Latest Forum Edition—Spring 2024
President's Message: Imposter Syndrome
by Barb Fecteau
Barb Fecteau is the LMS at Beverly High School. She enjoys crochet and swimming, but rarely at the same time. She teaches in the school library program at Salem State University.
Back in the olden times, before Covid, I was a newly minted MSLA board member. I was the northeast regional co-director and I was SO EXCITED to come to the conference hotel a day early and help the conference committee! I was going to get to alphabetize name tags and hang out with the amazing president, Carrie Tucker. I had brought my friend Alix with me because she is the smartest person in the world, and I wanted her to meet Carrie and Laura Luker and the other big cheeses.
Lights, camera, action!
by Susan Harari
Susan Harari is the librarian at the Harry V. Keefe Library at Boston Latin School and an editor for the Youth Services Book Review.
Children and teens today swim in a giant pool of video content. Watching Tiktok, streaming movies on Netflix, shooting videos of friends and family: it’s what they do all the time. So how can we teach them about the artificiality of film? Make them critical consumers of information and entertainment? By submerging them in the process of filmmaking and using tools that give them the power to shape their viewers’ experience. For the last several years at Boston Latin School, that tool has been WeVideo.
Connecting Research and School Librarianship: On reading
by Deeth Ellis
Deeth is the Head Librarian at Boston Latin School in Boston, MA, and a Doctoral Candidate, School of Library Science, Simmons University
A couple of years ago, I read a column in Knowledge Quest by Audrey Church, a long-time school librarian researcher. It focused on connecting practice to research. In the article she shared research and then recommended practices for school librarians. The simplicity of this idea stuck with me and has inspired this idea for a series for The Forum, Connecting Research and School Librarianship. Administrators and other teachers learn about libraries from us– from our day-to-day practice. So thinking in terms of clear communication of the most recent research is one way to support this important dimension of our job.
Q&A with our President Elect: Reba Tierney
Reba is the School Librarian at Waltham High School and the MSLA President Elect.
1. What are you excited about the most about your upcoming presidency?
So, I've been a school librarian for about 20 years, and I've been involved with MSLA for a lot of that time. And yet at the MSLA conference this year, I was struck by how many school librarians there are in Massachusetts that I don't know! I am looking forward to meeting new people, learning from them, and growing as an educator and a person.
2. Anything you're apprehensive about that you're willing to share?
Yes, the whole thing! I am terrified and exhilarated, all at once. The MSLA membership is not a monolith, there are many different ideas, opinions, and personalities in our group. I just want to ensure that all members feel seen and respected, while acknowledging that I won't be able to make everyone completely happy.
Hopeful Picture Books about Climate Change & Conservation
by Jenny Arch
Jenny Arch is a children’s librarian at the South Hadley Public Library. Previously, she was a library media specialist at East Meadow School in Granby, a school librarian at the Michael E. Smith Middle School in South Hadley, and a children’s and adult services librarian at the Winchester Public Library and the Robbins Library in Arlington.
Climate anxiety is real – and troubling – but it’s also a logical response to learning about humans’ effect on the planet. Kids learning about climate change need resources that foreground what people have already done to tackle the problems we’ve created, and focus on what we can do. People who are hopeful will take action; people who despair will not. These are books that don’t shy away from climate problems, but offer models for solutions, from big actions to small ones (and remember, the small ones add up!).
Medium Matters-Comics in the Classroom:
Mental Health Awareness + Cataloging
by Liza Halley
Liza Halley is the Library Teacher at Plympton Elementary School in Waltham, MA. She has loved graphic novels since reading Bone and Amulet with her son. She reads every graphic novel she can find, and is a big fan of Monstress, Hellboy, and Saga. She is a founder of the Boston Kids Comic Fest.
Mental Health
May is Mental Health Awareness month. How can you use graphic novels to create awareness about mental health issues in an accessible way for your students and in your school communities? Here are some ideas for your library:
Read More (including the special section on cataloging your graphic format collection!)
New Librarian Q&A
What is your name, title, and school?
Jennifer Farabaugh, School Library Media Specialist at Stoneham High School.
How did you come to librarianship?
I had been a social studies teacher for over 20 years. It was a job that I loved very much, but a couple of years ago I decided I was ready for a new challenge. I knew that I wanted to stay in education in order to be able to continue to work with students and teachers so I decided to take a class at Salem State to see if I wanted to pursue a library media specialist certification. After my first course, I was hooked and knew it was the right path for me to take. This past fall, the library media specialist at my high school took a position in another district and I was able to obtain a waiver to become the new school librarian.
DEMCO's Book Doctor Workshop Review
by Sheila Constantino Magovern
Sheila is the Librarian at Crisafulli and Robinson Schools, Westford.
Push notification advertisements: Is it just me, or do they feel invasive?
Usually I delete them without a second thought. But back in October, the “DEMCO’s Book Doctor” ad that hit my inbox caught my eye for reasons I cannot explain. I found myself combing through it to find the catch.
“Must be expensive.” Nope, free.
“Must have to buy something.” Nope, everything was provided (except scissors).
“Must be travel fees to pay.” Nope, not even travel fees.
I emailed for more information, certain I was missing something, because this seemed too good to be true. Rather than the expected canned response, I received a prompt reply from Kimberly Young, the Book Doctor. THE Book Doctor. This role was created specifically for her. We went back and forth with dates for a while, because the workshop is free, Kimberly is popular. I’d resigned myself to a date next school year that lined up with our Professional Development calendar, but then it happened– The Book Doctor had a morning workshop in Beverly for the same March date as our district’s scheduled Professional Development day, and could I arrange something for that afternoon? COULD I EVER!!?
Cataloging: Folklore, Fiction, and Fractured Fairy Tales
by Gillian Bartoo
Gillian is the District Cataloging Manager for the Cambridge Public Schools.
Why do some or even the same folktales fall in 398 and E? Can you consolidate them all into one area or another? What about retellings and reimaginings? What about fractured fairy tales or newly written ones? As seems to be a recurring theme in this column, it all comes down to the practice of sharing cataloging records. If LC or another archive institution created the record, the classification is likely to be over-intellectualized by a cataloger with an advanced degree in folklore cataloging for academics. If it comes from a smaller public library, college or from a vendor, the classification is subject to the knowledge and training of the cataloger, and whatever the local classification rules are. It also depends on when it was cataloged - classification rules change over time, but cataloging records are not upgraded to reflect that.
The Power of Community
by Anita Cellucci
Anita is a past president of the MSLA and the K-12 Library Teacher and department head at Westborough High School.
“Connection is the energy that is created between people
when they feel seen, heard, and valued.”
Brené Brown, Daring Greatly
We know that educators must be ready to understand the challenges of motivation for learning, diverse emotional competencies, and habits and attitudes that students need in order to grow. Students enter our schools at differing levels of understanding of these skills. As part of humanity, we crave connection, and our students are no different.
