The link below is to an article that takes a look at Google’s ‘River,’ a reading app for kids.
The link below is to an article that looks at how to turn kids into bookworms.
The link below is to an article that takes a look at book-based birthday parties for kids.
With Batman turning 80 this year, the link below is to an article that takes a look at the best Batman books for kids.
For more visit:
The link below is to an article with some suggestions on a ‘Goodreads’ for kids.
There is magic in stories. We all remember hearing them as children, and we loved them. Imaginary adventures set in faraway places. Tales about how the dishwasher isn’t working. It doesn’t matter! Whether made up by parents or read from books, kids love to hear stories.
Our recent work showed reading to children positively impacts long term academic achievement more than many other activity (including playing music with them, or doing craft). We found the more frequently parents read to their children, the better their children’s NAPLAN scores in different areas.
In our most recent study, we asked parents to read a wordless storybook to their three to five-year-old children titled The Wolf and Seven Little Goats. We also tested children in many areas of their important cognitive skills, such as language proficiency, memory, self-control, and friendship skills.
Through examining the different ways parents tell stories, we have pinpointed which elements of shared reading are most beneficial for children’s cognitive development.
1. Tune in to your child
Perhaps the most important aspect of reading to children is to tune in to your child. Listen to your child’s cues. Do they like the story? Do they know the vocabulary? Are they paying attention to the pictures more, or the text?
Try to coach your child, not to instruct them. Instead of saying: “look they are going to cook some food, maybe they are hungry”, you can ask “what are they doing?” or “why do you think they’re doing that?”.
Be sensitive about whether they are listening and engaged or uninterested and disengaged. If they are disengaged, are there questions you can ask to make them more interested? Do you think they’ll like a different type of story better? The best books for your child are the ones they enjoy most.
2. Ask questions
Parents who ask lots of questions engage in a more fun and informative way with their children. Ask them if they know the vocabulary, if they can guess what the characters are going to do next, and why they’ve done what they’ve done.
These questions are not only helpful because they help children gain new knowledge and ways of thinking, it also helps strengthen the emotional bond between parent and child. Children like to feel they’re a part of the task, not that they’re being told how to do things.
3. Go beyond describing images or reading text
In our study, we gave parents a wordless picture book. An important difference we observed between parents was some only describe what they see. Some go beyond the picture.
For example, when the mother goat in the picture book comes home and sees the door to the house open, one parent said:
When their mother came home and was looking forward to seeing her children and hugging them and telling them a story, she suddenly saw that the door is open. She was shocked!
Another parent said:
The mother came home and saw the door is open; she went inside and looked for the children.
This parent is only describing the picture.
The first parent is imagining what is beyond the picture and text. This is a richer way to tell a story to children, and ultimately leads to better cognitive developmental outcomes for children. This is because it teaches abstract thinking, which is the basis for many of the higher order cognitive abilities such as problem solving and critical analysis.
4. Make logical links between different parts of the story
Another element that has a strong link to the development of children’s cognitive skills is the way parents build logical links between different parts of the story.
Often the events in books unfold very quickly. One minute, the wolf eats the little goats, and the next minute he is found by the mother. Some parents try to make the sequence of events more logical than others.
For example, in this picture, when the wolf is coming to knock on the door, one parent said:
The wolf, who realised the mother is not home, came and knocked on the door.
This sentence is lacking logical links. How did the wolf know the mother is not home? Why should he come and knock on the door? What did he want?
Another parent said:
The wolf, who was sunbathing in the bush, saw that the mother is going to get some food. He thought, oh, the little goats are alone at home, and it’s a good time for me to go and trick them and maybe get a good lunch!
The parent here is clearly providing logical links between these different parts of the story.
5. Add relevant details
We also found most parents add many details to the story to make it more interesting or comprehensive. But relevant details are the most useful in terms of improving children’s learning. Relevant details are the kind of details that help make the story easier to understand.
For example, one parent said:
The little goat, who was wearing the yellow shirt and was the smallest said: ‘we shouldn’t open the door! How do we know this is our mother? She has just left.’
Here, wearing a yellow shirt is a descriptive detail, but it doesn’t add much to the story.
