I searched through lower Manhattan to find the Triangle Shirtwaist Co. building
There’s nothing like visiting a place you’ve only read about in books. Last week during spring break, my daughter and I visited New York City primarily to visit the City College of New York, where my daughter will begin graduate school next fall.
Last Tuesday, instead of taking the subway from Brooklyn to Manhattan, we took the NYC Ferry across the East River to Wall Street Pier 11 to see the sights of lower Manhattan, including the Triangle Shirtwaist Factory building, where 146 workers, mostly young female immigrants, died in a fire that swept through the building in about thirty minutes on March 25, 1911.
Among other gross negligences, exit doors were blocked, water buckets were empty, and fire escapes were found unable to withstand the weight of those rushing down. It was a horrific sight for onlookers to watch scores of young women leap to their deaths onto the concrete sidewalks below.
The fire ultimately ushered in many improvements to working conditions that Americans of all industries now enjoy. For example, fire drills, fire exits and escape routes, and outward-swinging exit doors are all safety stand-bys that we take for granted.
There are two plaques on the corner of the former Asch Building (as the building was known in 1911) that commemorate the disaster. The lower plaque, which designates the site on the National Historic Landmark, is shown above. The upper plaque, placed by the International Ladies’ Garment Workers’ Union, reads as follows:
On this site, 146 workers lost their lives in the Triangle Shirtwaist Company fire in a March 25, 1911. Out of their martyrdom came new concepts of social responsibility and labor legislation that have helped make American working conditions the finest in the world.
The exterior of the Triangle Fire building appears exactly as it did in 1911. Today, it is known as the Brown Building and houses the biology and chemistry classes at New York University. It stands at the corner of Greene Street and Washington Place, about a block east of Washington Square Park and its famous arch.
It’s so valuable to me to visit a place that I teach about. It adds relevancy to the book I read with my eighth-graders each fall, Flesh and Blood So Cheap by Albert Marrin. If you’re ever able to see a location in person that you’ve read about, take advantage of the opportunity.
Thanks for reading! Have you ever visited a location you’ve taught or read about? Leave a comment to let me know. Here are some links to other posts in this blog regarding the Triangle Shirtwaist Co. fire.
Click here,here and here for three posts regarding our Triangle Fire unit. I also discuss how I incorporate Triangle Fire into my eighth-graders human rights dissertations in this post.
This conference is chock full of sessions all day Thursday, Friday and through early afternoon on Saturday. Due to icy road conditions, I wasn’t able to arrive until Friday morning. That afternoon, I attended an especially beneficial and practice session called Teaching the Cumulative Sentence as a Positive Feature for Improving Writing. I thought it sounded very technical, but it also sounded practical, so I signed up.
Swain is a National Writing Project teacher and researcher who studied the effects of the cumulative sentence in tested written responses. She discovered that student writing that used the cumulative sentence earned higher scores than writing that did not. The cumulative sentence adds a richness to writing, and most readers are familiar with its use in their favorite books and articles. According to the session’s description, “…young people can experience growth in sentence variety, voice, coordination and subordination, diction, and rhythm while writing with evidence and passion.”
According to ThoughtCo., “A cumulative sentence is an independent clause followed by a series of subordinate constructions (phrases or clauses) that gather details about a person, place, event, or idea.” Swain explained these sentences as containing a base clause, followed by verb clusters that begin with -ing verbs. Cumulative sentences can also contain verb clusters that begin with absolute phrases (-ed verbs).
In her session, Swain first passed out a handout that contained several excerpts of student writing. She asked us to underline the most effective sentence in each paragraph. Nearly without exception, our group selected the cumulative sentences as most effective. Cumulative sentences have a certain cadence, overwhelmingly contain sensory language, and add rich detail and tone. Here’s the first handout she passed out:
Swain also passed out a lesson plan that prompts students to list details about a person they remember. These details are accumulated and placed into sentences using -ing verbs. First, the teacher asks students to think of a person whom you know well. Then the teacher asks the students to tell something that the students remember seeing the person doing.
Eventually, the students are asked to write a base clause, such as “This morning, I remember my grandmother (or whomever the student wants to write about).” Then they add the verb clusters. As the students put this information together, the teacher models her own on the board and also helps the students add commas where needed, and then ending with a period. Here’s the lesson plan sheet:
This was a really beneficial and helpful session and I plan to try this with my students after spring break. I’ll let you know how that goes in a later post! By the way, here’s an excerpt that Swain gave us to read with students, which illustrates an especially effective use of cumulative sentences. Here’s that excerpt:
Thanks for reading again this week! Let me know your thoughts about this lesson plan. Do you already try something similar to this with your students?
