Teacher appreciation week. #31DaysIBPOC

Last year, the ISGR library shared a calendar, where educators write about their new perspectives, practices, life lessons and learning outcomes from the last year.

We think it is a great idea to start off the Teacher appreciation week 2021 with this calendar again, to remind ourselves how important it is that all teachers’ voices get heard and get power from each others’ stories.

The focus for this calendar (see link below) is inclusion, diversity and the possiblity for black teachers, teachers of color and indigenous teachers to share their varied and unique experiences. Every day in May, a new teacher’s experience / story is published.

So far there are two stories shared: By Tricia Ebarvi, English literature teacher and Department Chair at Conestoga High School and Erica Pernell, director of Inclusion and Multicultural practices at Shady Hill (MA).

https://31daysibpoc.wordpress.com/

Here is also a film clip with Erica Pernell where she share her advice on how to increase justice and equity in schools: “From Diversity to Inclusion and Equity: Expanding and Reframing your Institutional Strategy.”

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Author talk and writing workshop on the themes of memoirs and “mellanförskap”

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World Book Day 2021

Today is the World Book Day which is worth celebrating for many reasons. For example, during the last year, reading has been a powerful tool to combat isolation. Reading expands our horizons. It stimulates our mind, vocabulary, curiosity and creativity. 


Via Creative School, underpinned by the National Arts Council, books also reinforces ties between classes and sections of the school, through shared reading and event experiences. It also reinforces ties between our own and other countries, since we are having an international approach of our Creative School project. 


In the Creative School committee we hope that this will encourage growth, lifelong learning, love of literature and integration. We would like to thank all of you who have contributed to the author visits of this school year! It is amazing that we managed to make this happen despite the Corona crisis. An extra thanks to those of you who helped out with planning of the events, wrote book reviews, came up with and asked questions, made sure to read the authors books in advance and more. You are great cooperation partners of the library! ❤ 

Below you will find links to the documentation of the four author events we have had in the spring: two in English and two in Swedish – with elements of English. They all got published yesterday and today. Hope you will enjoy!

Magnus Nordin (Grade 8 author talk. Horror literature. Novels and short stories in focus: Emmas bok in the Varelserna series, “Nattsköterskan” and “Jordkällaren”)  https://lmcgotaberg.wordpress.com/2021/04/17/forfattarsamtalet-med-magnus-nordin/ 

Camilla Lagerqvist (Grade 6 & 7 author talk + LGRM7 writing workshop. Historical novels. Novels in focus: Flykten till Amerika, Pärlor av glas and Försvunnen)https://lmcgotaberg.wordpress.com/2021/04/17/forfattarsamtalet-med-camilla-lagerqvist/

Shaun David Hutchinson (Grade 8, 9 & 10 author talk + writing workshop. LGBTQIA+, science fiction and fantasy literature. Novels in focus: Brave face, The apocalypse of Elena Mendoza, We are the ants and The past and other things that should stay buried)https://lmcgotaberg.wordpress.com/2021/04/17/the-author-talk-and-writing-workshop-by-shaun-david-hutchinson/ 

Pablo Cartaya (Grade 6 & 7 author talk + MYP7 writing workshop. Realistic / domestic / diverse literature. Novels in focus: Each tiny spark, The epic fail of Arturo Zamora and Marcus Vega doesn’t speak Spanish). https://lmcgotaberg.wordpress.com/2021/04/23/author-talk-and-writing-workshop-by-pablo-cartaya/

Have a fantastic weekend! 

/The Creative School committee (Elin, Susan, Peter and Jennifer)  

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“It is all about embracing stories, allow how they are telling you something internal”. Author talk and writing workshop by Pablo Cartaya

“Writing is a reflective act. Everything you put down on paper needs to mean something”, Pablo says. He thinks that the story becomes more authentic if it comes from an internal and personal place. “If you feel what is happening in the story, your readers will also do it”, he thinks.

Pablo tips ths students to dig into social issues, to find out who they themselves, their families and communities are. Pablo also thinks the students can use various aesthetic expressions to find out about themselves. “It is all about embracing stories, allow how they are telling you something internal and find out what that internal thing is.”

When a story is written, Pablo thinks that you can not change it. You need to let go of it, out in the world, where it belongs. If you want to change anything, you need to do it in your next story. You learn from experiences, but can only move forward: “Next time you do it!”

