STORYTELLER’S TOOLKIT
SYLLABUS 1A (six weeks): Character
Written and Developed for Mass Humanities
by Abbye E. Meyer, Ph.D.
2016
FAMILY ADVENTURES IN READING IS A MASS HUMANITIES COUNCIL-DIRECTED GRANT PROGRAM
ABOUT THIS TOOLKIT
This toolkit provides guidance for FAIR storytellers, who are expected to model active reading and to facilitate lively
discussions of books and humanities themes. FAIR participants—both children and their adult caregivers—receive
opportunities to enjoy, comprehend, respond to, and interact with picture books and each other.
FAIR storytellers should use the information—including background information and teaching tips—in this toolkit as they
prepare for an entire series and as they prepare for each session of a series.
CONTENTS
Themes and Books: Character
3
General Tips for Facilitating FAIR
4
A Successful FAIR Session
1) Active Reading and Literary Analysis
2) Discussion of the Book and Theme
3) Further Discussion of the Theme
4) Snacks, Library Information, and Related Activities
6
Introduction: Character and Stories and My Pen
11
Dreams and Tar Beach
13
Courage and The Upside Down Boy / El niño de cabeza
15
Change and Madlenka
17
Determination and A Chair for My Mother
19
Love and The Heart and the Bottle
21
Floater: All Themes and Emmanuel’s Dream: The True Story of Emmanuel Ofosu Yeboah
23
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 2
Themes and Books: Character
Family Adventures in Reading (FAIR) brings children ages 6–10 and adults together to enjoy outstanding and thoughtprovoking picture books. Each 90-minute FAIR session includes an engaging, active reading of a book, followed by guided
discussions on the book and on a principal theme found in the book. Each FAIR session is a part of a longer series, of either
six or four weeks, that focuses on one of three overarching topics: character, relationships, or community.
This FAIR syllabus, a collection of books that focus on character, asks readers of all ages to consider questions that arise as
we grow and change, as we work to define ourselves, and as we understand ourselves in relation to others. Beginning the
series with a reading of My Pen by Christopher Myers, FAIR storytellers introduce participants to character, both as an
individual in a story and as an individual’s personality or nature. In Myers’s book, the speaker exists alone, as a child who
sometimes feels small—until he remembers he has his pen. With a pen, the speaker produces wild imaginary worlds, spreads
love, and works to create an identity for himself; the book ends with a message about the power of creativity, and thus,
allows participants to discover the importance of telling and learning stories (through both words and pictures), along with
the importance of becoming a self with strong character. This FAIR series, consequently, asks participants to discover and
analyze how characters in stories find their places in the world and find themselves through experiences, dreams, and goals.
The series’ more specific themes—dreams, courage, change, determination, and love—together function as parts of an
individual’s character, or nature; the themes are complex and can be considered in a number of ways. For example, the
picture book used to explore courage, The Upside Down Boy / El niño de cabeza by Juan Felipe Herrera and illustrated by
Elizabeth Gómez, is as much about change and determination as it is about courage and love; careful reading and guided
discussion allow participants to react to and think about the book, as well as about the role of courage in their own lives.
Introduction: Character and Stories
My Pen
by Christopher Myers
Dreams
Tar Beach
by Faith Ringgold
Courage
The Upside Down Boy / El niño de cabeza
by Juan Felipe Herrera / illustrated by Elizabeth Gómez
Change
Madlenka
by Peter Sís
Determination
A Chair for My Mother
by Vera B. Williams
Love
The Heart and the Bottle
by Oliver Jeffers
Floater: All Themes
Emmanuel’s Dream: The True Story of Emmanuel Ofosu Yeboah
by Laurie Ann Thompson / illustrated by Sean Qualls
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 3
General Tips for Facilitating FAIR
All FAIR storytellers model active reading and facilitate lively discussions of books and themes. To do so successfully, most
FAIR storytellers follow these general tips and guidelines:
Always Prepare
You may want to over-prepare for a FAIR session, but don’t be surprised if you only use parts of what you plan.
Perhaps most importantly, be familiar with the book(s) and theme(s), but also be willing to follow participants’
observations and opinions in new directions; the best discussions don’t feel rehearsed.
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Read and reread the book(s).
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If there are difficult or confusing words, look them up and be prepared to share definitions with
participants.
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Review the definition(s) of the theme.
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Think about the theme. How does it work in the book(s)? How does the theme apply to current situations
in the world? How does the theme apply to your life? How might the theme apply to participants’ lives?
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Be ready for surprises. A prominent story in the news that week may directly connect to a book or theme;
be ready to include a question that asks participants to think. A participant may say something outrageous;
allow for reactions and responses, and encourage the group to respect each other. A participant may make
an offensive comment; be ready to acknowledge the opinion while suggesting a different word to use or
while suggesting empathy. The group may be especially quiet; be ready to ask additional questions or to ask
for help understanding a passage.
Use Routines
Routines allow groups of participants to feel comfortable and to focus on important questions rather than on trying
to guess what will happen next.
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Create a standard format or schedule for each session and stick to it.
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Set a routine for participation; FAIR storytellers often ask participants to raise hands.
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Do what you can to make participants feel comfortable; always encourage respect, allow for questions and
mistakes, and use participants’ names. It’s okay to repeat your expectations again and again.
Model Active Reading
Active reading is more than simply decoding words to find meaning; active reading means thinking about and
understanding, and in FAIR sessions, active reading is also joyful and energetic. FAIR storytellers model active
reading by helping all participants take the time to think and understand. Be aware that many participants are
learning how to read, and many participants are learning to read and speak English. Also be aware that the best
picture books rely on both words and images; encourage participants to notice illustrations and to try to interpret
meanings.
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Always read the entire book yourself (the first time through). It can be difficult to concentrate when
multiple people read.
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Read loudly and clearly; pronounce words carefully.
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Read slowly, but not too slowly. Participants should be able to follow along, but they should not get lost in
long pauses.
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Encourage brief questions and observations, but don’t have discussions in the middle of a story.
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 4
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Pause briefly before turning pages so that participants notice illustrations. Let them know that you’re
pausing for illustrations!
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At times, pause briefly to make observations (perhaps about a really important illustration or perhaps about
a change you notice from one page to another). Try to model “thinking” as you read.
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Encourage rereading. After reading the entire book yourself—clearly, slowly, and with brief pauses—you
may want to ask volunteers to read the book again with a different focus. As you guide the group in
discussions, return to the book whenever you can.
Facilitate Thoughtfully
Facilitators guide participants through discussions of books and themes. Your job is to help participants think,
reflect, listen, and share ideas and questions.
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Be curious and interested. Ask questions you really have! Ask questions that invite a number of responses.
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In general, ask open-ended questions. Questions that ask for “yes” or “no” do not provoke thoughtful
discussions.
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In general, make sure your questions are real questions and not “leading” questions that subtly ask
participants to give particular answers. “So who liked this book?” is a leading question that does not allow
for much thought. “What did you like about this book?” is a question that asks participants to think and
answer carefully and individually.
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Ask follow-up questions. You may ask for clarification, you may ask the participant to direct the group to a
particular page of the book, or you may ask how an answer connects to an earlier answer.
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At times, ask simple, easy questions. If the group is quiet, if the book is confusing, or if you’re just trying to
start a conversation, you may ask basic questions with concrete answers: “What is the main character’s
name?” and “What is the title of this book?” are questions that could allow shy or nervous participants to
answer. (These questions help those who are learning and/or struggling. They can be followed up by
questions with less concrete answers: “Why do you think the author chose that name?”)
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Allow for silence! Participants need time to think about questions before they share their answers; don’t be
afraid to give them time to think.
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Don’t always call on the first person to raise a hand. If you wait for a couple more hands, you will prevent
individuals from dominating groups, and you will give other people the chance to think.
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Especially when working with children, you may want to answer some of your own questions. Don’t
