ALAN v36n3

112 Pages·2011·4.81 MB·English

Table of Contents
Volume 36
Number 3
Summer 2009
Lori Atkins Goodson From the Editors 3
James Blasingame
Call for Manuscripts 5
Eva Gold, Ruth Caillouet, Recovery of Self and Family in Sharon Creech’s The
Barbara Holland, Wanderer: 6
and Tom Fick Literature as Equipment for Living
Kara K. Keeling Dragon-Slayer vs. Dragon-Sayer: 13
Marsha M. Sprague Reimagining the Female Fantasy Heroine
Vivian Yenika-Agbaw The Newbery Medal: Books about Africa 18
Lisa Kerr Frankenstein’s Children: 28
Ethics, Experimentation, and Free Will in Futuristic Young Adult Fiction
Kerri L. Mathew I Love Your Book, but I Love My Version More: 35
Devon Christopher Adams Fanfiction in the English Language Arts Classroom
Linda J. Rice Writing and Teaching Historical Fiction: 42
The Lantern of Learning with L. M. Elliott
Bill Broz Memoir: Reading Life: The Professional Resource Connection 59
Jim Davis
Lori Atkins Goodson Clip and File A1–A8
Melanie Hundley
Scot Smith Carolina Dreams: 65
Kerry Madden and the Saga of the Weems Family of Maggie Valley
Melanie D. Koss Young Adult Novels with Multiple Narrative Perspectives: 73
The Changing Nature of YA Literature
Yolanda Hood Rac(e)ing into the Future: 81
Looking at Race in Recent Science Fiction and Fantasy Novels for Young
Adults by Black Authors
Hannah P. Gerber From the FPS to the RPG: 87
Using Video Games to Encourage Reading YAL
Emily S. Meixner “Would you want to read that?”: 92
Using Book Passes to Open Up Secondary Classrooms to LGBTQ Young
Adult Literature
M. Jerry Weiss The Long Journey: The Publisher’s Connection 99
The ALAN Review Summer 2009
b1-2-TAR-Sum09.indd 1 6/6/09 10:56 AM
Instructions for Authors
T ◆ H ◆ E
ALAN
REVIEW
ABOUT THE ALAN REVIEW. The ALAN Review is a peer-reviewed (refereed) journal published by the Assembly on
Literature for Adolescents of the National Council of Teachers of English. It is devoted solely to the field of literature for
Co-editors James Blasingame,
adolescents. It is published three times per academic year (fall, winter, and summer) and is sent to all members, indi-
[email protected]
Arizona State University vidual and institutional, of ALAN (The Assembly on Literature for Adolescents of NCTE). Members of ALAN need not
Lori Atkins Goodson, be members of NCTE.
[email protected]
Wamego Middle School, THE ALAN REVIEW publishes reviews of and articles on literature for adolescents and the teaching of that literature:
research studies, papers presented at professional meetings, surveys of the literature, critiques of the literature, articles
Wamego, Kansas
about authors, comparative studies across genre and/or cultures, articles on ways to teach the literature to adolescents,
YA Book Review Editor Lori Atkins Goodson and interviews of authors.
Middle School Claudia Katz, National Louis
Connection Editor University AUDIENCE. Many of the individual members of ALAN are classroom teachers of English in middle, junior, and senior
high schools. Other readers include university faculty members in English and/or Education programs, researchers in
High School Kay Smith, Utah
the field of adolescent literature, librarians, authors, publishers, reading teachers and teachers of other related content
Connection Editor Valley State College
areas. ALAN has members in all 50 states and a number of foreign countries.
Research Connection Jeffrey S. Kaplan, University
Editor of Central Florida PREFERRED STYLE. Manuscripts should usually be no longer than fifteen double-spaced, typed pages. A manuscript
submitted for consideration should deal specifically with literature for adolescents and/or the teaching of that literature.
Publishers Connection M. Jerry Weiss, Jersey City
Editor State College, Emeritus It should have a clearly defined topic and be scholarly in content, as well as practical and useful to people working
with and/or studying adolescents and their literature. Research studies and papers should be treated as articles rather
Professional Resource William Broz,
than formal reports. Stereotyping on the basis of sex, race, age, etc., should be avoided, as should gender-specific
Connection Editor University of Northern Iowa
terms such as “chairman.”
Library Connection Diane P. Tuccillo, Fort Collins
Editor Regional Library District, CO MANUSCRIPT FORMAT. Manuscripts should be double-spaced throughout, including quotations and bibliographies.