Last December, ten of my students’ entered their writing in the 2019 Scholastic Art and Writing Awards. Two of those students won Silver Keys and three won honorable mention awards in the Missouri Writing Region awards, a qualifying round before the national level. (Students who win Gold Keys at regionals then have their work advance to nationals.) In 2018, one of my students won a Gold Key in poetry at regionals, and then a Silver Key at nationals. So far, I’d say we’ve had a great run!
However, it did take me a year or two to become accustomed to the submission process. The Scholastic awards do involve more than other contests I’m familiar with; it takes some extra planning to figure out.
If you’ve never entered your students’ work before in the Scholastic Art and Writing Awards, you should try it. It’s rigorous, prestigious, and one that your winning students should list on their high school honors records.
In case you’re unfamiliar with these awards, here’s some info from their website (link below):
“The Scholastic Art & Writing Awards are presented by the Alliance for Young Artists & Writers. The Alliance is a 501(c)(3) nonprofit organization whose mission is to identify students with exceptional artistic and literary talent and present their remarkable work to the world through the Scholastic Art & Writing Awards. Through the Awards, students receive opportunities for recognition, exhibition, publication, and scholarships. Students across America submitted nearly 350,000 original works this year in 29 different categories of art and writing.”
1. Start early. Students can open their online accounts and start submitting works for the 2020 awards on September 12, 2019. There are forms that parents must sign, so have your students enter early to allow time for those forms to go home for a signature.
2. Get parents’ best email addresses, ones they check often, prior to submitting. One of my students didn’t know her parent’s email, and that cost us some time. Also, make sure parents know that they will receive an email message about their child’s submission(s), as well as an invitation and RSVP to the regional awards ceremony.
3. Don’t have kids enter during normal class time because they’ll no doubt have questions and need some hands-on help. Or at least plan an independent activity for the students not entering the contest so you can assist those who are submitting entries.
4. Decide how entries will be paid for. Do this ahead of time. Entries cost $5 each in all categories (check out the categories here); five poems can be submitted for a single $5 fee. If a student qualifies for free and/or reduced lunch, they can print out a form to waive the fee. This form needs to be signed by a parent. This year, my school paid for all the entries; the check was mailed in separately with the ten submission forms to the address on the receipt. If your school also pays your entry fees, don’t forget to allow time for your school’s requisition process.
5. If your student enters poetry, plan a little extra time to prepare their entry. Because they can enter five poems in one entry, they can also order and arrange the poems in the single entry “file” as they see fit (such as putting their strongest one first, for example).
I’m sure I’m leaving out some details and it’s quite possible I don’t have all the facts exactly straight. To be honest, I’m still learning. However, this contest is important and it deserves your attention and time. If you notice a detail that needs correction in this post, please leave a comment below and I’ll respond ASAP.
Thanks for reading! I hope these tips will help you and your students enter the 2020 competition! Follow my blog to get updates on more contests for students.
I’m pretty proud of the student’s written response in the photo above. It’s written by a seventh-grader who, while being a strong writer, struggles with turning in work, whether assigned as homework or completed during class.
He is not doing well in my class “grade-wise”; however, this paragraph shows the higher level of thinking he is able to record in writing. (Yes, there are problems with this response, such as misspelled words and run-ons, but this student’s idea development is strong and that’s more important to me. We can always fix the editing later.)
Some of the paragraph may be hard to discern, so I’ve transcribed it below without corrections:
“In the book, Chasing Lincoln’s Killer, we learn/learned more than most people would normally know. Most people just know Lincoln was shot watching a play but there is more. I learned for the first time their was a twelve-day manhunt. Acorrding to the novel James Swanson authorther of Chasing Lincoln’s Killer, “There was a plan.” In other words, Booth had it all figured out. Close to the end after Booth was shot, and paralized he asked someone to hold up his hands whe they did he spoke useless, useless. I think when Booth says this he is saying that all his efforts, his plans, and evan his completed task was useless cause he felled to live on, he felled to tell his story, he felled to fight on for the south.”
This paragraph was written in response to the prompt below. Here’s what I love about this response:
it builds up to and introduces the evidence in a satisfying way
it interprets the evidence with two sentences, including that final golden one
it uses repetition effectively (and I made sure to tell him that when I spoke with him about it)
the writer put his own “spin” on the material… it feels original and fresh
Here’s that prompt:
I realize that there are quite a few “requirements” in this prompt. Sometimes I feel that I’m overly prescriptive with my prompts.
