...
21 Shant?: But then later on in the story she was
all nice and she taughtColin.
22 Randall (interrupting Shant?): The outside
came...
23 Shant?: How towalk and stuff.
24 Randall: Her inside came to the outside and she
became
nice.
Like
she was mean
on
the outside
but inside she knew how to be nice. So then,
after
awhile,
outside went
she...her
in.
inside went
out
and her
25 Shant?: She brought her meanness inside and
all her goodness and stuff outside and that's
when she helped Colin learn how to walk and
she started
taking
care of the plants.
26 Mark: Mmhmm. She started taking care of the
plants. I want to hold on to this. Do you think
any other
of the characters
changed?
In lines 1-7, the children and the teacher
leads
discuss the growth of the garden, which
of the meaning
into a discussion
of the York
"the in
shire word wick. Shant?'s comment,
side is still good and it can still grow as soon
as the right time or season comes," is a perfect
to prompt connections
be
lead-in for Mark
tween what is happening
in the garden, where
roses have proved to
the brown, dead-looking
be wick,
and stunted chil
and the neglected
are now beginning
to grow and
dren who
out.
and
inside
After
students
digress
change
(lines 8-17), Mark again gently suggests the
connection
discussion
The
third
the way for a
(line 18), opening
of the garden and roses as symbols
of the children's growth (lines 19-25). All
are enlivened
three participants
by their dis
moves
into
and
the group
covery,
dialogue.
later told us that even though this may
Mark
have looked planned, his first insight into the
came as he discussed
it with
symbolism
children. His honest comment
illustrates
for growth of all concerned.
possibility
the
the
Incident at
comes
sample
a discus
from
sion of Allen Eckert's Incident at Hawk's Hill
by Tom Tracy and four of his fifth-grade boys.
Incident at Hawk's Hill tells the story of what
who only
Ben, a six-year-old
with animals, becomes
lost on
happens when
communicates
the wild Canadian prairie where he lives. At
the same
15 Mark: Mmm.
16 Shant?:
Fifth graders discuss
Hawk's Hill
a badger
time,
who
has
just given
birth goes out to hunt for food and is caught in
a trap set by Ben's
neighbor, George Burton, a
cruel man who does not go out often to check
his traps. By the time the badger has chewed
her paw loose from the trap her babies
are
and danger
dead, and she is loose, wounded,
ous. Ben and the badger find and help each
other
and she keeps
him alive
for a month
un
til he is finally found. The badger becomes a
friend of Ben's family, is almost killed by
and finally acts as Ben's link
Burton,
George
to the human animals who have helped to save
her.
The book is difficult, as is this particular
and
group of boys. They are easily distracted
two have images?humorist
and toughguy?to
maintain.
Notice
how Tom deals with
them,
honestly
sharing his own reactions to the story
and striving to ask genuine questions.
1 Tom: What did you think when you first met
Ben?
2 Gabriel: Just that he's a regular little boy.
3 Michael: He didn't know nothing.
4 Josh: I thought he was stupid at first. He just
sat there
5 Michael:
and watched
mice.
...Followedthem.
6 Josh:
...Followed
them.
7 Tom: Did he seem unusual
to anybody
to animals.
8 Michael:
Yeah. Talking
else?
9 Josh: Yeah, and thatmean dog? Heh heh.
10 Tom:
talked
that was neat. What
he
about when
Yeah,
to the mean
dog the first time or commu
nicated or did whatever he did with that dog,
remember that? Did that surprise you? That
me. When
surprised
he went
down..
.remember
when he went down on all fours?
11 Josh: I thought the dog was going to attack
him.
12 Tom: Really.
13 Josh: Iwas hoping.
14 Tom (not responding to Josh's comment, but
not
I'm
Now
either):
disapproving
curious.
What did you discover as the book moved along
about
how
dumb
or
stupid
or
smart
or what
ever. Did your opinion of him change as the
story went
along?
