2 „A Story is a Doorway” -‘ by Richard Peck A story is a doorway That opens on a wider place. A story is a mirror To reflect the reader’s face. A… [628229]

2 "A Story is a Doorway" -' by Richard Peck
A story is a doorway
That opens on a wider place.
A story is a mirror
To reflect the reader's face.
A story is a question
You hadn't thought to ponder,
A story is a pathway,
Inviting your to wander.
A story is a window,
A story is a key,
A story is a lighthouse,
Beaming out to sea.
A story's a beginning,
A story is an end,
And in the story's middle,
You just might find a friend.

3 INTRODUCTION
We are teaching English or studying the teaching of English, but why do we want to
teach English, as opposed to other foreign languages? It is useful for us to consider this basic
question occasionally.
The Importance of English
English is not the most widely spoken language in the world in terms of the number of
native speakers –there are many more Chinese speakers than native English speakers –but
Chinese is spoken little outside of Chinese communities, so English is the most widespread
language in the world. It is difficult to estimate exactly how many English speakers there are,
but according to one estimate there are more than 350,000,000 native English speakers and
more than 400,000,000 speakers of English as a sec ond language (a language used in everyday
life, even though it is not the native language) or foreign language (a language studied but not
used much in everyday life).
However, even these numbers do not really indicate how important English is as a world
language, because less than fifteen percent of the world population uses English. The
importance of English is not just in how many people speak it but in what it is used for. English
is the major language of news and information in the world. It is the lan guage of business and
government even in some countries where it is a minority language. It is the language of
maritime communication and international air traffic control, and it is used even for internal air
traffic control in countries where it is not a native language. American popular culture —
primarily movies and music — carries the English language throughout the world.
English as a First or Second Language
In some countries, English is the sole or dominant language. It has that role in the United
Kingdom, the United States, Canada, Australia, New Zealand, and Ireland. All of these
countries are former British colonies. In other countries, English is widely used, particularly
among people who have no other language in common, even though it is not th e dominant
language of the country. For example, English is widely used in Hong Kong, Singapore,

4 Nigeria, the Philippines, and Malaysia. In such countries, it is often used as a means of
communication between people who have different native languages.
Using literature in the ESL classrooms
The benefits of using literature in the ESL classroom have long been proven and
recognized by ESL teachers and researchers in three core areas. First, reading literature is
beneficial to language development (Johnson & Louis, 1987; Morgan, 1998; Myonghee, 2004;
Sage, 1987). Literary texts are also rich resources of accurate diction, diverse sentence
patterns, and passionate narratives (Ghosn, 2002). Second, reading literature enhances ESL
students' knowledge of culture and society, which is too complicated to be captured by any
single piece of expository writing (Edmondson, 1995/6). Third, reading literature fosters
critical thinking by offering readers multiple perspectives, especially in books dealing with
issues such as immigration, cultural differences, social upheavals, et cetera. It is an exciting
medium to explore and yet safe enough to draw back and consider the alternatives.
Young Adult Literature is a promising candidate to be used in the ESL classroom. It is
often written in simple, modern English (Monseau, 2000); covers a wide variety of topics that
are relevant to ESL students' lives (Stover, 2001); and contains short enough chapters to
accommodate ESL students' reading habits and ability levels (Cummins, 1994). Regardless of
these attractive aspe cts, researchers have been asking the question of how to exploit its unique
values and features so that ESL students can learn more than the plot of the story.
Young Adult Literature and Finding Young Adult Literature Books
Young Adult books are commonly u sed in secondary schools. They speak to young
adults at a very personal level by putting real -life situations into a simpler context. They deal
with situations and circumstances that are pertinent to young adults, such as coming of age,
relationships, grow th and development, and self -discovery. They are typically written in the
first person, using contemporary language, and following linear storylines. Every year a large
number of Young Adult books are written by authors from all walks of life. This not onl y
makes them easily available, but also gives readers a large selection. More importantly, some
Young Adult books are considerably relevant to ESL students since they were written by
authors who share similar experiences or have dealt with.

5 Using Young Adult Literature Books to Develop Literacy
Well -written and targeted at young readers, Young Adult books are rich resources of
accurate diction, diverse sentence patterns, and passionate narratives. Furthermore, these
elements are organical ly connected to each other so improvement in one area triggers growth
overall. According to Cummins (2003), discrete language skills, such as vocabulary and
grammar, can be developed in isolation but cannot lead to academic proficiency unless
learners were actively engaged in situations where those individual skills were integrated by an
authentic media. Young Adult books are considered just such a medium by researchers
(Myonghee, 2004; Reid, 2002).
Learning some concrete phrases is only the first step. To achieve proficiency, students
must be familiar with the overall characteristics of a story. Writing skills are highly appreciated
by ESL students, who often need to retell a story or recount their experiences in daily dialogue
and in writing.
Using Young A dult Literature Books to Introduce British Culture and Society
Young Adult books are a good collection of stories and events, contemporary as well as
historical. To ensure a strong adolescent readership, narrations are often built upon the
perspective of o ne main character, usually a young adult who is experiencing the pains of
growing up. This makes reading Young Adult books a drastically different experience from that
of reading explanatory articles, the most commonly seen type of literature in ESL readin g. A
good Young Adult book not only informs ESL students the situation and development of an
event; it also connects readers to the event to gain an insight, rather than an overview, of British
culture and society, especially on aspects closely related to young people.
By connecting religion, superstition and folktales together, we lead our students to
explore hidden facets of American culture.
Young Adult books written in the first person perspective breaks social, cultural, gender
and other such barriers. They offer ESL students a kaleidoscopic view to see the issue from
multiple points of view that they may not otherwise have had access to in their own lives. It is
entertaining and eye -opening to see how other people think, interpret, and act on a variety of
things, especially those things that ESL students are familiar with.