Non Print YAL Jean Brown, Rhode Island A title page with author’s name, affiliation, address, and a short professional biographical sketch should be included.
Connection Editor College The author’s name should not appear on the manuscript pages; however, pages should be numbered. Short quotations,
as permitted under “fair use” in the copyright law, must be carefully documented within the manuscript and in the
Editorial Review Board bibliography. Longer quotations and complete poems or short stories must be accompanied by written permission of
Lawrence Baines, University of Toledo the copyright owner.
Katherine Barr, San Francisco, California
Kylene Beers, Yale University Author interviews should be accompanied by written permission of the interviewed author to publish the interview
Jean Borren, Northern Arizona University in The ALAN Review. Interviewers should indicate to authors that publication is subject to review of an editorial board.
Cynthia A. Bowman, Columbus, Ohio The title of The ALAN Review should not be used to gain an interview.
Linda Broughton, University of South Alabama
Jean E. Brown, Warwick, Rhode Island Original short tables and figures should be double-spaced and placed on a separate sheet at the end of the manu-
John “Jack” Bushman, University of Kansas script. Notations should appear in the text for proper placement of tables and figures.
Michael Cart, Chico, California
Melissa Comer, Cumberland College The ALAN Review prefers the use of the Publications Manual of the Modern Language Association (MLA).
Chris Crowe, Brigham Young University SUBMITTING THE MANUSCRIPT. Authors are to submit manuscripts electronically to [email protected]. In the
Pat Daniel, University of South Florida
Kevin Dupree, University of Southern Mississippi subject line please write: ALAN manuscript submission. All manuscripts should be in a recent version of Microsoft
Joan Elliot, Indiana University of Pennsylvania Word and use MLA format. Complete submissions include, as separate attachments, the following documents: (1). A
Bonnie Ericson, California State University at Northridge manuscript without references to the author (s). (2). A separate title page with author’s names, contact information,
Ted Fabiano, Blue Valley Northwest High School affiliation, and a 2-3 sentence biographical sketch. In the case of multiple authors, the author submitting the manu-
Karen Ford, Ball State University script will serve as the primary contact unless stipulated otherwise. (3). A brief statement that the article is original, has
Nena Foster-Pritchard, North Olmsted High School, Ohio
not published previously in other journals and/or books, and is not a simultaneous submission.
Montye Fuse, Arizona State University
Marshall George, Fordham University REVIEW PROCESS. Each manuscript will receive a blind review by the editor and at least two members of the edito-
Wendy Glenn, University of Connecticut
rial review board, unless the length, style, or content makes it inappropriate for publication. Usually, authors should
Gail P. Gregg, Florida International University
Robin Denise Groce, Mississippi State University expect to hear the results within eight weeks. Manuscripts are judged for the contribution they make to the field of
Kay Bushman Haas, Ottawa, Kansas adolescent literature, clarity and cohesiveness, timeliness, and freshness of approach. Selection also depends on the
Judith Hayn, University of Arkansas, Little Rock manuscript’s contribution to the overall balance of the journal.
Kathy Headley, Clemson University
Sarah Herz, Westport, Connecticut PUBLICATION OF ARTICLES. The ALAN Review assumes that accepted manuscripts have not been published previ-
Kaavonia M. Hinton-Johnson, Old Dominion University ously in any other journals and/or books, nor will they be published subsequently without permission of The ALAN Review.
Jaime Hylton, University of New England Should the author submit the manuscript to more than one publication, he/she should notify The ALAN Review. If a
Rita Karr, Oklahoma Road Middle School, Maryland submitted or accepted manuscript is accepted by another publication prior to publication in The ALAN Review, the
Joan Kaywell, University of South Florida
author should immediately withdraw the manuscript from publication in The ALAN Review.
Kathryn Kelly, Radford University
Patricia P. Kelly, Virginia Tech Manuscripts that are accepted may be edited for clarity, accuracy, readability, and publication style.
Daphne Key, Papillon, Nebraska
Teri S. Lesesne, Sam Houston State University Upon publication, the author will receive two copies of The ALAN Review in which the article appears. Publication usually
Terry C. Ley, Auburn University, Emeritus occurs within 18 months of acceptance.
Rob Lockhart, Morehead State University
Caroline McKinney, University of Colorado at Boulder DEADLINES. Please observe these deadlines if you wish to have your article considered for a particular
Arlene Harris Mitchell, University of Cincinnati issue of The ALAN Review.