Another mother said:
The smallest one, who was also the cleverest and very careful, said…
This second parent is clearly adding a detail (that the smaller one is also the cleverest and careful) that makes the story more meaningful and easier to follow.
6. Talk about mental and emotional concepts
<!– Below is The Conversation's page counter tag. Please DO NOT REMOVE. –>
We found parents who not only describe the events of a story but also discuss abstract concepts related to emotions, desires and thoughts tend to have children who are better cognitively skilled. These children develop a better understanding of others’ emotions, better friendship skills, and even improved memory and higher order cognitive skills that are useful in later life. These lead to academic success as well as better skills to build friendships and perform well in social relationships.
In the same way that actual grit accumulates in the cracks and crevices of the landscape, our cultural insistence on possessing grit has gradually come to the forefront of child-rearing and education reform.
Recent academic papers on grit include the education-leadership dissertation project of New England College’s Austin Garofalo, titled “Teaching the Character Competencies of Growth Mindset and Grit To Increase Student Motivation in the Classroom,” and UMass Dartmouth professor Kenneth J. Saltman’s “The Austerity School: Grit, Character, and the Privatization of Public Education.”
In contrast to the range of perspectives on grit offered in academia, the popular media will often frame it as an essential characteristic for healthy, productive maturation – and certainly a necessary component for academic success.
In 2012, Paul Tough’s book on the topic, “How Children Succeed: Grit, Curiosity and the Hidden Power of Character,” was a critical and commercial success, earning positive acclaim from Kirkus Reviews, The Economist, The New York Times, Slate – and even former Secretary of Education Arne Duncan.
And last year, in a column for The Washington Post, Judy Holland, editor and founder of ParentInsider.com, wrote that the “coddled kids” of the “‘self-esteem’ movement in the 1980s” produced children who were “softer, slower and less likely to persevere.”
“Grit is defined as passion and perseverance in pursuit of long-term goals,” she continued. “Grit determines who survives at West Point, who finals at the National Spelling Bee, and who is tough enough not to be a quitter.”
As someone who specializes in children’s literature and cultural attitudes toward childhood, I’ve been interested in this insistence on fostering grit. I’ve also taught writing and literature over the past year to West Point cadets, who, it seems, must learn how to acquire this somewhat elusive quality.
But I can’t help but wonder if we’re talking about grit in an unproductive way. And maybe one of the problems is that it’s presented as a concept: abstract, indeterminate and somewhat magical or mysterious.
How can we define grit, or the idea behind it, in a way that means something? What if we’re not framing the discussion of grit in the right way, since grit can mean something entirely different for a kid living in the Chicago’s South Side than it does for a kid living in the suburbs?
A slippery buzzword?
In 2014, National Public Radio’s Tovia Smith looked at how educators and researchers are using the concept of grit in the classroom. She interviewed MacArthur Genius Grant recipient Angela Duckworth, associate professor of psychology at the University of Pennsylvania and author of “Grit: The Power of Passion and Perseverance,” which was published in May. In it, she considers how teaching grit can revolutionize students’ educational development.
“This quality of being able to sustain your passions, and also work really hard at them, over really disappointingly long periods of time, that’s grit,” Duckworth told Smith in the NPR segment. Expanding on the national significance of grit, Duckworth added, “It’s a very, I think, American idea in some ways – really pursuing something against all odds.”
But more recently, Duckworth has backtracked from some of her earlier advocacy. In March she told NPR’s Anya Kamenetz that the “enthusiasm” for grit “is getting ahead of the science.” And Duckworth has since resigned from the board of a California education group that’s working to find a way to measure grit.
As Kamenetz notes, part of the problem with buzzwords like “grit” – and the attempt to measure or implement them in the classroom – “is inherent in the slippery language we use to describe them.”
Is grit something that can even be taught? Can we measure it? Is it a trait or a skill? If a quality like grit is a trait, then it may be genetic, which would make it difficult to simply instill in kids. If it’s a skill or habit, only then can it be coached or taught.
Grit’s place in children’s literature
The Oxford English Dictionary tells us that grit – the kind that describes “firmness or solidity of character; indomitable spirit or pluck; stamina” – originated as American slang in the early 19th century. It’s easy to see its kinship to the other definition of grit: “minute particles of stone or sand, as produced by attrition or disintegration.”
