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The Silver Donkey by Sonya Hartnett/ Illustrator, Laura Carlin (Walker Books) a Soldier Lies Against a Tree in a Wood, Just a Short Distance from the English Channel

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The Silver Donkey by Sonya Hartnett/ Illustrator, Laura Carlin (Walker Books) a Soldier Lies Against a Tree in a Wood, Just a Short Distance from the English Channel The Silver Donkey by Sonya Hartnett/ illustrator, Laura Carlin (Walker Books) A soldier lies against a tree in a wood, just a short distance from the English Channel. Shell-shocked and blinded, he is fleeing the horrors of World War 1. At night he remembers the terrors of war, and during the day tells stories of courage, loyalty, suffering and honesty to two girls who find him, bring him food and plan to help him return home. Written by the winner of the 2008 Astrid Lindgren Memorial Award, The Silver Donkey is a beautifully told, wonderfully illustrated novel that does not shy away from the terror of war and its effects, yet holds at its core questions of humanity, courage and bravery as well as mortality and suffering. The novel would lend itself well to being read alongside a history topic on World War 1. Overall learning aims of this teaching sequence: . To explore key themes raised within a text. To explore complex characterisation. To develop an understanding of moral issues raised within a text. To respond to the issues and themes in the novel through talk, writing and drama. To make links to and extend learning in History. To explore and analyse the language and structure of the novel This teaching sequence is designed for a Year 5 or Year 6 class. Overview of this teaching sequence. This teaching sequence is approximately 3 weeks long if spread over 15 sessions. Teaching Approaches Writing Outcomes . Reading aloud and Rereading . Diary entries . Drama and Role-Play – Hot Seating, . Recounts Freeze-Frame Conscience Alley . Notes for debate and discussion . Readers’ Theatre . Poetry . Shared Writing . Reflective writing . Visual Approaches – Visualisation, . Annotated story maps Illustration, Mindmapping . Mindmaps . Writing in Role . Narrative writing . Reading Journals . Debate and Argument . Conscience Alley . Storytelling, Storymapping Resources This sequence would be best supported by a range of information books about World War 1 and ©The Centre for Literacy in Primary Education. You may use this teaching sequence freely in your school but it cannot be commercially published or reproduced or used for anything other than educational purposes without the express permission of CLPE. artefacts for display. A book for each of the children in the class to use as a reading journal. Teaching sessions Sessions 1 and 2: Reading Aloud and Rereading, ‘Tell Me’ – Booktalk, Visual Approaches – visualisation and illustration Reading aloud - Reading aloud is one of the most important ways that children are motivated and supported to become readers. It is essential that children experience hearing texts read aloud in the classroom as a regular part of each school day. ‘Tell Me’ – Booktalk is an approach to discussing texts that supports all readers and writers and is particularly useful for those children who find literacy difficult, developed by the author and educationalist Aidan Chambers. In its simplest form, the approach is based around asking children ‘Tell me’ about four key elements of a text, likes and dislikes, puzzles they have, and connections they make, both within the text and from other sources. Show the children the front cover and title of the novel and ask the children for their initial reactions. Ask them what sort of a novel they think this is going to be. What does the illustration on the cover suggest about it? Can you think what part the donkey will play in the narrative, based on their past experience? What stories do you know that involve donkeys? . Read aloud the first page of The Soldier in the Trees to the line ‘“I’m sorry I broke your dolly’s arm!” howled the younger one.’ . Ask the children the basic ‘Tell Me’ questions about the opening of the novel. What do you like about this opening? What do you dislike about it? What puzzles you about what we’ve read so far? What connections can you make about it? Ask the children what they know about the story so far. Ask them what sort of a story they think this is going to be. Read aloud to the end of the chapter and continue with the ‘Tell Me’ questions, focusing on the new information the children have gained from the text. Ask the children further questions about what they can gather about where the story is set, when and in what historical context it is set. Ask the children for their comments on the girls’ disappointment that the man is not dead. Ask them more about the girls’ reactions of excitement (for example, how do they react to the line ‘she realized it was thrilling to have discovered a dead man’?). Session 