Tag Archive: nonfiction


a-black-hole-is-not-a-hole

A Black Hole Is NOT a Hole by Carolyn Cinami DeCristofano. 2012. Illustrated by Michael Carroll. Watertown, MA: Charlesbridge.

Genre: Nonfiction picture book.

Levels: Aimed at grade 4 and up, but appropriate and engaging for any grade level, including adults.

Features: Striking and informative illustrations, strong nonfiction voice, exceptionally thorough glossary, expansive timeline from pre-17th Century to the present—and beyond, excellent resource list and bibliography.

 

Overview

“A black hole is nothing to look at. Literally.” That playful description gives you a hint about Carolyn Cinami DeCristofano’s irresistibly charming nonfiction voice. But it doesn’t begin to reveal how much information the author packs into her 61-page account of this outer space phenomenon.

In a book written both to inform and amuse, the author manages to be scientific without being overly technical. Her conversational style—reminiscent of Carl Sagan, Bill Nye the Science guy, and other fine nonfiction authors—makes readers eager to pull up a chair and learn everything possible about black holes.

We discover at the outset that black holes are not what we might think. For one thing, they’re not holes. They’re also not monsters, gobbling up everything in the universe. But yes, they can and do pull things in—things as small as dust or as large as stars—and what goes in never comes out. Not even light can escape. That’s because “a black hole’s pull us the strongest pull in the entire universe,” stronger than any “fleet of giant rocket engines” (5). And though black holes may not plot or strategize, DeCristofano imbues them with an unmistakable element of danger that only adds to their allure.

The book is beautifully organized, divided into eight short chapters, each with its own theme. We begin with a description of black holes, what they are and how they operate, then consider the enormity of their gravitational pull, the way in which a black hole is formed, and the unimaginable blackness itself. The author wraps things up by first treating us to an imaginary tour inside a black hole, suggesting how things might look and feel if somehow we could make the journey—which of course we cannot. It’s too far (an understatement) and the effects would be, let’s say, dire: “The pull from the black hole would force your body into a long, skinny, stringy shape” (51). Just what I wanted for the New Year!, you’re thinking—but actually, this undesirable effect, known as “spaghettification,” doesn’t end well at all. When it comes to travel destinations, black holes do not make the list. In the final chapter, we get a peek at the “strange new universe” conceived by Einstein and others, a place where space can stretch and bend (55), and Newton’s law of gravity is given a new twist.

Every great nonfiction book offers readers something to love, and this one is no exception. First, DeCristofano’s voice never settles into the mundane. Throughout the book, she retains a tone of vibrant curiosity as if she were making discoveries right along with us. Second, thanks to the author’s exhaustive research, this book is filled with intriguing, little known bits of information. For example, what’s the likelihood that we ourselves will be swallowed by a black hole? Don’t let it keep you awake. Turns out we’re quadrillions of miles from the closest one. (To find out how many zeroes are in a quadrillion, check out the brilliant chart on page 6.) In addition, the author is a veritable master of similes and metaphors—which I happen to love because they make complex ideas accessible. In one chapter, she compares black holes to whirlpools. Though they may not be exactly alike, we get the idea. It gives us an image to cling to, and that’s important when discussing something as elusive as a black hole that exists in black space.

Finally, this book is brilliantly illustrated—in a range of styles that blend beautifully and fully complement the text. Illustrations include Michael Carroll’s striking paintings and whimsical cartoons, along with stunning photos from NASA and other sources. Together, these illustrations make us feel as if we are on a space flight, searching for mysterious black holes ourselves.

By the way, will our own sun become a black hole one day? Apparently  . . . that’s impossible. Read the book to find out why.

 

In the Classroom

Sharing the book. A Black Hole Is NOT a Hole is an ideal discussion book for a small group, but you can also read it aloud if you divide it into chapters. Please do read at least selected passages aloud since this book offers such an outstanding illustration of nonfiction voice. In addition, use a document projector if you can; students will find the illustrations fascinating and informative.

 

Background. What do your students know about black holes now? You might have them write a definition of a black hole. This isn’t a quiz! It’s a chance for them to see what they know prior to reading or hearing the book compared to what they learn as they go through it. You might also make a class list of the main questions your students have about black holes. Then compare your class list with the seven questions on the front inside flap of the book jacket. How many questions match? And how many of their questions are answered by reading the book? Note: When you finish the book, have students write a second definition of a black hole, comparing it to what they wrote at first. What ideas or perceptions have changed?

