katieday + reading   459

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This gem up next by Holly Thompson. Better late than never.
sunday  reading  versenovel  from twitter_favs
april 2015 by katieday
Who Wants Free Love Anyway? - NYTimes.com
cf to matching people with books -- limiting competition can be better
dating  reading  economics  todo  from delicious
may 2014 by katieday
The novel is dead (this time it's for real) | Books | The Guardian - Will Self
"the hallmark of our contemporary culture is an active resistance to difficulty in all its aesthetic manifestations, accompanied by a sense of grievance that conflates it with political elitism."
reading  culture  essay  books  from delicious
may 2014 by katieday
Adam Hochschild - Wikipedia, the free encyclopedia
""If there is a special new technique of writing history, I certainly have not discovered it. All the lessons I try to follow are very ancient ones. Read widely
writing  history  reading  quotations  from delicious
april 2014 by katieday
The Writer as Meme Machine: How Has the Internet Altered Poetry? : The New Yorker
"Quality is beside the point—this type of content is about the quantity of language that surrounds us, and about how difficult it is to render meaning from such excesses. In the past decade, writers have been culling the Internet for material, making books that are more focussed on collecting than on reading. These ways of writing—word processing, databasing, recycling, appropriating, intentionally plagiarizing, identity ciphering, and intensive programming, to name just a few—have traditionally been considered outside the scope of literary practice."
machine_reading  reading  internet  technology  books  from delicious
november 2013 by katieday
‘Orange Is The New Black’: The New Way To See Prisoners — The T.V. Age — Medium
"I’m really appreciating how almost every episode shows a few scenes with folks seeing, handling, or reading books. I could tell a lot about a prisoner by the books they kept on their shelves, or tried to get me to read. Prisoners love to share books. We are readers in there. And just like out here, not all readers are created equal. Nonetheless, the general public would be very surprised to know how much prisoner reading gets done, and I’m tickled as a writer to see how books are a big part of the show."
reading  prison  tv  from delicious
july 2013 by katieday
Library and Information Research
"Library and Information Research is published by the Library and Information Research Group. It publishes both refereed and non-refereed submissions. Before 2003 the journal was published under the title Library and Information Research News."
journals  free  online  librarianship  professional_development  reading  from delicious
july 2013 by katieday
Library Student Journal
"Library Student Journal was founded in 2006 by Masters students in the Department of Library and Information Studies at the University at Buffalo. Its authors, readers, and editorial board members include future Library and Information Science (LIS) practitioners around the world. We publish papers on topics of interest to the LIS field as broadly defined. LSJ is divided into four sections: 1. Articles - peer-reviewed research and literature reviews 2. Essay - less-formal papers of a personal or informational nature 3. Editorials - opinion pieces of any length 4. Reviews - reviews of recently published or commonly used LIS books"
journals  free  online  librarianship  professional_development  reading  from delicious
july 2013 by katieday
Partnership: the Canadian Journal of Library and Information Practice and Research
"Partnership is a library and information practitioner’s journal published twice a year. Papers may be submitted at any time for publication consideration. Potential articles are reviewed by members of an editorial committee. Articles are published in several categories. Feature articles on theory
journals  free  online  librarianship  professional_development  reading  from delicious
july 2013 by katieday
Katie Test Book Tournament
experimenting with Google App extension to set up reading tournaments
tournaments  tools  google_apps  reading  from delicious
june 2013 by katieday
Net wisdom - re reading on the internet -- FT.com
by the creator of The Browser, a great place to get good long-reads
longreads  online  reading  from delicious
february 2013 by katieday
Effective Ways to Enjoy Reading Books you Don't Like ~ Educational Technology and Mobile Learning
video that gives advice about how to read books you have to, but don't want to -- comparing it to a tree surgeon bringing down a big tree
reading  metaphors  advice  from delicious
february 2013 by katieday
paperpools: John Chris Jones
"rabbit: eats only the tasty bits

sheep: grazes only on cultivated pasture for which it has developed
tastes and habits

goat: can eat anything but refuses what is not sensible or of poor quality

Animal reading paths from John Chris Jones' The Internet and Everyone, a
book like nothing you've ever seen."
internet  writing  design  reading  from delicious
december 2012 by katieday
What Should Children Read? - NYTimes.com
"What schools really need isn’t more nonfiction but better nonfiction, especially that which provides good models for student writing. "  Totally supports my belief that nonfiction longreads are out there on the internet and are not being taken advantage of by teachers -- enough.
books  reading  recommendations  longreads  essays  nonfiction  usa  standards  from delicious
december 2012 by katieday
ASMSA READS 2012 - YouTube
Arkansas School for Mathematics, Science and the Arts 
youtube  reading  ib_dp  students  from delicious
august 2012 by katieday
Italo Calvino’s List of Reasons Why We Should Read the Classics
From Italo Calvino’s The Uses of Literature—

