By now, all three micro-essays should be turned into turnitin.com, and you should also have submitted a hard copy of the first one (the 1989 AP question, using "Metamorphosis").

Yesterday:  the short fiction objective assessment.  Make up ASAP; a couple of people plan to take it before school tomorrow (7:00 a.m. sharp).  You would be welcome to join them.

Today in class:  Timed Write (Passage Analysis) on Heart of Darkness

Tomorrow in class:  Bring HoD one last time for reference during our final discussion

Frankenstein--either have it in class on Monday (much preferred, because you'll need to keep track of certain things as you read) or--grudgingly tolerated--you'll have to check out a school copy.

Paper reminders . . .

Last Thursday's post was the definitive assignment for the three short fiction micro-essays.

Essay #1--Hard copy was due today, Monday.  As noted in class today, I did forget to mention on Friday that I'd decided this first essay also needs to be on turnitin.com; so please make sure it's submitted by tonight's deadline. Sorry for the indecisiveness there.

Essays #2 and #3--No hard copies needed.  You should have them completed by class time on Wednesday, just so you can get on with other work, but the turnitin.com deadline for both is Wednesday night (11:59 p.m).  That's firm.

For the third essay's Works Cited, follow the models for individual essays/articles in anthology.  Cite each story separately by author, including all the parts shown in the Purdue OWL for that kind of entry.  For this essay, simply place the Works Cited after a double double-space from the end of the essay, assuming there's room for both entries.  If not, go on to the next page.  (No dead trees either way--remember, no hard copy needed.)

The short fiction VERY short test:  On  Wednesday, Dec. 10

Timed write on Heart of Darkness (passage analysis):  Thursday, Dec. 11

FOR TOMORROW
Three topics from Part III:
1) a close look at the scene in the wilderness with Kurtz and Marlow's reaction to his own role
2) Marlow's account of Kurtz's dying words/and why
3) the closing scene with "My Intended"--passage analysis style

Upcoming--
Continue to work on the three short papers due next week; see Tuesday's post.

Here are a few additional guidelines to consider as you are working:

• These essays are to be considered "microthemes" because although they will require deftly incorporated text-based support that includes some direct quotations, you are not expected to provide a complete funnel introduction or significant "global" conclusion. You need some sort of contextual starter sentence before your thesis, but do not produce a hook and several sentences of  background or setting up before you get to the thesis. Get directly into the argument of the essay as soon as you can.  For the conclusion, a single "clincher" sentence will be enough.
• The message is, then, that the essay will be nearly all meaningful content.
• It is not an MLA essay; use the standard heading.
• Running header not required.
• DO have a title 
• DO include parenthetical citations; page numbers only.
• Double-space.

You do not need a Works Cited for the first two essays.  See below.

Look at the writing samples in section XII at the beginning of your book.  The second example is a short literary analysis, so you might as well look at that one (43).  You are going to modify this format for the first two essays.

• For Essay 1, you are going to follow the general idea of what is shown, but you will need to incorporate the author and title of in your own sentence and then supply the following information as shown in the example:  (Trans. ??? [Place of publication: Publisher, Date])
• For Essay 2, simply do what is shown, plugging in the accurate information for "Sonny's Blues." 
• For Essay 3, it will be easier to have a Works Cited simply so you can practice a different format--but I'm going to let you do this by continuing on the same page after a double double-space.   You might have two stories within the Perrine text, or you might have one plus the online "Chrysanthemums."  I'm going to spell this out more tomorrow . . . you don't need it yet.  If you're working on the papers, just keep track of the page numbers as you go.

/TODAY IN CLASS

We finished Part I.  That included reverting to the "Grove of Death" passage briefly to consider the difference between addressing Conrad's own writing--his use of allusion, diction, and imagery--and something about Marlow's own attitudes.  Conrad's language included various ways of dehumanizing the overworked natives by honing in on allusions to the underworld to show their precarious hold on an earthly existence, selecting diction that dissected still-living individuals into both geometric shapes and discrete [separate] body parts, and animal imagery that reinforced their function as beasts of burden. If you are asked to focus on Marlow, it would probably miss Conrad's point if you were to say that Marlow was being negative, or prejudiced, or showing European superiority by dehumanizing them.  A better strategy, noting especially the transitional comment "I wanted no more loitering in the shade. . . ," would be to follow up on Marlow's expressed observation of the abject weakness and suffering.  Imagine how he might have felt; students mentioned his feelings of discomfort at seeing such pain as well as the guilt by association of realizing that the company he now works for is the underlying cause of their suffering.  But Marlow's response on being confronted with it is to distance himself as much as he can from them, and from his own feelings, so he can get on about his work.  Detachment is easier if those suffering are perceived more as objects, or non-human living beings, than as humans.  It's all about sparing himself and focusing on his job.

The point is to be able to discuss both the "how" of what an author does with language as well as to speculate meaningfully on "why" such choices would be made at a given point in the work.  But in a very short timed write, I'm not likely to ask you about both at once!

Part II:  we talked about the conversation between the manager and his uncle, what Marlow overhears about Kurtz laid against what his comment had been at the end of Part I, and the fate of the donkeys. 3rd period had a moment for some early style analysis of the Going up that river . .. . passage . 4th didn't.

FOR TOMORROW

Please look over the 4 long paragraphs of the "going upriver" section for some discussion of what's there (why does Conrad dwell so long on this when "nothing happens"??).  After that, we'll use the rest of the Part II quiz as the frame for what will be a truly amazing race to the Inner Station. 

AND . . . expect a very short quiz on Part III.  I sincerely hope that means you only need to look it over briefly to refresh yourself since reading it last week.  But if you have to read it tonight, so be it.

There will be an update tomorrow reviewing the past several days.  BUT if you missed the Part II quiz before Thanksgiving (Tuesday, Nov. 25), you must make it up.  Several have . . . but if you have not, come to my room anytime before school tomorrow morning--7:30 to 9:40.  It takes only ten minutes.

Three Short Essays: the out-of-class component for the Short Fiction Assessment (this material will not be covered on the semester exam).

Essay #1--the same topic for everyone.  It's an out-of-class Question 3--similar in structure to what you'd do closed book on the AP exam, but different in that you will be expected to incorporate quotations:  600 words or so including some well-chosen, finely honed quoted material. This question comes with the restriction that you are writing here about "Metamorphosis."  That WAS on the list of choices for 1989, and that is the only work you may use for responding to this question:

1989. In questioning the value of literary realism, Flannery O’Connor has written, “I am interested in making a good case for distortion because I am coming to believe that it is the only way to make people see.” Write an essay in which you “make a good case for distortion”" as distinct from literary realism. Analyze how important elements of the work you choose are “distorted” and explain how these distortions contribute to the effectiveness of the work. Avoid plot summary.

DUE on Monday, Dec. 8 --Hard copy only

The next two essays--DUE on Wednesday, Dec. 10.  

• Put them on turnitin.com under the headings Short Fiction Essay 2 and Short Fiction Essay 3. 
• You do not need to submit a hard copy for these two essays.

2) Essay #2--Choose either A or B
A.  Review the criteria that are necessary for developing a convincing character (see chapter 3), and write a short essay (about 500 words) in which you determine whether Sonny in "Sonny's Blues" meets these criteria.

B.  In studying Joyce's "Araby," we traced the various images of light and shadow through the story and noted that they defined the boy's feelings at each point. You received a hand-out of light/dark imagery in "Sonny's Blues"; however, I am not making any claim that it is absolutely complete. Write a short essay (500 words or so) in which you establish a significant function of light/dark imagery in "Sonny's Blues."

