Deepening and broadening our understanding of what it means to teach in times of trauma, writing teachers analyze their own responses to national traumas ranging from the Japanese attack on Pearl Harbor to the various appropriations of 9/11. Offering personal, historical, and cultural perspectives, they question both the purposes and pedagogies of teaching writing.

A foreword by former soldier and memoirist Brian Turner, author of My Life as a Foreign Country, and an afterword by military wife and memoirist Angela Ricketts, author of No Man's War: Irreverent Confessions of an Infantry Wife, bookend the volume.

Educators must both respond to the impact of trauma, and prevent trauma at school. Trauma-informed initiatives tend to focus on the challenging behaviors of students and ascribe them to circumstances that students are facing outside of school. This approach ignores the reality that inequity itself causes trauma, and that schools often heighten inequities when implementing trauma-informed practices that are not based in educational equity. In this fresh look at trauma-informed practice, Alex Shevrin Venet urges educators to shift equity to the center as they consider policies and professional development. Using a framework of six principles for equity-centered trauma-informed education, Venet offers practical action steps that teachers and school leaders can take from any starting point, using the resources and influence at their disposal to make shifts in practice, pedagogy, and policy. Overthrowing inequitable systems is a process, not an overnight change. But transformation is possible when educators work together, and teachers can do more than they realize from within their own classrooms.

Some of the country’s most admired authors—including Andre Dubus III, Mark Doty, Marianne Leone, Michael Patrick MacDonald, Richard Blanco, Abigail Thomas, Kate Bornstein, Jerald Walker, and Kyoko Mori—describe their treks through dark memories and breakthrough moments and attest to the healing power of putting words to experience. What does it take to write an honest memoir? And what happens to us when we embark on that journey? Melanie Brooks sought guidance from the memoirists who most moved her to answer these questions. Called an essential book for creative writers by Poets & Writers, Writing Hard Stories is a unique compilation of authentic stories about the death of a partner, parent, or child; about violence and shunning; and about the process of writing. It will serve as a tool for teachers of writing and give readers an intimate look into the lives of the authors they love. Authors profiled in Writing Hard Stories: Andre Dubus III, Sue William Silverman, Michael Patrick MacDonald, Joan Wickersham, Kyoko Mori, Richard Hoffman, Suzanne Strempek Shea, Abigail Thomas, Monica Wood, Mark Doty, Edwidge Dantict, Marianne Leone, Jerald Walker, Kate Bornstein, Jessica Handler, Richard Blanco, Alysia Abbott, and Kim Stafford Insights from Writing Hard Stories “Why we endeavor collectively to write a book or paint a canvas or write a symphony...is to understand who we are as human beings, and it’s that shared knowledge that somehow helps us to survive.”—Richard Blanco “Here’s what you need to understand: your brothers [or family or friends] are going to have their own stories to tell. You don’t have to tell the family story. You have to tell your story of being in that family.”—Andre Dubus III “We all need a way to express or make something out of experiences that otherwise have no meaning. If what you want is clarity and meaning, you have to break the secrets over your knee and make something of those ingredients.”—Abigail Thomas “What we remember and how we remember it really tells us how we became who we became.”—Michael Patrick MacDonald “The reason I write memoir is to be able to see the experience itself...I hardly know what I think until I write...Writing is a way to organize your life, give it a frame, give it a structure, so that you can really see what it was that happened.”—Sue William Silverman “After a while in the process, you have some distance and you start thinking of it as a story, not as your story...It was a personal grief, but no longer personal...[It’s] something that has not just happened to me and my family, but something that’s happened in the world.”—Edwidge Danticat “Tibetan Buddhists believe that eloquence is the telling of a truth in such a way that it eases suffering...The more suffering that is eased by your telling of the truth, the more eloquent you are. That’s all you can really hope for—being eloquent in that fashion. All you have to do is respond to your story honestly, and that’s the ideal.”—Kate Bornstein “You can never entirely redeem the experience. You can’t make it not hurt anymore. But you can make it beautiful enough so that there’s something to balance it in the other scale. And if you understand that word beautiful as not necessarily pretty, then you’re getting close to recognizing the integrative power of restoring the balance, which is restoring the truth.”—Richard Hoffman

What is trauma and what does it mean for the literacy curriculum? In this book, elementary teachers will learn how to approach difficult experiences through the everyday instruction and interactions in their classrooms. Readers will look inside classrooms and literacies across genres to see what can unfold when teachers are committed to compassionate, critical, and relational practice. Weaving her own challenging experiences into chapters brimming with children’s writing and voices, Dutro emphasizes that issues of power and privilege matter centrally to how attention to trauma positions children. The book includes questions and prompts for discussion, reflection, and practice and describes pedagogies and strategies designed to provide opportunities for children to bring the varied experiences of life, including trauma, to their school literacies in positive, meaningful, and supported ways. “This stunning book about trauma interrogates the very notion. Dutro excels at interweaving her stories with those of teachers and students and at challenging readers to find their way into the fabric. I recommend this book to teachers so that they might accept her challenge to explore and understand the importance of both witnessing and testimony in relation to trauma in literacy curriculum and pedagogy.” —Mollie Blackburn, The Ohio State University

Huge numbers of our students are caught in storms of trauma—whether stemming from abuse, homelessness, poverty, discrimination, violent neighborhoods, or fears of school shootings or family deportations. This practical book focuses on actions that teachers can take to facilitate learning for these students. Identifying positive, connected teacher–student relationships as foundational, the authors offer direction for creating an emotionally safe classroom environment in which students find a refuge from trauma and a space in which to process events. The text shows how social and emotional learning can be woven into the school day; how literacies can be used to help students see a path through challenges; how to empower learners through debate, civic action, and service learning; and how to use the vital nature of the school community as an agent of change. This book will serve as a roadmap for creating uniformly consistent and excellent classrooms and schools that better serve children who experience trauma in their lives. Book Features: Makes a clear case for the need and responsibility of schools to equip students with tools to learn despite the trauma in their lives. Shows practical classroom instructional and curricular interactions that address trauma while advancing student academic learning. Uses literacy and civic action as pathways to empowerment. Provides a method and tools for developing a coherent plan for creating a trauma-sensitive school.

A practical and inspiring guide to transformational personal storytelling, The Story You Need to Tell is the product of Sandra Marinella’s pioneering work with veterans and cancer patients, her years of teaching writing, and her research into its profound healing properties. Riveting true stories illustrate Marinella’s methods for understanding, telling, and editing personal stories in ways that foster resilience and renewal. She also shares her own experience of using journaling and expressive writing to navigate challenges including breast cancer and postpartum depression. Each of the techniques, prompts, and exercises she presents helps us “to unravel the knot inside and to make sense of loss.”