The classics are the books of which we usually hear people say, “I am rereading . . . ” and never “I am reading . . . “
We use the words “classics” for books that are treasured by those who have read and loved them; but they are treasured no less by those who have the luck to read them for the first time in the best conditions to enjoy them
The classics are books that exert a peculiar influence, both when they refuse to be eradicated from the mind and when they conceal themselves in the folds of memory, camouflaging themselves as the collective or individual unconscious.
Every rereading of a classic is as much a voyage of discovery as the first reading.
Every reading of a classic is in fact a rereading.
A classic is a book that has never finished saying what it has to say.
The classics are the books that come down to us bearing the traces of readings previous to ours, and bringing in their wake the traces they themselves have left on the culture or cultures they have passed through (or, more simply, on language and customs).
A classic does not necessarily teach us anything we did not know before. In a classic we sometimes discover something we have always known (or thought we knew), but without knowing that this author said it first, or at least is associated with it in a special way. And this, too, is a surprise that gives much pleasure, such as we always gain from the discovery of an origin, a relationship, an affinity.
The classics are books which, upon reading, we find even fresher, more unexpected, and more marvelous than we had thought from hearing about them.
We use the word “classic” of a book that takes the form of an equivalent to the universe, on a level with the ancient talismans. With this definition we are approaching the idea of the “total book,” as Mallarmé conceived of it.
Your classic author is the one you cannot feel indifferent to, who helps you to define yourself in relation to him, even in dispute with him.
A classic is a book that comes before other classics; but anyone who has read the others first, and then reads this one, instantly recognizes its place in the family tree.
A classic is something that tends to relegate the concerns of the moment to the status of background noise, but at the same time this background noise is something we cannot do without.
A classic is something that persists as a background noise even when the most incompatible momentary concerns are in control of the situation.

Tagged: Art, Background noise, Book, canonical literature, Classic book, Classics, Italo Calvino, Literature, Reading
Art  Books  Literature  Writers  Background_noise  Book  canonical_literature  Classic_book  Classics  Italo_Calvino  Reading  from google
july 2012 by katieday
Taking the Plunge into Nonfiction
It’s true that when I look at the books on my shelves and the stack on my nightstand, fiction outnumbers nonfiction by more than ten to one. That’s because fiction feeds my soul like nothing else I know of. But the following are also true: I rarely go anywhere without a New Yorker (especially when it involves the subway, a.k.a., the Underground New York Public Library); I’m an avid fan of the science program Radiolab; I read all sorts of blogs and online digests (including my new favorite brainpickings); I don’t mind waits in doctors’ offices as long as I can read People magazine; and I’m a bit of a news junkie.

All this qualifies me as a reader of nonfiction, though as I said in my last post, I hadn’t spent much time thinking about what I do as a nonfiction reader until this year when nonfiction became the big, hot topic. So I began to explore nonfiction reading by asking myself two critical questions: Why do we read nonfiction? And how do we actually do it?

Taking on the why question allows us to consider what we might call the enduring understandings about nonfiction—that is, the lasting value of reading it throughout life, not just in the classroom, that we want students to get. My hunch is that most students would say we read nonfiction to learn new information or facts. And while that’s certainly part of why I read nonfiction—to find out the Supreme Court’s decision, for instance, on the Affordable Care Act or know what to do with the butterfly bush I fear I killed in my garden—I don’t think that’s the whole story.

Beyond gathering information I think I need to garden, to travel, to work in schools and to generally be an informed citizen, I read nonfiction for many of the same reasons that I read fiction: to engage with the ideas an author is exploring in a way that will enrich, expand and illuminate my sense of how people and the world work. In fiction, the writer explores those ideas through the vehicle of the story, while nonfiction writers do it through the facts they present and what they see as the implications of those facts. And in this way, I read nonfiction for the reasons that author and guest editor Alan Lightman describes in his introduction to The Best American Essays 2000:

I want to see a mind a work, imagining, spinning, struggling to understand . . . to feel that I’m going on a journey. The [writer] is searching for something and taking me along. That something could be a particular idea, an unraveling of identity, a meaning in the wallow of observation and facts. The facts are important but never enough. An essay, for me, must go past the facts, an essay must travel and move.