President's Message: Imposter Syndrome by Barb Fecteau Barb Fecteau is the LMS at Beverly High School. She enjoys crochet and swimming, but rarely at the same time. She teaches in the school library program at Salem State University. Back in the olden times, before Covid, I was a newly minted MSLA board member. I was the northeast regional co-director and I was SO EXCITED to come to the conference hotel a day early and help the conference committee! I was going to get to alphabetize name tags and hang out with the amazing president, Carrie Tucker. I had brought my friend Alix with me because she is the smartest person in the world, and I wanted her to meet Carrie and Laura Luker and the other big cheeses. I am not going to say that we were giddy as schoolgirls because that is really not fair to schoolgirls, but we were having a great time. When Alix had a good idea that streamlined the process, I feel like had I looked up, I would have seen Conference Chair Alida Hansen, Luker, and then-Treasurer Jen Varney lock eyes like aliens in a 1950s sci-fi movie and, all unspoken, decree that someday Alix would coordinate the conference. Well, their dream has come true several times; Alix has coordinated four conferences, always with an able group of volunteers. And more are always needed! (This ends the commercial for getting more involved in MSLA. But spoiler - this whole column is going to be a commercial for getting more involved!) Here’s the thing, if you had asked Alix and me if we could see ourselves as MSLA Conference Chair and President, we would have both given a huge Roy Kent “#*&$ NO!!” (Well, I would have. Alix would have been more polite about it, or she might have just known that she would be great at it and accepted the mantle.) And yet here we are. At the conference, I was talking to Jen Varney about impostor syndrome. And she said that someone needs to do a panel about school librarians and impostor syndrome. “Not me, though,” she said. “I’m certainly not qualified!” (Ba dum tss!) I feel that too. When I was asked to run for president, my initial response was to laugh - and give my profane Roy Kent impression referenced above. I have never considered myself to be a leader. I mean, sure, I am famously bossy, but I have always preferred the role of capable, well-organized henchman. Apparently, everyone else felt similarly because finally at a board meeting two years ago, Jen and Laura informed us that we were going to need to close up shop because no one would step forward to lead. And so I caved. I love MSLA; it has been a huge help to me in my career, and I couldn’t stand by when it was in need just because I was a big chicken. So I braced myself to be overwhelmed and embarrassed by my incompetence. But that didn’t happen. Quite the opposite. I am not going to lie, there was a huge learning curve, but I got to shadow Jen for a year and learned her ways. And then this year as I stepped out of her very capable shadow, she was still there every time I forgot to make a motion to vote or end meetings. She remains the training wheels to my very tipsy Schwinn. And now Reba will be here to help me try to remember all the great stuff Jen taught me. (Reba was the actual impetus for this story because she cried Imposter Syndrome when I reminded her that when I volunteered to run, she promised me that if no one else stepped up she would come on board - SUCKA!!!) It is frightening to step up and take a responsibility like this, but it is also liberating. When I look back on everything we have accomplished as an organization in the past two years, I feel proud! We have been interviewed by news outlets like The Boston Globe, The Washington Post, and The New Bedford Light on the need for qualified school librarians in the face of politically motivated book challenges. We have supported school library programs on the chopping blocks in uninformed districts across the state. We have advocated for school libraries in just about every acronymed group in Massachusetts - DESE, MBLC, MTA, etc. We have seen the opportunities inherent in recent legislation by Senator Cyr and Representative Moran to protect school libraries and school library staff and jumped in to raise our voices in support. We have partnered with Boston Public Schools to help build and diversify their school librarian pool as they endeavor to install and staff a library in each of their schools. And all that time we have maintained our organization: an oasis of support for those of us who work to promote all kinds of literacy, offer access to all kinds of information, support all kinds of learning, and ignite a love of reading in all students across Massachusetts. I have finally allowed myself to not say, “Oh, it’s not a big deal, no one else wanted to do it so they settled for me,” when a person appears to be impressed (or perhaps surprised) that I am president of MSLA. Now I say ”Yep, I was really scared to take the gig, but I have learned so much and have enjoyed nearly every minute!” I just hope they don’t ask me for details about Robert’s Rules of Order. Illustration Sources
Lights, camera, action!
by Susan Harari Susan is the librarian at the Harry V. Keefe Library at Boston Latin School and an editor for the Youth Services Book Review.
Children and teens today swim in a giant pool of video content. Watching Tiktok, streaming movies on Netflix, shooting videos of friends and family: it’s what they do all the time. So how can we teach them about the artificiality of film? Make them critical consumers of information and entertainment? By submerging them in the process of filmmaking and using tools that give them the power to shape their viewers’ experience. For the last several years at Boston Latin School, that tool has been WeVideo. When I first arrived at BLS in 2015, filmmaking was a clunky affair, but it was the best we had. We had two carts of MacBook Airs and a closet full of tripods and Canon video cameras. We also had a capstone project in which our entire 7th grade (of 400 students) shot commercials, travelogs, and fictional stories, all within the same three week window. Giant spreadsheets kept track of which groups were assigned to which laptops as kids came down in waves to use the library study rooms to shoot their films, download content from SD cards, and use iMovie in short shifts to edit their films. Tears and frustrated outbursts (only some of which came from the students) dominated the stressful weeks of filming, with far too much staff energy spent on logistics and technical glitches instead of learning goals (which, honestly, were a bit murky). Back in the dark ages of iMovie, students who had their own laptops or access to even more powerful tools (such as Adobe Premier or Apple’s Final Cut) inevitably had an advantage. They had more time to work on their projects and fewer technical issues.
