Self Education & Narration - an update

In the ten or so months I've been involved in presenting Charlotte Mason 101 workshops online at  MyHomeschool, the hows, whys and wherefores of narration is a topic that generates many questions. At face value it seems too simple to be effective. Yes, it might suit a younger child but what about a high school student? 

I've used narration over a couple of decades with my children but didn't really think to use it myself until about eight years ago. As a tool for self-education (reading classics, educational philosophy etc. for my own intellectual and spiritual growth) it is invaluable, especially where there is an opportunity for discussion with others.

In his book, Man - The Dwelling Place of God, A.W. Tozer (a self-taught man himself) has a chapter on self-education where he lists intellectual activities in the order of their importance:

Thinking 

Observation

Reading

Conversation may once have been part of this list but Tozer made the comment that conversation today is mostly sterile. He was writing over fifty years ago and it made me wonder what he'd think if he was alive now and could listen in on the average adult conversation.

I believe that pure thinking will do more to educate a man than any other activity he can engage in. To afford sympathetic entertainment to abstract ideas, to let one idea beget another, and that another, till the mind teems with them; to compare one idea with others, to weigh, to consider, evaluate, approve, reject, correct, refine; to join thought with thought like an architect till a noble edifice has been created within the mind...
and all this without so much as moving from our chair or opening the eyes - this is to soar above all the lower creation and to come near to the angels of God.

Of all earth's creatures only man can think in this way. And while thinking is the mightiest act a man can perform, perhaps for the very reason that it is the mightiest, it is the one act he likes the least and avoids most.

To think without a proper amount of good reading is to limit our thinking to our own tiny plot of ground. The crop cannot be large. To observe only and neglect reading is to deny ourselves the immense value of other people's observations...

Extensive reading without the discipline of practical observation will lead to bookishness and artificiality. Reading and observing without a great deal of meditating will fill the mind with learned lumber that will always remain alien to us. Knowledge to be our own must be digested by thinking. 

Charlotte Mason wrote something that ties in well with Tozer's observations. She suggests that before turning off your light that you read:

...a leading article from a newspaper, say, or a chapter from Boswell or Jane Austen, or one of Lamb's Essays...

Then narrate silently what you've read...

[You] will not be satisfied with the result but [you] will find that in the act of narrating every power of [your]  mind comes into play, that points and bearings which [you] had not observed are brought out; that the whole is visualized and brought into relief in an extraordinary way; in fact, that scene or argument has become a part of [your] personal experience...

You know - you have thought and made observations.
You have assimilated what you've read.
The knowledge has been digested.

Review of The Art of Poetry: Classical Academic Press

My daughter turned 14 years of age earlier this year and as with many students in the high school years, her days are very full. Besides her lessons at home, she is studying the cello at a level which requires about 6 hours of practice per week and she swims in a competition squad for 8 hours a week. From what I've observed, many other home educated children are in similar circumstances with a variety of similar or other commitments.

So why include the study Poetry? What use is it? Isn't it one of those 'enrichment' subjects that aren't really necessary; just a fancy add on and reserved for those kids who are into that type of thing? 

Something to consider:

'…your days are long and crammed with obligation and information and technology. You are at risk for thinking that this is knowledge. Poetic knowledge insists that beauty and truth can’t be separated. It reminds us that the rational alone will not take us to full knowledge and that we should be astonished by what is true.'

The Art of Poetry is a Poetry Curriculum but what it also does admirably is to give a beautifully articulated defence for the need of poetry in our lives, no matter what our age.

‘Poetry acknowledges something deep within our nature...’

This curriculum was written for students in the 7th to 10th Grade and includes an anthology of 39 poems from well-known and lesser known poets.
There are 16 Chapters each having a short anthology of poems with a variety of discussions questions, followed by an activity section and quiz at the end of the chapter. The activity section has a wide scope of options for students. My daughter loves drawing and enjoyed some of the more creative ideas for mixing poetry with art. Students who prefer writing, reciting, or acting, will also find plenty of ideas here.

There are three main sections in the text:

1) Elements of Poetry - eight chapters discussing Images, Metaphor, Symbols, Word, Sound, Rhythm, Shape, and Tone.

2) The Formal History of Poetry - seven chapters covering  the History of Form, Verse Forms, Shaping Forms, A Case Study in Form, Open Verse, A Case Study in Open Verse, and Narrative Poems.

3) Application - a section on growing your interest in poetry with suggestions such as starting a poetry group, finding mentors, and a range of other ideas.