6 The simple yet beautiful language used in Young Adult books, in addition to the cultural
content, is one of the most conspicuous features utilized by ESL teachers. In fact, ways to
engage the advanced levels of ESL students to read these books are certainly more than what
have been discussed above. Teachers in English education have done a considerable number of
studies and many of their findings can be applied in th e ESL classroom. At the same time, a
teacher must have extensive knowledge of the Young Adult books, or at least be familiar with
different topics and genres. Also, the teacher should be supportive, encouraging, sensitive, and
dedicated, because their stud ents face a tremendous challenge when reading through a book
written in a foreign language.

7 CHAPTER I
I.1. TEACHING LITERATURE — HIGHLIGHTS
1.1.1. WHY?
With its three genres — prose, poetry and drama — literature represents an important
aspect in foreign languages teaching. If the textbooks for junior forms are mainly directed
towards the acquisition of the spoken English, senior form ones contain a choice of literary
fragments, where the selection of writers tries, without always succee ding, to cover the range of
the British and American literature.
The benefits of using literary texts in the language class are great, since such texts can be
the basis for imaginative, interactive and discussing activities. For instance, we may stress the
value of drama and role play activities in developing not only students' oral language skills, but
also their imaginative sensibilities, so they will be receptive to a literary text and be able to
make a personal response to it. Communication in the class room can be sustained by such
literary pieces that raise themes and issues that are of real interest to all players in the language
learning game.
We should also emphasize the fact that reading and understanding literature is a skill in
itself (like readin g, writing, speaking and listening). Studying literature may help students
acquire a native like competence in English, learn how the English linguistic system is used for
communication, see how idiomatic expressions are used, speak clearly, precisely and concisely,
and become more proficient in English, as well as become creative, critical and analytical
learners.
1.1.2. HOW?
The literature teacher's mission involves, besides keeping students informed, imparting
and developing notions of taste, assessing v alidity, recognizing beauty. He also needs a strategy
that equates enjoyment with personal reaction, critical and analytical ability, rather

8 than with subject matter. In a very complex class, such as the literature one is, students can b e
helped to:
 Improve their cultural awareness;
Get information;
Form artistic taste and refine their thinking and feeling;
 Stimulate their creativity;
 Improve their study skills in order to become independent learners;
 Enhance their self knowledge;
– Improve their language skills.
All of these are also useful and necessary outside the English class and support the main
goals of educational in general.
Here are some methodological guidelines:
1. The study of literature should be stimulating, challenging and enjoyable. This could be
achieved by:
a. Varying the types of activities in terms of what they activate (the students'
creativity, their memory, personal experience, previous knowledge, attitudes,
values, etc.), the type of information (literary, histori cal, geographical,
artistic, etc.), the classroom management, etc.
b. Giving students the feeling of success
c. Creating opportunities for students to establish connections/associations
between the Anglo -Saxon world and their own.
2. Literature lessons should ai m at teaching students how to think, not what to think (how to
interpret a literary text and not what the standard/accepted interpretation is).
3. A balance should be reached between the following extreme attitudes:
a. The traditional focus on information and on the student's memory
b. The modern focus on the student's response (opinions) and on student's
creativity.
4. Literary texts should be presented against a larger background, in the context of the
culture and civilization of their time.

5. There should be a continuum between the language component and the culture and
civilization component. The literature class is the meeting point of the English

9 language and its behavior and achievement culture on the one hand, and the
Romanian language and its behavior and achievement culture, on the other. 6.
Students should be encouraged to personalize literary texts.
1.1.3. CHOOSING TEXTS
Texts of the right reading level are neither too easy nor too hard for a particular reader.
Choosing texts of the right difficulty and interest levels will encourage children to read and to
enjoy what they are reading. Vocabulary, word length, grammatical complexity and sentence
length are traditionally used to indicate the difficulty level of a text.
The subject matt er of a book is also an important factor. For instance, readers with
substantial prior knowledge of a subject will be able to use their knowledge to read more
difficult texts.
Cultural factors are important when choosing books for non -native speakers. Some
children's books may contain references to situations, objects and experiences that are
unfamiliar to non -native speakers.
For both children and adults, native and non -native speakers, it is important to use
authentic texts. This means materials written w ith readers in mind, not texts constructed to
illustrate specific vocabulary or word forms. It is also important to use a variety of authentic
texts, including both information texts and narrative or story texts.
Students often have an easier time reading information texts when they can use their
knowledge of the topic.
Practical applications
 When assessing the difficulty level of a text, it is important to consider the language used,
as well as its subject matter, interest level and assumed cultural knowledge.
 Apart from text difficulty, choose books that are well -written in temis of style and
language.
 Choose reading materials that utilize students' local context. For instance, books about
what students enjoy doing would be a good starting point.
 Use information texts that contain topics with which the students are familiar. This will
allow them to use their prior knowledge and to learn more about the topic.