Over the last four years we have come to appreciate many other WeVideo features. An immense treasure trove of stock photographs, video content, pre-made green screen effects, titles, music, and sound effects saves students’ time and allows them to focus on storytelling and filmmaking instead of searching for content. WeVideo Academy has short tutorials on all of its tools, which I assign ahead of time in a flipped classroom model. Watching a complete introduction to the software takes about 15 minutes, plus students have all of the power of these instructional videos at their fingertips, even if I’m not around to answer questions about color correction, sound mixing, or creating green screen effects. This year, WeVideo introduced the ability to integrate their product into Google Classroom, which means teachers can create assignments and groups and keep track of students' progress. Kids can now turn their finished projects in through Classroom, instead of downloading their films and uploading them to Drive or Youtube. Oh, and did I mention you can also use WeVideo to create screencasts, podcasts, and narrated slideshows? What does it look like in the classroom? We have many different projects going on, but I thought I would walk you through a few examples at various grade levels so you can get an idea of what’s possible. Most of these projects partner with the library, but we also have teachers who’ve taken to it on their own and require little from us except for a reminder on how useful it is to have students watch the tutorials! 7th grade Hero’s Journey As part of the 7th grade humanities curriculum, students have spent the year learning about legends from various ancient cultures. Now they demonstrate their understanding of storytelling myths by creating one of their own. The library lesson for this includes learning about Creative Commons licensing in flickr and the basics of downloading, renaming, organizing, and citing images. Students make a simple storyboard, write a script, use pre-existing content, and create what’s basically a narrated slide show (using still and video images), complete with voiceovers, sound effects, and music. Eliminating the acting and production portions of filmmaking gives our youngest students experience with writing, planning, and editing, which gets them ready for more complex projects. 10th grade Latin 2
10th grade WWI documentaries For the first time this year, students in 10th grade world history (regular classes and AP levels) tried their hands making WWI documentaries with a narrow focus, working either on their own or in small groups. After a library lesson and doing some background research, they used found footage from the National Archives (again, still images and video) in short videos on topics including infectious disease, chemical weapons, gender in propaganda posters, and the impact of personal cameras on homefront morale, to name a few. One student even included some outdoor shots of a visit to the waterfront to see the Boston Navy Yard. 12th grade Read Aloud videos As part of our English 12 unit on existentialism, students read picture books and analyze them through this philosophical lens. Each year, BLS students also create read aloud videos to share with a partner elementary librarian in which they completely transform the original book into a fanciful movie, complete with interactive questions and suggested activities. Once English teachers have selected three finalists, the Keefe Library hosts a mock-award race in which 7th grade students vote for an overall winner. By 12th grade, student filmmakers are ready to get creative; abundant use of location shooting, elaborate costumes, and existential humor abound. Reflections I’ve learned some important lessons from students and teachers as I’ve shepherded and supported hundreds of Wevideo projects. Most important: keep it brief! Be clear about how much time students should expect to spend creating, shooting and editing a short film. Really, it’s the rare student film that can be over 5 minutes and not lose the audience. My preferred length is 3 minutes. If you want to really focus the project on filmmaking, have their first project be a silent film (you can allow music and sound effects) – no dialogue at all. This will keep them from letting exposition tell the story and keep them focused on why we all watch movies: the visuals. Try having them create a really fast genre film (consider under 2 minutes), a horror film, romance, or thriller. Key to classroom success for teachers has been working with the library team to plan and scaffold these projects, help with background research, come up with a shooting schedule, and support the technology. By simplifying and leveling the technology requirements, students can concentrate on the building blocks of movie making: gathering their ideas, planning and design, scriptwriting, filming, and editing. All of these tasks require critical thinking skills and just as important, real world practice on working together as a group. I always end the lessons with my filmmaking mantras, which I’ll share with you here. Direct students to create a shared Google Drive folder to house all the footage (original and found) and download all content to that folder immediately. This avoids the disaster that is: “I lost my phone!” or “Rob’s on a college visit and has all the footage!” Plug-in headphones and splitters help keep the environment quiet enough so that everyone can edit and preview in class. Remind kids to concentrate on editing visuals and footage first; leave the fun stuff like titles, voice over, music, and sound effects until visuals are complete. No one goes to see a movie for the cool titles. Keep emphasizing that they don’t have to shoot the film in order; that’s why they have a storyboard. If Janine is absent, work around it by shooting a later scene. Students should learn to “show as they go”, checking footage each time for lighting, sound quality, and accuracy, rather than waiting until the end and having to devote even more time to reshoots. Editing takes twice as long as they think it will, even with the ease of Wevideo. Absolutely NO blooper reels in the final project. And lastly, perfect is the enemy of good. |
As our school transitioned to Chromebooks, first using classroom carts and then in a 1:1 environment, I began investigating alternatives to the MacBooks. A presentation at an MSLA conference introduced me to WeVideo and despite the product’s price, the benefits have far outweighed its cost. WeVideo is a cloud-based editing platform that works from any device. As our students have grown accustomed to the group sharing function of Google tools, an application that allows them to share content and the editing of video projects made sense. WeVideo leveled the playing field so that everyone had access to the same high-quality tools. In addition, it allowed all students to experience and enjoy the power of movie editing, instead of leaving it in the hands of the one student lucky enough to own a laptop and some expensive software. Now that every student seems to have their own excellent movie cameras, we’ve stopped supplying video cameras and purchased cell phone tripod mount adapters ($8 each!). And we’ve had almost zero technical issues with the technology. Now instead of spending time updating various kids’ hardware and software, or stressing over storage, we can focus on coaching them through the more creative and teachable moments of movie making.
After several years of making live action videos about ancient Rome inspired by the Marvel TV series
Connecting Research and School Librarianship: On reading
by Deeth Ellis
Deeth is the Head Librarian at Boston Latin School in Boston, MA, and a Doctoral Candidate, School of Library Science, Simmons University
Connecting Research and School Librarian
A couple of years ago, I read a column in Knowledge Quest by Audrey Church, a long-time school librarian researcher. It focused on connecting practice to research. In the article she shared research and then recommended practices for school librarians. The simplicity of this idea stuck with me and has inspired this idea for a series for The Forum, Connecting Research and School Librarianship. Administrators and other teachers learn about libraries from us– from our day-to-day practice. So thinking in terms of clear communication of the most recent research is one way to support this important dimension of our job.
Each article in the series will provide selections of recent research on a particular theme or aspect of school librarianship. The purpose is to have a discussion about our practices and how the research might inform how we teach, communicate, or advocate for our role in schools. Each article that I have discussed is linked at the end of the piece so you can have access to the source. My thoughts are intended to be the beginning of a discussion, so please consider sharing your experiences. I am guided by the following questions:
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What connections do you make to your practice?
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Does the research raise any concerns?
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What questions do you have after reading?
On reading in the early years
“Reading for Pleasure Helps Kids’ Brain Development” by J. Feng, Y. Sun, B.J. Shakian, and C. Langley in Scientific American. 2023.
This short article explains the science behind brain development and its relation to poverty. The authors summarize their research published in Psychological Medicine and argue that reading for pleasure in early childhood can have a positive effect on brain health, specifically larger cortical surface areas (including the frontal areas) which are related to cognition, mental health, improved decision making, behavior, and resilience.
“What Do Children Want to Read? A Case Study of How One Primary School Library Supported Reading for Pleasure” by C. Loh, S. Gan, and S. Mounsey. 2022.
In a mixed-methods research study published in 2022, researchers focus on 7 to 11 year olds and analyze their reading preferences. Data is collected on how often specific books are selected, what reasons students cite for favoring certain titles, and quotes from interviews with students. Many titles listed will be familiar to elementary school librarians as will be the trends by grade level. Students describe the social aspects of reading and selecting books. Their reflections on reading and book selection are particularly enjoyable to read:
“as you get older, you’re more mature and look at realistic fiction for inspiration, or something that we do in our daily lives. (Noah, 11-year-old)” (p. 937)
“I still read the Dog Man books but I don’t read that many picture books anymore. (Ben, 8-year-old)” (p. 938)
“Wonder is embedded in my heart” (p.936)
The researchers provide some analysis about how reading choices relate to a student’s identity and growth as readers. Look at the authors’ recommendations for school librarians (p. 942) in the final section, “Reading Ahead” for a list you could share with an administrator or teacher.