3) Essay #3--Choose two of the following stories as the basis for your response.Review the chapter on symbolism, allegory, and fantasy in Perrine (Ch. 6).  Compare the use of symbolism in any TWO of the following stories, clarifying how each achieves compression through the use of symbols:
A) Steinbeck, "The Chrysanthemums" --accessible online, but I also still have quite a few hand-outs
B) Mansfield, "Miss Brill" (p. 174)
C) Joyce, "Araby" (p. 434)
D) Lawrence, "The  Rocking-Horse Winner" (311)

TODAY IN CLASS
Short reading check quiz over Part II: if at all possible come in at 9:45 sharp tomorrow to make up!
Continued discussion . . . .

FOR TOMORROW

3rd:  On the same paper as the visual lay-out for the "grove of death" paragraphs, write a potential thesis for this passage.

4th:  Continue working on what you started the last few minutes of class--do some sort of graphic organizer for the  section starting mid-paragraph "At last under the trees" [right after the drainage pipe smash-up].  Look at the next three paragraphs  (see yesterday's post, 3rd period, for exact wording); focus on selection of detail, diction, imagery, allusion.  Try to find PATTERNS that help us understand how Conrad is writing this.  (Yes, Marlow's POV here, of course, but it's Conrad's style achievements that we're mostly interested in at the moment.  We will make the transition to Marlow's "attitude" toward what he sees as a next step.)
Your categories should not just be what I listed above; you should try to nail down how Conrad is using language to achieve various effects.  Just try it.  Group together "stuff" that seems similar; see where it leads you. HAVE WITH YOU AT THE START OF CLASS

Missing blogs, rearranged plans, confusion reigns . . . SO sorry.

Updated info:  Short story objective quiz is postponed,micro-theme topics available in full tomorrow, and there will be "daily work" category work assigned on the "solid sentence" and essential similarities/differences material.  That requires teaching and practice before assessment; there will be plenty of time to "test" you on these concepts with later material.

But new info:  having said that Part II was "due" to be finished on Friday, or Monday, OK, no later than Tuesday-- tomorrow (Tuesday) there WILL be a reading check quiz on this.  You will need to supply responses--not multiple choice or matching!

TODAY IN CLASS
People who missed the quick-write on Friday had the rare opportunity to do that at the start of class. We discussed the "boiler passage" at some length (considering how short it is); tomorrow I will show you a couple of pretty solid examples. In 3rd we went on to the "chain gang" paragraph (did not get to the actual "grove of death" paragraph"--3rd has some prep work to do for tomorrow (see below).

In 4th we had to catch up with the voyage to Africa on the French steamer; then we moved on to the boiler passage.  I didn't have the chance to explain the work for tomorrow, and I'm going to shift that portion to in-class.  (Don't worry, 3rd, this will even out in the long run!) 

So, FOR TOMORROW
4th--READ the next several paragraphs carefully (chain gang, two kinds of devils, and then especially the three paragraphs about the individuals gathered in the shade, apparently near death:  "Black shapes crouched . . . , " "They were dying slowly . . ,  " and "Near the same tree . . ."

3rd--I pointed out the exact paragraphs in class and asked you to do some sort of graphic organizer that gives categories--look at selection of detail, diction, imagery, allusion, and try to find PATTERNS that help us understand how Conrad is writing this.  (Yes, Marlow's POV here, of course, but it's Conrad's style achievements that we're mostly interested in at the moment.  We will make the transition to Marlow's "attitude" toward what he sees as a next step.)
Your categories should not just be what I listed above; you should try to nail down how Conrad is using language to achieve various effects.  Just try it.  Group together "stuff" that seems similar; see where it leads you.


FOR THE SHORT FICTION MICRO-ESSAYS

Fuller details tomorrow:  but here is the one topic that everyone must do.  It's an out-of-class Question 3--similar in structure to what you'd do closed book on the AP exam, but different in that you will be expected to incorporate quotations:  600 words or so including some well-chosen, finely honed quoted material.  There will be some further guidance on the final assignment sheet, but this is the topic, with the restriction that you are writing here about "Metamorphosis."  That WAS on the list of choices for 1989, and that is the only work you may use for responding to this question:

1989. In questioning the value of literary realism, Flannery O’Connor has written, “I am interested in making a good case for distortion because I am coming to believe that it is the only way to make people see.” Write an essay in which you “make a good case for distortion”" as distinct from literary realism. Analyze how important elements of the work you choose are “distorted” and explain how these distortions contribute to the effectiveness of the work. Avoid plot summary.

This one will be due at the end of the week you are back from Thanksgiving; two more (choices available tomorrow) will be due after that week-end (so by Dec. 8/9).  Plenty else will be going on; this just gives you some flexibility.

Upcoming Assignments and Tests
From the past:  There are still some people missing parts of work from when I was gone (or for a person or two, even earlier).  I'll get that sorted out ASAP, but if you know you missed the multiple choice exam on Friday, Nov. 7, please try to make it up Tuesday afternoon or Wednesday morning. Thanks to the individual who came in today!

1) Start reviewing short fiction (all short stories plus Metamorphosis) for a mid-semester accountability process before we move on.  This material will NOT be covered on the final exam for this semester, so the following work counts as major assessments.

• A two-part test on Monday, Nov. 24:  Part I = a data-oriented objective quiz over elements from the various stories.  (I don't mean "elements of fiction" here; I am referring to concrete details from the various stories.)
• Part II = A"solid sentence"/Essential similarities or differences section. Yes, I will explain.
• A packet of three micro-essays; more info to be provided by Wednesday--due Thursday or so after Thanksgiving.  You should be able to get one or two done before the break, and non-travelers can easily finish over break.  But the extra allowance is given to provide individual flexibility (starting on Wednesday). 

2) Heart of Darkness Reading

For tomorrow--Get Marlow to Africa and through the paragraph about a boiler wallowing in the grass. You don't need to go on to the clank of chains paragraph that follows.

For Wednesday, Nov. 19:  Finish Part I

For Friday, Nov. 21:  Finish Part II

For Tuesday, Nov. 25:  Finish Part III 

Life is good; you'll be fine.

TODAY IN CLASS
Base-line AP Passage Analysis.

TOMORROW IN CLASS
We will start with Marlow's comments on the Romans in Britain, and then move on , , ,

If you don't have Heart of Darkness yet, use this text to print out at least five pages beyond where your hand-out stopped.  Have it with you tomorrow.

http://www.gutenberg.org/cache/epub/526/pg526-images.html

Class Instructions for Wednesday, Nov. 12

You will receive a hand-out for the opening passages of Conrad’s Heart of Darkness.  Use it rather than your book (if you brought it), because you'll be annotation heavily.

You'll have 15 minutes to read the passage carefully and to annotate as fully as possible for diction, imagery, and whatever else catches your attention.  I'm not trying to restrict what you notice!

After the annotation time has elapsed, get into small groups—3 is ideal, but pairs are okay.  No 4’s or more today.

In your groups, use your annotated passages as the basis for discussing the TONE of the novel’s opening.  Look for more than one dominant effect or tone, probably a set of COMPLEMENTARY tones.
  

Group Product:  

·         One strong well-written thesis sentence that establishes the tone(s) of the opening passage . . .

·         Supported by the gist of two body paragraphs--bullet points and note-style fragments are okay for these body "paragraphs,"  Identify the tone under scrutiny, provide some textual evidence, and offer at least some commentary on the effect of that evidence.  

Yes, it’s Wednesday, but get as far as you can, and turn in what you have.