10  Introduce reading materials of different types (genres) and topics. A lack of variety of
materials leads to a limited reading and language experience.
1.1.4. VOCABULARY
Many studies have shown that good readers have good vocabulary knowledge. In order
to understand a text, readers need to know the meanings of individual words. They construct an
understanding of the text by assembling and making sense of the words in context. Vocabulary
knowledge is difficult to measure. It is, however, very important in learning to read and in
future reading development. Words that are recognize d in print have to match a reader's oral
vocabulary in order to be understood. This is important for children who are developing oral
proficiency, as well as for non -native speakers of a language. In later reading development,
when students read to learn, they need to learn new vocabulary in order to gain new knowledge
of specific subject matter.
Practical applications
 Vocabulary should be taught directly and indirectly. Direct instruction includes giving
word definitions and pre -teaching of vocabulary befo re reading a text. Indirect methods refer to
incidental vocabulary learning, e.g. mentioning, extensive reading and exposure to language –
rich contexts.
 Repetition and multiple exposures to vocabulary items (e.g. through speaking, listening
and writing) are important. This should ideally be done in connection with authentic learning
tasks.
 Vocabulary learning should involve active engagement in tasks, e.g. learning new
vocabulary by doing a class project.
 Word definitions in texts aid vocabulary development.
 Multiple methods, not dependence on a single method, will result in better vocabulary
learning.

11 1.1.5. PRIOR KNOWLEDGE
Having more prior knowledge generally aids comprehension. There are many aspects to
prior knowledge, including knowl edge of the world, cultural knowledge, subject -matter
knowledge and linguistic knowledge. A reader's interest in a subject matter will also influence
the level of prior knowledge. All of these factors are important to different degrees, depending
on the re ading task.
A reader's knowledge of the world depends on lived experience. This is different in
different countries, regions and cultures. Reading tasks and reading instruction should be
sensitive to the types of prior knowledge that are needed for the rea der to understand a text.
Practical applications
 When choosing books, it is important to consider the students' interests, as well as the subject
matter of the text.
 In the classroom, teachers can focus on words and concepts that may be unfamiliar. This is
especially important for nonnative speakers.
 Discussing new words and concepts with students before reading a text is generally helpful.
It helps to activate prior knowledge and improve comprehension.
 Asking students to tell everything they know about a t opic is a useful way to begin to get
students to activate their prior knowledge. They should then begin to think about what they
don't know. After reading, they should summarize what they have learned about the topic.
1.1.6. COMPREHENSION
Comprehension is the process of deriving meaning from connected text. It involves word
knowledge (vocabulary) as well as thinking and reasoning. Therefore, comprehension is not a
passive process, but an active one. The reader actively engages with the text to construct
meaning. This active engagement includes making use of prior knowledge. It involves drawing
inferences from the words and expressions that a writer uses to communicate information, ideas
and viewpoints.
Recent studies have focused on how readers use their knowledge and reasoning to
understand texts. The term 'comprehension strategies' is sometimes used to refer to the process
of reasoning. Good readers are aware of how well they understand a text while

12 reading. Good readers also take act ive steps to overcome difficulties in comprehension.
Students can be instructed in strategies to improve text comprehension and information use.
Practical applications
 Instruction can improve comprehension by focusing on concepts and the vocabulary used
to express them.
 Comprehension can also be enhanced by building on students' background knowledge,
e.g. by having a group discussion before reading.
 Teachers can guide students by modeling the actions they can take to improve
comprehension. These actions inc lude: asking questions about a text while reading; identifying
main ideas; using prior knowledge to make predictions.
 Teaching a combination of different strategies is better than focusing on one.
 Different methods have been found to be effective in teaching text comprehension.
Teachers can use combinations of the following:
o Co-operative or group learning;
o Graphic organizers (e.g. flow charts, word webs);
o Asking and answering questions;
o Story structure;
o Summarizing;
o Focusing on vocabulary.
1.1.7. MOTI VATION AND PURPOSE
A reader reads a text to understand its meaning, as well as to put that understanding to
use. A person reads a text to learn, to find out information, to be entertained, to reflect or as
religious practice. The purpose for reading is closely connected to a person's motivation for
reading. It will also affect the way a book is read. We read a dictionary in a different way
from the way we read a novel. In the classroom, teachers need to be aware of their students'
learning needs, includi ng their motivation for reading and the purpose that reading has in
their lives.

13 Practical applications
 By talking to students about the different purposes for reading, they will become more
aware of what to focus on as they read.
 The u se of different types of texts (stories, news articles, information text, literature)
promotes different purposes and forms of reading.
 The use of authentic texts and tasks will promote purposeful reading.
 Books and reading materials that are interesting and relevant to students will motivate
them to read more.
 Make connections between reading and students' lives.
 Develop a love for reading, because it extends beyond academic success.
1.2. WHY TEACHING LITERATURE IN PRIMARY AND SECONDARY
SCHOOL?
The teaching of English as a foreign language in primary schools is gaining popularity
throughout the world. Many countries are also using English in the upper grades as the
vehicular language for all or part of the general curriculum. It is therefore importan t to
identify the types of materials that best prepare pupils for academic work in L2. The
traditional structurally -based texts and the newer, integrated, communicative courses might
not be sufficient for the demands of the academic classes. On the other h and, a syllabus that is
based, or that draws heavily on authentic children's stories, provides a motivating medium for
language learning while fostering the development of the thinking skills that are needed for
L2 academic literacy. Literature can also ac t as a powerful change agent by developing
pupils' intercultural awareness while at the same time nurturing empathy, a tolerance for
diversity, and emotional intelligence. This is an important consideration at a time when our
world is becoming smaller, yet increasingly hostile.
Classroom experience can have a profound effect on learners' views of themselves, their
place in the world and their role as global citizens. Instructional materials and methods play an
important role in shaping that experience. Sinc e language teaching is not bound by specific,
fixed content, language teachers can select materials that cultivate the skills and