answer too quickly, and don’t talk for too long (you are the facilitator—not a lecturer). If you supply an
answer, participants may think of additional answers. You can also model answers that are thoughtful and
that lead to more questions.
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Especially when working with children, you may want to share your own confusion. For example, if there is
a difficult word, you may want to admit that you had to look it up—ask the group if anyone knows what it
means, take suggestions, and then share the definition you found.
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Return to the book with purpose. In addition to asking participants to refer to particular pages in their
responses, you may ask the group to look at individual pages to find answers to specific questions. For
example, it may be worthwhile to look at how a character’s facial expressions change from the beginning of
the book to the end of the book—what might that tell us about the character’s motivation?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 5
A Successful FAIR Session
Each FAIR session focuses on one book and one theme, while also allowing you, the FAIR storyteller, some freedom and
creativity. After the introductory session (which includes tips on how to read picture books), you may choose the order of
remaining sessions, and the floater book may be used as a second text in any session—or function as a gift for families at the
end of the series. As a FAIR storyteller, you may want to approach each session by preparing for four distinct parts:
1)
2)
3)
4)
Active Reading and Literary Analysis
Discussion of the Book and Theme
Further Discussion of the Theme
Snacks, Library Information, and Related Activities
Following these general guidelines for the four parts of a successful FAIR session, you will find additional guidelines with
tips for each individual session based on a book and theme. However, you will probably find it useful to review and use
these general guidelines for each session. Create a routine that can be repeated—with slight modifications, of course—during
each session you lead. Routines generally allow groups to feel comfortable, which will help participants engage in thoughtful
discussion.
1) Active Reading and Literary Analysis
Each session of FAIR centers on an engaging, active reading of an excellent picture book. Because many participants
are learning English and/or learning to read, it is important for you, the FAIR storyteller, to read the story to the
group first; this allows you to model active reading, while also allowing participants a chance to listen and enjoy.
Introduce the book (briefly!) with relevant background information or context. Tell the participants that you’ll be
reading the book with special attention paid to the session’s theme, but you will love to hear questions about and
responses to other parts of the book, too.
Read the story, pausing only for urgent questions and brief observations (particularly on character motivation and
on details that emerge through images). Children and families should know to raise their hands if they would like to
“interrupt” the reading; brief interruptions should be encouraged, but don’t allow them to turn into discussions.
Read slowly (but not too slowly) and clearly. Make sure participants are following along, and leave time for looking
at illustrations before turning pages.
Once you’ve finished the book, allow a minute or so for participants to digest the story. Then do your best to help
with reading comprehension and basic understanding of the characters and story. It’s often best to begin with some
questions that allow readers to summarize the story with a bit of direction, focusing on character motivation and
change (these elements are often directly related to the theme(s)).
When you ask these questions, allow your participants some time to think; you don’t need to call on the first raised
hand, and it’s often best to wait until at least two or three hands are raised. It’s generally helpful to ask the group to
return to specific pages—readers should feel comfortable directing the group’s attention to important details found
in either words or images. Returning to the book also helps you teach the value of close reading and rereading.
In helping participants understand the book, you may ask:
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Who are the main characters?
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Do they encounter any tensions or problems in the story? What are they?
Where does the problem or tension first appear in the book? Let’s try to find the page!
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How do the characters deal with the problems?
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What happens at the end of the story?
Let’s look at the last couple of pages.
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Have the characters changed? How?
Next, lead the group in some basic literary analysis. Through some questions, you want to encourage participants to
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 6
look at specific passages and pictures in the book; sometimes spending more time on confusing passages can allow
for deeper understanding. You may also ask participants to consider messages being delivered by both words and
images. When asking the group about new things they learned and about parts of the book that may be confusing,
take the time to define words and to try to figure out what is happening on different pages. Ask follow-up questions.
It’s okay to not know all answers; it’s important to encourage all participants to go back and reread certain passages
and to go back and look carefully at certain images. Questions to consider:
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Did you really like any parts of the book? Why?
Let’s look at that part again and see what others think!
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Did you dislike any parts of the book? Why?
Let’s look at that part again and see what others think!
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Did any parts of the book confuse you?
Let’s look at that part again and try to figure it out.
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Did you learn any new words? Which ones?
Where does the word appear in the story? What does it mean?
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Did you notice anything important in the illustrations?
Show the group what you saw!
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How do the illustrations add to the story? Let’s find an example.
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Did you learn anything new about people or places? What did you learn?
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Is the book trying to teach us anything? What? How?
Once the group has summarized and analyzed (somewhat generally) the book, you may want to read the book a
second time. It’s probably best to do this after you’ve asked the group to start thinking about the book in the
context of the session’s theme (see below).
2) Discussion of the Book and Theme
After modeling active reading, checking for comprehension, and leading the group in some basic literary analysis,
move the group in a discussion of the session’s theme as it works in the book. You may want to start by reminding
the group of the theme and asking if anyone wants to help define the word (while keeping in mind that each theme
can be defined and explained in a number of ways); after you’ve taken suggestions from the group, provide a
definition that works for the session (as included in this toolkit).
Now may be a good time to reread the book! You may want to suggest the group reread the story as detectives,
looking for any information in the words and illustrations that offer clues about the theme. (You may say, “Let’s
read the book again and point out anything we notice about [theme].”)
Rereading as detectives may work as a nice routine, but if it doesn’t, you may choose not to reread or you may
choose to reread using some kind of performance. Some FAIR storytellers enjoy asking participants to read in a
round-robin style (one page or one sentence per reader), always with an option to “pass.” As long as you’re reading
the book again with attention paid to the theme, feel free to do what works best for the group or for the book itself.
After a second reading and depending on how much conversation the group has already engaged in about the theme,
lead participants in additional guided discussion. Be sure to ask thoughtful, open-ended questions. Be sure to give
participants time to think before suggesting your own answers (silence can be good!). Be sure to allow for multiple
answers and opinions. Remember that it’s okay to repeat questions, especially if the group has had trouble with
them. Questions to consider:
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What messages or lessons does this book teach us about [theme]?
How does the book teach those lessons?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 7
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What does [theme] mean in the book?
How do you know? Let’s find a page that shows this!
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Why is [theme] important to the characters?
How do you know? Let’s find a page that shows this!
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How does [theme] affect what happens to the characters?
Let’s find a page that shows this!
Because you want to create an environment in which participants feel safe to express their opinions, some
participants—especially young children—may get off topic. If participants seem interested in discussing other
themes/messages in the book, this is the time for that. Allow the discussion, but try to connect it to the primary
theme when possible. If and when participants show a desire to discuss other situations in which the theme is
important, you may want to encourage them to wait a bit. Most likely, participants will want to share anecdotes or
feelings from their own lives that connect to the book and/or to the theme; these connections will come next. For
now, ask participants to try to focus on the book itself and to try to learn about and from the book’s characters.
3) Further Discussion of the Theme
Once participants have sorted through the book’s primary theme(s), you may ask them to think a bit more about
how that theme shows up in other places: in our own lives, in the news, in other books (and television shows,
movies, songs, etc.), in school, and at home. This part of the discussion can be creative, if you like, and you may
include some drawing or writing or acting to help participants think and reflect; the goal is to encourage children
and adults to think about the importance and meaning of the theme. Some questions may include:

Do you like the way this book portrayed [theme]?
Why or why not?
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What does [theme] mean to you? Why?
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Where else have you encountered [theme]?
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Is [theme] important to you? Why or why not?
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Why do you think [theme] is important to other people?
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What things have you learned about [theme] so far in your lives? How?
How do you feel when you think about [theme]?
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Do you think [theme] will be important to you as you continue to grow and change?
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How would you like to see [theme] with your friends? at home? in school?
How would you like to see [theme] understood in the world? Why?
4) Snacks, Library Information, and Related Activities
In each FAIR session, participants receive healthy snacks or refreshments. As you serve healthy snacks, encourage
children and their families to continue talking about the books and ideas! You may want to pose questions to
consider while eating, and you may want to chat and eat with participants, too. Most FAIR storytellers choose to
include a snack break in the middle of the session, which also allows time for bathroom trips and movement.
Remember to set aside time to explain services provided by local public libraries (at each session if possible). Such
information may accompany introductions, goodbyes, snacks, or mid-session breaks. Setting a routine to repeat each
session will help FAIR run smoothly. If explanations of library information can take place at a library, that’s
wonderful. And if the library information is related to the book or theme being discussed, even more wonderful!
While creating routines, each FAIR storyteller is responsible for enhancing these basic reading and discussing
components. Whether you are a performer, a teacher, a scholar, or something else, use your skills, talents, and
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 8
interests to make each session engaging and memorable. If you decide to include an additional activity, please make
sure that it is—without a doubt—connected to the book and/or the theme. Activities that are not clearly connected
generally serve as distractions. Successful FAIR storytellers often use short craft activities (perhaps drawing maps of
our neighborhoods in response to a book with a prominent neighborhood, or perhaps making a puppet to represent
the qualities we most desire in a friend in response to a book about friendship), short games (perhaps a word game
with a connection to the book or theme), or short acting or musical activities (these kinds of activities, of course,
may take place during a second reading of the book).
You may also bring with you another story that addresses the session’s theme: the floater book (the last book of the
syllabus, which connects to all of the specific themes), a story you perform (if you are an actor or storyteller with a
wealth of material), or another book that you read to the group. If you choose to tell or read an additional story, be
sure that the story fits the theme, and be sure that you’ve thought through ways to connect the stories to each other.
If possible, choose books that fit into FAIR’s multicultural, diverse, and inclusive syllabi. A guide for selecting
multicultural picture books can be found on the Teaching For Change bookstore’s website:
http://www.tfcbooks.org/guide-anti-bias-childrens-books. The following list includes picture books from earlier
FAIR syllabi, along with selections from scholars and teachers:
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Black is Brown is Tan by Arnold Adoff / illustrated by Emily Arnold McCully
Why Mosquitoes Buzz in People’s Ears by Verna Ardema
Voice of Freedom: Fannie Lou Hamer, Spirit of the Civil Rights Movement by Carole Boston Weatherford /
illustrated by Ekua Holmes
How Chipmunk Got His Stripes by Joseph Bruchac and James Bruchac / illustrated by Jose Aruego and
Ariane Dewey
A Day’s Work by Eve Bunting / illustrated by Ronald Himler
Hair/Pelitos by Sandra Cisneros
Miss Rumphius by Barbara Cooney
Deep in the Sahara by Kelly Cunnane and Hoda Hadadi
I am Henry Finch by Alexis Deacon / illustrated by Viviane Schwarz
The Empty Pot by Demi
Bintou’s Braids by Sylvianne Diouf / illustrated by Shane W. Evans
10,000 Dresses by Marcus Ewert / illustrated by Rex Ray
Nappy Hair by Carolivia Herron
Mr. George Baker by Amy Hest / illustrated by Jon J. Muth
Amazing Grace by Mary Hoffman / illustrated by Caroline Binch
Anansi and the Moss-Covered Rock by Eric A. Kimmel
The Three Questions by Jon J. Muth
Black Cat by Christopher Myers
H.O.R.S.E. by Christopher Myers
Jazz by Walter Dean Myers / illustrated by Christopher Myers
The True Story of the Three Little Pigs by John Scieszka
Abiyoyo by Pete Seeger
Where the Wild Things Are by Maurice Sendak
Tibet Through the Red Box by Peter Sís
The Wall: Growing Up Behind the Iron Curtain by Peter Sís
Somebody Loves You, Mr. Hatch by Eileen Spinelli / illustrated by Paul Yalowitz
Mufaro’s Beautiful Daughters: An African Tale by John Steptoe
I Love My Hair by Natasha Anastasia Tarpley / illustrated by E.B. Lewis
Just a Dream by Chris Van Allsburg
Grandma’s Records by Eric Velasquez
Catching the Wild Waiyuuzee by Rita Williams-Garcia / illustrated by Mike Reed
Follow the Drinking Gourd by Jeanette Winter
Letting Swift River Go by Jane Yolen / illustrated by Barbara Cooney
Lon Po Po by Ed Young
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 9
All FAIR syllabi are intentionally multicultural, diverse, and inclusive. When reading and discussing the books and
themes, do your best to make the environment welcoming and comfortable for all participants. Remember that we
cannot make any assumptions about a group of people; we cannot know how individuals identify in regard to race,
ethnicity, gender, class, sexuality, and/or disability. FAIR sessions, like the FAIR books, should be inclusive.
Encourage participants to share relevant and appropriate anecdotes about their lives at home; encourage them to
share the languages they may speak at home. At the same time, encourage participants—especially young children—
to ask questions about groups and situations that are less familiar to them. Reading books and discussing important
themes give rise to questions, and FAIR storytellers should work to foster empathy, interest, curiosity, and respect.
Encourage questions and observations about the ways groups of people are represented in the books you read. Some
questions to consider:
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Do any characters seem like stereotypes? Why do you think so?
How would you change the representation of that character if you were the author or editor?