“Research on Motivation, Literacy, and Reading.” Final Report for the Institute of Museum and Library Services. 2023.
Researchers from the Institute of Museum and Library Services published a lengthy report compiling the findings from a mixed methods research study focusing on elementary age children. The focus is to examine how public libraries are integrating strategies on reading motivation, reading, and literacy. Not surprisingly, the researchers find that there is little research about public libraries’ focusing on their young patrons’ reading motivation, literacy, and reading. However, there is a lot for school librarians to take away from this research. I recommend taking a look at the Summary of Findings (pp. iii-iv), and the tables that explain each finding, such as Table ES-1 (pp. v-xiv) below. They include corresponding studies that the researchers analyzed for this study. Details include the type of study, age of participants, and context (library or non-library) of the study. Most of the studies are taking place outside of the library and fewer even cite school libraries. However, the topics and focus of many studies describe practices and goals of school librarians.
Note on terminology: under “Study Design” Experimental is considered the “gold standard” for quantitative research followed by quasi-experimental. In education qualitative and mixed-methods (meaning using both quantitative and qualitative) are valued because of the important addition of context that can deepen the understanding of a topic.
SourcesChurch, A. (2020). Improving School Library Practice through Research. Knowledge Quest, 49(1), 52.
Q&A with our President Elect: Reba Tierney
Reba is the School Librarian at Waltham High School and the MSLA President Elect.
1. What are you excited about the most about your upcoming presidency?
So, I've been a school librarian for about 20 years, and I've been involved with MSLA for a lot of that time. And yet at the MSLA conference this year, I was struck by how many school librarians there are in Massachusetts that I don't know! I am looking forward to meeting new people, learning from them, and growing as an educator and a person.
2. Anything you're apprehensive about that you're willing to share?
Yes, the whole thing! I am terrified and exhilarated, all at once. The MSLA membership is not a monolith, there are many different ideas, opinions, and personalities in our group. I just want to ensure that all members feel seen and respected, while acknowledging that I won't be able to make everyone completely happy.
3. Tell us about a time in your library recently that made you really pumped up about your job/career.
It's so simple, but I had a student stop and talk with me in the hallway one morning about a book she was reading, and how she now loves to read. I remember walking away elated and thinking, "this is why we do what we do."
4. What idea have you implemented in the past that, in retrospect, you're really glad you did and why?
Having a Library Advisory Council made up of students has been a great experience. Even if it's just for advice or feedback, they're a group that I can rely on for ideas, suggestions, and opinions.
5. Is there anything you are planning to try in the library next year? What made you think about it and what do you hope the results will be?
I have so many ideas floating around that I would love to try. One is a Human Library (inspired by Susan Harari and Deeth Ellis at Boston Latin School). Another is Listening Lunches (inspired by Anita Cellucci at Westborough High), and I've always wanted to start a Senior Book Club where seniors in high school pair up with local senior citizens for a book discussion group. In all of these, the results would be to build community and connection.
6. What are some books you've read in the past year that really stand out to you (for students and/or adults)?
I loved Bright Young Women by Jessica Knoll, for both adults and older HS students.
7. Do you have any favorite podcasts (besides the MSLA one, of course)?
My Favorite Murder, This Podcast Will Kill You, Maintenance Phase, Sounds Like a Cult, Frosted Tips.
8. What are some other careers you pursued/dreamed about either in your youth, before librarianship, or perhaps on a bad day more recently?
I started college as a pre-vet major. I blame James Herriot. But no worries, Library World, organic chemistry cured me of any notion that I would actually graduate with a degree in science, well, a full degree in science. I ended up with a liberal arts degree with a Biology concentration. When I retire, I assume there will be a zoo librarian job magically waiting for me! I also wanted to be the social host on a cruise ship. One of my favorite memories is a guest asking me my name at the end of the cruise so she could put it on a comment card. She thought I was part of the entertainment staff!
9. Any pets? Funny/cute anecdotes about them?
Not anymore! RIP Mama Skins. You were a legend! And you really did love a Zoom meeting!
10. Summer plans?
A lot of beach time. A week away with my mom and sister. And catching up on all the reading, of course!
Hopeful Picture Books about Climate Change & Conservation
by Jenny Arch
Jenny Arch is a children’s librarian at the South Hadley Public Library. Previously, she was a library media specialist at East Meadow School in Granby, a school librarian at the Michael E. Smith Middle School in South Hadley, and a children’s and adult services librarian at the Winchester Public Library and the Robbins Library in Arlington.
Climate anxiety is real – and troubling – but it’s also a logical response to learning about humans’ effect on the planet. Kids learning about climate change need resources that foreground what people have already done to tackle the problems we’ve created, and focus on what we can do. People who are hopeful will take action; people who despair will not. These are books that don’t shy away from climate problems, but offer models for solutions, from big actions to small ones (and remember, the small ones add up!).
Mario and the Hole in the Sky: How a chemist saved our planet (2019) by Elizabeth Rusch, illustrated by Teresa Martinez, is the story of how Mexican-American scientist Mario Molina discovered the effect that chlorofluorocarbons (CFCs) were having on Earth’s atmosphere, and how he and other scientists eventually convinced the media and the governments of many countries to sign on to what became the Montreal Protocol in 1987, which phased out the use of chemicals that were damaging the ozone layer. Molina and his colleagues won the Nobel Prize in Chemistry in 1995, and Molina is now working on climate change. From the epilogue: "What we need is for most of the countries to agree, just like they did with the ozone layer, that the problem is so serious that we have to solve it using everything in our power." Mario and the Hole in the Sky shows that humans can come together to solve big problems.
One Little Bag: An amazing journey (2020) by Henry Cole isn’t explicitly a book about climate, but it is a beautiful illustration of the principle of “reuse” from the “reduce, reuse, recycle” triangle: a single paper bag is reused for years and years, from one generation to another. Cole uses spot color effectively so readers can easily pick out the bag on each page spread, from the front endpapers - where it’s still a tree - to the factory where it’s made into a bag, to a hardware store where it carries a flashlight home, to a lunch bag with a little red heart on it. The bag carries snacks, sheet music, an engagement ring, flower petals; it becomes a mobile over a baby’s crib, and it is finally used to plant a sapling in the ground. An author’s note appended to this wordless book describes Cole’s memory of the first Earth Day and how it inspired him to reuse one lunch bag for three years - over 700 times. Cole writes, “There is an enormous amount of waste each and every day as things are given up for garbage before their usefulness is gone.” Readers will think about their paper and plastic bags differently after reading this book.
