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Reveling in Reading, Space for Safety by Dr. Gretchen Rumohr

2/8/2023

 
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Dr. Gretchen Rumohr is Chief Curator of YA Wednesday.  She serves as a professor of English and writing program administrator at Aquinas College, where she teaches writing and language arts methods.   She is also a Co-Director of the Summit on the Research and Teaching of Young Adult Literature. She lives with her four girls and a five-pound Yorkshire Terrier in west Michigan.
Reveling in Reading, Space for Safety by Dr. Gretchen Rumohr
As a teacher of literature, I know that being a reader is the best way for me to improve the literacy of my students.  So I read whenever I’m offered the opportunity.  My reading has ranged from the very easy (such as Jason Reynolds’s Ghost) to the practical (such as Jeffrey Wilhelm’s Planning Powerful Instruction to the challenging (such as Peter Elbow’s Vernacular Eloquence, a thick, dense book that explores what the spoken word can bring to writing). 

And generally I read well, making meaning as I read. I usually “live through” the text, as Louise Rosenblatt would desire.  Employing Jeffrey Wilhelm’s evocative, connective and reflective dimensions, I see the story world and its characters, fill in plot gaps to make sense of textual events, and feel myself “living” in the text.  Wilhelm calls it “BEing the book.”  In the thick of Atwood’s The Handmaid’s Tale, I caught myself at the grocery store, looking at all the printed labels, and thinking about what they would look like in that particular story world--all pictures, no words.  When reading Lizzie Bright and the Buckminster Boy in the middle of a bitter winter, I basked in the sun that Gary Schmidt created for me, rereading passages that reminded me of the twinkling sea, hot sand beneath my toes, and a salty ocean breeze.  Craig Thompson’s graphic novel, Blankets, prompted memories of awakening and experimentation in my youth.  I was, in effect, “shaping” each text, just as Rosenblatt would suggest, “draw[ing]on our reservoir of past experience with people and world...participat[ing] in the story…identify[ing] with the characters... [and] shar[ing]their conflicts and feelings (Morawski and Gilbert 11).
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As we read, live through, and enjoy books, how do we make sure we’re allowing adequate time for students to process the ways they identify with plot events and related characters?  In what ways, for example, can we help students revel in what they are reading yet create space for students who may be living through more difficult events?  In what ways can we create safe spaces when, as Wolpow and Askov state, “reading a book or writing a paper may trigger traumatic memories in a student who has suffered from violence and trauma” (607)?  How can we make sure students can speak up if they need help?

Here are a few ways that I’ve encouraged processing time and opportunities to reach out for help:

1.  Reading on their own terms. How do students read in our classrooms?  Do we send them home with nightly reading homework (which I will never, ever, EVER recommend because students don’t really read when this happens)?  Do we read together in class? Do we give time for silent reading (or reading with headphones and an audiobook) in class?  Regardless, if we are processing a book together as a whole-class read, we need to be aware of the reading method and plan accordingly.  If we’re reading as a whole class and come up on a triggering event, it might be time to give a quick warning, or allow a short break afterward, or give students an opportunity to write a bit or turn-and-talk.  In other words, be aware of what’s being read, how it’s being read, and how you’re allowing time to think about what’s being read. 

2.  Responding on their own terms.  How do students respond to literature in our classrooms?  If students are considering literature that triggers them, they may feel out of control, unable to harness their emotions and reactions.  In many ways, bringing a sense of control to the students in how they respond to literature can help.  Consider a response assignment that prioritizes the student’s voice and choice.  One example:  when reading The Outsiders in class and focusing on the essential theme of “what makes a family,”  students can curate a soundtrack for the book on that theme.


3.  Choosing what’s next.  If you are reading a more “triggering” text as a class, consider allowing students to choose their next book from your classroom library.  Maybe they will choose a book on the same topic; maybe they will take a “brain break” and choose something completely different.  The goal in this instance is to help students take ownership of their reading as well as their responses.  

4.Critical witnessing.  If a topic is personal to you–is triggering to you, too as the teacher–it’s ok for you to say so.  I have never regretted sharing information about my own trauma when discussing relevant texts and topics.  In doing so, we turn the classroom power dynamic upside-down, serving as counter-witnesses to each other’s experiences.  For those of you interested in learning more about this idea, check out “Writing Wounded” by Elizabeth Dutro. 

I have so much more to say about this topic–and don’t worry!  I have more prepared for another day.  But isn’t it wonderful when our students invest in what they read, bringing those story words to life in ways that become intensely personal to them?  It is up to us to encourage that investment by also creating safe spaces for this literary exploration.

Kathleen Decker
9/2/2023 09:43:21 pm

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The day my husband left me, things appeared bleak, and the atmosphere was heavy with uncertainties. Everything seemed pale and so I decided to look for help in spell casters who have the capability to bring my ex husband back to me. As envisaged, I went on the internet and as you too have seen in your search for a reliable spell caster, I saw a lot of testimonies of spell casters in the recovery of ex husbands and loved ones. Driven by belief in Doctor Odunga, I contacted him and after explaining things to him, he accepted to face the challenges on ground. He did brilliantly well. My ex husband came back to me within 2 days of contact with more care and affection and promised never to leave me. I will therefore like to take this opportunity to pay tribute to him and share this testimony to enable others in need to contact him for his selfless service to situations and problems. Commendable, he shows great courage at taking on the daunting task of finding solutions to practically any given problem. Contact him at [email protected] and I believe he will help you as he did to me.

things to do link
9/6/2023 04:51:49 am

Thank you! I hope to see more updates from you!

Cardinal Lindsey
11/7/2023 02:03:34 am


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Eunice
1/25/2024 07:52:31 am


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    Dr. Steve Bickmore
    ​Creator and Curator

    Dr. Bickmore is a Professor of English Education at UNLV. He is a scholar of Young Adult Literature and past editor of The ALAN Review and a past president of ALAN. He is a available for speaking engagements at schools, conferences, book festivals, and parent organizations. More information can be found on the Contact page and the About page.
    Dr. Gretchen Rumohr
    Co-Curator
    Gretchen Rumohr is a professor of English and writing program administrator at Aquinas College, where she teaches writing and language arts methods.   She is also a Co-Director of the UNLV Summit on the Research and Teaching of Young Adult Literature. She lives with her four girls and a five-pound Yorkshire Terrier in west Michigan.

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    Meet
    Evangile Dufitumukiza!
    Evangile is a native of Kigali, Rwanda. He is a college student that Steve meet while working in Rwanda as a missionary. In fact, Evangile was one of the first people who translated his English into Kinyarwanda. 

    Steve recruited him to help promote Dr. Bickmore's YA Wednesday on Facebook, Twitter, and other social media while Steve is doing his mission work. 

    He helps Dr. Bickmore promote his academic books and sometimes send out emails in his behalf. 

    You will notice that while he speaks fluent English, it often does look like an "American" version of English. That is because it isn't. His English is heavily influence by British English and different versions of Eastern and Central African English that is prominent in his home country of Rwanda.

    Welcome Evangile into the YA Wednesday community as he learns about Young Adult Literature and all of the wild slang of American English vs the slang and language of the English he has mastered in his beautiful country of Rwanda.  

    While in Rwanda, Steve has learned that it is a poor English speaker who can only master one dialect and/or set of idioms in this complicated language.

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