Why do you think stereotypes in books can be harmful?
Always remember that many FAIR participants are learning how to read and/or are learning the English language; if
you ask participants to read aloud, do your best to make the atmosphere comfortable and safe. It’s often best to
explicitly announce that you know many people are learning, so you should all be ready to hear and make mistakes.
Mistakes are okay! By allowing and encouraging participants to share anecdotes and languages from home, you will
encourage pride in and acceptance of cultural differences. The themes broached in FAIR sessions are related to
cultural differences, as well as to empathy, interest, curiosity, and respect. Take advantage of these connections;
allow participants to discuss differences as they relate to the books being read. You may also want to make
connections between books and themes in the syllabus; allow what your group discussed in one session to influence
the next session’s discussions!
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 10
INTRODUCTION: CHARACTER AND STORIES
1) Active Reading and Literary Analysis: My Pen by Christopher Myers
Background Information and Teaching Tips
My Pen was published in 2015. Author and illustrator Christopher Myers received a Coretta Scott King Illustrator
Honor in 2013 for H.O.R.S.E, in 2007 for Jazz, in 2000 for Black Cat, and in 1998 for Harlem (by Walter Dean
Myers), and he also received a Caldecott Honor in 1998 for Harlem (by Walter Dean Myers). The son of acclaimed
author Walter Dean Myers, Christopher Myers credits his appreciation of the importance of images to observing the
objects and photographs his parents would bring home from auctions and flea markets. A graduate of Brown
University, he has participated in the exclusive Whitney Museum of American Art Independent Studio Program. He
lives in Brooklyn, New York. (More about Christopher Myers is available at:
http://www.scholastic.com/teachers/contributor/christopher-myers.)
A thoughtful and perhaps useful essay by Myers about writing for children:
http://www.hbook.com/2013/08/opinion/young-dreamers/#_
Because this book is intended for the first session of a FAIR series, reading and discussing My Pen will allow you to
introduce participants to the entire series. Intentionally, this book is largely about telling stories and about the
importance of being able to express oneself. In each session, participants will be asked to read carefully, paying
attention to both text and illustrations, so when you read this book with the group, acknowledge illustrations and
what they add to the story.
As you introduce the series and as you introduce this book, be sure to ask participants to consider:
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What it means to tell stories. (In what ways can we each tell our own stories? How does the narrator tell his
story? Why?)
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How the words and pictures work with each other. (For example, how are we supposed to understand the
text on the third page (“My pen makes giants of old men / who have seen better days.”)? How does the
illustration help give this page more than one meaning? You may ask readers to think of literal size and the
figurative meaning of being made a giant.)
After reading the book, help participants understand the characters and story. Questions that allow readers to
summarize the story with a bit of direction can help readers feel comfortable discussing more complex elements of
the story. See suggested questions on pages six and seven of this toolkit.
2) Discussion of the Book and Theme: My Pen and Character
Teaching Tips
After helping with comprehension and understanding, move the group in a discussion of the session’s theme as it
works in the book. You may want to start by reminding the group of the theme and asking if anyone wants to help
define the word.
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Definitions of character to consider: Especially in terms of reading and enjoying literature, character has
two important meanings; it can refer to the collection of attributes or features that make up an individual’s
nature or personality, and it can refer to people (or animals) in a book or story.
In introducing participants to this series, it may be useful to ask them to think about both of these meanings. Who is
the character in My Pen? (The unnamed narrator. Possibly the author himself.) What is his character? (He
sometimes feels small, he is creative, and he is imaginative.) Throughout the series, participants will be asked to
consider characters in stories and to consider the development of their own characters.
You may want to reread the book with attention paid to the theme; then, guide the group in a discussion of the
book’s presentation of the theme. See suggested questions on pages seven and eight of this toolkit. Additional
questions to consider for this book and theme:
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 11
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What does the book attempt to teach about character?
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How would you describe the narrator’s character? What is he like?
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What do the illustrations show about the narrator’s character or personality?
If he is imaginative and creative, how do illustrations show us that?
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What does the narrator value? What might he consider qualities of a strong character?
How does the narrator think of other people? Again, what qualities does he value?
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Why is character important to the narrator?
3) Further Discussion of the Theme: Character
Teaching Tips
Ask participants to think a bit more about how the theme shows up in other places: in our own lives, in the news, in
other books (and television shows, movies, songs, etc.), in school, and at home. You may want to use creative
elements in leading this discussion. See suggested questions on page eight of this toolkit. Additional questions to
consider for this book and theme:

What do you consider qualities of a strong character?
What do you value in yourself? What do you value in others?

The narrator sometimes feels small, but then he remembers he has his pen.
What do you remember when you feel small?

What do you create? What do you imagine? Why? How?

If you could travel anywhere, where would you go? Why? How?

The narrator’s pen worries about all the wars in the world.
What do you worry about? Why?
4) Snacks, Library Information, and Related Activities
Additional Tips
Remember to take time to provide a healthy snack (and encourage chatting while eating!), and remember to take
time to provide an announcement—or a lesson or trip—about library services. If you incorporate any additional
activities—writing, drawing, performing, creating, moving—be sure that they work to enhance the session’s focus on
a book and a theme; no not include unrelated activities or events.
Additional themes and observations to consider or mention:

Representations of places, cultural groups, and identities are always important. You may ask participants
what they think of the representations, especially of the narrator and his friends. Additionally, you may
draw attention to the visual representation of Africa: Is it what you expect to see? How might it differ from
other depictions of Africa? Why?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 12
DREAMS
1) Active Reading and Literary Analysis: Tar Beach by Faith Ringgold
Background Information and Teaching Tips
Faith Ringgold’s Tar Beach was published in 1991. The book received a Caldecott Honor and the Coretta Scott
King Award for Illustration in 1992; it was a Reading Rainbow Feature Selection, a New York Times Best
Illustrated Book, and a Parents’ Choice Gold Award recipient. The book is based on Ringgold’s story quilt, “Tar
Beach (Part I from the Woman on a Bridge series)” (1988), which is held at the Solomon R. Guggenheim museum in
New York City (http://www.guggenheim.org/new-york/collections/collection-online/artwork/3719). The text of the
picture book was originally written on fabric strips around the quilt, and the bottoms of the book’s pages are
reproductions of the original quilt, with the text placed against the same canvas material that Ringgold used for the
new paintings she created for the book.
Born in 1930, Ringgold grew up in Harlem and has always expressed herself through art. She began making quilts
in 1981, and she began making story quilts soon after. (More about Faith Ringgold is available at:
http://www.scholastic.com/teachers/contributor/faith-ringgold.)
This book can be read, understood, and enjoyed on its own. It does, however, employ prominent images of flying,
which (as included in the note on the final page of the book) is an important trope and metaphor—a symbol of
freedom and escape—in African American literature.
Tar Beach also draws attention to racism in the United States, particularly in the mid-twentieth century, as Cassie’s
father is not allowed in labor unions because of the practice of excluding African Americans and Native Americans.
(The unions also followed a practice of excluding those whose grandfathers were not members.) While the book
focuses on policies before the Civil Rights Act of 1964, it may be useful to consider (institutionalized) racism and
discrimination more broadly and as it exists currently.
After reading the book, help participants understand the characters and story. Questions that allow readers to
summarize the story with a bit of direction can help readers feel comfortable discussing more complex elements of
the story. See suggested questions on pages six and seven of this toolkit.
2) Discussion of the Book and Theme: Tar Beach and Dreams
Teaching Tips
After helping with comprehension and understanding, move the group in a discussion of the session’s theme as it
works in the book. You may want to start by reminding the group of the theme and asking if anyone wants to help
define the word.

Definitions of dreams to consider: In Tar Beach, as in other contexts, a dream may mean two (often related)
things: a visionary creation while sleeping or while imagining, and a strongly desired goal to be realized in
the future.
You may want to reread the book with attention paid to the theme; then, guide the group in a discussion of the
book’s presentation of the theme. See suggested questions on pages seven and eight of this toolkit. Additional
questions to consider for this book and theme:

How do dreams appear in Tar Beach? Let’s find a page that shows this!
Are the dreams what Cassie experiences while she sleeps and daydreams, or are the dreams her goals?
What might it mean if we can’t be sure?

What are Cassie’s dreams and goals? Why?

How might you describe the feel of the book? How might you describe the setting?

What is Tar Beach in the book?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 13

How does Cassie appear in the illustrations?
What could it mean that the illustrator shows her flying?
What might it mean that Cassie seems to be flying off the pages? Beyond the pages?

What is Cassie’s full name? Why do you think her last name is Lightfoot?

How does Cassie think of her brother Be Be? Why?
3) Further Discussion of the Theme: Dreams
Teaching Tips
Ask participants to think a bit more about how the theme shows up in other places: in our own lives, in the news, in
other books (and television shows, movies, songs, etc.), in school, and at home. You may want to use creative
elements in leading this discussion. See suggested questions on page eight of this toolkit. Additional questions to
consider for this book and theme:

Cassie says that sleeping on Tar Beach is magical.
Do you have any magical places? Where? What makes them magical?

What are your dreams and goals? Why?

What are your friends’ dreams and goals?

Does this book prompt you to have any new dreams? For yourself? For the world?

What do you dream about when you’re asleep or when you let your mind wander?
4) Snacks, Library Information, and Related Activities
Additional Tips
Remember to take time to provide a healthy snack (and encourage chatting while eating!), and remember to take
time to provide an announcement—or a lesson or trip—about library services. If you incorporate any additional
activities—writing, drawing, performing, creating, moving—be sure that they work to enhance the session’s focus on
a book and a theme; no not include unrelated activities or events.
Additional themes and observations to consider or mention:

Cassie says she was born in 1931. Does the book seem old-fashioned to you? Why or why not?
How are things different today? How are things the same?

Racism and discrimination are prominent in the book. Depending on the group of participants, you may
want to engage in a discussion of how the United States has changed and not changed since 1931.

Poverty and economic hardship are prominent in the book. Depending on the group, you may want to be
aware that goals and dreams could be related to financial concerns.

The illustrations in Tar Beach call to mind the illustrations in The Upside Down Boy / El niño de cabeza.
Why are these characters shown in the air? What does it tell us about the characters? How are courage and
dreams connected?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 14
COURAGE
1) Active Reading and Literary Analysis: The Upside Down Boy / El niño de cabeza by Juan Felipe
Herrera / illustrated by Elizabeth Gómez
Background Information and Teaching Tips
The Upside Down Boy / El niño de cabeza was published in 2000 and has been adapted into a musical. Juan Felipe
Herrera was named U.S. Poet Laureate in 2015. The son of migrant farm workers, Herrera went to UCLA and
Stanford University, and he earned his MFA from the University of Iowa Writers’ Workshop. In addition to
publishing more than a dozen collections of poetry, Herrera has written short stories, young adult novels, and
children’s literature. Herrera is also a performance artist and activist on behalf of migrant and indigenous
communities and at-risk youth. His creative work often crosses genres, including poetry opera and dance theater. He
has taught at California State University-Fresno and at the University of California-Riverside. He lives in California.
(More about Juan Felipe Herrera is available at: http://www.poetryfoundation.org/poems-andpoets/poets/detail/juan-felipe-herrera.)
As noted in the preface to the book, Juan Felipe Herrera grew up in California, where his family worked on farms.
The story is autobiographical, and Juanito (as the narrator is often called) is a nickname for Juan.
This book is printed in both English and Spanish. Be sure to draw attention to this! Depending on the group, you
may want to encourage a second reading entirely in Spanish.
A poet, Herrera writes with great attention paid to images and language. After reading the story once, you may
want to return to some of the phrases to figure out how the language is working. For example, on page seven, Juan
says, “Maybe the street lamp is really a golden cornstalk / with a dusty gray coat.” What does that mean? Why does
Juan feel more familiar with cornstalks? Why does he think about them? What does this tell us about moving to a
new place?
After reading the book, help participants understand the characters and story. Questions that allow readers to
summarize the story with a bit of direction can help readers feel comfortable discussing more complex elements of
the story. See suggested questions on pages six and seven of this toolkit.
2) Discussion of the Book and Theme: The Upside Down Boy and Courage
Teaching Tips
After helping with comprehension and understanding, move the group in a discussion of the session’s theme as it
works in the book. You may want to start by reminding the group of the theme and asking if anyone wants to help
define the word.