The characters in a story need to have a reason to why they exist. When you are writing, ask yourself: What are the characters doing? What are they telling about themselves? In what way are they personal for you? What are their questions and motivations?

How do the characters view the outside world and how does that change throughout the story? To create characters’ developments, you need to put things on the character, Pablo says. To keep records of the characters it is therefore good to keep a sketch outline for each one of the characters, where you keep and take notes about them. To start with you need know who the characters are, where they come from, what their motivation and contributions to the story are.

The epic fail of Arturo Zamora is not a biography, but it still contains a lot of pieces of me”, Pablo thinks. It is about a warrior’s journey to celebrate the memory of his maternal grandparents, make his own voice heard and save the family’s business. The camera angles capturing the plot starts a bit far away and then comes closer.

In The epic fail of Arturo Zamora the main thread is Arturo’s relation with his grandmother. To create this, Pablo was using his own relationship with his grandmother, that did not look the same though.

In Each tiny spark the main character Emilia, becomes friend with a girl who’s mum is racist, which creates one of the main conflicts in the novel. The background to why the mum is racist is that her husband died in a war in another country. She can not find a job, lives in a part of the city with many immigrants and then for no reason blames immigrants for her misfortune. There is no excuse for that. The mum’s false accusations makes Emilia aware of segregation and tensions between white people and latinx people. She also learns about unfair immigration laws and to be proud of her mum’s Afro-Cuban roots.

In Marcus Vega doesn’t speak Spanish Marcus is overprotective to his brother because his father left the family when Marcus only was 2 years old. So Marcus thinks that he needs to be the father for his brother. That is the internal conflict in that novel.

Writing workshop

To create a narrative from personal experience, write down the following:

  • A character’s name.
  • A general place like a country and city.
  • A specific place, like an office, a shop, in a sofa or similar.
  • Ask yourself: What is the character doing?

Use internal observations to find out what the characters is doing. Look up or look around to come up with ideas. This will then help you to find out more about your character. Where the character is and what he or she is doing is saying something about him or her.

Now it is time for another character to enter the room and story. Who is this character? Give him or her a name and describe what he or she looks like.

When the other character is walking into the room, where the first character is located, he or she says something in a language as the first character does not understand. This creates a conflict, because the first character does not understand the other character.

Now it is time to write down the language the other character does not understand. If you need to use a phrase dictionary, please do so. Then write down the conflict as a dialogue in four lines. This dialogue will help your readers to understand what is going on between the characters.

Then a third character enters the room, insult the second character and the first character react to this. Write down these scenes. Why are the characters acting as they are doing? What is going on inside them?

Conflicts have to exist, smaller as well as bigger, because stories always build on conflicts. They are also important to storytelling and decide how stories will resolve or end.

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Each Tiny Spark

Each tiny spark is a book about a really smart tech minded 12 year old girl Emilia Torres. She is a Cuban American who lives in a small town in Georgia.

She has ADHD and it’s hard for her to follow along in school and sometimes forgets what her mom or abuela asks, she gets lots of help, especially from her computer genius mom and her friend Gustavo. But soon things change, her mom has to leave for an extended business trip to the west coast and so Emilia doesn’t really have anybody to help her any more. 

Soon her Marine dad arrives back from his most recent deployment.

He is always stressed and distant now, he doesn’t even acknowledge the videos that she sent to him while he was away. All he does now is fix up a muscle car from ground up. 

She only has memories of a time when her family was whole and her home made sense, and even though her dad is back her world it still keeps unravelling

But when Emilia who prefers to build circuit boards than go dress shopping with her abuela, she takes to welding and she and her father start to rebuild their bond.

He dubs her “Chispita” little spark, meanwhile her best friend Gus becomes the center of conflict at school.

The book is a mashup between English and Spanish, this story has Emelia digging for truth and fixing a car as well as her relationship with her father. 

A lot of heavy issues are part of the story, like PTSD (post traumatic stress disorder), discrinination and injustice.

Overall I would recommend this book to a friend, this is an inspiring story.