William R. Mollineaux, Sedgwick Middle School, Connecticut FALL ISSUE Deadline: MAY 15
Elaine O’Quinn, Appalachian State
WINTER ISSUE Deadline: OCTOBER 15
Elizabeth Poe, University of West Virginia
Suzanne Reid, Emory and Henry College SUMMER ISSUE Deadline: JANUARY 15
Gary Salvner, Youngstown State University Cover credits: The ALAN Review cover was designed by Jim Blasingame. Credit lines for individual book jackets as follows:
Barbara G. Samuels, University of Houston at Clear Lake
Deadline, by Chris Crutcher: Cover photography copyright ©2007 by Edyta Pawlowska used under license from Shutterstock, Inc. Reprinted
John S. Simmons, Florida State University, Emeritus by permission of Greenwillow Books, an imprint of HarperCollins Publishers. Warrior Angel, by Robert Lipsyte: Jacket art
Robert C. Small, Radford University © 2003 by Chris Rogers, jacket © 2003 by HarperCollins. The Last Book in the Universe, by Rodman Philbrick: Jacket illustration
Elaine C. Stephens, Michigan © 2000 by David Shannon. Reprinted by permission of Blue Sky Press, and imprint of Scholastic. Sonny’s War © 2002 by Valerie Hobbs:
Barbara Stover, Chatfield Senior High School Jacket art by Greg Spalenka. Used with the permission of Farrar, Straus & Giroux, LLC. Five Ancestors: Eagle by Jeff Stone: Jacket illustration
Lois Stover, St. Mary’s College of Maryland © 2008 by Richard Cowdrey, jacket design by Joanne Yates Russell, reprinted with permission of Random House. Out of the Pocket,
Alan Teasley, Durham, North Carolina by Bill Konigsberg: Jacket art © 2008 by Tony Sahara. Reprinted by permission of Dutton Books, an imprint of Penguin Group, Inc. The
Mary Ann Tighe, Troy State University Adventurous Deeds of Deadwood Jones, by Helen Hemphill: Reprinted by permission of Front Street Books. The Softwire: Betrayal on
Ellis Vance, Fresno County Office of Education Orbis 2, by P.J. Haarsma: Jacket art reprinted by permission of Candlewick Press. Jim Thorpe: Original All-American, by Joseph Bruchac:
Elizabeth Watts, Broward County, Florida Jacket photo courtesy of Cumberland County Historical Society, Carlisle, Pennsylvania. Used by permission of Dial Books for Young Readers,
Ann Wilder, Durham, North Carolina A Division of Penguin Young Readers Group, a Member of Penguin Group (USA) Inc., 345 Hudson Street, New York, NY, 10014. All rights
Carole Williams, St. Louis, Missouri reserved.
Susan N. Wood, Florida State University
Geri Yaccino, St. Charles Middle School, Illinois
Connie Zitlow, Ohio Wesleyan University
The ALAN Review Summer 2009
b1-2-TAR-Sum09.indd 2 6/6/09 10:56 AM
JLiomri BGloaosidnsgoanm &e J&im L oBrlia Gsoinogdasmone
From the Editors
Nearly six years ago, I sat in my Kansas study, also providing a practical side designed to encourage
called Jim Blasingame at Arizona State educators to use quality YA literature in the class-
University, and said I had a crazy idea: We room. We know the secret to success for our students
should apply to be coeditors of The ALAN Review. A is engagement; young adult literature provides the
few months later, we were at the head (or foot, more greatest opportunity for engaging those learners. That
appropriately) of a table presenting our proposal and philosophy has guided us as we’ve approached a half-
being interviewed for the position by some of the top decade’s worth of journals.
people in the field of young adult literature. The numerous articles in this issue reflect that
It was a little intimidating. philosophy. The female fantasy heroine is the sub-
A couple days later, we learned we had been ject of an article by Kara K. Keeling and Marsha M.
selected, and all those “great” ideas we had proposed Sprague, while Lisa Kerr examines futuristic young
suddenly needed to become fact rather than fiction. adult fiction in her article, “Frankenstein’s Children.”