Definitions of courage to consider: Courage generally refers to mental or moral strength required to
persevere through or withstand difficulty. Courage is strongly connected to bravery, confidence, and
determination.
You may want to reread the book with attention paid to the theme; then, guide the group in a discussion of the
book’s presentation of the theme. See suggested questions on pages seven and eight of this toolkit. Additional
questions to consider for this book and theme:

How does Juanito show courage in the book?

Why does he need to have courage?
Why did his family move? What language does Juanito speak?

How did Juanito feel when he first arrived on Juniper street? When he first gets to school? Why?
How can you tell? Show us the words and illustrations that tell us Juanito’s feelings!
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 15

What does it mean that Mama has music in her voice?
What might that tell us about her personality or her outlook?

How do other characters react to Juanito?
Do they help him or hurt him? How does he react to them?

What helps Juanito find and have courage?
3) Further Discussion of the Theme: Courage
Teaching Tips
Ask participants to think a bit more about how the theme shows up in other places: in our own lives, in the news, in
other books (and television shows, movies, songs, etc.), in school, and at home. You may want to use creative
elements in leading this discussion. See suggested questions on page eight of this toolkit. Additional questions to
consider for this book and theme:

Do you ever need to have courage? When? Why? How?

Have you read any other stories about courage? What are they?
How do those characters compare with Juanito?

Do you know anyone else who shows courage? How? Why?

Have you ever been new to something or somewhere?
Was it scary? Why or why not? How did you react?

Has anyone ever helped you be courageous? How?
Have any teachers helped you? How? How did it make you feel?

Have you ever helped anyone else be courageous? How? Why?
4) Snacks, Library Information, and Related Activities
Additional Tips
Remember to take time to provide a healthy snack (and encourage chatting while eating!), and remember to take
time to provide an announcement—or a lesson or trip—about library services. If you incorporate any additional
activities—writing, drawing, performing, creating, moving—be sure that they work to enhance the session’s focus on
a book and a theme; no not include unrelated activities or events.
Additional themes and observations to consider or mention:

Languages—being able to speak a common language, singing, and poetry—are important in the book. Some
groups may be interested in exploring types of language and expression. You may want to ask participants
about languages they speak—especially Spanish.

Poverty and economic hardship are prominent in the book. Depending on the group, you may want to be
aware that needs to have courage could be related to financial concerns.

The illustrations in The Upside Down Boy / El niño de cabeza call to mind the illustrations in Tar Beach.
Why are these characters shown in the air? What does it tell us about the characters? How are courage and
dreams connected?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 16
CHANGE
1) Active Reading and Literary Analysis: Madlenka by Peter Sís
Background Information and Teaching Tips
Madlenka was published in 2000 and was a New York Times Book Review Notable Children’s Book of the Year.
Peter Sís has written and illustrated more than twenty books, including Starry Messenger: Galileo Galilei, Tibet
Through the Red Box, and The Wall: Growing Up Behind the Iron Curtain, which have earned him a MacArthur
Fellowship, Hans Christian Anderson Award, Sibert Award, and three Caldecott Honors. Born in Brno,
Czechoslovakia, Peter Sís lives in New York with his family. (More about Peter Sís is available at:
http://www.scholastic.com/teachers/contributor/peter-sis.)
Madlenka begs to be read with two minds in two different ways: 1) it is a rather simple story told in very simple
language, but the illustrations are complex and include additional text (in different typefaces and facing different
directions), and 2) the community, identified in one of the first illustrations as being in Lower Manhattan, is diverse
and global, while also a bit reliant on stereotypes. Both of these sets of contradictions may be connected to the
theme of change: 1) the book changes when we look beyond the simple text and pay attention to illustrations and
additional text, and 2) accepted representations of groups of people change over time—do you think that the
representations would be different if the book were published today?
A fair amount of time may be spent looking at and thinking about the illustrations in this book. What meaningful
details can you find in each illustration? How does one illustration build upon others? How do the illustrations
change or affect our understanding of the story? What does the illustrator seem to be asking us to do as readers?
What do the windows cut in the pages do? Because each family will have a book with them, you can take time to
look at details without worrying about showing one book to a large group.
After reading the book, help participants understand the characters and story. Questions that allow readers to
summarize the story with a bit of direction can help readers feel comfortable discussing more complex elements of
the story. See suggested questions on pages six and seven of this toolkit.
2) Discussion of the Book and Theme: Madlenka and Change
Teaching Tips
After helping with comprehension and understanding, move the group in a discussion of the session’s theme as it
works in the book. You may want to start by reminding the group of the theme and asking if anyone wants to help
define the word.

Definitions of change to consider: With a number of meanings, change refers to any difference being made,
and in relation to the book, change may be more specifically considered a reference to growth, development,
and the process of maturing. Change may be personal—such as physical development and growth—and
may also be societal or global—such as civil rights movements and global warming.
You may want to reread the book with attention paid to the theme; then, guide the group in a discussion of the
book’s presentation of the theme. See suggested questions on pages seven and eight of this toolkit. Additional
questions to consider for this book and theme:

What might change mean in the book? Why? How?
How does Madlenka change? How does she grow? What does she learn?

Who are the other people in the book? Why are they important to Madlenka?

How do the illustrations and windows ask us to change as readers?

What connections might be made between personal growth (like losing a tooth), altering perspectives (as
readers follow illustrations), and reconsidering our environments?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 17
3) Further Discussion of the Theme: Change
Teaching Tips
Ask participants to think a bit more about how the theme shows up in other places: in our own lives, in the news, in
other books (and television shows, movies, songs, etc.), in school, and at home. You may want to use creative
elements in leading this discussion. See suggested questions on page eight of this toolkit. Additional questions to
consider for this book and theme:

Madlenka wants to tell everyone that she lost her tooth.
What’s an important change from your life that you’ve been excited to share?

Not all change feels fun and exciting.
Have you experienced other kinds of change? What? How did you feel?

Madlenka tells her parents she traveled around the world. Did she? How?

What did you learn from the book?

If you could travel anywhere, where would you go? Why?

What have you learned about other people and other cultures? How?

If you were a character in Madlenka, what would you want Madlenka to learn about you and your life,
culture, or family?

If you created a book about your neighborhood, who or what would you include?
4) Snacks, Library Information, and Related Activities
Additional Tips
Remember to take time to provide a healthy snack (and encourage chatting while eating!), and remember to take
time to provide an announcement—or a lesson or trip—about library services. If you incorporate any additional
activities—writing, drawing, performing, creating, moving—be sure that they work to enhance the session’s focus on
a book and a theme; no not include unrelated activities or events.
Additional themes and observations to consider or mention:

Representations of cultural groups and identities play a primary role in this book. Ask participants what
they think of the representations. It’s okay if some people think they’re great and if some people think
they’re stereotypical or shallow or inaccurate. Ask participants to think about why they react the way they
do. You may ask participants how they would represent groups or cultures differently.