Coming to “terms” with the content. Fully understanding the book requires knowledge of a little scientific terminology. The author is very good at explaining new terms and ideas in context, but you can help students get even more out of the book by introducing a few terms from the glossary either up front or as you encounter them. Doing so also gives you a chance to acquaint students with the benefits of referring to a glossary often as you read. Recommended terms to emphasize: black hole, energy, event horizon, force, galaxy, gravity, light year, matter, quasar, radio galaxy, singularity, star, supernova, white dwarf.

Format and genre. Many students—and adults—equate picture books with stories. Maybe your students do, too. Ask them. Then mention that an increasing number of picture books—particularly those aimed at older students—are nonfiction. This trend has literally exploded over recent decades. (Why do you and your students think that might be?) You might also ask how they define “nonfiction” in their own minds. In fact, nonfiction is a large genre that can include everything from biographies and memoirs to histories, news reports, documentary videos, scientific analyses, nonfiction picture books, and much more. In terms of genre, how would your students describe A Black Hole Is NOT a Hole? After discussing this with them, you might share your own thoughts—along with mine: It’s fact, not fiction. We can also describe it as informational writing, based on scientific research. Read Carolyn Cinami CeDrostofano’s “Author’s Note” (pages 70-71) for details on how she compiled her information.

The message. Nonfiction books should teach readers something important or interesting. Even casual readers will pick up numerous bits of information about black holes, stars, galaxies, and the known and unknown universe. But—is there a larger message here? What central idea (or ideas) does the author hope we take away from reading this book? Hint: To zero in on this, try comparing common myths about black holes to the impressions with which the author leaves us by the end of the book.

The details. One helpful way to think about details is to ask students what information, if any, was new—or surprising. Nonfiction authors—the good ones, anyway—are always full of surprises. We wouldn’t read their books otherwise. You can model this with just the introduction and first chapter. Make a list of things that surprised you. For me, that would include the following (and if you teach science, then probably these weren’t surprises—but you can call them interesting reminders):

  • A black hole is not really a hole
  • It’s trillions of miles from Earth to the closest star
  • Stars look close together in the night sky—but are trillions of miles apart
  • A black hole has the strongest pull in the universe
  • A black hole can pull in stars and asteroids—in fact, nothing whatsoever can resist it

Looking at details in this way—as tidbits of surprising or hard-to-forget information—helps students understand what to include in their own writing. The details that matter, the ones to sift from their own research, are those that will make a reader say, “No kidding? I never knew that!”

Voice. No one without a strong sense of her own voice would dare call Einstein “a radical smarty-pants” (55). DeCristofano pulls it off with nary a blink. She is having a good time thinking and writing about space, and that kind of joy is infectious. If you share the book, or parts of it aloud, you can ask students to point out moments where they hear the author’s voice most clearly. Have them identify strong passages, study them together—using a document projector if you have one—and try to figure out what creates the voice. Is it wording? Humor? Striking details? Something more?

In addition, talk about the role of voice in nonfiction. I happen to think it’s essential in most writing (contracts, medical reports, and the like being exceptions of course). If a writer is excited about a topic, there’s no reason that enthusiasm shouldn’t come through in her writing. In writing that serves an informational purpose, though, what is the role of voice? Talk about this, perhaps by comparing DeCristofano’s book to any nonfiction piece without voice. Encyclopedias and many textbooks provide good examples.

Illustrations. Ask students to notice the different types of illustrations that appear throughout the text. Discuss the various purposes illustrations serve: to amuse us, teach us something, add to the mood or appeal of the book. Was the choice to use a blend of illustrations a good one in this case—for this subject and this author’s approach to her subject? Why? What if the book contained only photographs or only cartoons? What would be lost? Or suppose it had no illustrations at all. What would happen then?