Three Apendices include short biographies of the poets covered in The Art of Poetry; planning ideas, a glossary of terms, bibliography, timeline, and quizzes.

A few timetable options are suggested: an intense month long unit; spreading the curriculum out over the year - two sections per month; or expanding it out over several years.

‘Poetry fundamentally changes our relationship to language - we can no longer see words

 as merely serviceable vehicles.’

The complete curriculum for The Art of Poetry includes a Student Text, a Teacher’s Edition, and a set of 7 DVD’s with over 15 hours of material.

The DVD’s aren’t essential but I found them helpful and Miss 14 enjoyed the discussions between Christine Perrin and her four students. The students were of a similar age to my girl, and the banter between them added a nice dynamic.

At the beginning of each chapter, the author reads from sections of the text and then has a group discussion. At the end of this, she chooses one or two of the activities and demonstrates it.

One of our favourites was a free writing exercise. I thought I knew what this meant but as the author talked through it and then went ahead and modelled it, I realised I didn’t! For five minutes we wrote about images from one of the four seasons - no planning, just writing anything that came to our minds during that time, without stopping. I was pleasantly surprised with both of our efforts. This is a great exercise for those who tend to overthink things or get mental blocks when faced with a blank page.

Other activities included:

An exercise in Ekphrasis - a poem written in response to a visual piece of art. Moozle observed Pieter Bruegel's work, The Land of Cockaigne, and wrote this in response to it:

From the section on Metaphors:

‘Draw a picture of the bird of hope as you imagine it from Dickinson’s poem...

Will you ever see a bird now without considering the way in which its miraculous wings defy gravity and lift into the air? This is how poetry begins to live with us each day and in the scenes we encounter.’

Moozle chose to draw a blue wren, a tiny, beautiful, Australian native bird, as a metaphor for hope:

'Poetry remind us that the metaphor is the basic way of knowing the unknown and that we often describe one thing in terms of another. Poetry gives us images to cherish and to invigorate 

our daily experience.'

If you were planning to use the course with a group or needed some guidance in how to teach poetry in general, the DVD's would be a good resource. Or if like me you're using the curriculum with only one student, seeing other kids getting involved in a poetry discussion helps facilitate your own. 

The Teacher’s Edition includes the text from the Student Edition along with suggestions for discussion questions, answers to discussion questions for the poems, and answers to quizzes. It is arranged in such a way that you could use the Teacher’s Edition for the Student as the discussion answer guides are found tucked away at the end of the chapters.

The answers to the quizzes are sometimes on the opposite page so you could either cover them up or give the questions orally.

The Student Edition has the same content as the Teacher’s Edition minus the answer keys.

'Educating the imagination is an important aspect of studying poems.'

Pros

* A good variety of poems are studied
* The chapter introductions are just beautifully written (the quotations in this post were taken from the text)
* There is an emphasis on reciting and memorisation
* The activities have a mixture of analytical and creative suggestions
* The course is taught by a poet who obviously loves her subject
* It is very adaptable and could also be used for Mother Culture!

Cons

* There is so much content in this curriculum that it could overwhelm at first sight. In fact, the author specifically says in her introduction not to let it do this.

* Depending on the student, they may not be ready for the more analytical aspects of the curriculum.
If a student hasn't had much exposure to poetry before, I'd concentrate more on appreciating the various poems the author presents, reading them aloud, and covering the section 'The Elements of Poetry.'

The author reminds us that poetry can communicate before it is understood. Keeping that in mind takes the pressure off so that we can enjoy studying aspects of poetry and return to a lesson later on to look at it in a more analytical way. 
Appendix C has a simplified plan on Page 252 that summarize some practices to help initiate you into the world of poetry. 

For those following a Charlotte Mason method of education, I'm using this in Year 9 of Ambleside Online.

'…Poetry may make us from time to time a little more aware of the deeper unnamed feelings which form the substratum of our being, to which we rarely penetrate; 

for our lives are mostly a constant evasion of ourselves.'

 T.S. Eliot

Classical Academic Press kindly provided me with a free copy of The Art of Poetry Curriculum for review purposes and what I wrote above is my honest opinion.
They are also offering a 20% discount for the Art of Poetry Program (discount won’t apply to individual texts). Discount code “AOP2019” can be applied at checkout for the 20% off. 
The discount will run through until the 31st May 2019.