The Snow Man (2023) by Jonah Winter, illustrated by Jeanette Winter, is “a true story about a real person named billy barr” who has spent his adult life in the Rocky Mountains (he doesn’t use capital letters in his name). Throughout that time, he has made and kept careful measurements about snowfall and snowpack, wildlife, and wildflowers, eventually compiling a treasure trove of climate data in his notebooks, which he shared with a local climate scientist. The illustrator shows barr aging as the decades pass and shows the setting in different seasons and different times of day. Back matter includes an author’s note and further reading. The Snow Man proves that careful observation and note-taking, while not flashy, are immensely valuable.
Stand Up! Speak Up!: A story inspired by the climate change revolution (2020) by Andrew Joyner uses simple vocabulary (“Wake up. Dress up. Drink up. Eat up. Meet up.”) and spot color to highlight the main character - a kid in a green striped shirt and green shoes, and their dog with a green bandanna - as they prepare for and attend a climate action protest. They “Stay up” to see coverage of the protest on the news, but are disappointed when the story is superseded by another. The kid resolves to take more sustained action, speaking at Town Hall and organizing a variety of community efforts, from composting to beach cleanup to a clothing swap. Back matter includes capsule biographies of real young people who are “standing up and speaking up,” like Autumn Peltier, Mari Copeny, and Greta Thunberg. Kids don’t need to tackle everything at once or stand up and speak in front of a crowd; this book shows there are lots of ways to make a difference.
As anyone who has read Jason Chin’s Coral Reefs (2011) knows, coral reefs are an essential part of ocean life - and they’re sensitive to warming temperatures as well as toxins and trash. Great Carrier Reef (2023) by Jessica Stremer, illustrated by Gordy Wright, is the tale of a decommissioned aircraft carrier that is carefully transformed into an artificial reef off the coast of Florida. Beautifully realistic illustrations show the scale of the ship - the human workers who prepare it to be sunk are tiny - and the art and text work together to show the thoughtful process of a really, really big “reuse” project. Back matter includes tips for how readers can “help save our reefs” by wearing reef-safe sunscreen, participating in beach cleanups, and writing to legislators.
In Zero Waste: How one community is leading a world recycling revolution (2023) by Allan Drummond, two children go to visit their grandmother in Kamikatsu, a small Japanese town that used to have a terrible pollution problem. Scientists came and discovered poisonous dioxins in the soil, air, and water because of how residents were disposing of waste in incinerators and trash pits. "People had to start looking seriously at reducing, reusing, and recycling the waste. Either that, or the town would die." People - including the narrators' grandma - spoke up and began to make big changes. In 2003 the town made a Zero Waste declaration: that Kamikatsu would be the world's first Zero Waste town by 2020. Today, the community recycles more than 80 percent of its waste: "We know that's not everything. But if the whole world did this..." Sidebars throughout and an author's note and photos at the end provide extra information about "reduce, reuse, recycle," the problems waste causes, and the idea of Zero Waste. Drummond is also the author/illustrator of Green City: How one community survived a tornado and rebuilt for a sustainable future (2016).
The Day the River Caught Fire: How the Cuyahoga River exploded and ignited the Earth Day movement (2023) by Barry Wittenstein, illustrated by Jessie Hartland, is a local, national, and global story. When the Cuyahoga River caught fire in 1969, it wasn't the first time that had happened - but it was the time that inspired action. Black mayor Carl Stokes "declared war...on pollution." Congress passed the Clean Air and Clean Water acts, and the first Earth Day took place in 1970. People "learned that caring for the Earth requires constant attention." Wittenstein acknowledges the river's cleanliness when Indigenous peoples were its custodians, and although more than 40 species of fish have returned to the river, it's still not as clean as it was before the Industrial Revolution. Back matter includes an author's note, an environmental timeline (starting with the publication of Silent Spring by Rachel Carson), more resources, and a bibliography.
To Change A Planet (2022) by Christina Soontornvat, illustrated by Rahele Jomepour Bell, uses simple patterned language to show humans’ effect on our planet. "One person seems small, quiet, and insignificant. But when one person, and one person, and one person become many, they can change a planet." This sentence is first accompanied by trees felled for lumber, penned cattle, traffic, and a city; later, the same sentence is placed over images of solar panels and wind farms, gardens, and a climate protest in Washington, D.C. Back matter is in a Q&A format.
Other titles to check out
One Plastic Bag (2015) by Miranda Paul, illustrated by Elizabeth Zunon
We Are Water Protectors (2020) by Carole Lindstrom, illustrated by Michaela Goade
Milkweed for Monarchs (2024) by Christine Van Zandt, illustrated by Alejandra Barajas
Sources
Coulson, Tiffany. “A Climate Change Reading List to Inspire Action, Not Dread.” School Library Journal. March 20, 2024. https://www.slj.com/story/newsfeatures/a-climate-change-reading-list-to-inspire-action-not-dread
Predergast, Tess. “How to Support Children’s Climate Knowledge.” ALSC blog. March 14, 2024. https://www.alsc.ala.org/blog/2024/03/how-to-support-childrens-climate-knowledge/
Medium Matters-Comics in the Classroom:
Mental Health Awareness and Cataloging
by Liza Halley
Liza is the Library Teacher at Plympton Elementary School in Waltham, MA. She has loved graphic novels since reading Bone and Amulet with her son. She reads every graphic novel she can find, and is a big fan of Monstress, Hellboy, and Saga. She is a founder of the Boston Kids Comic Fest.
Mental Health
May is Mental Health Awareness month. How can you use graphic novels to create awareness about mental health issues in an accessible way for your students and in your school communities? Here are some ideas for your library:
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Create book displays.
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Give book talks.
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Offer a book group using one of the books from the slideshow below.
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For grades 7-10 use this three-part lesson plan from Graphic Medicine to learn about depression and bipolar disorder.
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Download Cara Bean’s free Let’s Talk About It: A Graphic Guide to Mental Health (English and Spanish versions). Share it with your school community. Select pages to read and discuss with students.
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Have students create a comic about how they deal with stress, anxiety, depression and other mental health issues.
Let’s take a look at some recent great graphic novels and nonfiction that help build student and teacher awareness.
K-2
Crabapple Trouble: Callaway just wants to do a good job--but her worries are getting in the way!
Bug Boys: Each day is new and exciting for these two tiny beetles with big feelings.
Monster Friends: This story teaches us that you don’t have to be embarrassed to share how you feel, even if you’re anxious, grumpy, or scared.
Middle Grade
Living with Viola: An exploration of mental health issues, cultural differences and navigating middle school.
Guts: A true story about struggling with debilitating anxiety while navigating growing up, friendships and family life.
Timid: A budding comic artist struggles with shyness and fitting in after moving from Florida to Boston.
Buzzing: A moving middle grade graphic novel about friendship, belonging, and learning to love yourself despite the voices in your head.
High School
Elle(s): A story about navigating high school, multiple personalities, feelings, stress, and anxiety.
In Limbo: A book that explores the issues of otherness, suicide, and finding oneself.
Blackward: Four longtime, bookish BFFs--Lika, Amor, Lala, and Tony--can't find what they need, they take matters into their own hands and create a space where they can be a hundred percent who they are: Black, queer, and weird.