BRING YOUR HEART OF DARKNESS BOOK WITH YOU TO CLASS ON THURSDAY

FRIDAY IN CLASS
Full-length Multiple Choice Practice exam (55 questions; 60 minutes actual AP exam time; only the 55-minute class period for us.

If you missed it, we will arrange make-ups when I return. 

By Sunday night--the Kafka "Letters to My Father"/Parallels to "Metamorphosis" papers due to turnitin.com (11:59 p.m.)

MONDAY IN CLASS

1. Get into groups of no more than four. 

2.  You can use either the computers along the wall or your phones to access Ch. 2 of  Foster's How to Read Literature Like a Professor .  

3.  Read the chapter. Try to do this individually insofar as personal and school technology allows.

4.  Re-read the portion late in "Metamorphosis" that describes Gregor listening in on the family dinner conversations with his door ajar.  Pay particular attention to the pivotal dinner when the boarders learn of Gregor's existence.

5. Write up via bullets and shortened commentary how the family dinners Gregor overhears from his opened door function as "communion" in the manner described by Foster.

6.  Each group needs to turn in their work by the end of the period.

FOR WEDNESDAY

Read Ch. 3 of Foster's book.

Make sure that you've obtained Heart of Darkness  so that you will have it in class on Thursday. 

See yesterday's post for the "Letter to My Father" assignment; make sure it's on turnitin.com by the generous deadline.

Also note what it says about getting the next round of books!!

TOMORROW--Friday--you'll be doing a 60 minute Multiple Choice Practice Test in 55 minutes. Try to encourage rapid passing out of materials (bubble sheet and test booklet) if the sub doesn't quite get the importance of time.

Monday's work in class will involve Ch. 2 of How to Read Literature Like a Professor and the text of Metamorphosis. There will be groups.  Do not be afraid.

FINALLY

I promised you a worthy blog post tonight.  This is the Wednesday that just keeps on giving, though, and it just didn't happen earlier.    But if you're sitting around waiting, I'll at least offer you a few things. But not to panic--nothing here is "due" tomorrow.

Kafka's "Letter to My Father"
Make sure you've read yesterday's post, and given some good attention to the link to Kafka's "Letter to My Father."  That's all that's essential for tonight, as well--but there is a short assignment for Friday or over the week-end (your choice).

1) "Letter to My Father" assignment

After skimming the long "Letter to My Father," find a 3-4 page chunk to focus on.  Your goal is to make connections between elements in the letter and Kafka's story, and explain how those connections deepen our understanding of issues in "The Metamorphosis."

What to Write

Your write-up should analyze some specific correlations to Kafka's fictional "Metamorphosis" based on elements he writes about in his letter.  Do NOT try to be "comprehensive"--this assignment is meant to have much smaller scope.  Choose no more than a few pages of the letter (but choose carefully based on the light reading--not strictly at random) and then show how THOSE pages enrich our understanding of some element in  Metamorphosis.  Your own analysis should be about 250 words (300 max).  But make your words count:  pack in as much insight as you can.

Use the regular single-spaced heading (name, period , date, "Letter to My Father" Parallels). Don't worry about formatting citations; we will tacitly assume that all quoted material comes from the link given in the earlier post.

Specific Instructions for Turning It In

This assignment is online only.  I see it as "due" Friday, in part to make room for other upcoming things. But I'd intended for you to have two evenings (Wednesday/Thursday) to fit it in to your schedule.  So as long as it's in by the end of the week-end (11:59 p.m. Sunday night, Nov. 9), it's fine with me.  And I repeat:  you do not need to submit a hard copy for this assignment.

2) How to Read Literature Like a Professor
Read Chapters 2 and 3 of How to Read Literature Like a Professor

Ch. 2--"Nice to Eat with You:  Acts of Communion"
Ch. 3--"Nice to Eat You":  Acts of Vampires"
You'll get an out-of-class prep work assignment on Monday, and there will be an in-class analysis in the near future.

3) Heart of Darkness (and Frankenstein and The Awakening)
Remember the hand-out that told you to have Conrad's book by about Nov. 1 and advised you to get all three of these titles at once because they'd be stacked pretty closely during the second quarter? Well.  It's here.

You're going to need Heart of Darkness by Wednesday (the 12th).  And you'll be starting to read Frankenstein before we're fully "done" with HoD.  Amazon, or a local brick and mortar bookseller (new or used), or perhaps a bookshelf in your very own home is calling your name.  ASAP.

4) Short Fiction Cumulative Assessments upcoming--they will overlap as out-of-class work with our (slow) early mostly in-class  progress with Heart of Darkness. More information forthcoming soon.

I'll be updating the blog later, with more information about where we've been and (short-term) where we're going--but for now, here's the promised link to Kafka's "Letter to My Father."  There will be a short assignment linked with this in a day or two, but for tomorrow, your responsibility is to skim through this.

Get an idea of the overall length, read some sections that catch your eye, and be especially alert for things that you think are connected to ideas you saw in "Metamorphosis."  Please do NOT cruise in search of other material "about" the letter,  Just use the source provided here:

http://heavysideindustries.com/wp-content/uploads/2011/08/Franz-Kafka-Letter-to-his-father1.pdf

Barebones Rainy Night Home Too Late/Too Much to Do Blog:

If you missed class today--you'll need to make up a short (15 minute) MC test.

FOR TOMORROW

Make sure you've read Part III of "The Metamorphosis."  

TODAY IN CLASS--

1) Hand-out of "Sonny's Blues" passages to ponder; today we just used it for finishing the story's ending (with particular reference to the "cup of trembling") but hand on to it for future reference.

2) Group discussion of the following questions from Part I of "The Metamophosis."  If you are reading this at home, you need to take notes on these (keep in your notebook; no need to tear out).  The point in class today was thorough coverage of some of the story's details, together with whatever side paths your group's discussion might take.  But if you missed that, you really need to study the story carefully with these in mind.

We'll discuss a couple of these tomorrow, but mostly this work was an "on your own" proposition.

Part I of ”The Metamorphosis”

1. Assess Gregor’s initial reaction to his own change. Does his response seem “normal” to you?  (Not that there’s any certain standard for judging normalcy in a situation like this . . . )

2.  Trace the reactions/responses of Gregor’s mother, father, and sister throughout the course of Part I.

3. Trace what happens to Gregor’s sensory perceptions and skills during Part I; consider both losses and gains.

4. You might have thought Gregor was exaggerating his fears/expectations about how his office would react to his absence/missing the train.  He wasn’t.  How does the family respond to the [manager?  Chief clerk?  What is the term in your translation?]?  What makes him leave?

5.  What do we know about Gregor’s life as a person based on Part 1?

6.  The picture in the frame in Gregor’s room:  ???

7. Draw a sketch of the lay-out of the Samsa apartment.

8.  Discuss the humor of Part I; give examples.

9.  Analyze the ending of Part I—the interaction between Gregor and his father.

FOR TOMORROW

Read Part II, and use these questions as a study guide.  There won't be group time with these, but we will move directly from whatever we do with Part I together on to a whole-class discussion with these question as a springboard (not the end-goal).

Study Questions for Part II of “The Metamorphosis”

1. Who feeds Gregor?  How is the choice of food changed?  Why does he stay under the sofa when his food arrives?  How important is food to Gregor?

2. As Gregor listens to the family discussion about their financial situation, what does he learn?  How does he react to this?  Is his relationship with his family changing?  Is he simply becoming aware of what the relationship has always been?

3. Why do his sister and mother decide to move the furniture from his room?  How does Gregor feel about this?  What does he do?  Why?