Dreaming is the easy part; making dreams happen is Vivian Yenika-Agbaw provides a look at books focus-
a little more difficult. We knew the quality reputation ing on Africa that have received the Newbery Medal.
of ALAN and its journal, so we knew we would be In her article on writing and teaching historical fiction,
expected to maintain those high standards. We spent Linda J. Rice shares focuses on the works of L.M.
time designing the journal and developing themes to Elliott.
give it our own personality during our tenure as coedi- In “Carolina Dreams,” Scot Smith discusses the
tors. works of Kerry Madden and shares an interview with
It was a little intimidating. the author. Melanie D. Koss details how today’s new
As we settled into the role, we learned more and literacies are affecting young adult literature. Hannah
more about the exciting web of experts and enthusi- P. Gerger moves into the world of video games,
asts in the field of young adult literature. Nearly daily, discussing how they can be used to encourage teens
we became acquainted with newcomers to YA lit— to read young adult literature. Additionally, Emily S.
classroom teachers, authors, etc. Amazingly, I found Meixner shares ways to open up secondary classrooms
myself working with some incredible leaders in the to the LGBTQ young adult literature by using book
field—authors my middle school and high school stu- passes.
dents adored (okay—I adored them, too) and educators Jerry Weis provides a look at the publishing con-
and researchers my colleagues and I admired. cerns that have emerged with today’s economic issues
It was a little intimidating. in his Publisher’s Connection column, while Bill Broz
In the past five years, Jim and I have been fortu- and guest book reviewer Jim Davis discuss memoirs
nate to be a part of an organization—and its journal— in the Professional Resource Connection. Also, don’t
that are thriving. We’ve tried to bring in the latest forget to read through our 31 reviews of the latest in
in research regarding young adult literature, while young adult literature in the Clip and File center insert.
3
The ALAN Review Summer 2009
c3-5-TAR-Sum09.indd 3 6/6/09 10:57 AM
This issue of The ALAN Review is our last; we Crutcher, Laurie Halse Anderson, Christopher Paul
hope we’ve brought you the best and the brightest re- Curtis, and so many others. There may be some voices
garding developments in young adult literature. Now, that make a few adults somewhat uncomfortable, but
we turn the reins over to a new set of coeditors— those voices must continue to be heard. ALAN, with
Steven Bickmore, Melanie Hundley, and Jacqueline its growing number of members, offers an opportunity
Bach—who we feel confident will be outstandingly for just that.
successful and propel the journal into new realms. In our five years as coeditors, we hope we’ve
Most important, we hope we’ve shared the pas- helped a few more of your voices to be heard, as well;
sion we have for young adult literature. As educators, we appreciate you and thank you for allowing us to
we have seen these quality books in the hands of drop into your homes and offices three times a year.
teens across the nation, and we believe . . . no, we And, Jim, it may have been a little intimidating,
know . . . that young people are able to find their own but I’m really glad I made that phone call.
voices through the works of Walter Dean Myers, Chris
ALAN Foundation Research Grants
Members of ALAN may apply to the ALAN Foundation for funding (up to $1,500) for research in young
adult literature. Proposals are reviewed by the five most recent presidents of ALAN. Awards are made an-
nually in the fall and are announced at the ALAN breakfast during the NCTE convention in November. The
application deadline each year is September 15th.
4
The ALAN Review Summer 2009
c3-5-TAR-Sum09.indd 4 6/6/09 10:57 AM
Call for Manuscripts
Submitting the Manuscript:
Authors are to submit manuscripts electronically to [email protected]. In the subject line
please write: ALAN manuscript submission. All manuscripts should be in a recent version
of Microsoft Word and use MLA format. Complete submissions include, as separate attach-
ments, the following documents: (1). A manuscript without references to the author (s). (2).
A separate title page with author’s names, contact information, affiliation, and a 2–3 sentence
biographical sketch. In the case of multiple authors, the author submitting the manuscript will
serve as the primary contact unless stipulated otherwise. (3). A brief statement that the article
is original, has not published previously in other journals and/or books, and is not a simulta-
neous submission.
2010 Winter Theme: Young Adult Literature in the 21st Century: “Scattering Light” on Our Free-
dom to Think, See, and Imagine
The theme of this issue asks us to imagine what it means to “scatter light” using young adult
literature. Which pioneers in our field have encouraged us to “scatter light”? Which novels
or poems encourage young readers to think about their pasts as they continue in the future?
How does young adult literature help readers deal with adolescent issues as they think, see,
and imagine those futures? What texts give “voice [to those who have] been pushed down
hard” by school or society? This theme is meant to be open to interpretation, and we welcome
manuscripts addressing pedagogy as well as theoretical concerns. General submissions are also
welcome. October 15, 2009, submission deadline.