And then I receive a response back like this that reminds me that many kids thrive with the guidelines. They’re able to combine the guidelines with their own ideas and voice to create accurate, effective communication that also possesses a distinct style.
Thanks for reading! I use similar prompts like this throughout the year. Sometimes I’ll add other items for kids to use such as sentences that begin “For example, …”. What do your writing prompts look like? Feel free to leave a comment!
I’ve been reading Chasing Lincoln’s Killer by James Swanson to my seventh-graders and we just finished it on Friday.
About every two chapters or so, they’ve written a response to a question I’ve posed to help them comprehend the text as well as think critically about some of the questions and topics it raises.
Because our students have plenty of independent reading time in their Humanities class, I have chosen to read-aloud this book. I also think it’s important to model reading, so from cover to cover, the students follow along while I read. Well, nearly all of them.
About a week ago, I noticed that whenever I glanced up from reading to check the class, one boy who sits at the back of the room was quietly looking back at me as I read. Apparently, he was listening. He was also making connections. The next day his father gave him permission to bring some actual Confederate States of America bills to school. Arranging the money on my desk for the photo below, there was no doubt that he had been paying attention even though he wasn’t “following along.”
Another student—I’ll call him Joe– was drawing on a sheet of copy paper as I read during the course of three or four class periods. Early on, I asked him to follow along once or twice, and finally decided that I wouldn’t ask again, especially when I looked at the drawing that Joe dropped into the seventh-grade basket at the end of class each day.
He was working on a portrait of John Wilkes Booth from a photo in the book. He surrounded the portrait with words posed as questions. It was interesting and thought-provoking and showed that he was indeed paying attention during the reading. He may not have been “following along,” but he was definitely engaged.
So just because a student isn’t following along, don’t assume they aren’t paying attention and learning. In fact, Joe and his drawing has caused me to consider how other kids may better show their understanding (and misunderstanding, too–let’s be real) through drawing or sketching. Recording their thoughts and thinking must not always equate to producing a written response, after all.
Thanks for reading! Our next step in the unit is to watch a movie called The Conspirator, which focuses on the trial of Booth’s conspirators, including Mary Surratt, the owner of the boarding house where the assassination was purportedly planned. The end result? An essay that argues Surratt’s innocence or guilt. Follow my blog for more posts about middle school ELA.
Gallagher developed the Article of the Week assignment to help students gain more background knowledge about politics, history, current events… in short, the world around them.
When I took Gallagher’s cue and began assigning AOWs in my middle school classroom, I chose to do so because I agree that kids need to expand their background knowledge. Many can’t relate to the literature we teach because they don’t possess the personal prior knowledge to connect to that literature.
I also like the idea of kids writing to reflect or give their take on a particular topic. Plus, reading and responding to nonfiction texts takes a different set of skills than reading literature: identifying central ideas, finding evidence to support those central ideas, noticing patterns and sequences in the content of the articles, and more. AOWs would surely help my students develop or at least practice those skills.
Gallagher’s AOWs are concise. His handout consists of a reprinted article, with a box at the top of the page that asks students to do three things: 1) mark their confusion, 2) show evidence of a close reading, and 3) write a 1+ page reflection.
How I tweaked Gallagher’s AOW to make it work for me
However, the steps outlined by Gallagher are too open-ended for my middle school students. The expectations for their writing are not focused on Gallagher’s high school handout in a way that my students (most of them anyway) would appreciate. Instructions so brief would only lead to confusion for many of them.
For that reason, I’ve provided more specific instructions and I’ve used each assignment to teach two specific skills I am focusing on this year that actually go hand-in-hand: interpretation and idea development.
Here’s a photo of the rubric for the AOW shown in the photo at the top of this post:
Another important aspect that I feel makes these assignments essential is their frequency. I assign these once a week. (The AOWs are in addition to in-class writing activities, such as writing prompts and essays.) Every Monday morning, students are given a new AOW that is due the following Monday. Writing a thorough response on a weekly basis outside of class gets my students in the habit of writing regularly.
I assign these responses weekly to help students develop writing stamina and to help them learn to write on demand. My own daughter was required in her eighth-grade classes (at another district) to write weekly and I know it was invaluable in helping her develop the confidence to write consistently.
Kids need narrative practice, too
One change I have made over the past year, however, is to alternate AOWs with what I call EOWs (Essays of the Week). EOWs focus on narrative writing skills and include a list of twenty or so prompts around a certain theme. Recent themes included style and health, politics and power, and food. I decided to create EOWs after I determined that kids needed more practice writing in a narrative style. These essays allow kids to inject more of their personal voice into their writing.