2: Visual Approaches – Responding to Illustration, Visualisation and Illustration, Drama and Role-Play, Shared Writing Responding to Illustration - The children's books featured have been chosen because of the quality of the illustrations they contain and the ways in which the illustrations work with the text to create meaning for the reader. Children need time and opportunities to enjoy and respond to pictures and to talk together about what the illustrations contribute to their understanding of the text. Visualisation - Asking children to picture or visualise a character or a place from a story is a powerful way of encouraging them to move into a fictional world. Children can be asked to picture the scene in their mind's eye or walk round it in their imaginations. Finally they can bring it to life by describing it in words or recreating it in drawing or painting. Shared Writing - Shared writing is one of the most important ways a teacher can show children how writing works and what it’s like to be a writer. Acting as scribe, the teacher works with a small or large group of children to create a text together, enabling them to concentrate on their ideas and composition. Display Laura Carlin’s illustrations for The Soldier in the Trees and ask the children to discuss in pairs what the illustrations add to their understanding of the chapter and what mood the illustrations evoke. Give each of the pairs a sheet of paper on which to write down some of the words and phrases that come to mind through looking at the illustrations, about finding the body in the woods. Reread this short chapter aloud and ask the children to close their eyes and visualise the scene in forest. Give the children time to add further words and phrases to their sheets. Explain to the children that they are going to create their own illustration (using black ink and thin brushes on white paper) of the two girls returning to the forest to discover if the man is alive or dead. Ask the children, in their pairs, to add further words and phrases to their sheet, and to formulate a phrase about the thoughts and feelings of the two girls finding the soldier in the woods. Collect together the phrases from each of the children and shared write a class poem about the experience of finding a body in the woods. Encourage the children to help you edit the poem as you go, helping its flow and rearranging the phrases for the best effect on the reader. Session 3: Reading Journals, Reading Aloud, Conscience Alley, Writing in Role Writing in Role - When children have explored a fictional situation through talk or role-play, they may be ready to write in role as a character in the story. Taking the role of a particular character enables young writers to see events from a different viewpoint and involves them writing in a different voice. In role, children can often access feelings and language that are not available to them when they write as themselves. Reading Journals - Both class and individual reading journals provide a thinking space for children to explore and reflect on their reading experience through writing, drawing and raising their own questions. Conscience Alley - Conscience Alley is a useful technique for exploring any kind of dilemma faced by a character, providing an opportunity to analyse a decisive moment in greater detail. Read aloud Monsieur Shepard to the line on p21, ‘“Remember, you must not tell anybody that I’m here.”’. Hold a whole class discussion about why the soldier would have been so keen to keep his presence a secret, after asking the children to discuss this point in groups of three or four. Ask the children to discuss in pairs their prior knowledge of desertion and the punishment for deserting during World War I. Ask the children to consider what the girls should do at this point. Should they tell someone or should they keep this secret to themselves? . Ask the children to consider what their advice to the girls would be. Ask two of the children in the class to take the roles of Marcelle and Coco and the rest of the class to create two parallel lines down through which the characters can walk. As the two girls walk down the centre of the conscience alley, ask the other children to whisper to the characters their advice as to whether or not they should keep this secret. Ask the two characters to decide what they are going to do when they have reached the end of the conscience alley and to explain their decision to the class. Give each of the children a book that will be their reading journal and ask the children to, individually, write a short diary entry in role as either Coco or Marcelle about meeting the soldier and his request that they keep his presence a secret. Sessions 4 and 5: Drama and Role-Play – Hot Seating, Writing in Role, Reading Aloud Drama and Role-Play – Role-play and drama provide immediate routes into the world of a story and allow children to explore texts actively.
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