5
The ALAN Review Summer 2009
c3-5-TAR-Sum09.indd 5 6/6/09 10:57 AM
ELvoar iG Gooldo,d Rsuotnh &C aJiimllo Buleats, iBnagrabmarea Holland, and Tom Fick
Recovery of Self and Family in Sharon
Creech’s The Wanderer:
Literature as Equipment for Living
Sharon Creech’s The Wanderer, a Newbery that has nothing to teach them. Similarly, students
Honor book from the year 2000, weaves a often see storytelling as connected with fantasy and
beautiful tale of family, adventure, and love for not as a means of problem-solving. But without being
the sea, creating the perfect space for students to find at all preachy (as literature teachers sometimes are),
their own connection to family, as well as essential Creech weaves, with elements of classic texts, a novel
tools for life. The highly acclaimed novel deals with whose resolutions are achieved by storytelling: self-
the important issues of family, home, and identity and understanding and self-acceptance on the part of the
is presented as a series of journal entries by cousins main character, and increased wisdom and under-
Sophie and Cody that recount their adventures with standing for the other characters. The novel ends with
uncles and cousins on a sea journey from the United the recovery of family in all senses: as the relatives on
States to England. Both characters negotiate fam- the boat forge a strong sense of family on the voyage,
ily issues: Cody has the typical adolescent problems as they reach their father and grandfather Bompie in
of self-image and conflict with a difficult father (the England, and as Sophie recovers her memory of her
aptly named Stew); the main character Sophie (Greek traumatic past, understanding the relation between
for “wisdom”) works to come to an understanding of her “then family” and “now family.”
family and self within the context of her tragic and
mysterious family history. Classic Themes
By the time students read The Wanderer, they
The novel is such a page-turner that students may not
are probably familiar with journal writing as a route
notice that they are asked to consider such serious
to self-discovery. This novel models that process with
issues as mortality, fear, identity, and family. Along
the alternating entries of Sophie and Cody. However,
with the suspense (and danger) inherent in a sea
this novel also models reading (particularly of classic
journey, the novel explores a mystery about Sophie’s
literature) and storytelling as ways of understand-
parentage and identity, which is not resolved until the
ing self, family, and world. The Wanderer can show
end. As Cody’s name suggests, there is much to de-
students that works of literature and storytelling are,
code in this novel, particularly since, in Cody’s words,
in Kenneth Burke’s famous phrase, “equipment for
“Everyone talks in code where Sophie is concerned”
living,” providing “strategies for dealing with situa-
(188).
tions” (Burke 293, 296).
Sophie begins the story by talking about her par-
No doubt every teacher of literature has heard be-
ents, though she also shares the stories of her grand-
loved texts called “irrelevant” or “boring” by students,
father, Bompie, who she writes is a “third parent” and
who often see the classics as a required school chore
6
The ALAN Review Summer 2009
d6-12-TAR-Sum09.indd 6 6/6/09 10:57 AM
“so like me” (6). We learn from Cody, however, that the journey who is involved in a quest for his true
Sophie is an orphan (28) and has never met Bompie love, Rosalie, as someone who uses literary works as
(37). The cousins Cody and Brian, who deal with “equipment for living.” Dock recites lines from Ten-
their own family issues on the journey, are curious nyson’s “Ulysses” and “The Lotos-Eaters,” both based
about what happened to Sophie’s “real” parents and on The Odyssey (201; 205). Sophie comments on
about her unwillingness to acknowledge aspects of the effect of Dock’s citations in reference to another
her history. How does Sophie know Bompie’s stories poem, this one by Carl Sandburg: “when we had a
when she’s never met him? For Sophie, of course, the spell of fog, Uncle Dock recited a poem about fog
mystery is more critical: confronting fear, loss, and creeping along on little cat feet, and as soon as he said
death, she must recover and acknowledge her past, that, that’s what I saw . . . (53). Thus we learn of the
represented by fragments of memory and a recurring capacity of literature to reflect and to transform ex-
nightmare about a wave. In the process, she must deal perience. Poetry is useful; it is connected to everyday
with the connection between her past (family) and experience, helping us conceptualize and understand
present (family). a variety of situations.