Author: Pablo Cartaya

Genre: Family Life 

Topics: Activism, Friendship, History, Middle school

Book type: Fiction

Publisher: Kolkila

Publication date: August, 6, 2019

Number of pages: 336

/ 7D Student

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“No writing is objective. It is always filtered through your experiences.” Author talk and writing workshop by Shaun David Hutchinson

Shaun David Hutchinson loves writing cross genres. He writes about real world problems, so they will not seem weird anymore, but instead being taken more seriously. He also wants to add a bit of laboratory to it, based on his own perspectives. “No writing is objective”, he says. “It is always filtered through your experiences.”

Shaun is inspired by renaissance literature as for example Beowulf and The Canterbury Tales Geoffrey Chaucer. He loves big, sweeping stories that bring up social issues and are fun, sad, romantic and more at the same time. His novel Feral youth is a retelling of The Canterbury Tales.

When people are discussing Shaun’s novels, Shaun thinks it is also about what the reader brings to the novels. He always listen to ciriticism, then sort out the best and the worst to listen to the response somewhere in the middle. “You need confidence to be an author”, Shaun thinks. “Once you have published something, you can’t change what is out there. What you can do is to let the response inform you when writing the next novel.” It is also important to remember that you are allowed to think what you think, because otherwise you can drown under people’s opinions. If you belong to a certain community or group of people it can also be good to group together for safety.

Shaun consciously include awkward people in his novels, because he wants to write about people as they are. He also thinks about representation, with starting point what representation will be left if he was not to mess it up for someone else. Thus he writes books for queer people, but has decided to not call his novels queer literature. He thinks that queer literature should be represented in all school libraries though, just like all other kinds of literature. Also all cultures and races should be represented, he adds. You need to create a space for two people, build families and support systems.

Shaun wrote We are the ants and the memoir Brave face as a response to his attempted suicide when he was 19 years old. In We are the ants, the boyfriend has taken his life before the book starts and Brave face is built on Shaun’s own life. The message in these novels are that you need perseverance, to keep going, because life will become better even if it might take some time.

In Brave face Shaun wants to be very clear with the fact that it was not his sexuality or coming out being the reason for his depression, even if he himself thought so when he was a teen ager. “Depressed you can only become because of clinical reaons or a certain situation you are going through, not because of your sexuality”, he states. Now Shaun has learned to notice periods when he needs to “hug himself an extra bit” so any signs of a starting depression will go away.

In several books Shaun brings up grief, how tricky and hard it can be. Because of that people deals with it in a lot of ways and also become more vulnerable. One character who was particularly vulnerable was Andrew in The Five Stages of Andrew Brawley. He was even set on fire by bullies. Shaun read in the news that it happened to a boy and felt so affected so he wanted to write a story about it. How the hospital environment came out was also inspired by a song Shaun heard on the radio. A line from the lyrics went: “You know I can’ see colours like this when you are not around”.

For being able to write his latest novel, A complicated love story set in space, Shaun needed to add a craft aspect. He built a model of a spaceship including engineering room, inside rooms and more, so that he could more easily imagine how the characters moved within and around the spaceship.

The writing workshop

Shaun told the students to use an own memory to create fiction, at the same time as remembering that what you are writing is what you remember, not what anyone else is remembering, because you can experience the same thing differently.

Shaun uses “the cookie date” in We are the ants and Brave face, an example. That was based on an own memory: When he was on a cookie date with his best friend and was coming out, telling anyone for the first time that he was gay. For Shaun the cookie date was a very charged moment, “the biggest moment of his life”, where he felt a safe space, anticipation and release. For his best friend Rachel they were just haning out as usual.

Shaun asks the students to write down an anectode or memoir, that is later on going to be turned into fiction. “You will use your memoires”, Shaun says. Next step is tha the students try to find something unexpected in the memory, something that means something. It could be a detail that sticks out, which symbolizes what the heart of that event is.

You need to create a feeling of care:

  • What has been / begun?
  • What are your ideas?
  • How can your ideas expand?
  • What can you turn your ideas into?
  • Why do you remember the event you wrote about?

You need to start small, outline, get your words out on the page and rewrite. In a bigger perspective: What is memories about and what can we make of them?

The next step is to ask yourself: Who is your audience? In first hand, you should write a story that is fine for you. You might make someone unhappy, but that is ok, as long as you write about what you feel and things you know. You use your own life, listen to voices and “dive in” to see what happens.

