My academic formation is rooted in comparative literature β the study of how texts speak to one another across languages, cultures, periods, and forms. That training has shaped everything about how I read, teach, and write about literature: always attentive to what a text is doing structurally and thematically, not just what it says on the surface.
The novel has been at the center of my scholarly and teaching life for over three decades. I am drawn to the novel as a form precisely because of what it demands from readers β sustained attention, emotional investment, the ability to hold complexity and ambiguity β and because of what it gives back: a deeper understanding of human experience than almost any other art form can offer.
That conviction drives every resource I create. Whether the novel in question is a Newbery Honor survival story taught in sixth grade or a canonical text taught in a university seminar, I bring the same close-reading discipline: tracing how language works, how characters develop, how structure carries meaning, and how themes accumulate across a narrative arc.
My resources are built on the belief that literary thinking is a skill that can be taught β and that the earlier students are given genuine tools for engaging with texts, the more powerful and lasting that engagement becomes. The novel study guides I create for middle school are not simplified versions of university-level analysis. They are carefully scaffolded invitations into exactly the kind of reading that lasts a lifetime.