For further information:

Art of Poetry samples at Classical Academic Press

http://artofpoetry.us/

Written Work in a Charlotte Mason Curriculum

This is a week's worth of written work done by my 12 year old daughter who is doing AmblesideOnline Year 7. Each week is a little different, depending on what else is happening, but essentially after each reading she is required to do an oral narration or some sort of written account, which could be a notebook entry, a composition or creative narration or just a retelling. I sometimes leave this up to her to decide or ask her to do something specific if I think she needs more variety.

Besides this her written work includes weekly dictation (we don't always get to this) & daily (or at least a few times a week) copywork.

Poetry

We've been reading through the Oxford Book of Poetry as well as doing lessons from the Grammar of Poetry. This week I chose a poem, The Lady of Shalott by Tennyson, read it aloud, and had my daughter tell me its rhyme scheme (AAAABCCCB). Then I asked her to write a poem of her own following the same rhyme scheme, which she almost did: 

 The War of Words

Once upon a time,

In a faraway clime,
In the season of springtime,
A princess sublime,

Was held prisoner by a knight.

Many a gallant knight
Offered for her to fight
 But their offers ended in flight,

And the evil knight still held the princess.

Her father did beg,
And he offered an arm and a leg,
And he did not renege,
But the evil knight was a prig,

And at the end of a year, he still held the princess.

Then one day,
The princess cried, ‘Hooray!’
For on the road, heading her way,

Came a tall knight, in silver armour.

He rode up to the door,
And kicked it on the floor,
‘Hi, evil knight,’ he said. ‘I’m here for war!’
And down he sat on a bucket of tar,

And waited for the evil knight to speak.

The evil knight drew forth his sword,
And they went out upon the sward,
‘But stop,’ said the tall knight, ‘I’m bored.

Why not have a battle of insults instead?’

To be finished...she's been sick and laid up with a fever and didn't get back to it...my daughter, not the princess.

Architecture Notebook

An entry is done in her notebook once a week.

Shakespeare

Shakespeare and Plutarch have often provided some fruitful ideas for narrations with their rich language and drama. I used this suggestion from the Cambridge School Shakespeare as a base for my daughter's narration below:
Imagine you are Caesar's intelligence agents who have shadowed Brutus and Cassius (in Act 1, Scene 2) and bugged their converstion in order to make a report on them to their master.

She typed this one & I copied it here unedited, except for the dialogue, where I used a different colour to make it easier to read:

Description of Brutus

Brutus is of middling height, with a stern gaze upon his countenance, and Rome in his heart.

Description of Cassius

Cassius has a lean and hungry look. He thinks too much, therefore he must forthwith be dangerous.

ACT 1, SCENE 1

Brutus and Cassius standeth together, talking in low tones, glancing this way, and that way, making certain that no one doth intrudeth forth into their conversion.

Brutus

‘How now, Cassius: what brings thee to converse with me?’

Cassius

‘Oh, my dear Brutus, ‘tis nought but friendly talk.’

There arises a shout from the populace, in the direction of Caesar’s whereabouts

Brutus

“Alack, alack, I fear me that honour hath been given Caesar. Alas for Rome! Ah me! We sinketh thus to the depths of d…. I mean, harrumph, ah, hooray!’

Cassius

‘Thou needst not fear me, Brutus, I am one of those excellent and most trustworthy people, who . . .’
Cassius’s words fade unto the air, as in the distance they heareth the voice of Caesar, who sayeth unto Antony,
‘I want fat men about me, Antonius. That Cassius hath a lean and hungry look. He thinks too much. Sniff. Such men are dangerous.’

Cassius

‘Ah, excuse me. . . now, as I was uttering, when so rudely interrupted, cough, cough, thou canst trust me, Brutus. Thou dost not approve of honours given unto Caesar?’

Brutus

‘Aye, Cassius. Methinks, thee also . . .?’ 

Cassius (drawing Brutus aside)

‘Oh, the day, when men fall down in front of men, made up as gods, when once they were as equals! I, fearless before foes, the terror of mine enemies, reduced to this! I, who once had to draggeth Caesar out of the Tiber!’

Brutus

‘Out upon thee! Explain thine self, eh?!’

Cassius

‘Why, my dear Brutus, upon the banks of Tiber I stood with Caesar, who turned unto me, and spake, ‘Cassius, wouldst thou jump into that flood with?’ I up and spake, ‘Aye Caesar, that would I,’ and forthwith I jumped straightway into that roaring flood, and Caesar jumped in with me. I had reached the farther bank, when whereupon Caesar cried unto me, ‘Help, o noble Cassius!’ (see what opinion he had of me!’) I turning around, with all the goodness of my heart, jumped into that flood once more, and dragged him upon the bank, for, he was too weak, forsooth, to do it himself! And now, I ask thee, Caesar holdeth the laurels?!’

