Common Core has
renewed the call for
literature-based instruc-
tion, with "texts within
and across grade
levels... selected around
topics or themes that
system-atically develop
the knowledge base of
students."
But where are teachers going to find those
texts? Common Core will face the same
problem that haunted Whole Language back in
the '80s. With literature-based instruction as
its underlying principle, Whole Language hit a
wall. The kind of literature needed to teach
the full curriculum simply did not exist. There
were many materials available, but very little
of it was both powerfully engaging and
content-rich. Without it, Whole Language was
doomed. They pointed the finger of blame at
everyone in sight, everyone except the authors
and the publishers, but from my point of view,
it was our fault---we were the ones who had
failed the children and teachers of America.
That's when I decided to start writing more
content poems, and, being an obsessive
personality, I let the vision get bigger and
bigger until it took over my work. "IT'S ALIVE!"
Jennifer: How can teachers connect your
poetry and other writing to their curriculum?
Brod: So here's the dream. You're doing a
lesson on outer space that focuses on the size
and structure of the universe.
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Step 1: You open your computer or mobile
device, click on your science content
literature app (I haven't named it yet), do a
keyword search, and up come three poems:
The Wall; Alien Eyes?; and Home. Each deals
with the size and structure of the universe.
Step 2: You select one or more of the poems,
print a copy for each student, and hand them
out in class (or distribute to students on their
own mobile devices, if available).
Step 3: You give your students a cursory
review of the vocabulary, so everybody has a
threshold understanding of the pertinent
words and concepts.
Step 4: You yourself recite the poem for the
class, then have the class recite it in chorus.
(Please don't think of this as the hum-drum
stuff you may have experienced in the past.
There are several simple techniques that will
turn this into a high-energy, over-the-top
dramatic experience.)
Step 5: You're now about 20 minutes into
the process as you begin direct instruction to
a group of students who are fully primed to
receive it. Most of the "teaching" is already
done. Already they have both heard and
used the pertinent vocabulary. Already you
have walked through an imaginary
experience of the material. Already they
have made small emotional connections to
an otherwise distant reality, connections
which permit them to "feel" and not just
"think" the meaning of the concepts. Now
it's simply a matter of filling in the gaps,
deepening the understanding, placing
emphasis on important elements, and
repetition.
Step 6: Invite volunteers to stage an
individual performance (now or later in the
week) which you might videotape for other
classes, morning announcements, parent
nights, or for sharing online. (This is the
point at which the "born performers" in your
class will be inspired to become "the one"
whose performance will live on to inspire
next year's class.)
Jennifer: What new books do you have in the works?
Brod: I've been so focused on the Muse Project material that I haven't been thinking about individual books. Some of the muse-teachers have suggested that I do a series of books organized around content area and topic, and I'm thinking about it. The problem is that potential publishers would want exclusive rights to the material, and that would hinder its later use in a curriculum-comprehensive collection. I'll figure it out.
Jennifer: Do you do school visits? How can schools get in touch with you?