14 attitudes of global citizenship, and good literature is one of the best options. The sustained
human interest in a story is evident in the epics, myths, legends and folk tales that have
preserved human heritage, sparked the imagination of the young and old and ente rtained and
thrilled humankind for thousands of years. Throughout human history, stories and parables have
also been used to transmit the values and mores of society (Reardon, 1997) and stories are
valuable tools we can use to transmit the culture of peace in the language classroom.
Socially Responsible Language Teaching (SRLT) is based on peace education
pedagogy, which respects and is sensitive to learners' culture, personalities and life situation.
It involves learners in shaping the lessons by allowing them to explore what is of interest and
concern to them in the stories. It is not a subversive means to impose new values or beliefs on
the learners, and it is never coercive or sensationalist. Rather it aims at raising learners'
awareness of issues that a re of global concern while helping them develop the skills they need
to examine the issues and make decisions about them. Most importantly, its main focus is
always language teaching.
1.2.1. LITERATURE AND LANGUAGE LEARNING
Good literature is an excellent medium for language learning, as it is full of examples of
real-life language in different situations. Thus it avails vocabulary, language structures and
registers second language learners might not have otherwise encountered and assists them in
their own communication efforts. For example, Butterworth's (1989) delightful story, One
Snowy Night provides the following useful models in meaningful, easy to understand contexts:
Could you face the other way? I Can I come in, too? I Well, if you promise to behave …/ I'm
sorry to burst in like this….
Meek (1995) has aptly pointed out that "Stories teach children the verb tenses of the
past and the future when they are intensely preoccupied with the present" (p. 6). A good
example of this is Viorst's (1995) Alexa nder, Who's Not (Do you hear me? I mean it!) Going
to Move. This is how Alexander uses the future tense to express his feeling about the family's
move:
"I'll never have a best friend like Paul again. I'll never have a great sitter like Rachel
again. I'll n ever have my soccer team or my car pool again…. My mom and my dad say that
after a while get used to living a thousand miles from everything….

15 Having learners act out parts of the story and inviting them to use the language in their
own stories and role -plays will provide a meaningful context for practicing the forms. For
example, learners can be invited to think what they would really miss if they had to move and
then express their ideas using the forms in the story. The discussion will also provide the
teacher with an excellent opportunity to model new language, such as "If you had to
move…what would you miss?"
The positive influence of stories on development of second language learners'
vocabulary and reading and writing skills i s well documented. In my classroom -based research
I have also found literature to generate more interactive discourse than the traditional language
practice activities. The following episode around the classic Wizard of Oz in a grade four class
helps illus trate this:
Sl: The good witch gave to Dorothy the slippers.
T: Uhhuh. Slippers.
Sl: Yes
T: What kind of slippers?
Si: Uh, red magic slippers.
T: Why did she give slippers to Dorothy?
Sl: Because it can help her when she is in trouble.
T: They were very special slippers?
S2: Teacher, why they say "slippers" and not shoes? (Unpublished transcript data.)
1.2.2. EMPATHY
Literature can also help children develop aspects of emotional intelligence identified by
Goleman (1995). Empathy, an aspect of emotional intelligence – and a pre -requisite skill to
tolerance –develops as a result of experience and interaction with others. Recent brain research
suggests that "…repeated emotional lessons of the child's life literally shape the brain circuits
for that response" (Goleman quoted in O'Neill, 1996, p. 3). It has been argued elsewhere that
stories can contribute to development of empathy by providing vicarious emotional
experiences, which, like direct experiences, have the potential to shape brain circuits (Ghosn,
2001). In contrast, lack of exposure to stories may actually limit the development of empathy
in children, as Pinsent (1996) has argued.

16 The highest mode of empathic arousal is role -taking, the ability to imagine how one
would feel in a situation of others (Hoffman, 1984). For example, children everywhere can
empathize with Alexander's miserable day in Alexander and the terrible, horrible, no good,
very bad day (Viorst, 1972) and relate to Ahmed' s joy of learning to write his name in The day
of Ahmed's secret (Heide & Gilliland, 1990). Teachers can help develop learners' role -taking
ability while introducing or reinforcing grammatical structures as shown in the following
classroom episode:
T: If you were in Alexander's place, how would you feel?
Si: If me, if I am Alexander I will be very sad when I see all my friends eat cookies.
T: Uh -huh, so you would be sad if you had no cookies for dessert.
S2: Miss, me, me! I be angry because my mother she d id not put any cookies.
T: Oh, so if you were left without dessert, you would be angry. Uhuh. (Unpublished transcript
data.)
1.2.3. INTERCULTURAL AWARENESS
These stories, like many others that describe children's experiences in other cultures, also
help de velop intercultural awareness. Alexander's stories give readers an idea about the life of a
little American boy, while Ahmed's day provides some insight into the life of a child in Egypt.
At the same time, these stories illustrate some of the shared, unive rsal aspects of the human
condition.
One of the basic skills in the development of intercultural awareness (and conflict
resolution) is the ability to engage in objective, non -prejudiced observation. Many children's
storybooks have excellent detailed illus trations and the following are some ways that a teacher
can use well -illustrated storybooks to teach the skill of observation.
Invite students to examine illustrations and ask them to observe what they see. Explain
that observing means noting only facts an d that we use words such as "probably", "maybe" and
"possibly" to talk about something we are not sure of.
Give an example of a fact and an assumption from the illustrations. "These people are
standing at a bus stop. We can see that in the picture. We can say that it is a fact. Can we say
that these people are going to get on the bus? We assume that, but we cannot be sure. What
other possibilities might there be? Maybe they are waiting for someone. Perhaps they are
waiting to cross the street."