Kids tell me they enjoy writing the EOWs much more than they do the AOWs; they like the increased creativity involved. Another difference: the rubric obviously doesn’t require annotating, but may require that students open their essay with dialogue, for example. The EOWs also have a longer length requirement: they must be two pages typed instead of the usual one page for AOWs.
I pull my prompt topics from a list of 650 writing prompts published by the New York Times. One good thing about these EOWs: they can be reused from year to year. However, if you teach middle school, make sure you don’t just “cut and paste” a swath of topics from the list, since some are definitely geared to older students.
One downside to using AOWs is that for them to be topical, I must spend time every other week to find an article to use. I have used several from Newsela.com, modifying them for a printed handout. I have also found many elsewhere. I keep my eyes and ears open for the current week’s news so I can provide a really up-to-the-minute assignment.
Introducing an AOW usually takes the better part of our 53-minute class periods. After I pass out the handout, we briefly talk about the article’s subject, then we’ll look at the prompt and the rubric to see what they require. Following this introduction, I’ll often read aloud the article, using a document camera while I read, all the while demonstrating annotation.
This is how we do it
After we finish reading the article, I’ll show the kids a related video from Youtube or a similar video source. For example, for one AOW on football head injuries, we watched one to three short clips about players who suffer from concussion injuries.
The EOWs don’t require as much time to introduce. We just skim through the list, discuss a few that look especially interesting to some students, and move on. They know what to do beyond that, which is to put their things away so we can carry on with whatever else I have planned for the day. AOWs and EOWs are homework assignments.
I put a lot of thought and time into creating these weekly assignments, which I consider my number one most effective teaching tool. However, I know these weekly assignments help my students conquer their fear and hesitation with writing. Writing on a regular basis is a great skill that I know will benefit them immensely in high school and beyond.
Thanks for reading again this week! Let me know how you’ve tweaked Gallagher’s AOW concept for your students.
Sponsors intend the contest to honor and extend the legacy that Carl Sandburg made on the American literary canon with his poetry and journalism. Sandburg published an anthology of poetry in 1916 titled “Chicago Poems” that earned him a spot among the literary elite.
Each year’s contest has a different theme. This year’s theme is “Joy.” Students are encouraged to write poems that speak of joy in momentous occasions or small moments.
The judges evaluate how well a student’s entry communicates the theme, so make sure your students are clear with the theme; however, students can relate and celebrate joy however they wish in their poetry entries.
The 2018 theme was “Dreams.” Here’s the first place 6th-8th grade poem appears below. Use it as a mentor text. Other winning entries are found here.
First Place dear moth wings by Kiran Narula
he tore you from your body, stripped you
to a thin sheet like papyrus. you are paper
from a book without its spine,
words in disarray, meaning turned meaningless.
his fingers were warning signs,
holding your delicacy between his thumb
and forefinger. he left you in dirt, i don’t know
if you held onto something else that could
move you, caught onto the threads of a shoelace
from the kids who ran in the field
or mended yourself to a flower’s center,
broke the pattern of pink petals with your beige,
blended with something that you could become.
you are only what is left, the shell of a body,
pulled away from what rooted you.
i wonder what it’s like to be ripped at the seams,
fall apart like loosened thread, nothing to stitch
yourself to. you used to beat like timpani, now you are
fragments of scales and chitin and veins,
a lampshade without a light.
do you have purpose if you are
separated from your stem –
are you still wings if you cannot fly?
i guess skin is still skin without bones.
The guidelines do limit teachers to sending in three poems per classroom. (I wanted to clarify the limit, but at the time of this post, the Carl Sandburg National Historic Site was closed due to the federal government shutdown. I will attempt to email them after the shutdown to find out more.)
Poems must be mailed, faxed (what?!) or hand-delivered by February 25, 2019; that date is slightly less than a month away, so you still have time for your students to put some ideas together and enter.
In addition, there are some specific requirements to follow, so double-check the guidelines before mailing. For example, no staples may be used to fasten their materials, and the submission form must be signed by the student, a parent, plus the teacher.
This is a new contest for me. I’ve never had students enter it before; however, I may just have my sixth-graders give it a try next month. Seventh- and eighth-graders will be deep in other projects next month, but sixth-graders should be ready to dive into “Joy.”
Thanks for reading! Check out this contest’s guidelines as soon as possible so your students have time to generate at least two to three drafts before submitting their entries. I’ll add a link to this contest on my Student Writing Contest page, so it’s easier to find next time you need to access it.