 Drafting an argument. Do your students have any guess about how much money the U.S. spends on space research and exploration? Has the amount gone up or down in recent years? You can check out the facts online at this or another website:

http://curious.astro.cornell.edu/about-us/150-people-in-astronomy/space-exploration-and-astronauts/general-questions/921-how-much-money-is-spent-on-space-exploration-intermediate

Discuss this issue with students. Are we spending about the right amount—especially now that China and India are more active in space exploration, along with the European Space Agency and Russian Federal Space Agency? Should we be more competitive and aggressive in our spending? Or perhaps pull back and commit this money to some other endeavor? Give students a chance to research this topic briefly and discuss it in small groups. Then ask them to craft an argument supporting one of the following:

  • Increase spending on space exploration
  • Decrease spending
  • Maintain current levels of spending

Remind them to include strong reasons to back their position and to cite specific data and sources for that data. By the way, if your students are fortunate enough to know someone with relevant information or experience relevant to this topic, invite that person in for a class interview. The results will enrich your students’ writing immeasurably.

 Further research. Want to see a terrific video about black holes? Look up “nonfiction videos on black holes” online for a wide selection. Many are under two minutes long, allowing you to watch several within the span of a lesson. They may answer additional questions raised by the book. And seeing a black hole in motion—even an animated rendition—is an educational experience!

 

About the Author . . .

Carolyn Cinami DeCristofano is a science education consultant and award winning author. She has been named a Creative Teaching Partner (specialty: Curriculum and Planning) by the Massachusetts Cultural Council, and has developed science programs with NASA and the Harvard-Smithsonian Center for Astrophysics.

Early on, Carolyn enjoyed writing and imagined herself as a writer. As her interest in science grew, she found creative ways to combine the two.

“For the past fifteen or so years,” she says, “I have been fortunate to work with teachers, museum educators, and educational researchers on fascinating projects. But I have never really stopped writing. I write poetry—but don’t share it often. I try to write stories, too. And I thoroughly enjoy shaping engaging science books that I hope will capture the reader’s imagination on lots of different levels.”

Carolyn works with educators to help integrate writing—notably science writing—into the broader school curriculum. Visit Carolyn at her website: www.carolyndecristofano.com

 

Coming Up on Gurus . . .

Welcome back! We hope you had a glorious winter break, and perhaps enjoyed a little snow—maybe not as much as we’ve had in Oregon. As I write this, we are working on our sixth foot of powder, definitely more than needed for cross country skiing, especially if you are the one breaking trail.

img_2839

Jeff continues his work with fifth graders and is also teaching curling now. If I were in Beaverton, I’d say, “Sign me up!” Meanwhile, when I’m not shoveling (which is hardly ever anymore) I continue to work on my new nonfiction book. And no, it’s not a myth. It’s real—and we will announce it soon.img_2895

What do you do when it snows? Besides wishing for a snow blower? Right! You read! I craved a little break from my steady diet of nonfiction and discovered I love the deliciously dark and gritty mysteries by Tana French. I highly recommend her newest, The Trespasser. Fans of the AMC series “The Killing” will quickly recognize how much the prickly tension between two crackerjack detectives—one male and one female—can add to any story. They’re partners, make no mistake, but they keep each other on point at all times.

the-trespasserI like the format of French’s books. She doesn’t bury readers in a barrage of gory details, or set up clichéd plots in which a sadist stalks a helpless victim who’s cringing in a corner. Her characters are realistic, and so are their motives. But this isn’t “Columbo,” and there’s a lot we don’t know when we first witness the crime scene—including who the killer might be. Gradually, French serves up healthy doses of clues, and lets you work on “the solve,” which is never as easy as it first appears.

Detectives Antoinette Conway and Stephen Moran persist in digging for the truth, even when taunted by the rest of the Murder squad to get on with it and move to the next case. We get to dig with them, seeing every piece of evidence and every potential witness as a detective would. The level of detail in French’s writing is absolutely astonishing—and thoroughly fascinating. Add to that, French’s knowledge of police procedures is impressive and the interrogation room interviews are as compelling as any I’ve read by any author—ever.

Her characters are real—and gritty. Detective Moran, like the Stephen Holder character in “The Killing,” is consistently smarter than he lets on, and is the perfect foil for Detective Conway, whose in your face style and colorful vocabulary would stop most sailors in their tracks. She takes no prisoners, and luckily is immune to insults since she receives plenty. Feisty, brilliant, intuitive, and unapologetic, Conway is a match for pretty much anything that stumbles into her path, from overbearing superiors to ingenious killers. I loved her—and am hoping she appears in many future books by Tana French. So much for mysteries . . .