It’s come to represent a refusal to give up, no matter the odds – a refusal to wash away, break down or completely dissolve.
American children’s literature has long had “gritty” protagonists: characters who’ve arguably instilled moralistic values of bravery, industry and integrity in generations of readers.
In the late 19th and early 20th centuries, another word featured in the Oxford English Dictionary’s “grit” definition figured more prominently in mainstream children’s literature – pluck.
Mark Twain’s Tom Sawyer and Huck Finn both exhibited pluck, seen in their wily charm, adventurous spirit and underlying moral conscience. But the notion of pluck, grit’s forefather, was largely popularized in Horatio Alger’s stories, which are known for their hardworking young male protagonists trying to eke out livings and educate themselves within the American urban landscape.
“Dick knew he must study hard, and he dreaded it,” Alger wrote in his landmark text, “Ragged Dick.” “But Dick had good pluck. He meant to learn, nevertheless, and resolved to buy a book with his first spare earnings.”
Though he hates it, Dick studies hard because he believes he needs an education “to win a respectable position in the world.”
The determined, plucky child figure arguably evolved into one of grit through Mattie Ross in Charles Portis’ 1968 western novel of revenge set in the late 19th century.
The novel quickly establishes Mattie’s resilience and resolve, which solidify after the murder of Mattie’s father. Mattie, reflecting on her doggedness, says, “People do not give it credence that a fourteen-year-old girl could leave home and go off in the wintertime to avenge her father’s blood.”
Grit to what end?
Mattie Ross and Horatio Alger’s clever street boys helped shape an American ideal of youthful grit. But these fictional characters asserted their grit because they had goals. What good is grit if you feel like you have nothing to strive for?
In early children’s literature for African-Americans, publications such as W.E.B. Du Bois’ monthly youth magazine The Brownies’ Book attempted to also give its young readers an idea of what they could achieve. While much of American children’s literature during the turn of the last century – and even today – filters ideas of grit through the perspective of the middle-class white child, The Brownies’ Book specifically addressed the lives and experiences of African-American children. First published in 1920, the magazine encouraged African-American children to fully embrace their cultural identities, participate in their communities and become citizens of the world.
But that was 1920, during the dawn of the Harlem Renaissance, a time when the work of African-American artists, activists and thinkers brought newfound optimism to the push for racial equality and cultural pride. Over the course of the 20th century, circumstances for many children of minority communities changed. As Atlantic writer Ta-Nehisi Coates has explained, a public policy of ghettoization has left many urban school districts impoverished and underserved, with few examples of hope or achievement outside the drug trade. Yes, kids could develop grit – they could find confidence, diligence and resilience outside the law – a version of grit demonized by mainstream society.
David Simon’s Baltimore-set HBO series “The Wire” illustrates the narrow possibilities for black kids growing up in the city. Grit, as depicted in “The Wire,” comes via success in the drug trade. This kind of grit has the bottom line of economic gain. It’s not about a search for identity, cultural understanding or artistry because kids don’t think they have the same opportunities and potential highlighted in the issues of The Brownies’ Book.
A 2014 study from the U.S. Department of Education Office for Civil Rights found that in America, there still exists a pattern of racial inequality in public schools, whether it’s course offerings, teacher performance or student expulsion. These statistics – the same as those echoed in “The Wire” – leave many somber, dejected, angry or, too often, complacent.
So how can students have – or learn – grit when all kids face different realities – different struggles, different dreams and different social structures?
Yes, it’s important to reevaluate the education system, as monumental a task that may be. But all institutional or systemic change starts with the individual.
“A lot of what ‘The Wire’ was about sounds cynical to people,” Simon said in a 2009 Vice interview. “I think it’s very cynical about institutions and their ability to reform. I don’t deny that, but I don’t think it’s at all cynical about people.”
Maybe the first step is to think of grit not as something to cultivate in students. Instead, maybe grit is the debris – the dream – that lingers. If children and young adults get that piece of grit stuck to them, they’ll be motivated to keep going until the grit is gone.
Perhaps the job of adults, then, isn’t to tell kids to buckle down and work through adversity. It’s about opening their eyes to the innumerable possibilities before them – so they’ll want to persevere in the first place.
