Tag Archive: National Geographic



A review by Jeff Hicks

Minds Made for Stories: How We Really Read and Write Informational and Persuasive Texts by Thomas Newkirk. 2014. Heinemann.

Genre: Teacher Resource

Levels: Grades K through 16

Features: Glossary.

Personal Note: There are a few things I need to say about this book before any introduction or summary. At 146 pages, it’s a slim volume, yet it took me a couple weeks to read it. That doesn’t sound like a selling point, but I think it’s a tribute to the depth of Thomas Newkirk’s message. As I read, I found myself in a constant (and fluctuating) state of reflection, confirmation, affirmation, and imagining. These are all positive states to be in! I would have to pause my reading to think about past lessons, to jot down a powerful quote I wanted to remember, to sketch out a lesson idea I wanted to try with my Wednesday fifth graders or my Tuesday eighth graders, or to find my own examples of a specific kind of writing/reading he was describing. Being the old-school guy that I am, I used note cards for scribbling down all my notes and thoughts. I stuffed these into the back of the book and found myself reviewing them before I dove back into the next section. This kind of interaction with a book’s content doesn’t happen with every book I read. I am still carrying—literally and figuratively—this book (and note cards) around with me, talking about it with teacher friends and school board colleagues. And now I’m handing it off to you—figuratively of course. I’m not letting go of my copy just yet.

“Narrative imagining—story—is the fundamental instrument of thought…It is our chief means of looking into the future, of predicting, of planning, of explaining.” The Literary Mind by Mark Turner. 1996.

“Stories are easier to remember—because in many ways, stories are how we remember.” A Whole New Mind by Daniel Pink. 2005.

“Story…sharpens our understanding of one thing by showing it in the context of something else.” A Whole New Mind by Daniel Pink. 2005.

“When facts become so widely available and instantly accessible, each one becomes less valuable. What begins to matter more is the ability to place these facts in context and to deliver them with emotional impact.” A Whole New Mind by Daniel Pink. 2005.

Sixtraitgurus Posts:

April 5, 2012: “Test Drive Jason Chin’s “Hybrid” Book, Coral Reefs

March 28, 2013: “Steve Sheinkin’s Bomb: The Race to Build-and-Steal-the World’s Most Dangerous Weapon”

October 1, 2013: “Reports and Poetry—Inspired by Walt Whitman and Loren Long”

These quotes—connections from previous reading—and STG post references are some of the things I wrote down on my note cards as I read Thomas Newkirk’s book, Minds Made for Stories: How We Really Read and Write Informational and Persuasive Texts. I was going to include a picture of my cards, but I had problems uploading photos from my old-school phone. (I need to get a new phone, but I’m scared to go into the store—too many questions, choices, and options.)


In Minds Made for Stories, author Thomas Newkirk offers to readers a much-needed philosophical shift and tweak to classroom instructional approaches based on the CCSS’s narrow “…triumvirate of narrative, informational, and argument writing…” (Page 6) To the author, this seemingly tidy packaging of forms or modes is “…a clear instance of a ‘category error’…a classification based on conflicting principles…A category error would be to ask someone if they wanted dessert or ice cream. The answer could obviously be both.”

Mr. Newkirk’s contention is that, yes, narrative is a mode or form, but it is the “mother of all modes.” Narrative can be used by writers to do all sorts of things—entertain, argue, persuade, inform, etc. Narrative can’t and shouldn’t be boxed up and delivered as something taught in the elementary grades, while the boxes of argument and informational writing are reserved for middle and high school. Writing (and reading) instruction needs to be more fluid and nuanced than that. Newkirk spotlights the essential connections between both the acts of reading and writing and the instructional approaches to the teaching of reading and writing. He suggests that readers engaged in sustained reading, as opposed to extractive reading, are staying with the author’s “story,” the “drama” or the “plot,” regardless of the type of text—novel, research piece, opinion or persuasive essay, etc.

“So here is my modest proposition. That narrative is the deep structure of all good sustained writing. All good writing. We struggle with writers who dispense with narrative form and simply present information (a major problem with some textbooks)—because we are given no frame for comprehension.” (Page 19)

To follow Mr. Newkirk, here is my modest proposition. That this book is an important read for teachers, administrators, and anyone involved in translating standards into classroom practices. I’m going to highlight some of the things I recorded on my note cards—ideas, recommendations, guiding principles, revelations, etc. I will elaborate (offer personal and classroom connections) on some things and simply point out others for you to dwell on—shoot up the flagpole, so to speak. I can’t share everything, so my best suggestion is to just read the book. After all, it’s only 146 pages. You’re on your own for note cards.