Languages other than English are very important in the book. Madlenka includes greetings in French
(“Bonjour”), Punjabi (“Sathsariakal”), Italian (“Buon giorno”), German (“Guten tag”), Spanish (“Hola”),
and Tibeten (“Tashi delek”). You may want to ask participants if they know any additional greetings
and/or what languages they know how to speak.
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 18
DETERMINATION
1) Active Reading and Literary Analysis: A Chair for My Mother by Vera B. Williams
Background Information and Teaching Tips
A Chair for My Mother was published in 1983 and was a Caldecott Honor Book. Born in 1927, Vera B. Williams
studied graphic art at the Black Mountain College in North Carolina. (More about Vera B. Williams is available at:
http://www.kidsreads.com/authors/vera-b-williams.)
Illustrations play an important role in A Chair for My Mother. You may ask participants do consider what they
learn about the characters through the illustrations. You may also ask participants to notice the borders of each
two-page spread: Why do you think the illustrator chose each border?
Some participants may not know what it means to work for tips as a server. Initial discussions of the book may
begin with simple questions about the narrator’s mother’s job: What does it mean to work as a waitress in a diner?
What are tips? Work to make sure all participants understand these basic elements of the story.
The book focuses on saving for and buying a chair. Why a chair? Why is the chair important to the narrator’s
mother? These questions connect to feeling at home and to finding comfort; you may want to ask participants to
consider the importance of such feelings and to share places and things that help them to feel at home.
After reading the book, help participants understand the characters and story. Questions that allow readers to
summarize the story with a bit of direction can help readers feel comfortable discussing more complex elements of
the story. See suggested questions on pages six and seven of this toolkit.
2) Discussion of the Book and Theme: A Chair for My Mother and Determination
Teaching Tips
After helping with comprehension and understanding, move the group in a discussion of the session’s theme as it
works in the book. You may want to start by reminding the group of the theme and asking if anyone wants to help
define the word.

Definitions of determination to consider: While determination may refer to a decision or resolution, in the
context of A Chair for My Mother and most of our lives, determination is the quality of deciding firmly and
definitively and of working toward a goal; in the book, for example, the family saves money with urgency
and determination. Acting with determination may be connected to acting with bravery and courage.
You may want to reread the book with attention paid to the theme; then, guide the group in a discussion of the
book’s presentation of the theme. See suggested questions on pages seven and eight of this toolkit. Additional
questions to consider for this book and theme:

How does determination play a role in this story?
Who shows determination in the book? How?

How might you describe the personalities or attitudes of the characters?
How is determination connected to cooperation and teamwork in the book?
How is determination connected to courage?

In the book, is saving money easy?
Why do the characters do it? How do they do it?

What might the book be trying to teach us about determination? How?

What is most important to the characters in the book? How do you know?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 19
3) Further Discussion of the Theme: Determination
Teaching Tips
Ask participants to think a bit more about how the theme shows up in other places: in our own lives, in the news, in
other books (and television shows, movies, songs, etc.), in school, and at home. You may want to use creative
elements in leading this discussion. See suggested questions on page eight of this toolkit. Additional questions to
consider for this book and theme:

The family in the book is determined to save money for furniture after their house burns down.
Have you ever acted with determination? When? Why? How?

Do you know anyone who has acted with determination?
How did you react?

The narrator’s grandma says, “It’s lucky we’re young and can start all over.” What does that mean?
Have you ever had to start all over? Have you known anyone who has?

The narrator’s mother works hard as a server in a diner. What other jobs are there?
What jobs do you think you might want to do? Why? Why are jobs important?

Have you ever saved for anything? How? Why?

Have you ever needed help from other people? When? Why?

Have you ever helped anyone the way the family members and neighbors in this book help each other?
4) Snacks, Library Information, and Related Activities
Additional Tips
Remember to take time to provide a healthy snack (and encourage chatting while eating!), and remember to take
time to provide an announcement—or a lesson or trip—about library services. If you incorporate any additional
activities—writing, drawing, performing, creating, moving—be sure that they work to enhance the session’s focus on
a book and a theme; no not include unrelated activities or events.
Additional themes and observations to consider or mention:

Poverty and economic hardship are prominent in the book. Depending on the group, you may want to be
aware that needs to have determination could be related to financial concerns.

A Chair for My Mother and The Heart and the Bottle both feature a chair. How are those chairs the same?
What do those chairs represent? What do these two books say about love and family?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 20
LOVE
1) Active Reading and Literary Analysis: The Heart and the Bottle by Oliver Jeffers
Background Information and Teaching Tips
The Heart and the Bottle was published in 2010. Oliver Jeffers is an artist who works in figurative painting,
installation, and illustration. His paintings have been exhibited at the Lazarides Gallery and the National Portrait
Gallery in London, the Brooklyn Museum and Spring Break Fair in New York, and Gestalten Space in Berlin. Jeffers
is from Belfast, Northern Ireland, and lives and works in Brooklyn, New York. (More about Oliver Jeffers is
available at: http://www.oliverjeffers.com/.)
A thoughtful and perhaps useful review of The Heart and the Bottle by Maria Popova:
https://www.brainpickings.org/2015/05/14/oliver-jeffers-the-heart-and-the-bottle/
The Heart and the Bottle is a short, simple story—a fable. It does, however, ask readers to consider strong feelings
of love and loss. The book may be best read and discussed slowly, sensitively, and gently. With a number of
wordless pages, the book asks readers to spend time on illustrations and to think about what may be present and
what may be missing.
Because it is a fable, The Heart and the Bottle relies on symbolism and metaphor. Don’t worry too much about
teaching these difficult terms to participants, but you may consider explaining that symbols are things that stand for
other (often more complicated) things. What does it mean to put one’s heart in a bottle to keep it safe? What does it
mean to take one’s heart back out of the bottle? The fable is about letting oneself love and about feeling afraid to
love because eventual loss may cause too much pain.
After reading the book, help participants understand the characters and story. Questions that allow readers to
summarize the story with a bit of direction can help readers feel comfortable discussing more complex elements of
the story. See suggested questions on pages six and seven of this toolkit.
2) Discussion of the Book and Theme: The Heart and the Bottle and Love
Teaching Tips
After helping with comprehension and understanding, move the group in a discussion of the session’s theme as it
works in the book. You may want to start by reminding the group of the theme and asking if anyone wants to help
define the word.