4. How does his mother react at the sight of Gregor?  Note that this is the first time she has directly addressed him.  What is her attitude? 

5. Explain the attitudes shown in the father-daughter dialogue when Gregor’s sister says, “Gregor’s broken loose.”  What does the verb suggest?  His father replies, “Just as I expected. . . “What does he mean?  Why does he say this?  Describe his tone.  Is it appropriate?

6.  Summarize the apple-throwing scene.  Does the father feel threatened?  Why does he do this?  Can’t he see that Gregor is trying to get back to his room?

Just FYI--the third part of "Metamorphosis" needs to be read by Tuesday.  (There is a different activity for Monday.)

1. You don't need to bring Perrine tomorrow.

2.  Read Part I of The Metamorphosis.  That's pp. 11-24 of the book you got today.

TODAY IN CLASS

3rd period--lost most of the period to the Senior Picture/Graduation info assembly.  That's a good cause, but . . . just know that tomorrow is the last day for "Sonny's Blues," and we have barely scratched the surface.

4th period--looked a a few random things and then explored categories of music.  Way more subgroups than I anticipated, so we didn't even get through all your ideas; there's some wrapping up to do.

For tomorrow--bring three solid ideas that will be the most important topics to discus as a wrap-up to our full-class attention to Baldwin's story. Write these in your notebooks, be prepared to share, but you do not need to hand them in.

But focus on significance:  what could you ask, and the class could discuss, that will generate the strongest insights into the story?

Spirit Wear for Thursday: 80's / Neon Attire

TODAY IN CLASS
George:  Why did he jilt Ellen.
John:  How do we know he and Ellen were already at least acquainted?
Children:  trying to straighten out the order
Hapsy:  we barely discussed her in 3rd, and not in 4th
The "cart sentence"--descriptive/accurate re: the sound, though meaning is lost.  Compare to the puffy/puddle sentence on p. 290.  Accuracy without processing.
BUT the importance is the way in which one thought leads to another:  the voice/cart comparison leads to the man driving the cart.
3rd:  we need to look at the poem I didn't take time for at the end of Wednesday
4th:  the front row needs to share what they said right at the end of class when everyone else was packing up to leave.

FOR TOMORROW
Well, this disjointed list shows that we are obviously not done with "Granny Weatherall," but don't tarry any more in completing "Sonny's Blues."  Have the story READ for class on Thursday.

Attire for Tuesday: Back to the Beach Day

FRIDAY IN CLASS
Completed the group presentations/discussion starters for "The Rocking-Horse Winner."  Today I had planned to pick up a few more ideas (the initial conversation between Paul and his mother, including the role/effect of Paul's [mostly absent] father, and the implications of the closing exhortation from Oscar to his sister.  But I wasn't sure how the timing of the GW activity would work out--so we will get back to that tomorrow.

TODAY IN CLASS
"The Jilting of Granny Weatherall"--
Straightening out the surface story line and the biographical timeline.
These plot/structure outlines will apply to major and minor character, aspects of POV, theme, symbolism, and other concerns of Porter's story.
Groups established the content for each (Granny's deterioration during the course of the actual story; her life/life events and probable dates from birth up to the point of the story's beginning).
After producing each chart or timeline, there was a form of jigsaw go-round which allowed some cross-checking and occasional re-thinking.  (It sounded like there was some further insights gained during this process, but I am not sure how much got reported back to your original group--a time issue.)

FOR TOMORROW
Everyone will do two questions; one is from p. 294, and the other may be from p. 294 or another comparable task, depending on your group number. Write out solid, thoughtful responses, with sufficient support to show your engagement with the story.  (And do not let SparkNotes, etc., do your thinking for you!)

• These papers can be typed or written neatly in ink.
• Don't forget the standard homework heading; these are "Granny W Q's (294)"--even if you have a written-out question 

1) The first question is the same for everybody--it's #3 on p. 294

2) The second question is by group, but this overnight homework is individual, not collaborative.

• 6--#2 (294)
• 7--#4 (294)
• 1--#6 (294)
• 2--#1 (294)
• 3--Style:  Identify 5 outstanding sentences and comment on what makes them especially good.
• 4--#5 (294)
• 4--Briefly discuss humor and irony in the story, supporting with examples.

TODAY IN CLASS
Time to work in groups to discuss the papers on "The Rocking-Horse Winner" submitted to turnitin.com yesterday and brought to class today.  Groups 7, 1, and 2 presented their findings to the class, and some really good discussion ensued.  I'm looking forward to Groups 3-6 tomorrow!

FOR TOMORROW
Well, keep the edge sharp.

Upcoming:
For Monday, read Katherine Anne Porter's "The Jilting of Granny Weatherall"

For Wednesday, read James Baldwin's "Sonny's Blues"  (long)

TODAY IN CLASS
Some hand-outs.  Pick up tomorrow if you were absent.

Due today on turnitin.com--the by-group tasks for "The Rocking-Horse Winner."  (yes, the label in Monday's post said "Araby" by mistake; the actual page of questions was correctly titled as pertaining to "Rocking-Horse Winner."  Sorry for the confusion!

Print out to have with you in class on Thursday. A portion of the class period will involve some collaboration/consensus work with your groups.  You must have your paper, not just a verbal account of what's in your paper.

FOR TOMORROW
If you have your paper and your book, you are set.

Please see yesterday's post for the assignments by groups--but not "group work" for tomorrow.  It is individual work.

The turnitin.com deadline has been moved to 1:30 p.m. tomorrow.

Bring printed copy with you to class on Thursday.  Don't forget.  You can't print in class on Thursday, and you can't be with your group if you don't have a printed copy.

Updated with Writing Tasks

Calendar 
Culminating Project due Wednesday.  Finish it . . . . I am officially done with copy/paste.  Scroll back if necessary.

Returning to our regularly-scheduled AP English world:

Read the D.H. Lawrence story "Rocking-Horse Winner" (311-325) for Tuesday, 10/14. Please read the story once through BEFORE looking to see what your group assignment is. 

Complete all the Perrine background reading:  note the last portion listed here is due on Wednesday, 10/15.  Short Story Unit Calendar/Reading List  Realistically, we won't be meeting long enough for me to know if you read it for Wednesday . . . but by Thursday for sure!

For Wednesday, 10/14, you need to submit a short paper to turnitin.com; have the hard copy in class on Thursday.  By-Group Assignments for "Araby" ****As you can see if you clicked on this page, the actual tasks concern "Rocking-Horse Winner," and the heading of the paper says "Rocking-Horse Winner."  This label was clearly a typo-of-the-mind as I plunked down words for the GoogleDrive URL to link to.  Sorry for the confusion!

TODAY IN CLASS

Some final thoughts on the two stories "Araby" and "A & P." 

FOR TUESDAY

Read "The Rocking-Horse Winner." Written work not due until Wednesday.

FOR WEDNESDAY
Complete the short paper on the topics outlined in the linked document by Wednesday's midday deadline for turnitin.com  You'll need to have a hard copy in class with you on Thursday.

We will be doing book-related things in class on Tuesday, but not discussing the Lawrence story. Be sure to bring Perrine though.  (Non-book bringers, it's high time to change your ways!)

TODAY IN CLASS
Finished all presentations (groups 3-7 in 3rd period; 5-7 in 4th).  There will be some final wrap-up with either stray thoughts related to group work or a thing or two not covered by groups, but that will be short.