“No More Hamburgers”—Something to Ponder…

If writing is (truly) the making of reading, then writing instruction has to help young writers focus on imagining their audiences in the act of reading their writing, in the act of sustained reading. Newkirk describes sustained reading as involving “‘staying with’ the writer as ideas are developed…” Yet, when students are taught to employ rigid formulas, readers are forced into extractive mode, looking for bits of information, thesis in the opening paragraph, first evidence/example in the second paragraph, I’ve reached the fifth paragraph—this must be the conclusion, and so on. You know the “Hamburger” format—top bun is the introduction, bottom bun the conclusion, the meat represents the body of the writing? Now, I know there are many variations on this model, but Newkirk argues that by emphasizing static structures—the “hamburger,” five-paragraph essay, etc.—we have not provided young writers the “…guidance in how writers maintain the loyal attention of readers. We have presented form as a visual structure, not as a series of ‘moves.’” (Page 18) And it is this sense of “movement” through time, provided by the deep structure of narrative that sustains readers and helps them completely commit to the nonfiction text.

*An Example


You may already be familiar with Ben Hillman’s books, including How Big Is It?, How Fast Is It?, How Strong Is It?, How Weird Is It? These books offer teachers and students great examples of 6-7 paragraphs “reports” on, in the case of my example book, really big things. These reports don’t follow a strict “hamburger,” “essay,” or topic sentence-detail-detail-detail-commentary/transition format. In his “report” on page 21, “Dragonfly of the Carboniferous,” he tells readers about the giant insects of the Carboniferous Period (before dinosaurs), focusing on the dragonfly of the time, a beast with a wingspan of over two feet! Because the author is not chained to a rigid structure, he allows us to slip into the “drama” of this insect’s world, filling us in on the conditions necessary for this giant bug’s existence, setting the stage for the dragonfly’s big entrance in paragraph…six! As the title suggests, Mr. Hillman does provide readers with plenty of size specifications—he lets us know exactly how big these things were, with all sorts of numbers and measurements. But he also puts his text side by side with amazing photos/illustrations/artistic renderings of each object immersed in its own revealing “story.” We have become committed and sustained readers.


“Everything written is as good as it is dramatic. It need not declare itself in form, but it is drama or nothing.”

Robert Frost

“Only a Magician”—Resolving an Instructional Conflict

Mr. Newkirk makes it clear that if we want our students to be able to write arguments or informational pieces, we do have to teach them the “conventions” of these genres. As teachers, we can’t make the leap of faith that because students have read fiction, and written fictional or autobiographical stories, they must be able to write argument or informational pieces. “Only a magician could think that.” (Page 28) If narrative is indeed the “mother of all modes,” “the deep structure of all good writing,” then the tools of narrative—the drama or trouble, plot—“itches to be scratched,” connection/comparison to human activity and needs, the sense of a real person being there with you from beginning to end—need to be taught as well, and not boxed up as a unit done in grade X or Y. Readers are (or should be) constantly asking What’s the story? Writers need to be there, inviting them in and urging them on with itches and scratches.

*An Example–


The book, The Wolverine Way (Patagonia, 2010), a non-fiction study/back country adventure/natural history by author/wildlife biologist Douglas Chadwick, got me “itching” first on the book jacket. Wolverines are touted as “Glutton, Demon of Destruction, Symbol of Slaughter, Mightiest of Wilderness Villains, a Reputation Based on Myth and Fancy.” That sounds like trouble brewing! Will his study confirm the mythology or reveal something different? In the book’s prologue, after telling a story (!) about meeting a miner whose face had been disfigured by a wolverine, the author, who was seventeen at the time, makes a promise to himself to “…steer clear of wolverines and never let one up close. That seemed an easy enough vow to keep. Who runs into wolverines?” Major dramatic itch! Like the worst case of poison oak! I was committed now—I couldn’t wait to get scratching.