17 A volunteer records all observations on the board and students then examine each
suggested observation to determine whether it is an observable fact or an assumption.
Depending on the age of the learners, degrees of certainty can be discussed and r elevant
vocabulary introduced (possible, probable, etc.).
During the reading of the story, some of the facts and speculations can be verified:
"Some of you assumed that these people might be waiting to cross the road. Others suggested
that they are waiting for a bus. What did we find out?"
"Their cousins were coming on the bus."
"Right, so just because people are standing at the bus stop does not necessarily mean that they
are going to get on the bus."
Making comparisons between different story contexts and between stories and their
own life experience helps children gain insight into cultural concepts while learning
vocabulary of comparing and contrasting. The familiar Venn Diagram is a useful graphic
organizer for comparisons. (Determining the criteria for comparison avoids random listing of
ideas.) Caution needs to be exercised, however, when selecting multicultural stories. Stories
that portray the exotic or the quaint minimize the shared universal hu man experience
(Derman -Sparks, 1993/94) and stories that fail to show diversity within groups build
stereotyped images of other cultures.
1.2.4. PREJUDICE AND DISCRIMINATION
Stories can also teach about poverty, prejudice and discrimination. For example, The
Hundred Dresses (Estes, 1944), although nearly sixty years old, is still very relevant today. The
story, which tells about prejudice, discrimination and bullying, lends itself well to discussion
and follow -up activities that promote language learning a nd get children to reflect on the issue
of prejudice and individual responsibility. The following suggestions can be adapted to many
different stories.
Inviting children to share any experiences they may have had with teasing, exclusion,
or witnessing othe rs being victims gives the teacher an opportunity to model question
formation: "How did they feel?" "Did anyone interfere?" "What did they do?" "Why didn't
anyone stop it?"
Discussion on what students perceive an individual's role and responsibility to be when
witnessing bullying or discrimination provides a meaningful and natural context for teaching

18 modals. "What should the other children have done?" "What could they have done?" "What
could Wanda have done?" The questions can be writte n on the board. Students then generate
possible solutions which are listed on the board next to the questions. Modals are reinforced
while students consider possible consequences of their suggestions. Work on problem solving
will further reinforce the use of modals while developing critical thinking. Appendix B shows
the steps in the problem solving process and how they can be linked to a story.
An in -depth exploration of important topics is possible by developing a thematic unit
around 3 -4 stories. For example, The Hundred Dresses, Crow Boy (Yashima, 1965), The
Sneetches (Seuss, 1989) and Andersen's classic, The Ugly Duckling (available in numero us re –
told versions), all deal with prejudice and exclusion, while The Hundred Dresses, I Hate
English! (Levine, 1992), and Angel Child, Dragon Child (Surat, 1989) can be used to explore
the immigrant experience.
Perspective -taking, whether historical, cul tural, or gendered, is an important academic
and real world skill that is fostered by talking about literature (Raphael, Gavelek, & Daniels,
1998). When students have opportunities to talk about and reflect on characters' situations and
actions, they begin to understand different perspectives. Written tasks that require students to
take on different roles further reinforce the skill. As Bearne (1996) notes, literature helps
sharpen critical thinking skills and enables children to "read their own and others'
representation of the world sharply and analytically" (p. 318). For example, the familiar
literary journals and letters to story characters, when used with stories of substance, make
valuable contributions to the SRLT classroom, as do invented dialogues b etween characters.
The following are just a few possibilities.
Using the first person pronoun, students take on a role of a character (or an object) in a
story and describe an event from that person's viewpoint. For example, one grade 5 student
wrote from the perspective of Maddie in The Hundred Dresses:
Today Peggy made mean fun of Wanda again. It made me feel bad inside, but I did not say
anything because I was afraid that Peggy will make fun of me. I think that everybody is a little
afraid like me.
Writi ng letters from one character to another requires students to put themselves in the
position of others, thus reinforcing the role -taking skill. Writing letters to the characters in the
story personalizes the story and can be used to teach caring communicat ion and expressions of

19 encouragement and support. Here is what one 4th grader wrote to the Ugly Duckling:
Dear Ugly Duckling, don't be sad I think you can be a very nice bird and I like you. Your
friend Sami.
Adding dialogue to the story requires students not only to read creatively but also to
take on different roles. For example, when writing a dialogue between Wanda and her
father, students need to think about the possible relationship between the two, their home
life, etc. Writing dialogues about story events can be used to activate the use of reported
speech: Wanda: The teacher told us that there is going to be an art competition soon.
Father: Oh. You draw so well that you might even win. Did she say anythi ng about prizes?
Wanda: Yes, she said that the winner would get a medal.
Stories offer many examples of how prejudice and intolerance can lead not only to
discrimination but also to violence, as in The Island of the Skog (Kellogg, 1973) and Two
Monsters (M cKee, 1985). The story about the two monsters vividly demonstrates how conflict
and violence can result from the refusal to attempt to understand others' viewpoints. Although
the story is controversial in that it actually teaches new expressions for insult ing others (e.g.
"numskull" and "pea brain"), it provides a valuable lesson about the power of words. When
students try to transform the insults into positive comments, they will realize that something
interesting happens to the conflict — it dissipates! H ere is how the story was transformed by a
group of 5th graders. First, students tried to change only the insulting comments, but realized
quickly that each negative comment, when replaced by a positive one, changed the consequent
reaction. So, they re -wrote the storyl.
1.2.5. THE POWER OF WORDS IN TRANSFORMING CONFLICT
Today, popular media bombards audiences, including children, with programs full of
violent language. For example, sarcastic put -downs and insults only lightly coated in humor
characterize man y popular family sit -corns. In order to counteract negative communication
models, good children's literature is an excellent medium for language learning, as it is full of
examples of real -life language. It can be used to show the power of words, both posi tive and
negative, and their role in conflict.
Irma -Kaarina Ghosn, Director Center for Peace and Justice Education, Lebanese
American University