You can find longer descriptions and more books for each grade range in this slide show.
If you are interested in reading more deeply about this subject, I recommend the following articles:
Graphic Medicine Website. I highly recommend this website for further exploration of comics and health. Use this link to find a list of books and podcasts that focus on comics and mental health issues. This is not specific to school age students, but is really helpful for those wanting to learn more about the growing discipline of comics and medicine.
Hinds, Jess DeCourcy. "'That's How I Feel!' Visual books help teens grapple with emotions and mental health." School Library Journal, vol. 69, no. 9, Sept. 2023, pp. 38+. Gale OneFile: Health and Medicine, link.gale.com/apps/doc/A762831789/HRCA?u=temple_main&sid=googleScholar&xid=9d73e7d2. Accessed 16 Apr. 2024. Jess DeCourcy Hinds interviews graphic novelists about why they think combining words with images helps youth understand emotion. Hinds also writes about how close reading and specific lessons have helped students and teachers in her school community.
Mental Health Unmasked: The Healing Power of Graphic Novels and Comics written by Laiba, a blogger in Medium. This article explores how the medium combining art and storytelling is being used as a powerful tool to explore emotion and mental health issues.
Cataloging Graphic Format Works
Now we are going to shift gears and look at cataloging graphic novels and nonfiction in your library. I recommend making a separate section for your graphic novels and nonfiction books. I would mirror the way you catalog your fiction and nonfiction in the rest of the library in your graphic novel section with the addition of the word Graphic or Graphic NF on the spine label. So if you have gentrified your fiction section, for example, I encourage you to keep it consistent. Some examples in my own library:
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I have a genre-fied biography section that is cataloged by B Topic Last Name i.e. B STEM Ando. If this were a graphic nonfiction book I would catalog it as - GraphicNF, B STEM Ando.
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My Fairy Tales and Folktales are in their own section. Fairytales are cataloged by their name - Fairy Cinderella - and folktales by their country of origin - Folk Europe Russia Red Hen. For now, I keep all my nonfiction graphics in the graphic section, so the graphic versions would be Graphic Fairy Cinderella and Graphic Folk Europe Russia Red Hen.
Some librarians I interviewed for this story do interfile their graphic nonfiction within their nonfiction section because they believe the books circulate better when they are put with the topic (for instance the Titanic graphic nonfiction with the Titanic books).
I know many people like to add a graphic novel sticker onto the spines of their graphic books. I don’t do this because I have the word graphic on the spine label and I honestly don’t want to spend the money on the stickers.
At this moment in time, we are running into some interesting issues because of the rapidly expanding medium, especially with graphic adaptations of popular series. For instance, what to do with I Survived and Magic Treehouse books that are graphic adaptations? I am pondering this in my own library space. Many of my fiction series are in bins by the series. I am thinking I might eventually change my thinking about a separate section for graphic series books that are adaptations and combine them with the chapter book versions. For now, however, I want to keep graphic books all in one place for the visual readers to have a consistent place to go to to find the books they love.
Regarding graphic novel series in general, for books like Babymouse, Squish, Lunch Lady, etc., I recommend keeping your series together, possibly creating a separate section for the series graphic novels. In my library, I tend to pull the series out and shelve them after the general fiction graphic novels. I haven’t yet done this, but would also contemplate cataloging them by the name of the series rather than by the author’s last name because this is how students search for them.
Let me know what you think. How do you catalog your graphic books? What questions come up that haven’t yet been addressed in this article? As always, please feel free to email me with any questions, comments, and ideas for future articles.
What is your name, title, and school?
Jennifer Farabaugh, School Library Media Specialist at Stoneham High School.
How did you come to librarianship?
I had been a social studies teacher for over 20 years. It was a job that I loved very much, but a couple of years ago I decided I was ready for a new challenge. I knew that I wanted to stay in education in order to be able to continue to work with students and teachers so I decided to take a class at Salem State to see if I wanted to pursue a library media specialist certification. After my first course, I was hooked and knew it was the right path for me to take. This past fall, the library media specialist at my high school took a position in another district and I was able to obtain a waiver to become the new school librarian.
How would you explain the importance of your role to a nonlibrarian?
Most people definitely do not understand everything that school librarians do each day. As the heart of the learning community, librarians create a welcoming space that supports students’ academic and personal well-being. In order to do that we work closely with teachers from all departments in order to obtain materials and develop lessons that support their curriculum and the specific learning needs of each student. We ensure that our collection is inclusive and is able to be accessed equitably by all students. We curate information from a variety of perspectives in order to promote inquiry and help our students become thoughtful thinkers and creative problem solvers.
What are you working on right now?
Right now I am working on building a collection of resources for our English Language Learners. We were able to secure a grant that will provide funding for 50+ books in languages other than English. I am purchasing popular fiction titles as well as books that are required as part of the curriculum.
What is going well?
I am absolutely loving this new position. I think the students really like coming to the library. It is the hub of activity before school, during lunch, and throughout the school day as many classes like to take advantage of the resources and the space. It makes me feel good that the library is a place where the students feel comfortable and safe. I also really like that I am able to collaborate with teachers from all subject areas and be a part of the amazing things happening in their classes.
What is the most challenging thing so far?
Not having another librarian in the school or even in my school system to be able to ask questions. I have been fortunate that the former librarian (who is also my friend) has continued to be a wonderful mentor to me. We often meet after school and she has provided a wealth of useful advice and a lot of moral support. I have also formed a good relationship with the youth services librarian at the public library. She knows so much about what books and activities are popular with teen students. I really appreciate her suggestions.
What's the most unexpected thing about your new job?
I didn’t think I would be as constantly on the move as I am, but I love it! There is always a student asking for help, a printer to fix, a teacher to collaborate with, furniture to move, books to reshelve, a pathfinder to make for a class project, a display to create… There is something new every day and it’s wonderful!
What are you reading or watching?
I just started reading The Women by Kristen Hannah last night. I am a big fan of historical fiction and it was highly recommended by a lot of friends. I have been watching a lot of British crime thrillers on Netflix, too– once I start watching them, I have a hard time stopping until I finish the entire series.
What do you hope the MA School Library Association can do for you?
I have so much to learn about being a librarian and I hope the MA School Library Association will be able to connect me with other librarians who can provide support and resources I can integrate into my library in order to strengthen the program and benefit my high school learning community.
DEMCO's Book Doctor Workshop Review (+ 2 exciting things)
Sheila Constantino Magovern
Sheila Constantino McGovern is the Librarian at Crisafulli and Robinson Schools, Westford.
Push notification advertisements: Is it just me, or do they feel invasive?
Usually I delete them without a second thought. But back in October, the “DEMCO’s Book Doctor” ad that hit my inbox caught my eye for reasons I cannot explain. I found myself combing through it to find the catch.
“Must be expensive.” Nope, free.