Are you a fan of nonfiction? Then, rejoice. We’ll be doing more nonfiction reviews in future posts. Meanwhile . . . Give every child a voice.

vicki_jeff_small

 

drowned-city

Drowned City: Hurricane Katrina & New Orleans, written and illustrated by Don Brown. 2015. New York: Houghton Mifflin Harcourt.

Genre: Nonfiction graphic history.

Levels: Aimed at middle school and up, but a riveting resource for interested readers of all ages, including both younger children and adults.

Features: Striking graphic illustrations, easy to read text, expansive resource list and bibliography.

 

Overview

“Eighty percent of the city flooded, in some places under twenty feet of water.” That’s the first line on the dust jacket—and will give you a hint about how much you can learn from this highly readable, impressively researched historical narrative.

The story opens with how Katrina began, as a tiny, “unremarkable” wind in Africa. We follow Katrina across the Atlantic as she grows large enough to be given a name, and then powerful enough to ignite terror. In the first half of the book, we witness the 1.2 million citizens of New Orleans receiving news of the approaching storm, then preparing to evacuate—or unbelievably, to stay. It feels as if we’re right there with them as they wait in apprehension, huddling within structures that will be no match for what’s coming. We see them frantically struggle to protect their children, pry victims from sinking cars, and finally—in shocking numbers—lose their homes, belongings, pets, and loved ones. Battling a world that’s become surreal, more than fourteen hundred people die, some overwhelmed by the storm surge, others racing to escape rising floods, a few trapped in attics without tools to break through their own roofs.

The second half of the book depicts rescue efforts on all levels—from federal down to individual. Brown honestly portrays the poorly coordinated government efforts to provide shelter and help to people who have lost everything. Stranded citizens cling to rooftops and floating debris hoping that someone with a boat will miraculously head their way. For too many, that doesn’t happen. Constantly wet and shut off from all communication, survivors find themselves without food, clean water, blankets, plumbing, electricity, medical help—or means of escape. They watch cars and houses float like toys down “rivers” that used to be familiar streets. In the convention center and superdome, where thousands eventually take shelter, conditions are abysmal: overcrowded and filthy, with no fresh air and often nowhere to sit but the floor.

In the face of all this despair, Brown reminds us, there is light. Hospitals do what they can. Coast Guard men and women hoist people from rooftops. The Red Cross opens over five hundred shelters across twelve states. Texas, Arkansas, and other states take in refugees, once they are able to leave the city. Even as rain thunders down, brave volunteers venture out in their own small boats. Some wade or swim through toxic flood waters, risking lethal infection, to save friends, neighbors—even strangers. They persist in the face of explosions, fires, snakes, and gunshots. Gradually, the storm subsides, and the deadly waters that drowned New Orleans seep away, inch by inch, leaving horrifying mounds of detritus in their wake.

At 91 quick pages—they fly by—the book is a dramatic and intense portrayal of what can happen when we are unprepared for the worst that nature can deal out. And when government agencies and officials fail to respond quickly despite evidence of abject suffering. In stunning contrast, though, the book also shines a welcome light upon the courage of everyday Americans who risk everything to save others. In his direct, unflinching style, Don Brown shows us America at its absolute worst—and best.

Drowned City, which marks the tenth anniversary of Katrina, is a fitting, brilliantly written, visually stunning tribute to the people—residents, rescuers, and some who were both—that fought bravely against insurmountable odds. Though many evacuees never returned to New Orleans, it’s worth remembering that others continue to rebuild, even to this day.

drowned-city-2

 

In the Classroom

Sharing the book. Drowned City is an ideal discussion book for a small reading group—or for the whole class if you have enough copies to share. Despite the length, it’s a quick read, but expect students to spend extra time studying the illustrations. You can also read it aloud with the aid of a document projector. This book MUST be seen, not just heard. If you share it this way, plan to spend several class periods because you do not want to rush. Invite comments as you go.

Background. Do your students have knowledge of Hurricane Katrina and its aftermath? How many have heard of Katrina, and know when it struck and where? Do any of them know someone who was affected? This is a highly sensitive question, of course; but if any of your students have personal histories to share, their insights can greatly enrich your discussion.

If you live in Louisiana or a neighboring state, your students have likely heard many accounts relating to Katrina. For students who are not familiar with the facts or circumstances, however, it may be helpful to provide some factual background about hurricanes in general and their deadly power.

