Sketchbooks Immerse Students in Literature

Beth Repp, Middle School English Teacher

Approaching a novel for the first time can be daunting for students. What is the plot? Who are the main characters? How can I make sense of this? One of the most effective ways to help students engage deeply in a work of fiction and derive their own personal meaning from it, is to have each student create a literary sketchbook for each novel they read. 

What’s a Literary Sketchbook?

A literary sketchbook is like a scrapbook, a repository of meaning. It’s a place where the worlds of literature, poetry, and art meet and are explored creatively and thoughtfully. As students read and ponder a novel and its setting, characters, themes, and motifs, they find and create a variety of visual and verbal components that reflect their own responses to the work.

Students then carefully select and arrange these varied items in a notebook or scrapbook in an organized, intentional way to create a mosaic of meaning, an anthology of their own learning. 

Because the books are assembled by hand and not on a computer, students experience the authenticity and pleasure of artists and craftspeople as they savor the direct brain-to-fingers connection. Many students carry the books wherever they go so they can add a sudden insight or reflection at any time. 

The verbal items in a sketchbook might include:

• information that helps students better understand the novel, such as chapter questions, character profiles, outlines, quotations, plot summaries, and lists of themes, scenes or conflicts 

• their own personal reflections on the novel, such as short essays, poems, observations and accounts of related events or memories from their own lives

• relevant passages or quotations from other literary works 

The visual items might include: 

• their own drawings, maps, graphs and diagrams featuring arrows, dotted lines, and web-like filaments of connection 

• photos, illustrations and graphics from magazines, newspapers and other publications 

• collages blending their own illustrations with those from other sources

What Does an Actual Literary Sketchbook Look Like?

These items from one student’s literary sketchbook for “To Kill a Mockingbird” suggest the range of subjects, media, and approaches  students display in their books:

• a schematic map depicting the novel’s setting, literary techniques, language, and narrative structure

• descriptions of the main characters, along with photographs of the actors who played them in the film version of the novel

• a drawing of Boo Radley’s oak tree and a list of items hidden there

• a page describing the fears of the children and the student’s own childhood fears as well 

• a spiderweb chart depicting the ideas exchanged among students during their class discussion of the novel

• several pages devoted to the main themes, such as prejudice, courage, violence, loneliness

• poems by the student, each written from the perspective of a different character

• a mind map about the story’s villain, Robert E. Ewell

• an imagined dialog between Scout and Boo Radley fifteen years after the events of the novel

• a collage of images associated with Boo Radley, including a whimsical cartoon ghost shouting “Boo!”

How Do You Assess the Quality of Each Student’s Sketchbook? 

Assessing creative work is subjective, so I approach the evaluation process in a thoughtful and systematic way. I give critical and reflective feedback to each student on the items gathered and presented for the literary sketchbook. These include content, depth and detail, balance of verbal and visual elements, and the care and creativity shown in arranging the materials.

I hope to find in the sketchbooks evidence of a student’s deep investment and ownership. It’s easy to tell, for instance, how much time a student has spent searching for the “right” picture or photograph that perfectly captures the moment in the text.

The literary sketchbooks are works in progress, and by the end of the school year, students can flip through the pages and see a thoughtful and meaningful representation of their growth and the joy they’ve experienced through literature.

Preparing Students for the Metaphors of Life

Ron Monroe, Upper School English teacher

What has been my primary mission as an English teacher? As I reflect on my 44 years in the classroom, I keep coming back to the notion that I’m helping my students to live and thrive in a world of metaphor. I hope that by thinking, writing and discussing the complex meanings found in literature, they’ll come to understand that almost everything and everyone they encounter in life is, to some degree, a metaphor embodying complex meanings.

Just as an object in a poem, a character in a novel, or a gesture in a play can be interpreted in a variety of ways, so too can the events, ideas and people my students will experience in their lives. My goal is to encourage students to look beyond superficial appearances and to realize that there’s always more to something than we see initially. I hope to equip them with the analytical skills needed to decode and navigate deeper layers of meaning, enabling them to lead more fulfilling, more thoughtful, and more productive lives.

For this reason, one of my favorite novels to teach is F. Scott Fitzgerald’s “The Great Gatsby.” Most of us are familiar with the more prominent symbols in the novel, such as the green light on Daisy’s dock and the eyes of Dr. T.J. Eckleburg on the billboard, but almost every character, incident, conversation or object in the novel also bears multiple meanings. 

We view all the events in the novel through the eyes of the narrator, Nick Carraway. But who is Nick? Is he a steadfast reporter who tells the story straight? Or does he shade the story to reflect his own biases and judgments and to hide his own weaknesses? Can we trust Nick to tell the truth?

And then there’s the complexity of Gatsby himself. In chapter 4, when Nick and Gatsby are driving into Manhattan, Gatsby gives Nick what seems to be a load of baloney about attending Oxford University, living like a raja in all the capitals of Europe, and machine-gunning Germans during World War I. But when Gatsby pulls out an authentic medal for valor from the tiny nation of Montenegro, Nick begins to think these stories might all be true. In fact, Nick doesn’t know what to think, and neither do we, the readers. And it’s just that uncertainty I want students to explore, discuss and analyze. Just who is this guy Gatsby anyway? 

To be honest, when I was the age of my students, I pretty much took life and literature at face value, paying little attention to ambiguity and complexity. But sometime during college, with the help of brilliant and provocative professors and classmates, I learned to live in the world of metaphor, to think beyond the obvious and to explore ambiguity and complexity, not only intellectually but emotionally. 

My life has been the richer for it. That’s why I’ve tried to create that same experience for my students so that they’ll gradually develop what Fitzgerald described as a “first-rate intelligence” – “the ability to hold two opposing ideas in mind at the same time and still retain the ability to function.”