“Must have to buy something.” Nope, everything was provided (except scissors).
“Must be travel fees to pay.” Nope, not even travel fees.
I emailed for more information, certain I was missing something, because this seemed too good to be true. Rather than the expected canned response, I received a prompt reply from Kimberly Young, the Book Doctor. THE Book Doctor. This role was created specifically for her. We went back and forth with dates for a while, because the workshop is free, Kimberly is popular. I’d resigned myself to a date next school year that lined up with our Professional Development calendar, but then it happened– The Book Doctor had a morning workshop in Beverly for the same March date as our district’s scheduled Professional Development day, and could I arrange something for that afternoon? COULD I EVER!!?There is no minimum attendance number required, but the website suggested 20 to 40 (since then, suggested group size has gone up to 40+), so we opened it up to every Librarian and library paraprofessional in our district. We also opened to nearby districts and sent out an invite on the MSLA listserv. I will say that the “free” workshop has one pitfall– with no funds to lose, a number of people backed out at the last minute. Everyone had good reason but I was left with a much smaller group than planned, and I honestly found it a little embarrassing. Kimberly was gracious and never mentioned the low turnout, and we ended up with about 13 people in the workshop.
Materials were shipped to us ahead of time… when the boxes arrived it took a lot of self-control to NOT open them, like it was my library birthday. We’d agreed on a 2 hour workshop to accommodate staggered schedules, and Kimberly customized the content to account for some librarians we knew would arrive late.
The Book Doctor arrived early with a hardshell suitcase, dressed in personalized scrubs (For my next career I want personalized scrubs, and also to have everyone address me as “Doctor Readmore”). We set up tables to Kimberly’s specifications, and had lunch together while we chatted and got to know one another. We provided Kimberly’s lunch, but as a courtesy, it is not a requirement.
The workshop itself was really well done and everyone raved about it afterward. We all brought a stack of books requiring repair, because we are librarians and of course we had a bunch on hand. However, the Book Doctor asked that we work only with what she’d shipped, rescued from the pulping pile, so we’d all be on the same page. (See what I did there?) The workshop covered (HA! I’m on a roll!):
- Book Jacket mylar covers
- Paperback poly covers, both 3mm and 15mm
- Batwing spine protectors
- Corner protectors
- Paper for tears
- Glue for tears
- Various tapes
- Bone folders
- Demco’s Cover One
In my short librarian career, I’ve hacked my way through a lot of book repairs, but never felt confident in the process even if I watched Demco’s videos to help (Demco Book Repair YouTube series). Having an expert walk us through it step by step was a whole new world. She did not try to sell us a single product, just showcased what she brought and the various ways we might find them useful. I don’t know if you’ve ever tried to shop on Demco’s website, trying to decide just how many millimeters your book covers should be, but I have– and after this workshop I feel confident that I won’t need a good cry next time I attempt it. Also, and I cannot stress this enough, those tape dispensers we all have are NOT just to hold tape rolls and take up space! Kimberly demonstrated how they should actually be used. Epiphanies all around!
The Cover One Machine was another revelation. I’ve heard the rumors - who hasn’t? But I’d always convinced myself these fancy newfangled gadgets were just for show and I could do without. Well, I am a mature adult and I can admit when I have made a mistake… I NEED ONE.
It goes without saying that all of the supplies she brought were available at Demco, lack of sales pitch notwithstanding. Kimberly provided handouts which included every product she demonstrated so we could easily locate them on Demco’s site later. Here’s Exciting Thing #1: She had a coupon, and encouraged us to share it out. So I am! Enjoy!
Here’s Exciting Thing #2: She had giveaways! We were all asked to fill out a form with our contact information, and she used it to give away almost everything she brought, including the fancypants tape dispenser! I won nothing, but as the host she invited me to keep the extras, which was pretty sweet. I was hoping to get that Cover One as a hostess gift, but alas…
Anyway, I would absolutely recommend booking the Book Doctor if you can get a big crowd. I would LOVE to see her at a future MSLA conference! Our experience was excellent; Kimberly’s communication was prompt and responsive, her presentation was practical, fun, and insightful. (This is an honest review. I was not asked to write it, nor am I being compensated for it.)
My library para won the pretty new tape dispenser. Some of the products all participants received are also pictured.
See below for links to various resources from DEMCO.
by Gillian Bartoo
Gillian Bartoo is the District Cataloging Manager for the Cambridge Public Schools.
Why do some, or even the same, folktales fall in 398 and E? Can you consolidate them all into one area or another? What about retellings and reimaginings? What about fractured fairy tales or newly written ones? As seems to be a recurring theme in this column, it all comes down to the practice of sharing cataloging records. If LC or another archive institution created the record, the classification is likely to be over-intellectualized by a cataloger with an advanced degree in folklore cataloging for academics. If it comes from a smaller public library, college or from a vendor, the classification is subject to the knowledge and training of the cataloger, and whatever the local classification rules are. It also depends on when it was cataloged - classification rules change over time, but cataloging records are not upgraded to reflect that.
While “the rules” do explain why some “folktales” fall into a fiction classification, there is even more leeway than usual for interpretation and local variation. Let’s look at a real-life example of two titles I received recently:
The three little javelinas by Susan Lowell; illustrated by Jim Harris
The little red hen and the Passover matzah by Leslie Kimmelman; illustrated by Paul Meisel
The cataloging record for Javelinas classified the title in E, while the cataloging record for Little Red Hen classified that title in 398.2 (folklore). Hmm….Shouldn’t they both sit in one place or the other?...
Let’s look at some guidelines and definitions.
I’ll spare you the usual OCLC Dewey Decimal Classification (DDC23) gobbledygook on the issue. DDC23 is written for academic-level catalogers so it assumes you already know what folklore is. Its guidelines mostly concern the difference between cultural mythology (398) and religion (200s), which is another can of worms for another day. The relevant piece to this column today is “[Folk literature]...is presented in terms of cultural entertainment or, especially, as representative of the early literary expression of a society…” (DDC23, v.2, p.551). So folklore is something that comes from a long tradition.
Cataloging Correctly for Kids, 4th edition, 2006 states this a lot more clearly: “Folklore is defined as those items of culture that are learned orally, by imitation, or by observation, including narratives (tales, legends, proverbs, etc.)” (p.15). So the key idea here is that the story was originally oral. How your average non-folklorist would know that isn’t addressed, but it can usually be inferred from information that is included in the book and dust jacket.
Because written versions are often far removed from original oral stories, CCK also includes this imprecise guideline for determining folklore: “Regard relatively faithful retellings and adaptations of folk material as folklore.” Somebody once described this to me as: “It is folklore if the original tellers of the story could still recognize it.” Because most of us aren’t trained folklorists, and “relatively faithful” and putting oneself in the place of somebody who lived hundreds of years ago or more aren’t very precise instructions, it’s up to the individual cataloger to decide if a retelling is folklore or fiction. This is a lot of leeway in the cataloging world, and it results in a lot of contradictory classifications in the stream of records.