“Voice”—The Reason to Keep Reading

Mr. Newkirk presents voice as “a constant, a human presence, a sensibility, a character, a narrator and guide…The more we sense this human presence, and feel attracted to it, the more willing we are to stay with the text.” (Page 38) Those of us whose teaching is steeped in the six traits know well the importance of voice, especially in nonfiction writing. As writers, if we are going to create a sustained reading experience, we have to let readers know we are there with them and for them. How do we do that? By carefully choosing the right words—active verbs, precise nouns, vivid descriptors. By varying sentence lengths and structures. By becoming enthusiastic “experts” on our topics. When students are confident with their information, their readers will feel it and know they are in good hands.

* Examples–

1) Here’s paragraph #2 (in its entirety) from a ninth grade student’s 5-paragraph essay about To Kill a Mockingbird (the voice of an “expert”?)—

Fairness is one of the many interesting themes in this great book. The main character Atticus shows the importance of fairness by the way he tries to treat others. Other characters demonstrate fairness as well.

2) Here’s a short passage from a sixth grade student’s writing about what it might have been like to be in a Civil War battle—

I glance nervously at the army’s power as they come, as if nothing could stop them. Horses trot, flaring their nostrils as icy cool breath shoots out of their noses. A long line of flashes fly down the line. Men fall on either side of me. Red liquid sprays like mist with every flash.

Are you pulled in by the writer’s “expertise”? Word choices? Drama/story? Do you sense a “guide”? That’s voice!

3) Here’s a sample from a first grader’s description of his cat—

She had black, white, and brown wobbly stripes. She let me pull a little on her tail. That’s not common about cats. She liked me petting her with strokes from her neck down to her tail.

This young writer is an enthusiastic expert on his cat and as readers, we can really feel it.

Read proudly — put the duty of being read invariably on the author. If he is not read, whose fault is it? I am quite ready to be charmed, but I shall not make-believe I am charmed.

Ralph Waldo Emerson


“Two Absurdly Simple Rules”

Author Newkirk offers this boiled down advice—

  1. Read as if it is a story.
  2. Write as if it is a story. (Page 43)

These rules, on the surface, do seem simple, but their simplicity is profound. In rule number one, the rule that may seem to run counter to the reading of informational texts, Mr. Newkirk is proposing that readers, regardless of the type of text—novels, arguments, reports, plays—read for the story, the drama, the plot behind the issue that initially prompted the writing.

“Seven Textbook Sins”

The following is a list of textbook writing tendencies that put up barriers to the possibility of sustained reading. This list can be used as a set of warning signs for student writers, cautionary tales of bumps to avoid in their own writing. For student use, they could be rewritten into positive “dos” rather than “don’ts.”

  1. Flatness (“Refusal to create human interest.” Page 56)
  2. Overuse of “To Be” Verbs and Passive Constructions (Page 58)
  3.  Piling On (overwhelming readers with lists, terminology, technical Page 60)
  4. Refusal to Surprise (Page 62)
  5. Lack of a Point of View (The writer, the “guide” is absent. Page 63)
  6. The Refusal of Metaphor and Analogy (Page 65)
  7. Ignoring the Human Need for Alternation (Monotonous tone. Page 67)

* An Example–


I realize that National Geographic magazine is not a textbook in the traditional sense—for good reason. The writing is too strong! Their articles and amazing photography are, in my mind, free of any of the sins listed above. Here’s a taste from an article—“The Age of Disbelief”—in the March 2015 issue, describing why so many people still struggle with believing scientific “truths” supported by evidence.

“The media would also have you believe that science is full of shocking discoveries made by lone geniuses. Not so. The (boring) truth is that it usually advances incrementally, through steady accretion of data and insights gathered by many people over many years. So it has been with the consensus on climate change. That’s not about to go poof with the next thermometer reading.” (Pages 41-44)

Final Thoughts

There is so much more to say about Minds Made for Stories, so the only thing to do is read the book. As I said, for a slim volume, it’s loaded with practical applications to classroom teaching, philosophical fodder for those trying to wrap their heads around Common Core, and it should all keep you excited to be a literacy teacher in today’s world. I will leave you with two more bits from the book, in case you didn’t have enough to ponder.

“If the goal of reading nonfiction is to retain what we read—a reasonable assumption—attention is crucial, for we generally don’t retain things we don’t attend to…No attention, no comprehension.” (Pages 71-72)

“Reading and writing are a form of travel, through time, and writers need to create the conditions for attention…the tools and skills we normally associate with literature are essential to maintaining attention, and enabling comprehension and critical thinking.” (Page 72)


Pictured–author Thomas Newkirk, whose book is featured here. To find out more about Mr. Newkirk and his many other books, please visit:


Coming up on Gurus . . .