FOR TOMORROW
Make sure you are caught up through Friday on the Perrine assignments.  (Yesterday's post has the link). This would be a good time for Groups 2-7 to read  Foster's first chapter and Chapter 1 on the Quest. You got the highlights of the quest from the Group 1 presentations, but everyone needs to read the actual material.
http://www.aaps.k12.mi.us/huron.english/files/howtoreadliteraturelikeaprofessor_ft.pdf

For Tuesday, everyone will read the next story, D. H. Lawrence's "The Rocking-Horse Winner." There will be a go-along assignment to be provided tomorrow.

AP Gov--See below

blogger.com has finally recovered from its sick-out--sorry for the late post!

Calendar of Upcoming Events
CULMINATING PROJECT, a state high school graduation requirement: OCT. 15

12th grade: Senior English classes assign a Resume and and answer to Question #1 in September. Note: Resumes completed in Bridges in 10th grade cannot be used for your senior resume. All Seniors (even those not in English classes at IHS) must complete a resume and the typed answer to Question 1. The resume and question 1 are turned into the Career Center by October 15th of senior year. Senior Resume Guidelines and Expectations 
CHECK THIS SOURCE OUT FOR SURE.  I am belatedly realizing that it is this sheet (created Oct. 31, 2013--so after last year's submissions) that lists Objective as a requirement on your culminating project resumes.  So if you haven't turned in your resume yet, do follow these instructions.  BUT know that for the academic resume that goes with your college application, leave out the objective.  Everyone knows you want to attend a worthy school that will allow you to achieve your highest potential and become a useful, productive (and well-compensated) member of society.

Senior Packet for the Culminating Project

See the resume section of the College Resource Handbook for more help with resumes.

(I have tried and failed to link a pdf version of the handbook, since very often this year there has been a downloading issue; however, it's not working right now.)

Both the resume and response to Question 1 must be typed, of course. Be sure to save them both in a way that can be accessed at school.

TODAY IN CLASS
In 3rd period, there was a longer time for groups to meet since yesterday was a non-starter group day with half the class missing.  So in 3rd, we proceeded through only two groups.  In 4th, four groups presented.

FOR TOMORROW
Obviously, we will be continuing with presentations--five to go in 3rd period.  That is too many to miss, even if you were in Group 1 or 2.  And for those in 3-5, you can't miss 4 plus leave your group high and dry.  So for Thursday, AP Gov students do not have permission to skip AP English Lit and Comp.

I am not adding the next short story just yet.  But notice that a reading assignment in Perrine was due today, and another one is listed for Friday.  Be sure to catch up/stay current with these chapter introductions.
Short Story Unit Calendar/Reading List

TODAY IN CLASS
Okay, first, if you didn't receive my e-mail via turnitin.com, it turns out we have a faculty meeting tomorrow morning until 9:35.  This matters to you only if you were one of the half-dozen or so people who had been planning to come in.

TODAY IN CLASS
3rd period
We did not make any effort to work in groups at all because half the class was gone.  But those who were there got a good start on their individual contribution based on the group assignments below.
If you missed class because of the AP Gov speaker (or just an absence), do whatever your group assignment is for tomorrow.  "Data-mine" the story, take notes, and be ready to meet with your group to put together a cohesive (and relatively short) presentation.  I'm hoping for 20 minutes max of group planning time, and then we'll get underway.

4th period
This class got time to prepare individually for the group task, plus about 15 minutes to meet/discuss together.  That was almost enough, but I'm going to give 5 more minutes tomorrow to make sure you are fully organized to present.  If you were absent, see below for your group assignment and be ready to join your group briefly tomorrow.

Group Tasks for Updike's "A & P":
Group 1 
Go to the following link and read the Introduction and Chapter 1:
http://www.aaps.k12.mi.us/huron.english/files/howtoreadliteraturelikeaprofessor_ft.pdf

Then apply the steps of the quest to "A & P."  How does the concept of the quest enrich our understanding of the story's ending?

Group 2
Consider several aspects of character/characterization:
1) Distinguish the narrator from Stokesie, though both are currently cashiers at the grocery store.
2) How does the narrator derive the nicknames for the girls?  What do we know about HIM from his choice of names and the commentary about the girls?

Group 3
Consider the SOCIAL COMMENTARY found in the story.  How does Updike use the narrator to express views about broader society in the time and place of the story?

Group 4
Distinguish the POV/perspective issue.  The story is in the 1st person, yes, but how is this different from "Araby"?  Be specific.  Support with lots of details/explanation.

Group 5
Setting

• Time:  list of cultural references/allusions that mark off the time of the story
• Place:  where, in general--and more specifically--and the actual store:  "so what"?
• "Class":  develop.  Who is represented directly?  By inference/conjecture?

Group 6

Analyze the conclusion

Group 7

Language:  Slang and Sammy's terms for individuals or groups that might not be slang but . . . 

Organize it into categories

Mark what's outdated

IN SHORT--
1) I'll recap some of today another time . . . maybe later tonight, maybe not.
2) No new work tonight, but make absolutely certain that you have not shirked previous duties:

• You are caught up on the Perrine chapter intros, and you've re-read the one on Theme if you only had a chance to skim it in class today.
• I've not been giving reading check quizzes on story assignments . . . I probably should, and may well do so one of these days.  SO--if you lucked out and hadn't read Updike's "A & P," here's your chance to make amends without my even knowing.

3) If you miss class on Tuesday for the AP Gov speaker (and yes, you have my full permission), you MUST check the blog tomorrow in order to be prepared for Wednesday.

Group 1 
Go to the following link and read the Introduction and Chapter 1:
http://www.aaps.k12.mi.us/huron.english/files/howtoreadliteraturelikeaprofessor_ft.pdf

Then apply the steps of the quest to "A & P."  How does the concept of the quest enrich our understanding of the story's ending?

Group 2
Consider several aspects of character/characterization:
1) Distinguish the narrator from Stokesie, though both are currently cashiers at the grocery store.
2) How does the narrator derive the nicknames for the girls?  What do we know about HIM from his choice of names and the commentary about the girls?

Group 3
Consider the SOCIAL COMMENTARY found in the story.  How does Updike use the narrator to express views about broader society in the time and place of the story?

Group 4
Distinguish the POV/perspective issue.  The story is in the 1st person, yes, but how is this different from "Araby"?  Be specific.  Support with lots of details/explanation.

Group 5
Setting

• Time:  list of cultural references/allusions that mark off the time of the story
• Place:  where, in general--and more specifically--and the actual store:  "so what"?
• "Class":  develop.  Who is represented directly?  By inference/conjecture?

Group 6

Analyze the conclusion

Group 7

Language:  Slang and Sammy's terms for individuals or groups that might not be slang but . . . 

Organize it into categories

Mark what's outdated

Friday Post on Saturday

Calendar of Upcoming Events
CULMINATING PROJECT, a state high school graduation requirement:  OCT. 15

12th grade: Senior English classes assign a Resume and and answer to Question #1 in September. Note: Resumes completed in Bridges in 10th grade cannot be used for your senior resume. All Seniors (even those not in English classes at IHS) must complete a resume and the typed answer to Question 1. The resume and question 1 are turned into the Career Center by October 15th of senior year. Senior Resume Guidelines and Expectations

Senior Packet for the Culminating Project

See the resume section of the College Resource Handbook for more help with resumes.

Both the resume and response to Question 1 must be typed, of course.  Be sure to save them both in a way that can be accessed at school.

Ongoing current reading schedule:  Short Story Unit Calendar/Reading List

TODAY IN CLASS
Both classes wound up at the same not-quite-finished spot yesterday:  right up to the narrator's trip to the bazaar.  There's much to do with that, of course, but we will try for quick focus on Monday.  Obviously you can "see" the import of the final sentence . . . be prepared to account for what is surely pretty plain as well as what might not be.  The word "vanity" . . . what are all its meanings?