Correction: In an earlier version, the academic papers on grit were conflated with popular media coverage. A paragraph has been rearranged and a phrase added to differentiate the two.
When my son was nine years old, he put aside the large Harry Potter novel he had been slowly, but enthusiastically, reading each evening and instead began ploughing through lots of fairly uninspiring books that he brought home from school each day.
It turned out the Year 4 teachers had devised a competition at his school – whichever class read the most books would be rewarded with an end of term pizza party.
The aim, I presume, was to motivate the children to read. It is ironic then that the effect was that my son stopped reading for pleasure and instead began reading for the numbers.
Reading is now increasingly being reduced to a numbers game in schools.
What level is your child at?
At pick up time, parents quiz each other about what reading level their child is on. Inside the school staff room, teachers are directed to have children on level 15, 20 or 30 by the end of the school year.
Six year olds are deciding whether they are good readers or not based on how many books they have ticked off on their take home reader sheet.
These levels are based on algorithms that calculate the ratio of syllables to sentences, or measure word frequency and sentence length.
The rationale is that these formulae can be applied to rank books on a scale of readability and thus guide teachers to match books with children’s reading ability.
There are two key problems with this numbers approach to reading. First, the algorithms are faulty. Second, publishers misuse them.
What makes a book hard or easy to read?
The missing variables in readability algorithms are the authors’ intentions, the readers’ motivations and the teachers’ instruction.
These are key omissions, and they seriously reduce the usability of the algorithms and the credibility of the reading levels they produce.
Fictional stories often use familiar and high frequency vocabulary, and many authors use relatively simple sentence structures.
However the use of literary tools like allegory and metaphor, along with challenging text themes, increases the difficulty of works of fiction in ways that are not captured in readability algorithms.
For example, readability formulae give Hemmingway’s “The Old Man and the Sea” a reading level suitable for primary school students. They may be able to decode the words on the page but comprehension of the book is less likely.
The same formulae may rank a non-fiction book on dinosaurs, for example, as only suitable for high school students because of its uncommon vocabulary, lengthy sentences and multi-syllabic words.
Yet a child’s interest and familiarity with the topic, or a teacher or parent’s support and instruction, can make that non-fiction book very readable for younger children.
As readability formulae are not always a good fit for books, the solution has been, instead, to write books which fit the formulae. And publishers have been very keen to supply those books.
These are the books that our children take home each evening. They are written according to the numbers – numbers of high frequency words, numbers of syllables, numbers of words in a sentence.
What is missing in those books is author intention and craft, reader engagement and interest, and teacher support and instruction.
Essentially, then, what is missing in these books is the very essence of reading.
What books should children read?
We have been using the reading scheme system for decades and we still have children struggling to read.
When we use these quasi books to teach reading, we are not adequately preparing them for real reading.
These books, written to fit algorithms, don’t build broad vocabularies in our children. They don’t teach our children how to read complex sentence structures or deal with literary language or read between the lines. In many cases, they turn children off reading altogether.
Children learn to read by reading a book that is a little beyond what they can already read. The gap between what they can read and what they could read is reduced when the child:
- is highly motivated by the content of the book;
- has existing background knowledge about that content;
- is receiving good instruction from a teacher.
We don’t need books arranged in coloured boxes labelled with level numbers to teach a child to read.
Beautifully written pieces of children’s literature will do the job.
Books full of carefully crafted writing by authors whose intentions are to engage, entertain and inform.
Books that teachers can work with in the classroom showing how sounds work in words, and how words work in sentences to make us feel, see or think new things.
Beautiful books that parents can also buy and delight in reading with their children.
Why it matters
The way we teach children to read will fundamentally influence what they understand the purpose of reading to be.
When we teach children to read through schemes that tally their books, we teach them that reading is simply about quantity. If reading is about getting a reward of a pizza, then children are less likely to read for intrinsic rewards.
The claims made for well-written children’s literature are many and varied.
But they can do something else. They can teach our children to read.
The links below are to articles that take a look at the latest from Epic, an ebook subscription service for kids.
The link below is to an article that looks at reading to kids – it’s good for them.