Vicki is back after an amazing Australian and New Zealand adventure! I think she has nearly a thousand pictures to share—“Here I am with a kangaroo,” “Here I am with another kangaroo–no, wait, it’s a wallaby,” “Here I am running from one of the world’s ten deadliest snakes,” “Here I am running from one of the world’s five deadliest snakes–no wait, it’s a wallaby…” Just kidding! She will be sharing her thoughts and worldly wisdom about one of her recent reads or just sharing her worldly wisdom on a topic important to you and your students. (And maybe a picture or two.) Meantime, welcome back from spring/Easter break, and thank you for taking time to visit us here at Gurus. Come often, and bring friends. And remember . . . give every child a voice.



Bomb: The Race to Build-and Steal-the World’s Most Dangerous Weapon. 2012. Steve Sheinkin. New York: Roaring Book Press.

Genre: Informational chapter book

Grade Levels: 5 and up

Features: Historic information; vintage photos, letters; resource list for further research; source notes; quotation notes; index.

266 pages (including end matter)


Steve Sheinkin is a writer of many talents. He knows how to write award-winning books. Bomb: The Race to Build-and Steal-the World’s Most Dangerous Weapon, and The Notorious Benedict Arnold: A True Story of Adventure, Heroism, & Treachery, have earned high praise and honors—National Book Award Finalist, Newberry Honor, to just begin the list.  And he also knows how to title his books to make them practically leap off the “shelf” into the hands of anxious readers. Whether you prefer to access books electronically or traditionally, you know, old school with bound paper pages, Mr. Sheinkin’s titles alone are enough to entice readers to grab or click and jump in. (More to come below on titles.) That’s no small skill for an author of non-fiction histories. This is especially true in light of the Common Core State Standards pushing teachers and students towards more informational reading and writing.

For many student readers, informational reading, especially in history, is a turn-off (I won’t use the word boring, a word that was banned from our house to keep our son from using it as a crutch). For many teachers and students, their experiences with informational texts and textbooks have been less than positive—dry, encyclopedic mounds of lifeless facts, dates, places, etc.  Author Sheinkin, in his bio on Bomb’s slip cover, after admitting to being a former textbook writer, states his intention to “dedicate his life to making up for previous crimes by crafting gripping narratives of American history.” Fortunately for teachers and students, he is doing just that. His recent book, Bomb, delivers on all fronts–an exciting title and a well crafted, informative, and engagingly “gripping narrative” history.

What Mr. Sheinkin understands is the importance of story. Cognitive scientist Mark Turner explains in his 1996 book The Literary Mind, “Narrative imagining—story—is the fundamental instrument of thought…It is our chief means of looking into the future, of predicting, of planning, of explaining.” History is stories. Science is stories. Mathematics is stories. In A Whole New Mind (2005), Daniel Pink emphasizes it this way, “Stories are easier to remember—because in many ways, stories are how we remember.” I think educators have to be careful to avoid pitting narrative writing against informational writing, or reading works of fiction against non-fiction content. I don’t see them as being separate and discrete elements of literacy. Stories provide the context to determine the value of information, to sort, categorize, and remember. What do classroom teachers do then, to make sense of the CCSS emphasis on informational/expository reading and writing?  Strike a balance. Don’t abandon one to serve the other. Help students to access reading that is motivating to help them develop the desire and the tenacity to tackle content—narrative and informational—that may be more complex. Continue teaching, practicing, and building skill in narrative writing because of its connections to building skill in informational, expository, and persuasive writing. Adopting the CCSS does not mean scrapping common sense. (To learn more about the value of narrative writing, including some myth busting, be sure to check out Vicki’s post from June 25, 2012, Dissecting and Defending Narrative Writing via the Common Core.)

So how does Steve Sheinkin begin his thrilling history—from discovery to deployment—of the atomic bomb? With the story, of course! And what a story it is! Scientists (Robert Oppenheimer, Albert Einstein), spies, double agents, secret governmental agencies, super secret missions, world leaders (Joseph Stalin, Adolph Hitler), American presidents (Franklin Roosevelt, Harry S. Truman), plots and counter plots, and more! This book is a history lesson, well researched, complete with all the names, dates, events, and locations told with a storyteller’s eye and ear for detail and audience.