Because the story is shaped as a journey across Most powerful perhaps is the presence of
the sea, it can be linked with the literature of quest-- Coleridge’s Rime of the Ancient Mariner. Uncle Dock
The Odyssey and The Aeneid, to name just two--along quotes a few lines of the poem as they near land:
with more modern renditions, including such ado- “Oh! Dream of joy! Is this indeed/The lighthouse top
lescent works as The True Confessions of Charlotte I see?/Is this the hill? Is this the kirk?/Is this mine
Doyle and The Cay. In addition to a generic affiliation own countree?”(246–47). Additionally, allusions to
with quest literature, the novel’s connection with the the poem are woven into the story: Sophie recounts a
classics is made very specific. It takes as its title the disturbing dream “about being adrift in the ocean with
name of an Old English poem, which serves also as no food, and we were all languishing on deck with no
the name of the boat. Furthermore, the epigraph, from energy to do anything, and the boat was tossing and
“The Seafarer,” another Old English poem, initiates heaving around, and then a seagull flew overhead and
the theme of storytelling so important in the novel: landed on the boom and
“The tale is true, and mine. It tells/How the sea took Brian said “Kill it! Kill it!”
me; swept me back/And forth.” Both poems tell of (57–58). For us, though not As in the Old English
loss, memory, exile and isolation, the need for home, for Sophie who is unaware
and the lure of the sea. Like the speaker of “The Wan- of the allusion, this might poems, these quests
derer,” Sophie has “lock[ed] up the treasury of [her] recall the unthinking killing
involve the themes of
thoughts,” and the novel records her giving voice to of the bird in Coleridge’s
her story in fragments, first in her journal and then to poem. The Rime is also exile and home, self and
others. present near the end of the
The thematic resonance of these poems continues book, when the family is family, memory and loss.
as the story proceeds. We learn that the characters once again on land: Sophie
nicknamed Dock, Mo, and Bompie have as their birth describes how they are
names Jonah, Moses, and Ulysses, all characters unable to stop telling their stories to strangers in a
central to the western tradition who contend with the pub: “We were all chattering away like crazy, talking
sea in coming to an understanding of self and world. to anyone who would listen. . . . For hours we went
As in the Old English poems, these quests involve the on like that, pouring out the words and at one point
themes of exile and home, self and family, memory I wondered how much these strangers cared about
and loss. For Ulysses/Odysseus, the connection with what we were saying, or if they cared at all, and why
The Wanderer is especially apt: he is a storyteller who we felt such an urgent need to tell them our story, and
gets home to family through storytelling as much as why they told us theirs” (252–53). Like the Ancient
through heroic action. Mariner to the Wedding Guest, Sophie and the others
Particularly important is Creech’s presentation are compelled to tell their stories as an aspect of rein-
of Uncle Dock, the owner of the boat and initiator of tegration into a social context.
7
The ALAN Review Summer 2009
d6-12-TAR-Sum09.indd 7 6/6/09 10:57 AM
At the end, the family comes to Bompie and Sophie has transformed the stories for her own uses,
various mysteries are solved. Through the journey, selecting those stories that are about Bompie’s danger-
Sophie has been telling “Bompie” stories, all of which ous confrontations with water and adding to each a
have to do with Bompie’s survival of a dangerous section on Bompie’s fear of water that was not part of
encounter with water, and “little kid stories,” which the original (285). Again, this is literature as equip-
deal with issues of family, death, and fear of water. ment for living, helping us, as Burke has it, to develop
Sophie, of course, is the little kid: with these stories, strategies for coping with difficult situations.
Sophie distances aspects of her experience until she is At the end of the novel, all return home except
able to claim her own story. In her journal, she also Dock, who remains to care for Bompie; all have un-
recounts her recurrent dergone significant transformation, adults included,
dream about a giant wave, involving self-awareness, sense of vocation, and
Like The Odyssey and the which she re-experiences family relationships. Sophie has reclaimed the part
in a terrifying scene (209). of herself that was the “little kid”: Cody comments,
Old English poems, the
By listening to Sophie’s “One day the little kid got lucky and she landed in a
stories, Cody eventually place where it was okay if she couldn’t remember all
Bompie stories reflect the
solves the mystery. Sophie the time, and because it was okay not to remember,
oral tradition, stories that survived an accident at she started to remember. And along with the pain-
sea that killed her parents; ful things came the good things to remember and
are changed in the telling. she lived first with various maybe she felt as if she’d found some things she’s
relatives who died, then lost” (300–301). The sense of loss, exile, and painful
foster families, and was memory that Sophie shares with the speakers of the
eventually adopted by loving parents: “By this time, Old English poems remains, accompanied now by a
she wanted so much to be wanted that she made her- sense of home and family, much like the end of The
self believe that [Bompie’s] was her real family, her Odyssey when Odysseus reclaims home and family—
only family” (270). We also learn how Sophie knows and thereby his own identity.