20 Two Monsters is a useful children's literary work for English language acquisition and
perspective -taking. It is a story about two monsters who reside on opposite sides of a mountain
and communicate through a small hole in a rock. Seeds of conflict are sown when one ev ening
the first monster calls his neighbor's attention to 'the beautiful sunset'. The second monster
points out that his neighbor is mistaken and that what he sees is 'the moonrise'. That evening
neither one sleeps well and the next morning their disagreem ent quickly escalates, from a
virulent exchange of insults to the destruction of the whole mountain.
Two Monsters is somewhat controversial because it can actually teach children new
insulting expressions e.g. "numbskull" and "pea brain," yet it shows how words can contribute
to conflict escalation and provides an excellent medium for teaching positive communication,
tone and perspective -taking.
Source: Irma -Kaarina Ghosn, Director
Center for Peace and Justice Education
Lebanese American University
Age Range: Elementary to secondary school students (age 7 and up)
Subject: The activity has been used in primary school English as a Second Language
classes in grades 4 and 5 (ages 8 -10) and develops both peace education concepts and
language/communicatio n skills.
Materials: Copies of Two Monsters (one copy per every four students).
Duration: 50 minutes (can be extended to carry over two or three class periods)
Learning Objectives: Learners will:
 develop an awareness of the power of hurtful words in conflict escalation
 identify positive expressions that can be used to avoid escalation of conflict especially when
viewpoints differ
 develop skills of working together
 develop interpersonal communication skills
 develop English language skills
Procedure: Storytelling, Perspective -Taking, Participatory Learning
Step One: Read the story emphatically to the class, stopping at key points to invite predictions.
At intervals, ask children to explain what happened and why it happened. In particular, after the
demis e of the mountain, ask the class:

21  Could the destruction of the mountain have been prevented? If so, why?
 How could it have been prevented?
 What do you think was the main problem in the story? (A useful prompt includes, why did
the monsters end up using such mean words?)
Step Two: Guide children to recognize the different viewpoints of the monsters as a critical
departure. Using the issue of differing viewpoints, encourage them to come up with suggestions
on how the monsters could ha ve learned something about each others' viewpoints. Allow space
for their imagination.
Step Three: With the children, generate as many positive and polite expressions as they know
and teach a few more e.g., excuse me, what exactly do you mean? can you expl ain more?, my
kind friend, etc. Once a list of good examples has been created, it is important to emphasize
that the tone that accompanies words is an important part of communication, too.
Step Four: Select three of the examples to compare and contrast dif ference in tone. Read the
selected words or phrases, first in a calm, inviting (non accusatory) tone and then, in an
angered, accusatory tone. By a show of hands, ask the children to show you which tone is
positive and which is negative. Ask them:
 Why is t his tone negative? Why is this tone positive?
 If I use this tone, would you want to talk to me? Why?
Step Five: In small groups, have children re -write the story of the Two Monsters to end
positively. (Children are likely to begin by trying to change only the different insults to more
positive, but will quickly realize that each positive comment changes the subsequent
response).
Step Six: Lead a discussion on the experience e.g., what was it like to wr ite a new ending to the
story? How did it make you feel? Next, have children practice their new dialogues and present
them to the class. Gather new stories into Our Class Book of Positive Communication, have
children illustrate it.
Step Seven: Depending on cues from the class, you may want to ask children to recount any
experiences they might have had where hurtful words were used and what happened.
Evaluation: In addition to practicing positive communication, literature also fosters
perspective -taking, an important life skill. I have found that when students have opportunities
to talk about and reflect on characters' situations and actions, they begin to understand

22 different perspectives. Written tasks that require students to take on different roles further
reinforce the skill. Below is an example of a child's learning through this exercise.
The Friendly Monsters Adaptation of the Original Story by David McKee, Grade 5
Once upon a time there were two monsters who lived on a mountain. One lived on the
west side and the other one lived on the east side. Sometimes they talked together through a
small hole in the mountain. One evening the first monster called through the hol e, "Hi
neighbor! You should see the sunset. It is very beautiful!" "What do you mean sunset?" called
the second monster through the hole. "You mean the moonrise, my good neighbor." The two
monsters did not sleep very well. They were thinking about what the other monster had said.
The next morning, the first monster shouted through the hole, "Wake up, my clever neighbor,
the moon is leaving." "What do you mean, my intelligent friend? Do you mean that the sun is
rising?" "No, no, my friend. I mean the moon is leaving. Look through the hole, please." So,
the second monster became curious. It tried to see through the hole but it was too small. "My
dear neighbor, I can only see your shirt. It is very nice and colorful. But I do not see anything
else. But I see th e sun coming." "Oh dear!" said the first monster. "We must make the hole
bigger. I want to see what you mean." So the two monsters started to dig with their big claws.
They dug and dug all day and till the evening. They threw the rocks behind them. They hu rled
them far back. Soon the hole was as big as a door. "Hello, my hardworking neighbor!" said the
first monster. "Come to my side and see the sunset." "Thank you my nice friend," said the
second monster. "You can come to my side and see the moon coming up ." So the two monsters
went through the hole to the other monster's side. "Incredible," said the first monster.
"Amazing!" shouted the second monster. They lived happily ever after and visited each other
almost every day. The End
Variation: The Two Monster s and this activity are also useful for older students i.e., 14 –
18 year old students. Older students often enjoy using children books: they are surprised, first,
that they are allowed to use such a nostalgic medium from their childhood and later, that they
can discover so much wisdom in these books. The value of children books for all age groups is
that they minimize complexity and tell in the form of a parable much about social relationships
and human behavior.