“In my writing I often use my mum and best friend as starting points or references when creating characters”, Shaun says. “Then I start to ask “what if… questions” to put the character out of place in order to fictionalize him or her and create the plot in the story. The process is like you take an emotion and give it a physical ally.” Shaun gives some examples:

  • A guilt appear.
  • You turn invisible.
  • Someone does not walk out.
  • You disappear.
  • A teenager get the possiblity to end the world.
  • Everybody else knows something but not you.

In The apocalypse of Elena Mendoza, a young woman discovers she got the ability to heal people, but at the same time she is doing that, the world gets closer to an end. This is the conflict in that novel. To create a conflict in your story, Shaun give tip of asking yourself: What is the worst thing that could happen to your character? Then you will need to organize things carefully to make him or her overcome anxiety over loosing, a sense of incompleteness or anything else.

Sometimes Shaun gets criticized for his characters’ bad choices, for making physical or emotional conflict. Shaun thinks that not only his teenage characters but also grown ups make bad choices now and then. No matter if the characters or grown ups are having the best intentions.

Last tip Shaun give to the students is to look for inspiration everywhere: Listen to song lyrics, read novels, watch TV, read graphic novels and more. Because you never know what is going to click your brain nor where inspiration will come from. For that reason it can also be good to take walks.

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“Att skriva en bok är som att ha en film spelandes i huvudet.” Författarsamtal och skrivarworkshop med Camilla Lagerqvist

Camilla Lagerqvist tycker både om att hitta på äventyr och att skildra en historisk verklighet, då mycket som hände i Sverige för 100 år sedan fortfarande händer i andra länder idag. Camilla vänder sig till högstadiet, därför att hon gillar att skriva, som hon uttrycker det “för sin inre 14-åring”. Hon tycker många känslor är starka då och man är friare än vad man blir sedan. Camilla skriver ett kapitel varje dag. Hon tycker det behövs självdisciplin för att göra det.

“Att skriva en bok är som att ha en film spelandes i huvudet”, tycker Camilla Hon funderar och tänker ofta på sina karaktärer. Det kan också hända sådana saker som att man behöver döda karaktärer och då går man igenom en självupplevd sorg, berättar Camilla.

När hon själv var i högstadieåldern läste hon böcker av Maria Gripe, som Tordyveln flyger i skymningen och Skuggan över stenbänken och Agatha Christie. Nutida barn- och ungdomsförfattare som Camilla gillar är Christina Lindström och Frances Hardinge.

Camilla lärde sig research och om skrivandets hantverk genom att gå journalistutbildning och arbeta som journalist. Hon tror dock att klimatet för journalister har hårdnat sedan dess. “Nuförtiden behöver man skriva, fota, film och anpassa texter för webben”, säger Camilla. Hon saknar dock att träffa människor så ofta som hon gjorde som journalist, men uppskattar att hon kan hitta på innehållet själv i sina böcker.

Camilla har en koppling till Sydeuropa. Hon har släktingar som kommer från Italien, vilket gjort att hon har spenderat mycket tid där. Hennes mans faster bor också i Piemonte. En av Camillas böcker har blivit översatt till franska: Cirkusflickan, vilket skedde via Rabén och Sjögren, som sedan slutade samarbeta med andra länder. Camillas nya förlag Bonnier Carlsen gör dock det, så Camilla hoppas på fler översatta titlar i framtiden.

För att skriva böcker läser Camilla på om olika årtal och vad som hände då. Karaktärer påminner om Camilla själv och människor i hennes närhet. Allra mest känner Camilla igen sig i Maja i Svarta rosorna-serien. “Maja är dock mer modig än jag är”, säger Camilla. Boken Uppdraget, som är del ett i Svarta rosorna-serien, betydde mycket för att Camilla skulle kunna börja försörja sig som författare, då hon fick Nils Holgersson-plaketten som pris för boken. Den sista boken i samma serie, Dödsdömda, är den hon känner sig mest nöjd med.

En bok som Camilla tyckte var rolig att skriva var Vittnet, den andra delen i Blodsvänner. Det var spännande. Hon hittade en hemlig gång i Uppsala, som hon själv gick genom för att kunna skapa autenticitet i romanen. Camilla tyckte dock det var utmanande att skriva serien Blodsvänner, som består av Försvunnen, Vittnet och Bortförda, därför att det var svårt att göra research. Anledningen är att det fortfarande finns en skam över att Sverige har haft ett rasbiologiskt institut.