the Bompie stories: Bompie wrote her letters welcom- In the final chapter, “Home,” the cousins incorpo-
ing her to the family and “in each of the letters he told rate into their talk and activities elements of the sto-
a story about himself so she would know him better” ries they heard on the voyage: all the Bompie stories
(284). ended with the promise of pie, and now the children
Particularly moving are the scenes between So- plan to bake a pie; the uncles reminisced about their
phie and Bompie. The voyagers discover that Bompie, childhood adventures on The BlueBopper, and now
like the older relatives of many students, is experi- the cousins talk of a journey on The BlueBopper Wan-
encing loss of memory and does not immediately derer (304–05). In these small details is the integration
recognize his own children. He does recognize Sophie of past and present, story and real-life. At the very
(though he has never met her), who is experiencing end, Sophie recalls a baptism witnessed earlier (103):
memory loss of her own, even though it is through “I’m just right here, right now. When I close my
trauma and not age. In poignant scenes, Sophie tells eyes, I can still smell the sea, but I feel as if I’ve been
Bompie his own stories. When, early in the book, dunked in the clear cool water and I’ve come out all
Sophie asks her mother, “What if the picture [in Bom- clean and new. Bye-bye, Bompie. Bye-bye, sea” (305).
pie’s head] got erased?” her mother replies, “How’s Although the end of the novel is the usual place
that going to happen?” (74). Yet it has happened, and to end an essay, we would like to return to the begin-
as Sophie prefaces each story with “Remember,” she ning of the novel—to parts of a book students seldom
helps him recover his memories (282–83). Hence, notice: the acknowledgment and the dedication.
the Bompie stories are useful in many ways—from Creech, who taught literature for many years before
shipboard entertainment to a way for Sophie to come publishing her novels, thanks two people “for help-
to terms with her own story. Like The Odyssey and ing me decode the mystery and to arrive at the ‘end
the Old English poems, the Bompie stories reflect the of all our exploring’ (T. S. Eliot, “Little Gidding”). In
oral tradition, stories that are changed in the telling. this line, we see the emphasis on de-coding and the
8
The ALAN Review Summer 2009
d6-12-TAR-Sum09.indd 8 6/6/09 10:57 AM
use of literary texts to help give voice to feelings and struction. Below, we outline three specific strategies
experience. The next line of the Eliot poem--“will be for guiding students in activities that will not only
to arrive where we started”—anticipates the return measure comprehension but also allow for creative
home at the end of the book, where we last see the response and choice in the learning process. In addi-
characters, transformed through their journey. And tion, all of these strategies can be easily adapted to
Creech, who tells us on her website that two of the many grade levels; while the text may be written at
Bompie stories are stories told by her father, prefaces fifth-grade reading level, the content is so rich and
her own story with a dedication to her daughter “who its ties to classic literature
journeyed across the ocean” from “the mother who are so strong that the book
worried.” Thus, for the author who wrote the book could easily be used with This is a book about
and for the characters within it, storytelling, whether high school students, as
heritage and home, cour-
within the family or by “famous authors,” is truly either a bridge to classic
“equipment for living,” providing models for coping works like The Rime of
age and companionship,
with and understanding self and world and serving as the Ancient Mariner and
agents of transformation. The Odyssey or as part of adventure and artistry, but
Sharon Creech’s novel is a joy to read. Its lyri- a unit on family or the
most of all, this is a book
cal language and down-to-earth characters create a sea. Our suggested strate-
rich tapestry, beautiful threads woven together much gies can also be adapted
about family—about
like the cloth that Sophie’s mother, and Odysseus’s to other disciplines, since
wife before her, weave as they wait for the return of this book offers such a rich discovering the self
a loved one from sea. This is a book about heritage array of topics for inquiry
and home, courage and companionship, adventure and investigation. Above through the other.
and artistry, but most of all, this is a book about fam- all, this is a perfect text for
ily—about discovering the self through the other. As appealing to a variety of
Sophie, Cody, Dock, and crew adventure across the learning styles, since the characters themselves serve
sea toward Bompie, they each learn more about their as examples of diversity in creative expression.
own strengths as well as the strength and support of
family. Bompie’s stories, through Sophie’s voice, give Jigsaw
the seafarers hope and a sense of belonging, a shared We begin with a modified jigsaw approach that pro-
past that beckons them toward the safety of home as vides support for student research and development
well as the dream of the future. Like the apple pie that on the book’s tremendous variety of topics for inquiry.