In the Classroom

1. Reading. As always, take time to preview and read the book prior to sharing or involving students in independent reading. You could select chapters or passages to share aloud to build excitement for independent reading or make connections to supplement a history text. If you plan to use this as a complete read-aloud or a book study where each student has a copy—and it would work well for either, I would recommend devoting a flip-chart page or part of a bulletin board to helping students keep track of all the important figures. There are a lot of “characters.” You could even keep three charts—one to follow the American development of the bomb, one for the Russian efforts to steal the bomb’s technology, and one for the people involved in sabotaging the German scientists attempting to build a bomb for their side. I would involve students in researching/finding images of each player to copy and post on the charts. This could be done as a hierarchical organizational chart to show the connections between each person, government, or agency. There are b/w photos of the key figures, included at the beginning of each of the book’s four sections. Each photo includes the subject’s name and brief identifying information—e.g. Harry Truman U.S. President 1945-1953. These could be shown to students using a document camera and serve as models for the students during their research.

2. Historic background. What do your students know about World War II—the leaders and countries involved, how the U.S. became involved, or how it ended? Is it an area of interest for any of them? Do any of them have relatives who fought or were involved in the war? The level of background information may, of course, depend on the age/grade of your students. They don’t need to know everything—this isn’t a complete history of the war—but a few key details will help students understand the urgency felt by the United States to direct and affect the war’s outcome. Science, especially physics and chemistry, is at the heart of this story. Are some of your students interested in a specific area of science? What do they know about the study of physics or chemistry? You don’t have to be a physicist or chemist, but you can be a guide to helping them find out what scientists in these fields do. This may help them begin to look for answers to the question—How does a college physics professor in Berkeley, California, end up working on a top secret project to develop the weapon that will be used to end World War II and change the world for all of us?

3. Images/Stereotypes. Popular culture, especially television and movies, has often guided our images of science and scientists and even the role of science in our world. The Nutty Professor, The Absent Minded Professor, Frankenstein, Gilligan’s Island, Bill Nye The Science Guy, and more recently, The Big Bang Theory, Ironman, CSI, Bones, and Breaking Bad. What are your students’ images of science/scientists? The nerdy or evil genius? The oddball crackpot? The suave jetsetter with the cool toys? The shy lab rat in the white coat? Have any of these stereotypes affected their interest in science? What are your students’ experiences with stereotypes each day at school?

4. Details/Purpose/Audience. One of the most striking things about Steve Sheinkin’s book is how much readers learn about physics and chemistry without being overwhelmed with theories, laws, processes, and terminology. I wouldn’t call it “Science Lite”—the author is not dumbing anything down for readers. He has chosen a level of detail that matches his purpose for writing, and his awareness of his audience. Discuss the concept of audience with your students. Why is it important, as a writer, to know and write for your audience? Who was the last audience they may have written for? How did that knowledge affect their writing (pre-writing, research, narrowing of topic, etc.)?

5. Becoming an “Expert.” Take a moment to discuss with your students how they as readers know when writers are experts on their topics. What happens to readers when they are in the hands of an expert? Are they able to tell when writers are faking it or stretching their limited knowledge too thin? What happens to readers when they discover the writer is posing as an expert? Spend some time with your students looking at the Source Notes, Quotation Notes, and Acknowledgments sections at the back of the book. What do these sections suggest to students about the expertise of Steve Sheinkin? This would also be a good time to talk about the differences between primary and secondary sources. Why is it important in a book like this to seek out so many primary sources?

6. Book Titles and Grabbing the Audience. I mentioned earlier that one of the author’s skills was the way his books are titled. How does a book’s title demonstrate the author’s audience awareness? Do titles make a difference in a book’s initial appeal? (What if Louis Sachar’s award winning book, Holes, had been titled Some Kids in the Desert With Shovels?) Are titles important to readers? How do they help our minds begin to ask questions, make predictions, or know what to focus on? Have your students identify what they see as the key words (words that grabbed their interest/attention) in the title, Bomb: The Race to Build—and Steal—the World’s Most Dangerous Weapon. I recently asked a sixth grade student I’m working with to do just this before knowing anything else about the direction of the book.  She highlighted bomb, race, steal, and dangerous. She then made a prediction about the book focused on the words race and steal. This student thought that the race could be against time and/or against others. The word steal made her think that race was “…so important that someone would cheat in a very sneaky way to win.” This is a kind of concept formation practice—setting our thinking in motion prior to reading.