Brutus (impressed)

‘Oh dear, Cassius. Of a truth, methinks thou art more fitted to hold the laurels than Caesar! I bear him no ill will, but the bettering of Rome is in my thoughts, O Cassius.'

Cassius

‘I agree, Brutus. And, moreover, when Caesar had a fever, he asked for water.’

Brutus (horrified)

‘Oh horror! What a calamity. Oh justice, thou art fled to brutish beasts, and men have lost their reason.’

Cassius

‘Yea, Brutus, I hear the trumpets this way come. Thine self I shall meet on the morrow.’

Brutus

‘Aye. Good night, good night! Parting is such sweet sorrow, that I shall say good night ‘til it be morrow.’


History


A handwritten narration from Churchill's Birth of Britain. She is quite neat when she does her copywork and dictation but more haphazard when doing a hand-written narration.

Science


This is from her Anatomy & Physiology book (see here & here for the books we're using for Year 7)

Notes from the 2017 Newcastle Mum Heart Conference

This is a post to address some questions that came up during my Charlotte Mason Workshop and also in personal conversations over the weekend.

Scheduling

* Older children can start their work independently so you may spend time with the youngest ones.
The subjects that worked best for us with this were Maths, Copywork, Music Practice & regular jobs e.g. emptying the dishwasher or bringing down the washing.

* Keep lessons short but don't let them waste time.

* If I don't cover some things during a week, I schedule them first thing the next day/week. This way we get to cover everything & don't send the message that some areas are less important than others. It seems to be the more 'unpractical' things that miss out otherwise. Poetry, picture study etc are not extras that we tack on if we have enough time.

* Alternate the type of lessons so there is a natural 'rest' between lessons. 'When Children Love to Learn' edited by Elaine Cooper (see pg. 215) divides subjects into Inspirational and Disciplinary subjects. By alternating subjects between the two groups we provide this rest:

Inspirational Subjects  
             
Bible                                             
Plutarch
Composer Study
Literature
Shakespeare
Nature Study
Picture Study
Poetry
Read Aloud
Science
History   

Disciplinary Subjects

Drawing/Art
Composition
Dictation
French
Geography
Grammar
Handiwork
Handwriting
Mathematics
Recitation
Music
Physical Education

Narration

The question came up regarding finding the time to listen to multiple narrations.
Some ideas if you have a few children & they all have to narrate:

*   Combine some books & they take turns narrating

*   If you follow Ambleside Online there can be around 4 or 5 readings per day, depending on how you schedule your week.  If they’re older one of those re-tellings could be a written narration, another a science notebook entry (write up an experiment/draw what happened etc); an entry on their history timeline; an oral narration; a picture narration; a diagram. They could also record their own narration (Voxer is something I’ve heard others talk about but have never used myself).

*  I made out a weekly schedule for everyone & allowed them to choose what they wanted to do from that & checked during the week to see that they were getting through it. My older ones would often tell me before they were going to do a reading then I knew that around 15 or 20 mins later they would be ready to narrate. If I read aloud to them I got them to narrate as soon as I’d finished.

*  I found with my older children, that their oral narrations were usually short and to the point, so it didn't require a great deal of time to listen to them. My younger ones tended to be more verbose.

*  An older child could listen to a younger one's oral narration & write it out. You check it later. Multiple children could act out a scene from a book or a Shakespeare play. We had a few historical battles acted out...

*  I had them do most of their oral narrations in the morning when I had less distractions, then after lunch we had a time all together where we did devotions, read aloud, poetry & maybe something else I chose such as picture study or composer.

*  If you have a child who is a good writer & enjoys it, you can increase their written work & not have as many oral narrations. I’d only do this if they had spent a few years honing their oral narration.

*  Late readers – oral narrations will prepare them for written work when they do learn to read; read aloud good quality literature; use audio books & have them follow along with the book.

*  If you don’t get to hear an oral narration for some reason, before you read the next chapter in the book, ask them what happened in the previous chapter. I usually do this anyhow.

* Children need a rich & varied background of reading to be able to express themselves. If they can’t narrate a book it’s often a sign that the book isn’t ‘living.’