23 If older students do not feel comfortable because they think this activity is too childish,
you can frame the activity with the following question: How could one use this story in order to
help smaller children understand the power of words?
Two Monsters
By David McKee
There was once a monster that lived quietly on the west side of a mountain. On the east
side of the mountain lived another monster. Sometimes the monsters spoke together through a
hole in the mountain. But they never saw each other. One evening the first monster cal led
through the hole, "Can you see how beautiful it is? Day is departing."
"Day departing?" called back the second monster. "You mean night arriving, you twit!"
"Don't call me a twit, you dumbo, or I'll get angry," fumed the first monster and he felt so
annoyed that he could hardly sleep. The other monster felt just as irritated and he slept very
badly as well.
The next morning the first monster felt awful after such a bad night. He shouted through
the hole, "Wake up, you numskull, night is leaving."
"Don't be stupid, you pea brain!" answered the second. "That is day arriving." And with that he
picked up a stone and threw it over the mountain.
"Rotten shot, you fat ignoramus!" called the first monster as the stone missed him. He picked up
a bigger stone and hurled it back. That stone also missed.
"Hopeless, you hairy, long -nosed nerk! howled the second monster, and he threw back a rock
which knocked the top off the mountain.
"You're just a stupid old wind -filled prune!" shouted the first monster as he heaved a boulder
that knocked another piece off the mountain.
"And you're a bandy -legged, soggy corn/lake!" replied the second monster. This time he kicked
a huge rock just for a change.
As the day passed the rocks grew bigger and bigger and the insults grew long er and
longer. Both of the monsters remained untouched but the mountain was being knocked to
pieces.
"You're a hairy, overstuffed, empty -headed, boss -eyed mess!" shouted the first monster as he
threw yet another massive boulder.

24 "You're a pathetic, addlebrained, smelly, lily -livered custard tart!" screamed the second
monster hurling a yet larger rock. That rock finally smashed the last of the mountain and for
the very first time the monsters saw each other. This happened just at the begi nning of another
sunset.
"Incredible," said the first monster putting down the rock he was holding. "There 's night
arriving. You were right."
"Amazing," gasped the second monster dropping his boulder. "You are right, it is day
leaving."
They walked to the middle of the mess they had made to watch the arrival of the night
and the departure of the day together.
"That was rather fun," giggled the first monster.
"Yes, wasn't it? " chuckled the second. "Pity about the mountain."
Mckee, David. Two Monsters. United Kingdom: Anderson Press, 1985.
1.3 TRADITIONAL vs. MODERN
"Some books are to be tasted, others to be swallowed, and some few to be chewed and
digested." — Francis Bacon
"Readers return to books because of the way they feel about the reading, their response
to the text." — Martha Combs
The traditional method of teaching literature requires:
 a short description of the writer's life, plus
 a general view of his work, followed by
 a fragment — considered illustrative — from the writer's best work.
From these three sources one is supposed to get not only the perspective, but the inside
of the work as well. What happens, in fact, is just the opposite: the students try to memorize
years and titles, to relate the work to the biography, to grasp a complete im age of something
they don't even try to understand sometimes.
The modern method of teaching literature is learner centered, seeking to develop in him –
by induction from the very early stages — a capacity to criticize and appreciate. The

25 students should be encouraged to overcome their inherent sense off insecurity and given the
tools to achieve a new kind of confidence in reading and a capacity for first hand reaction.
This way, the main purpose of teaching literature becomes to communica te aesthetic
values and stimulate a sense of personal involvement and reaction that will enrich the reader's
life.
Definition: What is the reader -centered approach to literature?
The reader -centered approach, based on reader -response criticism, emphasizes the
individual as a reader -responder. It argues that reading a literary text is part of a complex
process that includes a collaboration between the writer, the text, and the reader.
A text is re -created every time someone new reads it, and it becomes, in the process,
increasingly richer. The text is a stimulus that elicits responses from us based on our past
experiences, our previous reading, our thoughts, and our feelings.
In this reader -response approach, the text acts on the reader and the reader intera cts
with the text; therefore, this analytical method is often referred to as transactional analysis.
The reader -response critical theory teaches us that there are no absolutes. It enables us
to examine the complexity of human behavior and motivation, the d ifficulty in ascertaining
right and wrong, and the interdependencies involved in any social construct.
Objectives of the reader -centered approach (Purves, Rogers, & Soter,1990):
1. To encourage individual readers to feel comfortable with their own responses to a
literary work.
2. To encourage the readers to seek out the reasons for their responses and thereby
come to understand themselves better.
3. To encourage the readers to recognize, in the responses of others, the differences
among people and to respect those differences.
4. To encourage readers to recognize, in the response of others, the similarities among
people.
The Role of the teacher:
The teacher's responsibilities in effecting a successful reading experience in young
people:
– Bring children and books together.
– Give them as many different types of literature as possible.