15 Gabriel: At first you thought he was just a kid
who
always
moved
along
but as the story
mice,
just find out that he can com
watches
you
municate with animals good and nobody else
can do
that good.
I don't
know...
16 Michael: He'd get an A in science.
Teacher
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as curator
123
17 Tom: Yeah, he probably would get an A in sci
ence,
when
especially
huh. Who
mals,
else
tinues with the children showing how sharply
we
did the unit on ani
at this table's opinion
of
Ben changed?
18 Michael: Mine did. Well, I thought he was just
some dumb little boy who liked to follow mice
and then he talked to a dog and thatwas kind of
interesting.
19 Josh: He don't even probably know what the
dog was.
20 Tom: What's that?
21 Josh: He probably didn't know what a dog was
and he wanted
to meet
it.
22 Gabriel: And make friends with the dog.
23 Michael: "Hi, dog, want to go to the park with
go on
It's almost
me? We'll
24
Tom:
the swings."
like...Well,
I see
the way
dog."
a
to meet
way
this is a very
ferocious dog. This dog could very easily kill
just a snap.
Josh: He
could
be from
outer
space
Tom:
He's
that different
sometimes.
He
seems
that different.
34 Gabriel: His dad thought so.
35 Tom: Yeah, what about that?
36 Josh: His dad and his mother agreed that he
was
37
38
39
40
real crazy.
or
he?
cock
at
Michael's
attempts
repeated
Despite
it is appar
humor and Josh's taciturn remarks,
ent in this segment that these children are un
and collectively
interpreting
124
The Reading
Teacher
Vol. 45, No.
The
2
those
turn out
They
characters
bad
you
to be good.
and dumb.
James: No. He was selfish
.1meet
those characters..
Tom: But sometimes
in books
and I hate those charac
characters
ters, but they have to be there, don't they.
to have
You've
76 Michael:
somebody
got
to be polite
whose....Not
going
everybody's
in a story.
74
75
sound right.
wouldn't
Josh: You could
say there was a farmer
just set.. .just threw his traps out there.
who
Josh: Well,
he was
the one who
set the traps.
boy.
85 Tom: He was like this thing that just...Have
you
ever had
sand
in your
pants
or your
shoes
that just irritates you all the time? Burton.
Without that kind of character like Michael
was
saying
a minute
ago,
the
story
would
be...
86 Michael: Boring.
87
Tom:
You've
got
to have
something.
Like
take
a fairytale. Like Snow White. Walt Disney
talk con
October
Sometimes
have?
James:
84 Gabriel: He had the dog that the boy commu
nicated with. He [the dog] isn'tmean with the
thize with what might happen to a boy like
32-46).
character
the book.
83
what
character does as a way of understanding
In line 14, the
a character
is (lines
1-13).
the idea of character change
teacher suggests
over the course of the book. He and the chil
life might
what
to contemplate
dren begin
have been like for Ben's parents and to sympa
(lines
favorite
my
82 Tom: Right, you could have that. But how else
did Burton play an important role in the story?
the first, Tom introduces the idea of what the
at school
wasn't
70 Josh: But he had an important part about set
ting out the trap and stuff. He really sets off
81
with
collaborative
sentences)
(sometimes
what is a very difficult book for them. From
Ben
He
77 Tom: Or else what would the story be?
78 Michael: Boring.
79 James: Boring.
80 Michael: It wouldn't be really boring, but it
roach walking by: "Hi!"
derstanding
he wasn't...
quickly
part.
portant
but he...
72
anything.
a little
pretty
73 Tom: But did Burton turn out to be good?
44 Michael: Where everybody is going to be teas
ing him..
.talking to animals...
to birds."
"He's just talking
45 James:
sees
he sees...he
46 Michael:
Yeah,
talking
about Burton. Remember? How did we know?
How did you know Burton was...How did the
author let us know the kind of person Burton
was from the very beginning? Remember?