Flykten till Amerika är inspirerad av att Camillas mammas morfar försvann i Amerika. För att skriva den boken åkte Camilla till Göteborg för att göra research. Bland annat besökte hon Emigranternas hus och frågade hur det gick till. Då fick hon veta att det fanns lurendrejare som bytte identitet. Det var brottslingar i Sverige som bytte identitet och startade ett nytt liv i Amerika. Även för boken När kastanjer spricker gjorde Camilla research i Göteborg.

I Pärlor av glas undersöker Camilla vad som händer om man lever med en förälder som förskönar verkligheten. I romanen är det inte bara huvudpersonens mamma som inte berättat sanningen utan Vanessa som ljuger mycket. Den här romanen innehåller mer fantasi och bygger på mindre fakta än Camillas övriga romaner.

I Spetälskesjukhuset skildras en pandemi. “När man läser det inser man att mycket har blivit bortglömt och man kan dra paralleller till nutid och jämföra två pandemitider”, tipsar Camilla om. Under Corona-krisen har Camilla saknat personliga möten under författarbesök samt med kollegor. Hon har dock deltagit i digitala möten och lyssnat mer än vanligt på föreläsningar via datorer, senast en som handlade om barnauktion år 1890-1910. Det är för att hennes nästa bok, som kommer ges ut ska handla om barnauktioner.

Skrivarworkshopen

Camilla tänker att det inte finns några regler för början på en berättelse, men tipsar om att börja i medias res, med något överraskande, för att börja bygga upp fabeln eller grundberättelsen. Från början behöver man inte förklara så mycket. Handlingen får gärna utgå från känslor och struktureras utifrån vad man önskar att berättelsen ska handla om. Man skapar ett synopsis som kan liknas vid en tankekarta, som innehåller handlingen i stora drag samt början och slut. För att skildra personer som inte är snälla brukar Camilla sedan låna namn från personer som uppfört sig dåligt.

Övning 1. Camilla ger tips att eleverna kan skria om en barnsoldat som rymmer från armén därför att hen inte vill döda eller en flicka som rymmer från bortgifte med en äldre man. Hon ger eleverna 7 min för att skriva ett synopsis till något av dessa ämnen. Det kan vara bra att läsa högt för att undersöka om berättelsen flyter på som den ska. Den kan också vara bra att fundera ut slutet innan man börjar skriva en hel berättelse

Övning 2. Camilla ber eleverna föreställa att de befinner sig på en plats där det är helt mörkt, kanske för att de är instängda. Kanske är de i en källare, hemma eller i ett annat land. Eftersom de inte kan se tar de hjälp av sina andra sinnen för att beskriva platsen, som känsel, hörsel, lukt och smak. Camilla ger ett exempel: Barnslavar på fiskebåtar. Hur luktar det på en fiskebåt? Hur är det på en kall plats? Hur låter det när fisken kommer upp från vattnet?

Övning 3. Camilla ber eleverna gestalta en känsla. Som exempel på hur hon själv gestaltar känslor läser hon om när huvudpersonerna i Dödsdömda blivit tillfångatagna av nazister. Hon frågar vilken känsla som gestaltas. Det är rädsla, förstår eleverna tidigt. Camilla berättar att rädsla är hennes favoritkänsla att skriva om. Camilla pratar om skillnaden mellan att beskriva och gestalta.

Slutligen tipsar Camilla om att träffas och bolla idéer med varandra under skrivprocessen, därför att den emellanåt kan vara arbetsam. Då kan det vara bra att träffas, fika och prata skrivande. Det kan också hjälpa att läsa högt för varandra och fråga: Vad tycker eller tror du om det här?

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“Det är viktigt att kunna relatera till det man skriver om.” : Författarsamtal med Magnus Nordin

Magnus Nordin har bakgrund som filmregissör. Han är inspirerad av skräckfilmer, filmmusik, vikingatid och medeltid. Han vill gärna se det han skriver framför sig. Ljud och platser hjälper honom att skapa atmosfär. Han tänker att vad som krävs för att bli en bra författare är att kunna sitta still, ha ett passionerat intresse för skrivande, en god arbetsdisciplin och läsa många böcker, därför att då lär man sig hur en berättelse är uppbyggd. Hörsägner är också en inspiration för Magnus.