Bompie’s mother bakes for him after each arduous Jigsaw is a method developed primarily in the social
adventure, Bompie himself and the security of family studies curriculum that allows students to cover a
serve as the reward for the crew at the end of their great deal of material without the usual heavy reading
journey. But as wonderful as this book is to read, it load, while it introduces the classroom family to the
is perhaps even more inspiring as a magical book for craft of teaching. Students work in groups, with each
the classroom. The multidimensional characters, the member of the group assigned a different topic. In this
action-packed sea story, the descriptive details about case, each student first researches his or her individ-
the places and creatures, the intricate sailing terms ual topic, then meets with students from other groups
and skills, the parallels with classic literature, the with similar topics for discussion and clarification,
layers of storytelling—all of these threads provide a and finally “teaches” the material to his or her own
wealth of ideas for engaging students in the text and group. This approach is ideal with Creech’s novel,
enriching the fabric of the reading experience. since each of the voyagers in the book teaches ship-
mates a skill on the journey—Cody teaches juggling,
Using The Wanderer in the Classroom Uncle Mo teaches radio code, and Sophie teaches knot
tying, so each family member learns to appreciate the
Perhaps this book’s greatest strength for classroom
others’ skills and knowledge.
instruction is its natural place in differentiating in-
Some possible topics for research, as well as some
9
The ALAN Review Summer 2009
d6-12-TAR-Sum09.indd 9 6/6/09 10:57 AM
Groups Sea Life Sailing Map Quest Navigation Fishing/Skills
Group 1 Albatross Points of sail Martha’s Vineyard Sextant Lobstering
Group 2 Sea flea Sail types Grand Manan Gulf Stream Clamming
Group 3 Dolphins Bilge box Nova Scotia Labrador Current Bluefish
Group 4 Whales Knots Ohio River Charts Weaving
Group 5 Plankton Boat Terms Ireland/England Codes Juggling
Figure 1. Jigsaw for Research—The Wanderer
plans for organizing the groups, are listed in Figure 1. in PowerPoint, as simple poster board displays, or as
In this modification of the jigsaw approach, students an oral delivery of the information. Other alternatives
will be grouped so that each member of the group include developing research topics before teaching the
researches a topic from five different areas of study. novel (to get students engaged in the book) or sched-
After their individual research, the members will meet uling presentations throughout the reading.
for discussion and clarification with a Topic Group.
So, all of the Sea Life members will meet and discuss Think-Tac-Toe
their findings while all of the Navigation members Our next strategy, Think-Tac-Toe, taps into student
meet to discuss their research. In this way, stu- creativity and allows even more choice in student
dents can compare notes and build on one another’s selection of activities. More advanced classes can
research. The individuals will then go back to their even help to generate the categories and topics. The
original groups to “teach” members about their topic. strategy is designed to engage students with the text in
The research results could then be compiled in a class creative ways that allow for individual learning styles
portfolio so that the rest of the class may benefit from and interest. The typical Think-Tac-Toe contains at
the information. least three categories and is designed to allow flex-
Each research category can, of course, be modi- ibility in the topics. We have chosen to control this
fied according to the skill and comprehension levels of particular Think-Tac-Toe by requiring students to
individual students. Depending on the time and facili- choose topics connected with the theme of family, but
ties available, teachers might schedule a library day or to also emphasize the categories of character, set-
computer lab for the research; presentations could run ting, and theme. Figure 2 illustrates our suggestions,
Performance Artistic Expression Creative Writing
Character Imitate Dock’s knowledge of Imitate Mo’s artistic abilities Create your own code or use
literature by reciting some of the and create a sketch or the radio code from Cody’s log
poetry that he mentions. Be able to painting of a key scene from to create a message or poem
explain how the poem helps us to the story. Choose a scene that written to or about one of the
understand Dock and this story. depicts an understanding of a characters from the story.
particular character.
Setting Create a tableau of an important Create a map or model of Create a children’s picture book
scene from the story. Make certain The Wanderer’s adventure. representing the travels and
to choose a scene that reflects a clear Choose your own media style scenery in the book.
depiction of the setting. for the piece.
Theme Create a YouTube style video Create a collage that illustrates Create another Bompie story
that explores the importance of your view of family and its or your own family story using
understanding diversity in families. importance. Sophie’s style of writing.
Figure 2. Think-Tac-Toe—The Wanderer
10
The ALAN Review Summer 2009
d6-12-TAR-Sum09.indd 10 6/6/09 10:57 AM