66 Gabriel: He was mean and selfish.
67 Tom: We said he was mean and selfish and
what were the other things? How did the au
thor tell us?What set up this character thatwe
does.
43 Gabriel: Yeah. He didn't want to send him off
to school
the au
the characters...how
we were
when
instance,
71 Tom: Josh said he sets off the book. He really
Tom: Did his mother?
Gabriel: No.
James: She refused to think that.
Gabriel: But his dad just kept on thinking it.
41 Michael:
"I have a crazy son."
Yeah.
a little bit, wasn't
42 Tom: He was worried
about
For
68 Michael (interrupting Tom): So polite.
69 Tom: So polite, right, not such a great guy.
What else about Burton? Burton had an im
ex
and he's
amining. .. (interrupted by laughter)
33
out
knew
31 Michael: "Youwant to die?"
32
the
the discussion
about Burton,
begins
next day's discussion
with a different
topic.
65 Tom: I had this ideawe could talk about some
of these different characters and how we
thor....
28 Gabriel: Like meeting a new pet.
29 Michael: Yeah, a new pet, but it's an old pet but
him with
them. He didn't
check
care,"
says
really
"It's like 'Oh, it's not my life.'"
Michael.
The buzzer rings to signal the end of the
session, and Tom and the boys agree to come
back the next day and talk about the badger.
found
..
a new friend.
Tom: Yeah,
but that's a different
new pet, though,
isn't it. I mean,
As
on
it...I
25 Michael: It's likemeeting somebody.
26 Gabriel: Meeting somebody new.
27 Michael: But the dog isn't new. It's like some
30
characters
minds.
But Tom, thinking about how he could build
don't think Ben just said, "Well, I'll show this
body.
are
in their
formed
being
to
talk
about
Burton,
they begin
they indicate that he is mean and selfish-"a
left his traps out and didn't go
person who
the
1991
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All use subject to JSTOR Terms and Conditions
birds fluttering and who shows up? The
witch. And was thewitch a great person?
88 Josh: No.
89 Michael: I liked thewitch.
was mean. With
Tom: But she was also...She
out her, the story would
have been just Snow
90
White and these little birds out there in the
woods, right?
91 Gabriel: And these seven little dwarfs.
92
Tom:
But
she
likes
shows
up and creates...
93 Michael: A better story.
94 James: A fairytale.
95 Tom: How does she create a better story?
It's more
96 Michael:
exciting.
97 Gabriel: More action.
98 Tom: So you kind of think about...now go
back to Burton. Without Burton, how would
the story have been? Same thing. He created a
little...
99 Michael:
the joy and relief of such literature study
group work is that there is always another day.
in such a
For those who are interested
we
offer
the following
role,
suggestions.
practice your own reading with Auden's
as you pre
attention." Especially
"passionate
pare for literature studies with your students,
reread with alertness,
focusing on how the au
First,
thor has worked.
with your stu
Second,
practice writing
dents. There
is nothing better for increasing
awareness
of true artistry
in words
than at
If you didn't have Burton itwouldn't
the same.
be
of their stu
the literary experience
deepening
was taken, but
dents. Not every opportunity
The
story would
be weaker.
100 Tom: I guess it would have been OK. But it
seems
to me
it would
have
been....
Nothing
would have churned you up. And I like a story
that churns
you up.
101 Gabriel: It gets you into the book.
102 Tom: Yeah.
Tom moves
Here
the group from merely
about the
what they remembered
to talking about the need
Burton,
recounting
antagonist
Trust
trust
the books,
trust the students,
and
yourself.
for such a character (line 75). In line 85, he
creates
a metaphor
tension
for the role of antagonist
in
in a story, and in line 87 he
of another antagonist
they
increasing
gives an example
are sure to know. The children
author
story
discuss
how the
to move
the
Burton's
character
on alternative
and to speculate
used
along
ways of doing this, all of which results in real
insights into how tension is created through
of character and incident (lines
teacher
81-84).