Of course, Lightman is talking about essays here, which are only one form nonfiction takes. Yet when I look at the exemplar texts in Appendix B of the Standards, I see many texts in which facts are not the whole story—where there is, in fact, a mind at work, taking us on a journey, whether it’s Kathleen V. Kudlinski exploring the evolution of thinking about dinosaurs in the grade 2-3 exemplar Boy, Were We Wrong about Dinosaurs or Henry Petroski, author of the grade 6-8 exemplar “The Evolution of the Grocery Bag,” using facts about the development of the paper bag to explore the idea of perfectability in design, which he has an opinion about.

And here’s where the why leads into the how: Whether we’re fully conscious of this or not, I think we read nonfiction with an awareness that it’s not a single entity, requiring a single way of thinking, but, in fact, has as many sub-genres as fiction does, including essays, feature articles, all-about books, editorials, biographies, memoirs, reviews and, of course, textbooks. All of these sub-genres traffic in facts, though I think that, as readers, we’re also aware that facts are used slightly differently in these various sub-genres. All-about books and most textbooks, for instance, mainly use facts to inform—that is, they give us facts for facts’ sake. Feature articles, on the other hand, along with essays and texts like Boy, Were We Wrong about Dinosaurs use facts to explore ideas or issues. And editorials, arguments and texts like “The Evolution of the Grocery Bag,” mainly use facts to explore ideas or issues the writer has an opinion about. And knowing this as readers, we automatically come to nonfiction texts wondering what the author might be exploring through the facts she presents.

Unfortunately, in addition to sometimes teaching nonfiction as a single entity, we also don’t always make clear to our students what we mean by an idea, which the Merriam-Webster online thesaurus says is a near antonym to a fact. Of course, the word ‘idea’ has other meanings beyond the one stated here. But an idea is not the same as a fact. It is bigger than any single fact and usually contains some kind of judgement or observation about the facts, such as “Boy, were we wrong about dinosaurs.” That idea is stated explicitly, but most ideas are not, and they often can’t be accessed through many of the strategies we currently give students for reading nonfiction, such as skimming or scanning a text or looking for key words.

We also, I fear, make matters worse by emphasizing the notion of the ‘main idea.’ Like themes in fiction, many texts explore more than one idea, and reducing the complexity of a writer’s exploration into a tidy statement doesn’t always serve readers well. Also, we don’t always mean an idea when we talk about the main idea. Instead, we use the term either as a synonym for a topic sentence, the aspect of a topic focused on in a paragraph, or a single-sentence summary of the who, what, where, when and why of a text—none of which are necessarily the same as an idea.

I’ll share more thoughts about the how of reading nonfiction in my next post. But for now I think it’s important to remember that as the Common Core asks students to read more complex texts and engage in more critical thinking, it also invites us to think more deeply about what and how we teach. But before we start revising our practice, we need to know what we’re teaching toward—or as Katie Wood Ray puts it in a phrase I wish I’d coined myself: “Before Revision, Vision.” She uses it in Study Driven to stress how important it is for students to have a vision of what they’re aiming for in writing before they jump in and revise. But I think the same holds true for us. Before we revise how we teach nonfiction, let’s develop a deeper, more complex vision of what it really is, so we know more precisely what our instruction needs to aim for in order to better hit the mark.
Reading  Reflecting  Teaching  All_About_Books  books  Common_Core_Standards  complex_texts  enduring_understanding  essays  exemplar_texts  fact_vs._opinion  ideas  instruction  main_idea  nonfiction  questions  readers  students  from google
july 2012 by katieday
The rise of e-reading | Pew Internet Libraries - REPORT
Released April 4, 2012 -- "21% of Americans have read an e-book. The increasing availability of e-content is prompting some to read more than in the past and to prefer buying books to borrowing them."
ebooks  reading  research 
may 2012 by katieday
Goodreads | 2016 @ UWCSEA East Group (65 Members)
Goodreads book club for the Grade 8 students -- where they log their reading and post book reviews
goodreads  books  uwcsea_east  reading 
february 2012 by katieday
Goodreads | 2017 @ UWCSEA East Group (130 Members)
The Grade 7 Goodreads group -- for English class -- where students log their reading and book reviews
goodreads  books  uwcsea_east  reading 
february 2012 by katieday
Reading Charles Dickens | A Dickens of a Year
Feb 7 is the 200th birthday of Charles Dickens - here's a site that is obsessed (in a good way) with him -
literature  blogs  charles_dickens  reading  from twitter
january 2012 by katieday
Authorship and iAuthorship
Apple’s mega announcement of their new iTunes U courses and, more interesting to me, their new iBooks Author app has many of us thinking anew about the state of textbooks and informal learning and openness and a whole bunch of other things. It’s been interesting to watch the “debates” on Twitter (and elsewhere) between those in the “Oooo shiny” camp and those in the “Apple doesn’t get it” camp. I think I’m falling more toward the latter as it seems to me at least that this is more about repackaging the same old stale content into the same old interactive content provided by the same old content providers with little of the spirit of sharing that I find most powerful about the Web built in. Far be it from me to suggest Apple doesn’t have the right to float this model, but I’ve yet to see how this really advances education in meaningful ways without having something with an Apple logo on it in your backback or pocket to make it work. That’s a bug, not a feature.