But FOR MONDAY
Read John Updike's "A & P" (649-654).

The schedule also says to read the intro section on Theme (Ch. 4); what I've decided is the story--a likable, "easy" one--is better for this Salmon Days week-end, and we'll work with the theme section "with a purpose" over Monday/Tuesday.

Calendar of Upcoming Events
CULMINATING PROJECT, a state high school graduation requirement:  OCT. 15

12th grade: Senior English classes assign a Resume and and answer to Question #1 in September. Note: Resumes completed in Bridges in 10th grade cannot be used for your senior resume. All Seniors (even those not in English classes at IHS) must complete a resume and the typed answer to Question 1. The resume and question 1 are turned into the Career Center by October 15th of senior year. Senior Resume Guidelines and Expectations

Senior Packet for the Culminating Project

See the resume section of the College Resource Handbook for more help with resumes.

Both the resume and response to Question 1 must be typed, of course.  Be sure to save them both in a way that can be accessed at school.

TODAY IN CLASS
"Araby"--split progress, because we began at different points.  3rd moved right into paragraph 2, but 4th need to start with your good thoughts on Paragraph 1.  Both classes studied all the evidence in the 2nd paragraph, ostensibly a description of the house, and established how it ultimately served to describe the naivete/inexperience/innocence of the narrator.

Long (deliberate) digression into why we will necessarily have much information to share/draw out/look up concerning religious material due to the varied ways in which Biblical sources provide a rich foundation of literary references, from the most superficial and figurative to deep and inescapable connections with the meaning of the work.

In 3rd period, we went on to Paragraph 4; in 4th, we did not.  SO

FOR TOMORROW
4th period students need to write up a list of the explicit and implied uses of either dark or light in Paragraph 4.  Rows near the sliding board = dark, plus the short row of three at the back.  Rows nearer the front board, do light, plus the front row of 3.

Everyone--make sure you're caught up through Oct. 2 on the elements of fiction reading material in Perrine:
Short Story Unit Calendar/Reading List)

IF I fail to get to a post Friday afternoon--

FOR MONDAY
You'll be reading Updike's "A & P." But you'll also have a group focus--if you are absent on Friday e-mail me over the week-end and I'll let you know your focus.  This is not "group work" over the week-end; it is individual work that varies according to the "group" that you're in.  But everyone is equally responsible for reading the story, of course.

Briefly posted today:
1) Final drafts of personal essay collected.  As you probably know, "Oct. 8" was the default for turnitin.com.  It should be online today, not next week! :)

2)

• Some wrap up thoughts on Elisa/Miss Brill as characters (what they know/understand by the end of the story vs at the beginning) 
• Some consideration of the "message" (vs "moral of the story") for readers.  What is the takeaway "meaning" of these two stories?  How similar?  How different?
• For ongoing consideration:  the protagonist's self-perception (nature and accuracy of their views of self); the protagonist's view of the world; the degree to which "society" is a factor in shaping self-perception and/or world view.

3) In 3rd, we looked closely at the first very short paragraph of "Araby" (p. 474).  I won't restate what we commented on, because 4th period, you need to read JUST the first paragraph and contemplate all the brilliant things you could say about it before moving on the the assignment for tomorrow.

SO, FOR TOMORROW
Read the entire story:  James Joyce's "Araby," pp. 434-439.

CALENDAR SECTION

Personal Essay due on Wednesday!!

Reminders:  Read and Heed

Final Formatting: 

o   Single-spaced heading on left:  Name, class period, date, Personal Essay Final Draft

o   The Common Application or UW topic, as worded on the original assignment sheet, also single-spaced. Put the topic in bold.

o   If you changed topics from the first draft, type that out in bold exactly as worded on the application form. Otherwise you may omit it on the final draft.

o   Body of essay: Double-spaced, 12-font Times New Roman.

o   Make sure the word count listed on the paper and stated below is for the essay only.

What to turn in:

• This cover sheet on top
• Then the hard copy of the final draft
• Then the first draft (the stamped one, even if you’ve changed topics)

• On the bottom, the Peer Response sheet to the first draft.

       ** Each draft should be stapled, but PAPER-CLIP the full stack.  Don’t try to staple through it all.

Deadlines:

• Turn in hard copy plus support material on Wednesday, Oct. 1.
• File your paper electronically on www.turnitin.com by the 9:55 a .m. on Oct. 1

***IMPORTANT INFORMATION***

With the help of Mrs. Cote in the College and Career Center and her contacts in the admissions world, we have resolved an issue that several people brought to my attention today.  I have disabled the "student repository" section of turnitin.com.  Your essay will still be evaluated against commercial sites, online journals and other media, etc., but if a school or even the Common App people were to assess your paper, it would not show up as a match with your very own paper.  No worries!

CULMINATING PROJECT, a state high school graduation requirement:  OCT. 15

12th grade: Senior English classes assign a Resume and and answer to Question #1 in September. Note: Resumes completed in Bridges in 10th grade cannot be used for your senior resume. All Seniors (even those not in English classes at IHS) must complete a resume and the typed answer to Question 1. The resume and question 1 are turned into the Career Center by October 15th of senior year. Senior Resume Guidelines and Expectations

Senior Packet for the Culminating Project

See the resume section of the College Resource Handbook for more help with resumes.

Both the resume and response to Question 1 must be typed, of course.  Be sure to save them both in a way that can be accessed at school.

CALENDAR SECTION
Wednesday, Oct. 1:    Personal Essay--Final Draft & Peer Response Day (turnitin.com by 9:55 a.m.)
Folder for "Final Draft Personal Essay" now open.

***IMPORTANT INFORMATION***
With the help of Mrs. Cote in the College and Career Center and her contacts in the admissions world, we have resolved an issue that several people brought to my attention today.  I have disabled the "student repository" section of turnitin.com.  Your essay will still be evaluated against commercial sites, online journals and other media, etc., but if a school or even the Common App people were to assess your paper, it would not show up as a match with your very own paper.  No worries!

CULMINATING PROJECT, a state high school graduation requirement:  OCT. 15

12th grade: Senior English classes assign a Resume and and answer to Question #1 in September. Note: Resumes completed in Bridges in 10th grade cannot be used for your senior resume. All Seniors (even those not in English classes at IHS) must complete a resume and the typed answer to Question 1. The resume and question 1 are turned into the Career Center by October 15th of senior year. Senior Resume Guidelines and Expectations

Senior Packet for the Culminating Project
See the resume section of the College Resource Handbook for more help with resumes.
================================================================
TODAY IN CLASS
Returned long-lost first week "fictional worlds" papers and the All the Pretty Horses objective reading test (just keep it to make sure what shows up online matches; typos happen). More importantly, I returned the "bath scene" quickwrite papers along with some encouragement for incorporating ample quotations from the text (along with some VERY close paraphrases, perhaps) as the basis for your own analysis and commentary.

"Miss Brill" --four or five paragraphs?? We're focussing on how Miss Brill's personality and lifestyle are revealed via her day in the park.

FOR TOMORROW
The "Setting" chapter hand-out is to be read for tomorrow; I'm not assigning written work to go along with it  (some could arise later) because the rest of the time should be devoted to the personal essay.  I know some of you are thoroughly done, but many are still crafting significant improvements, I hope.

See the reassurance above re: turnitin.com if you skipped the top calendar section.

Upcoming Major Work (Essays, Tests, Projects)

Wednesday, Sept. 24:  Personal Essay--First Draft & Peer Response Day (turnitin.com by 9:55 a.m.)
 If you were absent and still have not done/received a Peer Response, talk to me at the START of class tomorrow, not the end!!