In the example of The Three Little Javelinas, the story itself is very close to the folklore version: there are three porcines, three houses built with three different materials, and a huffing, puffing wolf. Not many would argue that it isn’t a “relatively faithful” retelling of the folk story as most of us know it. What is not faithful at all is setting and illustration. The American southwest is completely foreign to the story’s Northern European origins. None of the resources I consulted commented on whether one should take into account illustration or not. One could reason that the original (oral) story is relatively intact and its non-traditional presentation is not relevant. But, if you consider story and illustration as a whole package, this would probably go in fiction, especially if you want to avoid the implication that it is a folktale original to the American southwest.
The original story of “The Little Red Hen” was first published in 1874 (Wikipedia). The Little Red Hen does all the work of making a loaf of bread after other animals refuse to help. In the end, when the animals want to “help” eat the bread, the hen refuses to share, and she eats the bread herself. Later versions might include that the animals agree to help the hen in the future so that they can then share the results of their joint labor but the lesson is the same. The little red hen and the Passover matzah turns this on its head, not by having matzah be the end product or even the inclusion of lots of Yiddish and other Jewish cultural markers, but because, in the end, the Little Red Hen shares the bread with her friends despite their unhelpfulness. This is a small but fundamental change in the original story that many may not even realize, as it is a fairly ubiquitous change these days. This isn’t folklore, it’s actually a fractured fairy tale.
According to the Oxford Companion to Fairy Tales fractured fairy tales“....are traditional fairy tales, rearranged to create new plots with fundamentally different meanings or messages…fractured fairy tales, with a reforming intent, seek to impart updated social and moral messages.” The true story of the three little pigs by Jon Scieszka or Cinder Edna by Ellen Jackson are clearly recognized as fractured fairy tales that tell well-known folktales from different points of view and with different conclusions. These are considered fiction by folklorists and are classified accordingly by academic catalogers.
Can you move some of your E folklore to 398.2 or vice versa? It’s up to you to decide how far from the original a story has to get before it flips from folklore to fiction. Remember that, unlike an academic cataloger, you also have to take into account the suitability for and comprehension level of your patrons. Folktales can sometimes be long, brutal, and weren’t always meant for children. They can also be incomprehensible without adult intervention to explain the cultural concepts illustrated by the tales. These stories aren’t always going to get good use in general picture book collections and may be better off sorted away from them.
by Anita Cellucci
Anita is a past president of the MSLA and the K-12 Library Teacher and department head at Westborough High School.
“Connection is the energy that is created between people
when they feel seen, heard, and valued.”
Brené Brown, Daring Greatly
We know that educators must be ready to understand the challenges of motivation for learning, diverse emotional competencies, and habits and attitudes that students need in order to grow. Students enter our schools at differing levels of understanding of these skills. As part of humanity, we crave connection, and our students are no different. Creating a community of inquiry allows school librarians to meet the emotional needs of our school culture in a way that is intentional and impactful. School Librarians can lead our schools on this path through the Guided Inquiry Design Framework while creating a Third Space in our school libraries.
“The basic tenet of Guided Inquiry is Third Space, a dynamic learning space that connects school learning to the student’s world. It is the “watermark” of Guided Inquiry, a pervasive underlying impression that influences all aspects of the design and guidance throughout the inquiry process. The Guided Inquiry Design framework employs the six principles of constructivist learning throughout each phase of the design… Guided Inquiry is founded on research that reveals students’ holistic experience in the process of learning from a variety of sources…” (Maniotes, 5)
Over the years, research assignments have evolved to become more inquiry-based, allowing students more autonomy in their topics and how the express those topics. The GID process is valuable for driving toward this goal while simultaneously pushing educators to consider their own emotions, ideas and habits within research. School librarians are often surprised to realize that many teachers lack experience doing individual research and therefore struggle with designing research assignments that are authentic and meaningful for their students. A well-run research process holds space for student emotions, and through collaboration between school librarians and content teachers, it does the same for educators. Holding space is a mindful action of being intentionally present without judgment. It allows the space for each of us to unfold in our own time and way. As a teaching practice, holding space promotes the Collaborative for Academic, Social, and Emotional Learning (CASEL) fundamentals of SEL and fosters the skills that are necessary for living an emotionally successful life. This emotional space couples with awareness of a physical third space to achieve the goal of community building within GID.
When designing our curriculum it’s important to focus on the state curriculum standards of the discipline alongside our library standards. The most obvious place of creating community according to the AASL National School Library Standards for Learners, School Librarians and School Libraries is the "Collaborate Shared Foundation". Here, we are tasked to help our students “work effectively with others to broaden perspectives and work toward common goals”. However, the "Include Shared Foundation" pushes us to help learners to “demonstrate an understanding of and commitment to inclusiveness and respect for diversity in the learning community”. Designing curriculum with Guided Inquiry Design process bridges these ideas in a powerful way. Integrating standards with these learning theories is important not only to our learners' growth but also to the goal of collaboration and creating a culture of learning in our community. (AASL)
In the midst of the pandemic, in an effort to help foster community, I created a sketchnote to help illustrate how SEL is embedded into Guided Inquiry.
This illustration is inspired by the CASEL framework and the GID framework to show intentionality of these skills throughout a research process. It’s often a good way to begin collaborative conversations with content educators. It allows an opening within the collaboration to ask questions about the goals and outcomes that educators are hoping our students will walk away with. Guided Inquiry embeds tools to activate reflection and to guide students through their learning throughout the research process. After several years of integrating this practice, the results show that a collaborative teaching approach throughout GID increases the depth of learning in contrast to typical compilation based projects that tend to result in shallow understanding.
An inquiry community can become an active and vibrant space where all members feel able to show up authentically. The process allows learners to show their growth in a meaningful way— foster a space where they can feel seen, heard and valued. Providing time for Inquiry Circles brings a powerful tone to team and community building. The circles offer a social component and an opportunity for learners to explore their growth in a realistic manner while normalizing the feelings that emerge while engaging in the research process. Throughout this community building, the educators have an opportunity to recognize, analyze and discuss their own emotional development of the process, while also creating a community of their own through the team approach. Many educators find that they are confronted with emotions about their process, and in essence, they cycle through the foundational aspects of the CASEL Framework along with their students. Look at this as an opening for school librarians to offer support and to truly create a Third Space in our communities.
Works Cited
Kuhlthau, Carol Collier, et al. Guided Inquiry Design : a Framework for Inquiry in Your School. Santa Barbara, Libraries Unlimited, 2012.
Maniotes, Leslie K. Guided Inquiry Design® in Action : High School. Santa Barbara, Libraries Unlimited, an imprint of ABC-CLIO, 2017.
National School Library Standards for Learners, School Librarians, and School Libraries. Chicago, ALA Editions, an imprint of the American Library Association, 2018.
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