Från början ville Magnus bli serietecknare eller konstnär. Han ändrade sig dock vid ungefär 17 års ålder och bestämde sig för att utbilda sig till författare av filmmanus. Det var dock svårt att hitta arbete inom filmindustrin. Därför började han skriva noveller. Två noveller blev publicerade i olika tidningar. Därefter började Magnus skriva böcker.

I Varelserna-serien skriver Magnus om syskonen Emma och Elias. Anledningen är att han själv har en syster och därför kan relatera till det. Hans föräldrar kommer från Gotland, så det är också därför Varelserna-serien och novellen “Jordkällaren” utspelar sig där. Magnus tillbringar mycket tid på Gotland.

I Varelserna-serien väljer Magnus att skriva om en fruktansvärd katastrof; människor som förvandlas till zombies. För att göra detta hämtar han inspiration från The walking dead. Magnus funderar på vad som händer om man under en katastrof, där zombier härjar, samtidigt blir isolerad i ett övergivet hus?

Det händer för Emma i Varelserna-serien. För henne handlar det mest om att överleva tills soluppgången. Hon är dock också fokuserad på att hitta sin bror Elias igen. I ett hus som Emma kommer till medan hon letar efter Elias sker en konfrontation med ett tonårsgäng. I del 5 och 6 av Varelserna stegras spänningen. Då är det inte bara zombies utan även människor som är fientliga.

I novellen “Jordkällaren” förekommer det, liksom i Varelserna-serien ett ödehus. I det här fallet är det en jordkällare som Magnus beskriver som “ett gammaldags kylskåp under jorden”. I novellen cyklar ett par pojkar över Gotland, i ca 4 mil. De cyklar på ödsliga vägar och genom skog när det börjar regna och blåsa. De bestämmer sig då för att ta skydd. Vad händer då? Magnus använder sitt sommartorp på Gotland, en gammaldags telefon och en jordkällare som inspiration för att skapa en spännande berättelse.

Magnus arbetade i 20-årsåldern som biträde på ett sjukhus. Det gav honom inspiration till att skriva novellen “Nattsköterskan”. Den föregicks av många omskrivningar, bearbetningar och redigeringar efter att Magnus tagit emot kommentarer, kritik och synpunkter.

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Questions for Pablo Cartaya

Next week MYP 6, MYP 7 and Johanna’s English group are having an author talk and writing workshop with the Hispanic author Pablo Cartaya. (The time has changed to 12-14 though.) This part of the school’s Creative School project underpinned by the National Arts Council.

Here are the students questions:

  1. 6D: Why did you choose this type of book genre [domestic fiction]?
  2. 6D: Where have you lived and how has that affected your writing?
  3. 6E: What are your experiences of immigration? 
  4. 6E: In what ways does the book character Emilia, from Each tiny spark, remind of your own daughter?
  5. 6F: What inspired you to write stories with disabled people?
  6. 6F: I know that in your books there are parent issues. Why, and did it ever connect to you personally? / Sumaya 6F
  7. 7AB: How do you make sure your characters are perceived as authentic?
  8. 7AB: How did you get name inspiration for your character names?
  9. Juan’s Spanish group: What inspired you to write about the epic fail of Arturo Zamora?
  10. Juan’s Spanish group: Why are you sometimes writing dialogue in Spanish?
  11. Ingrid’s French group: How do you think your books contribute to equity in literature? 
  12. Elin’s library group: Did your book Marcus Vega doesn’t speak Spanish got new popularity after the earthquake at Puerto Rico, since it takes place in Puerto Rico? 
  13. Susan’s group: Which is your most popular book and why?
  14. Susan’s group: Did acting or being an actor teach you to write?

Reserve questions

  1. Why did you become an author?
  2. How old were you when you published your first book?
  3. How do you define yourself? 
  4. Do you know what chapple mean?

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Library resources on Earth Month, “Restore our Earth”

At ISGR we are during the month of April promoting harmony with nature and the Earth, because of the importance to close “the commitment gap” between what we say and what we do to prevent dangerous levels of climate change.

On April 20-22nd, also the internationally Earth days are celebrated. The theme for those days are “Restore our Earth”, because things can not go back to business as usual after the Covid-19 pandemic. Instead we will be facing the climate crisis, if we do not take action together to prevent environmental destruction and climate change.