A check under “hurricane facts” online will lead you to such informational tidbits as

  • The wind speeds of hurricanes in categories 1 (weakest) through 5 (strongest)
  • The number of hurricanes to hit the U.S. in the last 100 years
  • The states most often struck by hurricanes
  • Dates of the hurricane “season” on the Atlantic and Pacific Oceans
  • Origin of the word “hurricane”
  • How the tradition of naming hurricanes began
  • The forecasting of hurricanes
  • Meaning of related terms, such as “surge” . . .

 

. . . and much more. Such information will give students a deeper appreciation of the book.

Format and genre. The first thing you’re likely to notice about Drowned City is the format. It’s a graphic nonfiction history, a genre greatly appealing to many young readers. Over the past three decades, graphic novels and histories have grown immeasurably in popularity and attained an impressive level of sophistication. Language and art blend to recount events with a power neither could match on its own.

Brown has his own artistic style, simple and raw. The facial expressions, which he brilliantly depicts using only a few brush strokes, indelibly capture Katrina’s impact on people of the Gulf Coast. These are not photographs, but if they were, we’d be saying, “How did he manage to get that shot?” He seems to know precisely what to illustrate—and just what details will intrigue, touch or startle us. Before actually reading the text, leaf through a portion to give students a feel for the overall “look” of the document. What emotional response do the illustrations arouse—even before students hear the author’s words? How would your students describe Brown’s highly individual artistic approach?

Not comic books. Though they share some similarities, graphic novels and histories are not comic books. What is the difference, though? Look at them side by side, and discuss the similarities the two genres share—and any differences you identify.

A footnote: In the publishing industry, books in this genre are typically called “graphic novels,” though the term can be somewhat confusing since novels are fiction and tend to be lengthy. This book is neither. Help students understand that “graphic novel” is a publishers’ term and quite different from “novel” as we usually think of it. The history of the graphic novel, by the way, makes a fine topic for informational research.

 

Color and mood. As you page through the book, notice the colors Brown chooses for his artwork. Ask students to reflect on the ways these colors influence the message and mood of the narrative. How does Brown want us as readers to feel? Also look for occasional hints of bright color. When and where do they appear—and what might they represent?

The big idea—or message. Every good nonfiction book has a big idea. Behind all the facts and anecdotes, there’s a message, something the author wants us to think about. As you share Drowned City, ask your students to think about the underlying message, or messages. There could be more than one. Talk about this as a class—or have students share their own thoughts in writing journals.

Organization. Unlike many books of comparable length, Drowned City is not divided into chapters. Yet it reads almost as if it were. It is easy to transition from one discussion to another. What organizational devices does author Don Brown use to keep us on track? Note that you may need to review the book more than one time to notice how he achieves this smooth topic-to-topic flow.

Following are some elements you may want to share with students once they’ve had a chance to express their own ideas about organizational structure:

 

  • Time: Time is a critical organizational device in this book, and with good reason. The people of New Orleans—and indeed people throughout the world—know the hurricane will strike long before it happens. This allows the author to take us through a period of tense anticipation, followed by the climax of the actual storm, and then an aftermath when many of the city’s most serious problems are just beginning. With respect to dates, the book opens in early August 2005 and rushes headlong toward the moment of crisis on August 29. Though the primary narrative concludes on October 2, when New Orleans is finally dry again, there’s also an epilogue on the final pages, a look back from the perspective of 2012.

 

  • Scene shifts: We move from place to place, and from one perspective to another. For example, we shift from Alabama and Mississippi to New Orleans, from the struggling victims swimming or clinging to rooftops to the rescuers in boats and helicopters, from the streets rapidly becoming rivers to the convention center and superdome, from the frantic chaos of New Orleans to the complacency of the White House. Such shifts give us a sweeping perspective on a complex catastrophe—like watching several films all at one time—and help us understand the multiple and simultaneous ways in which human lives changed when Katrina hit.

 

  • Pacing: With so much to tell, Brown has to keep things moving, and he does. In the half hour or so it takes to read and reflect on this book, he touches on numerous events, leaping quickly from one to another, helping us experience the frenzy the people of New Orleans must have felt. One moment we’re watching neighbors rescue one another from rooftops, and the next we’re standing in unbearable heat outside the convention center, waiting to board an over-crowded bus. By holding himself to a few lines for each scene, Brown covers an impressive amount of territory with a few words.