7. Organization. Ask your students to describe the overall organizational pattern of the book. Yes, it’s chronological, but there’s more to it than that. There’s a prologue, epilogue, and four main parts dividing the chapters. The author has chosen to begin his story at the end, with the arrest of Harry Gold, an American man the Soviets were using as a spy. How does this choice create interest for readers? What questions does it spark in the minds of curious readers? You could have your students begin a timeline with Harry Gold’s arrest in 1950, knowing they will have to jump back in time as the rest of the story begins to unfold in the first chapter. It is 1934 when readers meet young scientist Robert Oppenheimer in the book’s first chapter. The timeline and organizational chart suggested earlier could be added to as the story progresses. Students could not only keep track of the “characters” but how they are involved in the events of the story.

8. Voice. How would your students describe the voice of this book? Is it encyclopedic? The voice of a history professor lecturing to students? The voice of a scientist speaking to colleagues?  Passionate? Knowledgeable? Biased? Professional? Come up with your own list of words—and discuss the kind of voice you (and they) feel is appropriate or effective in an informational piece. Is there a connection between finding that appropriate/effective voice and being an expert on your topic?

9. Sentence Fluency/Dialogue/Voice. As a writer, if you are going to tell an exciting story filled with characters, from heroic to villainous, you need to have these characters interacting through dialogue. Readers will feel more involved with your story and connected with your characters. But what if your story is about a real historical event involving real people? How do we know what historical figures said to one another? Bomb is filled with dialogue between scientists, spies, generals, soldiers, and presidents. So what did Steve Sheinkin do to get his “characters” talking? Research! And lots of it! Check out the Quotation Notes section to help students understand, again, the importance of the writer as topic expert. Have students take roles and read sections aloud (try the Prologue) to see, hear, and feel how the dialogue helps readers identify, understand, and connect to each character. Is it appropriate to approximate, after extensive research, what historical figures might have said in various situations, if no actual record exists? What is the difference between historical writing and historical fiction?

10. Modern Devices/Secret Codes. A great deal of Bomb’s story is about communication—face to face, in letters, radio transmissions, coded notes, etc. Today’s students are used to communicating instantly with a variety of personal electronic devices and through various forms of social media (My old man is showing, but I’m uneasy with using the word social when a great deal of this type of interaction is not about meeting people face to face.) How many of your students have written/received actual letters? What is the difference, in their minds, between receiving a text and a letter? What is their preferred method of communicating with friends? Parents? How would the use of modern communication devices—computers, email, cell phones, etc.—have altered the events of Bomb? Are secrets harder to keep now? Are people, in general, less private? The spies in the book communicated through coded messages. Have any of your students ever developed or used their own secret code? (Some of your students might be interested in researching the Navajo code talkers used during World War II.)

11. Argument. Engage your students in discussion and writing about one or more of the topics below (or generate some of your own). Discussion is a great form of pre-writing and will help suggest the level of research needed to become “experts” as they begin writing.

  •        The role of science in our world today
  •        How the development and deployment of the atomic bomb changed the world
  •        Nuclear weapon technology is crucial to national security
  •        Other ideas _______________


12. Other Models. The more students are exposed to lively informational writing, grounded in story (narrative), the easier it will be for them to write in a similar fashion. Narrative writing is more than beginning, middle, and end. Informational writing is about more than a mountain of information. Besides books like Bomb, one of my favorite sources/resources for this blend of narrative informational writing is National Geographic magazine. Each issue is filled great with writing and, as a bonus, amazing photography. The April 2013 issue, for example, has a thought-provoking article about the scientific possibilities and environmental implications of de-extinction—reviving currently extinct species. The article is exciting science and history, and it’s a model of the kind of informational writing that begs to be read.


To find out more about Steve Sheinkin and his books, visit stevesheinkin.com


Coming up on Gurus . . . 
Vicki reviews Andrea Pinkney’s Hand in Hand: Ten Black Men Who Changed America. Drop by any time to see what’s new or mine our archive for some gold you may have missed. Thanks for visiting. Come often—and bring friends. Remember, for the BEST workshops blending traits, common core, workshop, and writing process, call us at 503-579-3034. Give every child a voice.