26 Encourage honest and open responses
 Challenge them to explore those responses and learn something about themselves
 Provide them with the critical language that they might clearly express their
responses
 Encourage toleration.
Encourage mutual understanding.
Suggested activities:
Reading Aloud.
Effective reading aloud can be modeled by observing a few guidelines.
I) Read stories you enjoy.
2) Choose stories that are suitable to the children's emotional and social
developmental levels. Don't be afraid if the text includes a few challenging words.
3) Be sure the illustrations in a picture book can be seen easily by everyone.
4) Keep the reading experience an interactive one.
5) Be sure to pronounce the words correctly. Rehearse your reading and be sure to use
the proper tone and assume different voices if there is a dialogue.
1.3.1 TEACHING PROSE
Generally speaking, prose texts are more suited to the needs of language students, s ince
they provide an extensive exposure to language in which stories and themes are more easily
generated than in poetry. A passage of prose is usually selected for its characteristics; it must
have a unity of its own and contain elements which are specifi c for its author.
According to the traditional approach in teaching prose writing, the teacher introduces
the new words and phrases within the so called "introductory conversation", followed by a
model reading of a part of the passage (if it's a long one), and by students' reading, and finally,
comments or questions directed towards reinforcement.
The modern approach appeals to the students' powers of discovery: they are given the
passage to read and look for the new words (dictionaries are every day tools for those who learn
a foreign language). When comprehension comes, it is checked through questions asked

not only by the teacher, but by the students as well. They are persuaded to read the literary

27 work as a whole, out of school. When the fragment read in class contains dialogue, the teacher
can present it in a dramatized form. When the teacher wants to check the way in which the
home reading is going on, he/she asks students to make a quick oral summary, discussing the
main line of the action and the evolution of characters. Thus the section under discussion is
linked to the rest of the literary work and the students can get a general image of it all.
A question that raises in connection with prose is the amount of homework the students
are supposed to get. Compulsory written assignments can make them acquire a distaste for the
book. What a teacher should do in such a case is to use oral questioning or simple oral tests to
convince himself that the book has been read. A list of the main events in the novel or a short
characterization of the heroes will help students in developing both comprehension powers and
accuracy, while by answering orally to questions or by discussing with colleagues they develop
the skill of speaking.
1.3.2. TEACHI NG POETRY TO CHILDREN
"Lovers of poetry are not born, but made through patient and careful nurturing."
Russell (2005, p. 188)
Children's Poetry Preferences
According to Fisher & Natarella's (1982) and Terry's (1974) studies on children's poetry
preferences, they found that:
Most children preferred narrative poems over lyric poems.
Limericks were the favored poetic form; free verse and haiku were not well liked.
– Children preferred poems tha t had pronounced sound patterns of all kinds, but especially
enjoyed poems that rhymed.
– Children preferred poems with regular, distinctive rhythm.
– Children liked humorous poems, poems about animals, and poems about enjoyable
familiar experiences.
(cited in Lynch -Brown, C. & Tomlinson, C. 2005. Essentials of Children's Literature, 5th
edition, p. 49)

Such studies, however, can be dangerous if we rely on them entirely to determine what
poetry we will share with children. We should try to broaden children's experience by

28 providing them with a wide variety of poetry, but these findings can be used as a good starting
point to select poems for children who have little experience with poetry.
Strategies of Teaching Poetry to Children
Reading Poetry Aloud to Children
Poetry should be introduced first and frequently to children in an oral form. Most poetry
is best read aloud. Moreover, children's oral language is the basis for their later acquisition of
literacy.
Teachers need to practic e reading the poems ahead of time and frequently. Keep in
mind that poetry should be read for its meaning and enunciated words clearly. Pay attention to
the poet's punctuation and slow down your normal reading pace to give full value to each
sound.
Some poems need to be performed and dramatized. Using your voice to make special
effects, such as variations of volume, pitch, and speech rate, and even a dramatic pause.
Brief encounters with one to three poems at a time are best. Too many poems in one
sitting may overwhelm students or make the reading tedious.
After reading the poem, be sure to announce the name of the poet so that children
discover the writers they especially enjoy.
Some poems warrant discussion. Children can take the opportunity to tell how the poem
made them feel or what it make them think about.

2. Choral Poetry
Choral poetry consists of interpreting and saying a poem together as a group activity.
Children enjoy this way of experiencing poetry because they have a participatory role in the
activity.
Short, humorous narrative poems are good first choices.
Options for reading a poem chorally include unison, two – or three -part, solo voices,
cumulative buildup, and simultaneous voices.
Poetry selected and arranged for dramatic choral readings on a particular theme infuses an
interesting variation into choral poetry.
Incorporating action, gestures, body movements, and finger plays can produce more
interesting and enjoyable presentation.

29 3. Learning to Write Poetry
Children need to be very familiar with poetry of many kinds before they should be expected
to compose poems.
Teachers often start the writing of poetry as a collaborative effort. The class brainstorms for
ideas and then composes the poem in groups or pairs.
Children's poetry follows no absolute rules; perfection of form should not be a goal. They
should be reminded that poetry is a form of communication and that they should think of an
idea, feeling, or event to write about in their poems.
Teachers can encour age children to compile personal and class anthologies of their own
poems or their favorite poems.
Teachers can encourage children to model the works of professional poets by attempting
imitation of a whole poem or of specific techniques.
Teachers can read aloud many poems of one poetic form, and then analyze the form to
reveal the characteristics of its structure.