 

  • Lead and conclusion: I used to tell students that a good lead and conclusion are like bookends, holding details together. They work just that way in Brown’s book. He opens by telling us how inconspicuously a hurricane begins—it’s scarcely more than a small, seemingly innocent puff of wind. This surprises us, and compels us to read on, to find out how a small gust of air becomes a force of death. The conclusion is equally striking. We learn that many people have, remarkably, survived this wretched bout with nature, and it’s a testament to human endurance.

 

 

Voice. This book resounds with voice. It’s powerful, but controlled. There’s enough tension that Brown doesn’t need to embellish anything. He lets the facts speak for themselves. He is present on every page, though, present in the details he shares, the illustrations he creates to enhance them, and the words he chooses to engage us: Hurricane Katrina “crashes” ashore just post-dawn on August 29 and “erases” the town of Buras, Louisiana. Later, when the electricity goes out, night “swallows” New Orleans, and the next day people “melt” at an overcrowded convention center where it’s hard to breathe and the air reeks of human waste. On every page, we remain in touch with human panic, despair, and frustration. Occasionally, the people of New Orleans speak to us, and their words are authentic. As Brown’s source list shows us, he has pulled his quotations directly from books and news accounts of the disaster. They’re real, not invented, and we can feel the difference. In one scene, a mother stranded on a rooftop hugs her child and says simply, “Oh, baby, I don’t think we’re gonna make it” (from Jed Horne, Breach of Faith: Hurricane Katrina and the Near Death of a Great American City, 2008, 10).

Personal response. Some of us identify with books like this because we have been through a similar situation or know someone who has—or because the author’s writing causes us to empathize with the characters. After reading the book, but before discussing it in depth, give students a chance to express their own feelings in writing. They may also wish to share these responses in small writing groups of three or four students.

Choosing facts wisely. One of the biggest challenges in writing a book like this is deciding what to tell—and what to leave out. Have a look at the bibliography, page 95, and share some of the sources with students. Talk about the kinds of sources Brown relies on, and the breadth of his research. Are students surprised to learn that for a book this length a writer would conduct such extensive research?

Ask them to imagine the notes and facts Brown must have collected as he investigated Katrina. With such an overwhelming amount of information at hand, how does an author decide which facts to share—and which to simply abandon?

Here are two things to consider in addressing this question:

First, ask students what they learn from the book. What information is new to them? Were there surprises? Are there facts or anecdotes they will not readily forget?

Second, go through the book slowly, looking for the most striking details, those that stand out or go beyond what we might hear in nightly news accounts. For example, check out page 41, which shows people in their own boats dodging swarms of cockroaches or “knots” of poisonous snakes. What other details make a similarly striking impression?

In discussing factual highlights that capture your students’ attention, talk about the criteria that nonfiction writers—including your students—should use in selecting details to share with readers. List some of those criteria and have students refer to them as they research and write nonfiction pieces of their own.

Drafting an argument. Look again at the information Brown shares on pages 8 and 9. We learn that the people of New Orleans had a 24-hour warning to evacuate before the city was hit with a storm surge “twenty-five feet above normal.” Yet many chose to remain. By the time the mayor issued a mandatory evacuation, it was too late (10). Though some people had no means to escape—having neither a car nor money for any sort of transportation—many made a deliberate choice to stay. Was this right? What would your students do? Have them write about this, creating an argument based on the following—or a related topic of their own:

 

  • Are people in a danger zone obliged to evacuate if they can? Or should that decision be completely their own? Why?

 

One of the primary issues surrounding Hurricane Katrina is the role that government, local or federal, should play in protecting citizens from disaster—or rescuing them later. After sharing Brown’s book, talk about some of the things that went wrong with the Hurricane Katrina disaster. Could the government have done more? After discussing this, have students formulate an argument based on this or a related topic:

 

  • What role should the government play in protecting citizens from natural disasters, such as Hurricane Katrina? And what, if anything, is a citizen’s own responsibility?