There have already been signs of the climate crisis, for example fires in Australian, heat records, the locust invasion in Kenya and more. In a bigger perspective there is not only climate change, but also man-made changes to nature and crimes disrupting biodiversity as we need to deal with, such as deforestation, land-use change, intensified agriculture and livestock production or the growing illegal wildlife trade and more.

Here are some resources that could inspire you to take action

  • Unesco Earth Sciences. For a Sustainable Earth, for Sustainable Societies
  • Arab forum for environment and development. Chapter 4. Environment in Arab School Curricula.” Environmental education: For sustainable development in Arab countries.

Via the library blog and the shelf Environmental Issues in the physical school library you also reach many resources on climate change and environment. Below you will find tips on databases, directories, links, nonfiction books and fiction books. (Note that this are just some tips. Please feel free to let the library know if you would like a list of more resources.)

Fiction books on climate change

  • Flush / by Carl Hiaasen.
  • Dry / Neal Shusterman and Jarrod Shusterman.
  • Exodus / by Julie Bertagna.
  • Två städer / Eva Susso.
  • Snowflake, AZ / Marcus Sedgwick.
  • Annihilation / Jeff VanderMeer.
  • Breathe / Sarah Crossan.
  • H2O / by Virginia Bergin.
  • Vad håller ni på med? : En antologi om klimatet

Nonfiction books on climate change

  • Den obeboeliga planeten / David Wallace-Wells ; översättning av Manne Svensson.
  • Imaginary Borders / by Xiuhtezcatl Martinez with contributions by Russell Mendell.
  • We rise : the earth guardians guide to building a movement that restore the planet / Xiuhtezcatl Martinez with Justin Spizman.
  • Generation green the ultimative teen guide to living an eco-friendly life / by Linda Sivertsen; Tosh Sivertsen.
  • One Earth : people of color protecting our planet / by Anuradha S Rao.
  • Naturskyddsföreningens guide till ett hållbart liv / Johanna Stål, Eva-Lena Neiman, Naturskyddsföreningen.
  • Heroes of the environment : true stories of people who are helping to protect our planet / by Harriet Rohmer ; illustrated by: Julie McLaughlin.
  • Fakta om matsvinn / Simon Randel Søndergaard ; översättning och bearbetning: Tomas Dömstedt.
  • Vad händer med klimatet? : en klimatforskares syn på jordens klimat / Lennart Bengtsson.
  • Schyst resande / Projektledare: Helena Myrman ; Textredaktör: Ludvig Myrenberg/Lärobyrån.
  • Understanding climate change / World Book, Inc.
  • Oceans and climate change / World Book, Inc.

Directories

  • 54 Great Sources for Climate Change News
  • United Nations Climate Change : Partners and Relevant Organizations

Link tips

  • Environment – National Environment Research Council (NERC).
  • Environment – UR Samtiden. Miljö.
  • Environmental Issues – CDP Worldwide: Climate.
  • Environmental Issues – Centre for Environmental Data Analysis.
  • Environmental Issues – EcoAméricas.
  • Environmental Issues – Ecolex : The gateway to environmental law.
  • Environmental Issues – Miljöministeriet och Finlands miljöcentral.
  • Environmental Issues – Nasa: Global climate change.
  • Environmental Issues – Nature Climate Change.
  • Environmental Issues – Naturvårdsverket: Sweden’s Climate Act and Climate Policy Framework.
  • Environmental Issues – TG-DATA Support for climate change assessments.
  • Environmental Issues – The Intergovernmental Panel on Climate Change.
  • Environmental Issues – The Intergovernmental Panel on Climate Change.
  • Environmental Issues – UK Solar System Data Centre (UKSSDC).
  • Environmental Issues – UN and Climate Action.

Databases

GreenFILE. This database provided by EBSCO offers well-researched information covering all aspects of human impact to the environment. Its collection of scholarly, government and general-interest titles includes content on global warming, green building, pollution, sustainable agriculture, renewable energy, recycling, and more.

JSTOR. The database allows you to browse on Sustainability to discover a wide range of journals, ebooks, and Open Access research reports in the field of sustainability. The subjects of resilience and sustainability are explored broadly, covering research on environmental stresses and their impact on society.

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