* Children don’t have to completely understand everything for a book to have done its work. My daughter has just finished reading The Mystery of the Periodic Table (AO Year 6). A couple of times when she came to narrate what she'd read she'd say, "I didn't really understand that." So I asked her to tell me something about what she had understood. There was always something she could tell me. Charlotte Mason used the analogy of a bountiful feast, a tantalizing smorgasborg, that we spread before our children - they won't be able to eat everything on the table but they will come away satisfied.

*  Written narration with boys - teach them how to touch type & let them use the computer if they are hampered by the physical act of writing. Some of our boy's narrations improved dramatically when we did this. Typing narrations was also helpful for my youngest daughter who had poor spelling but loved writing.

*  As they get more confident, make the requirements a bit higher. In the earlier years they start with a straight re-telling. Progress to different forms of writing e.g.creative narrations – write a poem, illustrate part of the story, draw a picture, write a newspaper article, write a letter.
Turn a poem into prose; re-write (paraphrase) a passage from a book in your own words – good for short essays; write a summary – eg a battle or historical event.
 

* In Volume 6 Charlotte Mason writes:  ‘Forms V and VI. (Grades 10-12) In these Forms some definite teaching in the art of composition is advisable, but not too much, lest the young scholars be saddled with a stilted style which may encumber them for life.’

I've used Wordsmith Craftman or Jensen's Format Writing at this stage to cover essay writing.
Try googling 'Expository writing' if you want some free resources to help with this. 
Transitioning from written narrations to essays:
I posted some ideas for written narrations here.

General 

There is a tension between requiring children to work hard versus not requiring enough of them. The temptation is to give children less work if they’re struggling, but often they don't need less but just different. They need a broad curriculum with enough of a challenge to give them a push without overwhelming them. One of my children was very advanced for her age & I was talking to an older lady I knew about how to work with this. She suggested to go broader rather than pushing her ahead. I did this and it certainly didn't hinder her in any way.

One thing is certain in homeschooling whether you have a large family family or not - the only constant is change! At least that's what I've experienced. Children grow and develop, the mix of ages and stages change. We change. Life changes.

Some things to remember:

'The Lord is my Shepherd' - Psalm 23. He doesn't drive me, He leads me.

'He tends his flock like a shepherd: He gathers the lambs in his arms and carries them close to His heart; He gently leads those that have young. - Isaiah 40:11

'Come to me, all you who are weary and burdened, and I will give you rest.' Matthew 11:28



 

   

A Homeschooling Year for a 9 year old Girl - Ambleside Online Year 3

Portrait by Berthe Morisot 1886

Moozle completed Ambleside Online's Year 3 which covers the late 1400's-1600's (Renaissance to Reformation) about two months ago. She was eight years old when we started Year 3 but turned nine a few months later.
The scheduled books and time period of Year 3 didn't require much adapting for our Australian context but I did do some substitutions, additions & subtractions which I'll share in this post.

History & Literature

We used some of the chapters from This Country of Ours, especially those scheduled in Term 2, because of their connection with British History eg. Sir Walter Raleigh, the Cavaliers and the Pilgrims.

We skipped American Tall Tales and substituted A Little Bush Maid by Mary Grant Bruce & didn't do Pilgrim's Progress because I'd already used it as a family read aloud the previous year.

Shakespeare and Plutarch

Moozle has been listening in when I've done both of these with her older siblings for some years and this year she decided to try doing her own written narrations. I wrote about that here.

Just be aware that she's a girl and an avid reader and that the three boys above her wouldn't have done this in a fit. It was a pleasant surprise to me to suddenly have another child who loved to write as it hadn't happened for quite a few years.

I also started studied dictation with her around the time she started to write and have seen some improvement in her spelling which used to be woeful.

Natural History

Warrigal the Warrior by C.K. Thompson - as a read aloud

Wonderland of Nature by Nuri Mass - for help with nature study. We also use The Handbook of Nature Study and participate in the Outdoor Hour (see link on side bar).

Bush Stories by Amy Mack - this is out of print but I found a copy in excellent condition in a secondhand Aussie bookshop which sells through Abebooks. The book I have was a reprint done in 1983.

I read aloud Pagoo & Secrets of the Woods - natural history is a favourite topic for this young lady and she's loved everything AO has scheduled plus our Australian selections.