Wednesday, Oct. 1:     Personal Essay--Final Draft & Peer Response Day (turnitin.com by 9:55 a.m.)

Short Story Unit Calendar/Reading List
Due dates are given for the support material from Perrine; short stories are listed in the order that we'll read them. Dates provided as we go.

CULMINATING PROJECT, a state high school graduation requirement:  OCT. 15
12th grade: Senior English classes assign a Resume and and answer to Question #1 in September. Note: Resumes completed in Bridges in 10th grade cannot be used for your senior resume. All Seniors (even those not in English classes at IHS) must complete a resume and the typed answer to Question 1. The resume and question 1 are turned into the Career Center by October 15th of senior year. Senior Resume Guidelines and Expectations

Senior Packet for the Culminating Project
See the resume section of the College Resource Handbook for more help with resumes.


TODAY IN CLASS

Re: the Culminating Project--Although English teachers are required to "assign" this, it is NOT an English grade.  I am supposed to check your work before you turn it in, but it is really a quick check to see that it's presentable. I don't get into the details, really, but even at a glance,  I have a really sharp eye for typos.  I will mark them so that you'll have to fix them and reprint.  So you'll be better off if you proofread carefully first.

"The Chrysanthemums" Finale
Students took about 7 minutes to discuss the following questions in small groups:

1) If femininity is an issue with the bathing/dressing scene, how does that relate to the chrysanthemums?  OR if the renewal/rebirth idea is a key to that scene, how toes THAT notion relate to the chrysanthemums?
2) So what's up with the porch converstion with Henry?
3) What all does Elisa have to feel sorry/upset about when she sees the "dark speck" on the road?
Be specific re: the reasons.
4) Analyze the simile in the last sentence of the story.

And then I asked about point of view--and then had students read p. 257-top of 258.  In 4th we connected this idea to B. F. Skinner and behaviorist psychology.  3rd--we had to stop moments before making the connection.

FOR TOMORROW
Designated pages from Ch. One in Perrine (see Short Story Unit Calendar/Reading List)

We'll be starting "Miss Brill" in class tomorrow (4th looked at the first sentence to note the immediately obvious difference in POV from Steinbeck's story).  However, I'd just as soon get us all started on this together, so you aren't being assigned the story as homework.

Instead, if you haven't looked at the Culminating Project material at all yet, look that over tonight so you'll know if you have general questions

Upcoming Major Work (Essays, Tests, Projects)

Wednesday, Sept. 24:  Personal Essay--First Draft & Peer Response Day (turnitin.com by 9:55 a.m.)
THAT WAS TODAY.  Any lapses/missing work needs to be taken care of ASAP.  

Wednesday, Oct. 1:     Personal Essay--Final Draft & Peer Response Day (turnitin.com by 9:55 a.m.)

Time to get serious about the Culminating Project--links provided shortly (but everything you need is already linked to the College and Career center website)

Short Story Unit Calendar/Reading List
Due dates are given for the support material from Perrine; short stories are listed in the order that we'll read them. Dates provided as we go.

TODAY IN CLASS
Yes.  The peer response for the first draft of the personal essay.  People who have not accomplished this will still have to provide/receive peer feedback; see me ASAP for logistics.

FOR TOMORROW
Bring the Steinbeck print-out and the Perrine text to class. That's it!

Essay Draft Due on Wednesday!

Upcoming Major Work (Essays, Tests, Projects)

Wednesday, Sept. 24:  Personal Essay--First Draft & Peer Response Day (turnitin.com by 9:55 a.m.)
Wednesday, Oct. 1:     Personal Essay--Final Draft & Peer Response Day (turnitin.com by 9:55 a.m.)

TODAY IN CLASS
We went over the formatting material from the original assignment sheet.  One minor addition to what was printed on that sheet:  just single-space the typed-out prompt.

The Perrine text:
We looked at the introductory matter. Look over Chapter 1, "Writing as Literature" so that you will know what's there; much of it is useful as reference material, but it's not exactly geared toward cohesive reading.  But it's now in your court.  Either later tonight or tomorrow, I'll provide a calendar for reading from the "Elements of Fiction.

Discussion of "The Chrysanthemums":
Really good ideas and energy re: the bathing and dressing scene.

FOR TOMORROW
Just the essay draft.  Most of you saw yesterday's post; if you did not, be sure to check the blog! You have to have a printed-out draft to participate, and you need to have it on turnitin.com by the start of school.

Come to class prepared to provide and receive writers' workshop feedback!

Upcoming Major Work (Essays, Tests, Projects)

Wednesday, Sept. 24:  Personal Essay--First Draft & Peer Response Day (turnitin.com by 9:55)
Wednesday, Oct. 1:     Personal Essay--Final Draft & Peer Response Day (turnitin.com by 9:55)

Catching up--
Friday in class:
Assessment AP essay for All the Pretty Horses. If you haven't already arranged for a make-up, try to make it on Tuesday after school (several classmates will be joining you!).

Week-end homework (well-advertised verbally and in Thursday's post):  be working on the first draft of the personal essay--get at least something churned out.

TODAY IN CLASS
Return to "The Chrysanthemums"--left high and dry for the counselor's visit on Thursday and the timed write on Friday.  SO, we picked up and got to the point of considering who/what Elisa was addressing in her "bright direction" comment.  After thinking, pair-sharing, and a short class discussion (about 3 minutes in 3rd, just a longish minute in 4th), many students seemed to settle on the idea that the chrysanthemums themselves operate as some sort of extension for Elisa--that in sending them off, she is doing the next best thing to leaving the valley herself.  A few people even carried this idea to the notion that the chrysanthemums are something like "children" in that, having nurtured them and given her strong interest in them, it is like sending some small part of herself out into the world.

You might not agree; we didn't have time to explore many points of view here. BUT, "hang on to that thought," whatever it was, because we'll make time for it at the end of the story when we pull all the pieces together.

Last 10 minutes or so of class--A quickwrite: "Discuss the significance of the bathing and dressing scene."  This passage was marked off on the overhead copy as the section beginning "In the kitchen she reached behind the stove . . . and ending with Elisa sitting on the porch--"Her eyes blinked rarely." If you were absent today, please do this on your own, preferably before class on Tuesday!

FOR TOMORROW
Yep, keep working on the paper.  Here are five dimensions or parameters to keep in mind, whatever your actual topic is:

1) the OPENING.
The essay needs to engage the reader straight from the start.  How you do this will vary by topic, but your essay needs to start at a high interest level that genuinely encourages even tired, over-burdened readers of thousands of applications to become focussed on yours.

2) ORIGINALITY vs. PREDICTABILITY.
There is a certain "sameness" that goes with various kinds of experience that does become familiar to readers who have read thousands of personal essays written by 18-year-olds.  You are unique, but the student accounts of various experiences sometimes sound eerily the same.  The best way to avoid that is to focus on small slices of experience; the angle or perspective you choose, and the details you develop, will have a greater chance of being fresh.  As advised with the "mission trip essay," for example, don't try to write the entire narrative; select a much narrower focal point to describe and reflect upon--hopefully avoiding the sameness that too often blurs these essays into the fill-in-the blank template I described in class.

3) INSIGHT INTO THE WRITER
Whatever the prompt, the most important subject matter is YOU.  Readers want to know you better after reading your essay, and this means more than realizing that you had predictable emotions after certain experience.  All strong personal essays amount, in one way or another, to a window into your character and/or "what makes you tick."  So one tip I have is that right now, before continuing tonight, you jot down somewhere the 2 or 3 insights that you would hope your reader gains about you.  I don't mean that your essay should identify or label explicit character traits, but I do mean that after reading a solid personal essay, the reader should be able to recognize some significant aspects of your make-up.

