John Willy & Freddy Mcgee

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Children's Illustrated. Oh, the Places You'll Go! Seuss's I Love Pop! Good Night, Gorilla by: Peggy Rathmann. Early and Middle Grade Readers. Wonder by: R. The Giver by: Lois Lowry. Showing: 1 - Pat the Bunny by: Dorothy Kunhardt. Smile by: Raina Telgemeier. Drama by: Raina Telgemeier.

New Kid by: Jerry Craft. A reader could read one "panel" through the entire book in a linear way, but that would miss the interesting connections among the panels, and the overall intent of the book. In non-linear or non-sequential books, the reader is required to make connections between time slips, multi-layered memories, or multiple storylines. In the end, the reader could reconstruct what happened first, second, or third, but again, this would miss the point about how aspects of our lives and our stories fit together in multiple ways.

Multilayered books or books with many possible places to look achieve the same kind of effect, but often within a linear storyline.

  • John Willy and Freddy McGee (Paperback).
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It is up to the reader to decide where to look and what to read as they gain information in multiple ways. Sound byte books present information in an encyclopedic way, where the information is presented in pieces or "bytes. Instead, you would pick and choose the "byte" to read based on your interests. In all of these books, the reader makes choices about where to go and what to pay attention to. Often times, these choices take place within a play-like environment: play with words, play with ideas, play with sounds. It takes smart thinking to figure out how to engage with and understand these books, but even very young children are up to the task.

Graphics, Imagery, and Meaning Beyond Words A second category of hypertextual changes to children's literature involves graphics and images.

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This occurs when the meaning of the word is expressed in graphics and typeface, above and beyond the letters that make up the word itself. For example, in Feiffer's book Meanwhile, the word "Raymond" without quotation marks is printed across the page in the shape of a megaphone yell. Here, meaning lies in the way the word is printed on the page. There is no need for quotation marks or signifying trailers such as [comma, close quote], Mom yelled.

We know that mom is yelling by the way the word is graphically placed.

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This requires the reader to not only decode the word, but also how the word is printed and placed on the page. Images and graphics can expand the text's meaning in additional ways, such as in Bing's rendition of Casey at Bat. The text contains the traditional ballad, but the images and pictures contain information about baseball during that historical time period, thus adding to the poem's overall meaning, extending the meaning placed in print. Occasionally, images and text blend together in such a way that they can no longer be separated in an effect known as "synergy.

The words themselves ramble on in pointless concern, but when expressed across the contours of a distanced face, the image overall demonstrates how no one can explain juvenile crimes such as the one depicted in this book. A comprehension test of the literal words in this passage would miss the point, as the printed word means nothing outside of its relation to the face and the overall image. This requires the reader to focus on text, images, and their relation. In all of these books, the text is no longer the primary carrier of meaning, which means we have to rethink our reading strategies to think beyond print.

Again, very young children are up to this task, as they create meaning every day out of the images that surround them. Multiple Perspectives, Characterization, and Subject Matter Lastly, children's books today contain multiple perspectives, multiple voices, complexity of characters, and complicated subject matter.

These elements can be considered "hypertextual" because the reader needs to "move outside" the text, drawing on more than a literal interpretation, and interacting with the text through critical conversations. Stories are not tied together under a single unifying perspective or overarching theme. Characters and subject matters are complex and changing, not "dumbed down" for ease of developmental reading levels or leveled vocabulary instruction. The possible book topics reflect diversity, difference, and complex themes, and children are assumed to be capable of making decisions and connections based on different contextual experiences of right and wrong.

Comprehension Instruction and Hypertextual Reading: What This Means Comprehension instruction in schools today, while good in many ways, misses a number of key elements of hyperreading. The greatest difficulty may be the preservation of the notion that texts are closed, as if the author or the text has a fixed and singular meaning to "get. Instead, they are open to many possible interpretations and many possible meanings. In this way, readers are assumed to be "interactive" because the many possible interpretations and meanings come from choosing how to react and interact with the text: which textual aspects to pay attention to, identify with, or explore further.

And mostly, children are seen as capable of seeking connections. With all of this in mind, I have a few instructional recommendations:. Acknowledge the "open" characteristics of texts: many ways to read, many choices, many interpretations that take an active reader. Explicitly demonstrate and talk about how to be an active reader who seeks connections, relates to the text on multiple levels, explores the text, and pays attention to textual aspects beyond decoding print.

Include conversations about the connections and links made in terms of the choices one makes while reading. Acknowledge that meanings are multiple, changing, and contextual. Include discussions about the multiple answers, multiple perspectives, and multiple interpretations possible. Head for an awareness of one's own limits in making meaning: a way of situating oneself in relation to the reading, and a way of asking questions about the text. Meaning cues: include textual placement, synergy, and images that represent more than the printed word alone.

Pragmatic cues: include a purpose for reading beyond deciphering an author's singular meaning. But mostly, enjoy these books.

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Part of the joy of hypertextual reading is the talk and play beyond the pages, and the meaning beyond the words. Aliki Digging up dinosaurs, New York: Harper. Arnsteen, K. I can't believe it's history. Throw your tooth on the roof: Tooth traditions from around the world. Boston: Houghton Mifflin. Bing, C. Ernest Lawrence Thayer's Casey at the bat: A ballad of the republic sung in the year New York: Handprint Books.

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Bourke, L. Eye spy.

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New York: Trumpet Club. Bunting, E. Smoky night. Cisneros, S.

Holly Meade

The house on Mango street. New York: Vintage. Cole, J.

John Willy and Freddy McGee, Holly Meade

The magic school bus lost in the solar system. New York: Scholastic. Learn how to enable JavaScript on your browser. Kids' Club Eligible. Board Book. A life of nibbling grains and burrowing in straw is perfect for ordinary guinea pigs. So, of course, when their cage door is left open, these two daring friends take the chance to escape. Out into the world they go, afraid of nothing. That is, until they suddenly hear—while inside the tunnels of a pool table: TAP!

Off they go again—this time back to their cage, but not for long! The wonderful cut paper pictures of Caldecott Honor artist Holly Meade take young children on an adventure they will thoroughly enjoy. See All Customer Reviews. Shop Kids' Books.

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Add to Wishlist. USD 9. Sign in to Purchase Instantly. Overview A life of nibbling grains and burrowing in straw is perfect for ordinary guinea pigs. Product Details. Age Range: 4 - 5 Years.

John Willy & Freddy Mcgee John Willy & Freddy Mcgee
John Willy & Freddy Mcgee John Willy & Freddy Mcgee
John Willy & Freddy Mcgee John Willy & Freddy Mcgee
John Willy & Freddy Mcgee John Willy & Freddy Mcgee
John Willy & Freddy Mcgee John Willy & Freddy Mcgee

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