Food & Nutrition

This eBook is quite a good introduction to food and nutrition for a child especially if you are familiar with Nourishing Traditions as the author shares a similar view to those expressed in that book. I bought my copy when the author was offering about 25% off - I don't think I would have paid the full price of $19.95. But then again, I haven't seen much else on food and nutrition for this age group. There are 15 short chapters with a colouring page, which we didn't use, plus a word puzzle at the end of each chapter (she loves these). We didn't start the book until about half way through the year so we're continuing with it in Year 4.

The Body Book for Younger Girls

I used this book as a framework for talking about puberty and the changes girls go through as they approach this time in their lives. The book is quite well done and is written for girls of 8 years and up to read on their own. I read it aloud and skipped bits and pieces that I didn't think were applicable - nothing inappropriate but just unnecessary for her at this stage (bras, boys, tampons, body image).

The book covers pre-puberty and puberty in a practical and sensible way. It has 109 well illustrated pages and I spread it out over a few months. 

 

Instrument - Cello

After having piano lessons for a couple of years, Moozle started cello lessons at the beginning of the year. She has always wanted to play this instrument and is doing well. We started off renting a cello but when she outgrew that one we decided to buy one secondhand. Hopefully, she won't outgrow this one too soon. This is one drawback to starting stringed instruments with younger children. We have four different sized violins that one of her older sisters went through. We didn't have to worry about that with our children who played the piano.

Highland dancing

Moozle entered her second competition a few weeks ago. At her first competition she knocked the swords as she danced. That instantly disqualifies you so she had to stand in 'first position of arms' until the other dancers had finished. This time she won first place in The Lilt and second place in The Swords, which delighted her no end.

Highland dancing competitions are quite challenging in that you gave a group of dancers on stage - there were six for most of the dances at this last competition. The dancers are in various levels so you could have a ten year old dancing alongside a 20 year old. They often have different steps to their dances and they are all dancing at the same time with a couple of judges watching their every move. They have to really concentrate on what they are meant to be doing - a good test of their attentiveness.

Timeline

 A very simple one:

We use an extra large spiral drawing book just to keep everything in the one place. At some stage I may pull the pages out and connect them all up in chronological order. She's marked in our Plutarch men in another section.

Geography

Charlotte Mason's Geography book. There is a link to it on the AO website.

Explore His Earth - Moozle loved this book and I posted our schedule, with videos and other things we used as we read through it here. (We skipped most of the activities suggested in the book.)

Updated to add: We also did Marco Polo: His Travels and Adventures, by George Makepiece Towle and used The Adventures of Marco Polo by Freedman for mapwork.

French

Free resources we used are here.

Music & Art Appreciation

As I've tended to do all along, we mostly studied different artists and composers to the AO term selections.

Moozle read Hildegard's Gift by Megan Hoyt and listened to a couple of Hildegard's compositions but we didn't spend a lot of time on her music.

We did spend a few months on some Spanish composers, which was wonderful and I chose some pieces that featured the cello and other stringed instruments.

Marc Chagall was an artist she enjoyed.

I posted some of the folksongs related to the Year 3 time period here.

Handicrafts

English paper piecing - this is the current project which might eventually turn into a cushion.

Another sewing project in the past year was this bag holder. 

She enjoyed trying her hand with some basic leather work & is keen to do some more projects.

Memory work

Scripture - we all do this together. Which reminds me - I need to update our list and put it up on my pages index at the top of the blog.

Poems -  Poetry is another area I often tweak to better suit our situation and interests. Jabberwocky by Lewis Carroll, The Eagle by Tennyson and The Arrow & the Song by Longfellow were some that Moozle chose to memorise on her own. My Country by Dorothea Mackellar, an Australian poem, is one that she enjoyed also.

This is a poetic narration she did based on a story form The Jungle Book:

Some of the free reads that we don't have were substituted with Australian titles:

Verity of Sydney Town by Ruth C. Williams - this is a better fit for Year 5 historically but I added it because I thought Moozle would enjoy it more now than leaving it until later and the setting is an area we are familiar with.

Seven Little Australians by Ethel Turner

The Australian Twins by Daphne Rook

The Bush Boys by James Tierney

Enemy Brothers by Constance Savery - I added this as a night-time read aloud because I love the story and Moozle kept asking me if she could read it. It's a wonderfully rich book and I'd always planned to read it aloud to her at some time as I'd done with her older siblings years ago.

Updated to add: I was intrigued by some references the author made to the sword Chrysaor and an Elizabethan poem and finally found out some things about them recently.

Devil's Hill by Nan Chauncy is out of print but if you find it it's a good fit for this age group.