Definitions of love to consider: Perhaps defined simply as affection for another, love has many meanings. In
the book, love is closely connected to loss and to the fear of loss; love may be attraction, admiration,
attachment, warmth, or devotion. For many, love refers to connection to another; love is often a strong
feeling.
You may want to reread the book with attention paid to the theme; then, guide the group in a discussion of the
book’s presentation of the theme. See suggested questions on pages seven and eight of this toolkit. Additional
questions to consider for this book and theme:

How does love work in the book?

Who does the girl in the book love? How do you know?
Why do you think the girl loves her father (or grandfather or other caregiver)?
What does the book show them doing together?

The girl’s head is “filled with all the curiosities of the world.” What does that mean?
How does the girl learn about the world?

When did the girl change? Why? How do you know?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 21

How did the girl change? What are some of the feelings she may have felt?
How did she change again?

Was the girl afraid? How do you know? Why do you think so?

What might it mean that the girl put her heart in a bottle? Why would she do that?
What does the heart represent?

Why do you think it was so hard for the girl to get her heart back out of the bottle? What might it mean?

What might be the book be trying to teach us about love, loss, and fear?
How can you tell?
3) Further Discussion of the Theme: Love
Teaching Tips
Ask participants to think a bit more about how the theme shows up in other places: in our own lives, in the news, in
other books (and television shows, movies, songs, etc.), in school, and at home. You may want to use creative
elements in leading this discussion. See suggested questions on page eight of this toolkit. Additional questions to
consider for this book and theme:

What does love mean to you?
Who are some of the people you love? Why? How?

Is love important to you? Why?

The girl in the book lost someone important to her. Have you ever lost someone or something?
How did you feel? How did it change you?

The girl in the book tried to keep her heart safe by keeping it in a bottle.
Have you ever tried to keep your heart safe? How? Why?
4) Snacks, Library Information, and Related Activities
Additional Tips
Remember to take time to provide a healthy snack (and encourage chatting while eating!), and remember to take
time to provide an announcement—or a lesson or trip—about library services. If you incorporate any additional
activities—writing, drawing, performing, creating, moving—be sure that they work to enhance the session’s focus on
a book and a theme; no not include unrelated activities or events.
Additional themes and observations to consider or mention:

This book may bring up some strong, difficult feelings and memories for participants. Depending on the
group, participants may feel comfortable talking about love and loss; they may talk about losing someone
important and about feeling afraid. Be prepared to start with smaller, more concrete questions, because
these larger topics can be intimidating.

The Heart and the Bottle and A Chair for My Mother both feature a chair. How are those chairs the same?
What do those chairs represent? What do these two books say about love and family?

Notice the endpapers (the inside of the front and back covers) of the book. What do these additional
illustrations add to the story?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 22
FLOATER: DREAMS, COURAGE, CHANGE, DETERMINATION, OR LOVE
1) Active Reading and Literary Analysis: Emmanuel’s Dream: The True Story of Emmanuel Ofosu
Yeboah by Laurie Ann Thompson / illustrated by Sean Qualls
Background Information and Teaching Tips
Emmanuel’s Dream: The True Story of Emmanuel Ofosu Yeboah was published in 2015, and it won the Schneider
Family Book Award in 2016. Laurie Ann Thompson is a former software engineer who writes for children and
young adults, and Sean Qualls is an illustrator who received a Coretta Scott King Illustrator Honor in 2009 for
Before John Was a Jazz Giant by Carole Boston Weatherford. (More about Laurie Ann Thompson is available at:
http://www.teenreads.com/authors/laurie-ann-thompson. More about illustrator Sean Qualls is available here:
http://seanqualls.com/bio/.)
This book is listed as the “floater,” a book that engages with all themes of the series. It may be paired with any of
the other books for further discussion of one theme, or it may serve as a parting gift to families on the final day of
the series.
Emmanuel’s Dream provides readers with a representation of one person’s life in contemporary Ghana, a country in
West Africa, as well as a representation of one person’s experience living with a disability. Be sure to respect
comments and observations from all participants, and also be sure to caution participants against making
generalizations/assumptions about all lives in Ghana—or all lives in West Africa or all of Africa—and against
making generalizations/assumptions about all of those who live with disabilities.
After reading the book, help participants understand the characters and story. Questions that allow readers to
summarize the story with a bit of direction can help readers feel comfortable discussing more complex elements of
the story. See suggested questions on pages six and seven of this toolkit.
2) Discussion of the Book and Theme: Emmanuel’s Dream and Dreams, Courage, Change,
Determination, or Love
Teaching Tips
After helping with comprehension and understanding, move the group in a discussion of the session’s theme as it
works in the book. You may want to start by reminding the group of the theme and asking if anyone wants to help
define the word. Because this book may be used with all of the themes of the series, you may use it connect one
session with another, or you may pair it with a book to enhance discussions around one of the themes. Regardless, it
may be useful to define the theme or themes (again).

Definitions of dreams, courage, change, determination, or love to consider: A dream is a strongly desired
goal, courage refers to mental strength, change is a difference or a development, determination is working
with a firm decision, and love refers to emotional attachment and devotion.
You may want to reread the book with attention paid to the theme; then, guide the group in a discussion of the
book’s presentation of the theme. See suggested questions on pages seven and eight of this toolkit. Additional
questions to consider for this book and these themes:

What motivates Emmanuel?
Why does Emmanuel ride a bike across and through his entire country?

How would you describe Emmanuel’s character or personality? Why?

What lessons does Emmanuel teach? How? Why?
What lessons does the book teach? How?

How does Emmanuel’s story show us something new about dreams, about courage, about change, about
determination, or about love?
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 23
3) Further Discussion of the Theme: Dreams, Courage, Change, Determination, or Love
Teaching Tips
Ask participants to think a bit more about how the theme shows up in other places: in our own lives, in the news, in
other books (and television shows, movies, songs, etc.), in school, and at home. You may want to use creative
elements in leading this discussion. See suggested questions on page eight of this toolkit. Additional questions to
consider for this book and these themes:

How might Emmanuel’s life be different if he lived where you live? Why do you think that is?

What motivates you?
How might you like to change the world? Why?
4) Snacks, Library Information, and Related Activities
Additional Tips
Remember to take time to provide a healthy snack (and encourage chatting while eating!), and remember to take
time to provide an announcement—or a lesson or trip—about library services. If you incorporate any additional
activities—writing, drawing, performing, creating, moving—be sure that they work to enhance the session’s focus on
a book and a theme; no not include unrelated activities or events.
Additional themes and observations to consider or mention:

Ableism and discrimination are prominent in the book. Depending on the group of participants, you may
want to engage in a discussion of how the United States is and is not like contemporary Ghana.

Poverty and economic hardship are prominent in the book. Depending on the group, you may want to be
aware that discussions could be related to financial concerns.
FAIR STORYTELLER’S TOOLKIT FOR SYLLABUS 1A / page 24