But as I said, the interesting part of this announcement is the iBooks Author app which, in theory at least, moves us more toward construction than consumption. I know, I know…pretty much anything we construct with it becomes a part of Apple’s domain, and that part of it contradicts, I think, the best part of writing and sharing on the Web. Again, I may not have poked around in it long enough to know, but it doesn’t look like “authoring” via the app is collaborative, social, linkable…all the good stuff that at the end of the day fuels the learning that I, at least, do here online.

iBooks Author made me think immediately of a snip in an op-ed piece by Stanley Fish in the New York Times last week, a piece that anyone interested in the changing nature of authorship would do well to read. In it, he cites extensively a new-ish book by Kathleen Fitzpatrick titled Planned Obsolescence: Publishing, Technology and the Future of the Academy.  These two paragraphs get to the salient ideas around the new tension to authorship on the Web:

The effect of these technologies is to transform a hitherto linear experience — a lone reader facing a stable text provided by an author who dictates the shape of reading by doling out information in a sequence he controls — into a multi-directional experience in which voices (and images) enter, interact and proliferate in ways that decenter the authority of the author who becomes just another participant. Again Fitzpatrick: “we need to think less about completed products and more about text in process; less about individual authorship and more about collaboration; less about originality and more about remix; less about ownership and more about sharing.”

 

“Text in process” is a bit of an oxymoron: for if the process is not occurring with an eye toward the emergence of a finished artifact but with an eye toward its own elaboration and complication — more links, more voices, more commentary — the notion of “text” loses its coherence; there is no longer any text to point to because it “exists” only in a state of perpetual alteration: “Digital text is, above all, malleable … there is little sense in attempting to replicate the permanence of print [itself an illusion, according to the digital vision] in a medium whose chief value is change.” (Fitzpatrick)

More about “text in process,” more about “collaboration,” more about “remix,” more about “sharing.” Forget for a moment the question of whether we are helping our students author in these contexts. (Hint: we’re not.) Are we seeing ourselves as authors in these ways? As I write this, do I see it as a “text in process?” Do I expect collaboration and remix? Do I understand the value of sharing and how to share it most effectively?

Admittedly, none of this is one or the other. I write and publish books and articles for journals who don’t embrace these shifts. Those are texts in finished form, little remix or collaboration possible. I’ve convinced myself at this moment that there is still worth in that, to attempt to disseminate ideas around the value and potential of an online, connected, networked education to those who trust those more traditional forms, even in a world which pulls me to just share and give it all away. (Oh, the irony!) But there is no doubt that I learn less from that process than the one I’m engaged in here and elsewhere. From the op-ed:

Nor is there any sense in holding on to the concept of “author,” for as Fitzpatrick observes, “all of the texts published in a network environment will become multi-author by virtue of their interpenetration with the writings of others.” Fitzpatrick insists that there will still be a place for individual authors, but with a difference: the collective, she says, should not be understood as “the elimination of individual, but rather as … a fertile community composed of multiple intelligences, each of which is always working in relationship with others.”

Notably, Fish plans to tear most of this apart in an upcoming post. But I think there is quite a bit worth defending in this vision. Publication is no longer an end point as much as it is a mid point, and to me, that’s a feature, not a bug. The interactions of other passionate readers on either side of the thesis happening in transparent, remixable ways adds another layer of learning to the reading and writing process that up until a short decade ago was really tough to make happen.

Given that shifted definition of “authorship,” I think I’ll take that over the Apple version. Not to say that iAuthoring won’t have some positive impact on the learning interaction as more new ideas are shared, but that doesn’t feel much different from the way we’ve been doing things in school for the past 125 years.

Let the remixing begin… ;0)

 
Conversations_from_the_Edge  Apple  authoring  reading  shifts  writing  from google
january 2012 by katieday
No Difference Between Kids' Comprehension of Ebooks, Print Books, Study Says
""Student Comprehension of Books in Kindle and Traditional Formats" by Michael Milone, a research psychologist and educational writer at Renaissance Learning, asked students in two fourth-grade classes located in the Upper Midwest to read up to six books from a selected list of a dozen popular fiction titles"
digitalgist  reading  ebooks  primary_school  research  reports 
january 2012 by katieday
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