opens the way to discuss
the importance
of tension and conflict
in a
one
that
"churns
you up" (lines 95-102).
story,
The children put aside jokes, and they and the
teacher become caught up in the excitement
of
It is a moment
their discovery.
of dialogue.
the interaction
The
Growing
in ability
to act as curator
and Tom were trying liter
Threna, Mark,
ature studies for the first time. Their growing
to move
from a traditional
ability
reading
is
group format of comprehension
testing
con
All
the
of
sound
like
apparent.
segments
and Tom are par
own
and
ticipants
feelings
are
and
Tom
Threna, Mark,
interpretations.
also sharpening
their own abilities
to notice
the conversation
places where
might move
from sharing to dialogue,
first
tentative
taking
versations;
Threna, Mark,
who
share their
steps toward acting
as curators,
extending
and
for ex
tempting the process yourself. Notice,
how
when
you
your piece
ample,
changes
from the first
change point of view, moving
person to the third. Just how much does an all
knowing narrator include? The work of
Calkins (1986), Calkins and Harwayne
(1991), Graves (1982), Heard (1989), and
Murray (1968) will be of help to teachers in
in classroom writing.
to what
students
listen carefully
Third,
say as they talk about a book. Take notes. Stu
dents used to traditional
reading groups tend
to direct remarks to the teacher instead of to
and with careful listening and note
everyone,
this behavior while
taking you can minimize
terested
developing the ability to notice opportunities
for "shooting
literary arrows." Don't
be afraid
to label what the children are talking about
when
it is appropriate.
There
is power
in nam
ing; this is part of how language is learned.
trust the stu
trust the books,
Finally,
books of
trust
Wonderful
and
dents,
yourself.
for
fer innumerable
talking
opportunities
is
about an author's work. When
something
can
sure
a
chil
that
be
in
book, you
important
Teacher
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All use subject to JSTOR Terms and Conditions
as curator
125
dren will talk about it and that you will notice
not one day, then another. Expect
it as well?if
that you and your students will
surprise and
with
your knowledge.
delight yourselves
D.H.
at
Teachers
and children
(1982). Writing:
NH: Heinemann.
Portsmouth,
Heard, G. (1989). For the good of the earth and the sun.
NH: Heinemann.
Portsmouth,
Graves,
work.
Murray, D.M. (1968). A writer teaches writing: A practical
method
of
MA:
Boston,
teaching
composition.
to teachers Threna Schumacher, Mark
Routhier, and Tom Tracy and their students for
their cooperation,
and insight.
enthusiasm,
Thanks
Houghton-Mifflin.
Lit
Peterson,
R., & Eeds, M. (1990). Grand conversations:
in action. Toronto, Ont.: Scholastic-TAB.
erature groups
as exploration.
L.M. (1938).
Literature
New
Rosenblatt,
York: Appleton-Century.
L.M. (1978). The reader,
the text, the poem:
Rosenblatt,
The transactional
theory of the literary work. Carbon
References
L.M. (1986).
The art of teaching
Ports
Calkins,
writing.
NH: Heinemann.
mouth,
S. (1991). Living between
the
L.M., & Harwayne,
Calkins,
lines. Portsmouth,
NH: Heinemann.
E. (Eds.).
Corcoran,
B., & Evans,
texts,
(1986). Readers,
teachers.
NJ: Boynton-Cook.
Montclair,
lan
B., & Flores, B. (1991). Whole
Edelsky, C, Altwerger,
the difference?
NH: Heine
Portsmouth,
guage: What's
mann.
IL:Southern
Illinois University
Press.
dale,
on reader response
J.R. (1989). Research
and the
Squire,
literature initiative. Paper presented
at the In
national
on the Teaching
ternational
Conference
of English,
East Anglia.
England.
D. (1989). Grand conversations:
An ex
M., &Wells,
of meaning
in literature
construction
ploration
study
in the Teaching
of English,
23, 4-29.
groups. Research
st?pW
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cited
F.H. (1987). The secret garden.
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