 

Further research. For additional information about Hurricane Katrina or the rebuilding effort, students can check online under New Orleans, Hurricane Katrina, Hurricane Katrina reconstruction, and Army Corps of Engineers. Don Brown’s bibliography lists many useful sources. Your school, city, or county library can also suggest books or articles to help writers further their research. Numerous films are available as well, and you may wish to view one as a class (see “Films on Hurricane Katrina” for ideas). You may also want to consider interviewing someone with relevant knowledge or experience . . .

Conducting an interview. One good way to learn more about any topic is by interviewing someone with special knowledge. Sometimes a writer is lucky enough to arrange a personal interview—but if that is not possible, an interview via phone or email (or Skype) is the next best thing. Here are a few people your students might want to consult—and likely you can think of others:

 

  • A current or former resident of New Orleans with firsthand knowledge of Katrina
  • A relative or friend of such a person—or anyone knows the history of Katrina well
  • A local meteorologist with insights about current technology used in forecasting hurricanes
  • Someone with a background in conducting or managing rescue efforts—for example, a member of the Coast Guard, a firefighter, or an emergency medical specialist
  • An engineer who can discuss what towns or cities do these days to make themselves more flood-resistant
  • Anyone who has been part of an evacuation effort
  • A mayor or other official who can respond to questions about the role government plays in preventing or handling disasters
  • A journalist or writer who has researched or written about disasters such as Katrina

To learn more about setting up an interview, check on line under “How to Set Up a Phone Interview” or “How to Set Up an Email Interview.” Ahead of time, lay out the kinds of questions you’d like to ask. Give students a chance to practice their interviewing skills, with you playing the role of the “interviewee.” Remember to ask for permission to record the interview or to take photographs, should you want to do that.

 great-american-dust-bowl 

About Author Don Brown . . .

Don Brown is the award-winning author and illustrator of more than two dozen picture book biographies and other history books for children. Throughout his career, Brown has introduced young readers to such well known figures as Albert Einstein, Thomas Edison, and Dolly Madison.

His books have also explored important events, including the Battle of Lexington & Concord, the sinking of the Titanic, and the duel of Alexander Hamilton & Aaron Burr. One of his most recent publications, America Is Under Attack, offers readers a sensitive look at the tragic events of September 11th.

Don’s books have received numerous starred reviews and awards, including a Horn Book Honor and the William Allen White Award. One of the author’s histories, The Great American Dustbowl, has been nominated for the Texas Blue Bonnet Award. Drowned City was published in August 2015 on the tenth anniversary of the Hurricane Katrina disaster. It is a Robert F. Sibert Honor Book, and recently won the 2016 NCTE Orbis Pictus Award, which recognizes excellence in nonfiction writing for children. Don Brown also makes presentations to students around the country. You can follow his work on www.booksbybrown.com

america-under-attack

 

Coming Up on Gurus . . .

Thank you for returning! We hope you had a wonderful summer, and squeezed in time for family, travel, pets, reading, hiking, or whatever creates the joy in your life. Speaking of pure, unadulterated joy . . . congratulations to the Chicago Cubs. Even if you’re not a fan—heck, even if you don’t like baseball all that much—you have to feel good about a team that finally, finally puts an end to a 108-year drought. And by the way, congratulations to Cleveland as well. The Chicago victory would not have been nearly so sweet had the Indians not played their hearts out and made all those score crushing homers and gravity defying catches. What a Series. In other news . . .

Jeff continues his work with fifth graders, and will soon, I am sure, have stories to share on his experiences.

In the meantime, I am searching out the very best in nonfiction books as background for a new book I’m writing—to be announced soon! Drowned City was to my mind one of the best nonfiction books for young readers that I’d come across in a while. I hope you like it as much as I did.

A quick, personal note . . . I saw a lovely middle school student interviewed on the morning news. She was writing a letter to her older self to be opened about ten years from now. It was a moving and thoughtful letter, filled with the kind of humor and wisdom that made me wish she lived right next door and would stop by and visit while I’m out gardening. The advice she gave to herself ran along these lines . . . Don’t be swayed by others. Trust yourself, your own mind, your own heart. I liked that. Behind her on the classroom wall was a six-trait poster. No implied connection whatsoever. Just a good moment.

Remember, for the BEST workshops or innovative classroom demo lessons combining traits, workshop, process and literature, please phone Jeff Hicks at 503-579-3034. Give every child a voice.

woodward-vickijeff3249a