4) DETAILED vs GENERIC
This dimension is related to some of the others, but it focuses on the means of achieving interest, originality, insight, etc. Good writing always needs detail, example, illustration, precise description, etc., to be effective, but sometimes people who can write a powerful, well-supported argumentative essay or literary analysis shy away from the specifics that are needed to "personalize" the personal essay.

5) LIVELY, ENGAGING STYLE
Word choice:  vivid, precise, rich . . . Don't be a walking thesaurus, and I know you want to keep your own "voice," but stretch yourself a bit!!  Sound like you belong in college. :)  (But remember the specificity and details mentioned in #4; you can't just dress up flat writing with fancy words.)

Sentence style:  Remember that varied sentence length usually relies on varied complexity.  Try to balance complex and sophisticated syntax with simpler, incisive, memorable text.  Don't overthink this as you write your first draft, but keep it in mind as you revise.

Figurative language:  Effective use of occasional figurative language is an asset; strained effort or relying on cliches can backfire.  This is also an area to focus on between the first and second draft more than in the first draft.

IN CLASS TOMORROW
The finale of "The Chrysanthemums"!
Some Perrine overview info; "Elements of Fiction" pages assigned
Starter paragraph on the next story

Counselor in Class Today

Upcoming Major Work (Essays, Tests, Projects)
Friday, Sept. 19:          In-class closed book assessment, All the Pretty Horses
Wednesday, Sept. 24:  Personal Essay--First Draft & Peer Response Day (turnitin.com by 9:55)
Wednesday, Oct. 1:     Personal Essay--Final Draft & Peer Response Day (turnitin.com by 9:55)

TODAY IN CLASS
Be sure to watch the video by finding the link on the counseling office website if you missed class today (or spaced on some info!).  Additional presentation varied somewhat among the four counselors I heard.  Biggest takeaways:  be proactive, work ahead of deadlines, and have a rock-solid system of organization.  First responsibility--scrutinize your unofficial transcript for errors/omissions and report problems to the counselors' office, specifically the registrar, by the end of the school day on Friday.

So our English-class work was suspended . . . but we are going ahead with the All the Pretty Horses essay anyway.  At this point, I'm more interested in what you personally have to say anyway.

FOR TOMORROW
Assuming you've read the book carefully, there's not much you can do to prepare for the essay. You will have to respond to the prompt you're given as you would any AP exam prompt, with no opportunity to look things up/outline anything in advance.

That said--know that many AP Lit open-question prompts (most, really) ask for some connection of [whatever the prompt's focus is] to "the meaning of the work as a whole."  That phrase is never explicitly defined on the exams (or in any other official AP material) but seems to encompass a broader range of possibility than "theme(s)." Main ideas, the deeper meanings of what a work is "about," something about an author's message/reason for writing/larger view of the world that the work helps reflect--all of these can be involved.  Not all readers will agree, and different prompts might channel your thinking in different directions for the same work, since multiple "meanings" are to be expected.

Also--be thinking about selecting the topic for your personal essay.

Upcoming Major Work (Essays, Tests, Projects)
Friday, Sept. 19:          In-class closed book assessment, All the Pretty Horses
Wednesday, Sept. 24:  Personal Essay--First Draft & Peer Response Day (turnitin.com by 9:55)
Wednesday, Oct. 1:     Personal Essay--Final Draft & Peer Response Day (turnitin.com by 9:55)


TODAY IN CLASS
1) Hand-out for Personal Essay distributed.

Here are two links which provide helpful support for the Common Application topics.  Please don't wait until you start writing your paper to consult these sites; the material might be useful as you narrow the topic choices and start to generate ideas.

http://collegeapps.about.com/od/essays/a/common-application-essay-prompts.htm

http://www.collegeessayadvisors.com/portfolio-items/2014-15-common-application-essay-prompts-a-guide-topics/

2) "The Chrysanthemums"
A question tossed up for grabs:  could this story be considered a bildungsroman?  Different initial opinions. . . some were not sure enough of the definition to lean one way or another.

Close reading of text--I do not wish to summarize since the classes ended at different points. We got to the tinker's description of the chrysanthemums in 3rd; in 4th there was the oops moment (my fault) when I realized I'd skipped over an important interchange that we had to double back and pick up.  Sorry!  We will pick up with the paragraph describing the tinker's appearance; note though, if you were packing up in the waning moments when I should have just stopped, that his age is left both unspecified and deliberately difficult to pin down.  Steinbeck provides conflicting evidence.  We will move on from there!

FOR TOMORROW
Start considering essay topics.
We will hear from a counselor.
We will do 3 to 5 minutes only on Steinbeck, just so we can set up a short writing task for Monday.
The summer reading novel:

• Why all the violence?  
• What are some theme STATEMENTS?  (not theme ideas/topics/phrases, but a claim that can be stated as a sentence?
• Which overall structure seems best to fit your sense of John Grady's experience and development, the use of other characters (major and minor), and as a vehicle for theme(s)?

TODAY IN CLASS
Discussion of minor characters:  Perez, Don Hector, the judge, the captain--and yes, Duenya
Alfonsa. [Just fought a losing battle with the tilde.  Sorry]  Apart from straightforward plot functions, the most interesting ideas developed how the character extended our understanding of John Grady, affected his evolving perceptions of the nature of the world and of the choices he faces, introduced symbolic and/or archetypal significance, and other aspects.

For Duenya Alfonsa, whose significance is undeniable, we perhaps need to come back (esp. in 4th period) to what the violence of her own narration involving Gustavo adds to the meaning of the work as a whole.

And we will still come back to whether you find the hero's journey or the bildungsroman to be the more satisfying structural framework for this work--and why.

But FOR TOMORROW
See yesterday's post for the link to "The Chrysanthemums" text and finish reading the story.  Please print it out if you can.

We are still working on the three strands mentioned the Monday I was back:  )Personal Writing, All the Pretty Horses,  and the short story unit.  Here is how they fall together for this week (Sept. 15-19):

• Personal writing:  
• Self-definitions turned in Sept. 12 (both hard copy and on turnitin.com--a very few individuals are missing one or the other)
• Personal essay ("college application essay") Information given out on Wednesday; draft due Sept. 24; final draft to be graded due Oct. 1.  
• Culminating Project--NOT an English grade, but stay tuned for links and dates (still TBD!) 
• All the Pretty Horses:
• Week-end character assignment collected today; DO IT if you spaced on checking the blog (end of freebies)
• Tomorrow there will be some group work, briefly focussed on some of what you did re: character for today, as well as whether you primarily see the work as a hero's journey or a bildungsroman [make sure you've read the links Friday's post]; also on the intersection of style/punctuation (or the lack thereof)/POV.  
• Thursday we'll be looking at theme/thematic ideas; also on Thursday--a counselor will be in to discuss their advice/procedures re: the college application process.
• Friday, Sept. 19-- in-class closed-book assessment essay
• Short Story Unit
• Underway with "imagery" passage analysis (limited quickwrite) on the first 3 paragraphs of John Steinbeck's "The Chrysanthemums"
• Today we micro-discussed the rest of the hand-out (not quite all in 4th)
• For Wednesday, Sept. 17--read the entire story.  I completely forgot that this story is NOT in our new book (but was in Kennedy/Gioia).  So here is the text link:  Steinbeck's "The Chrysanthemums"   Use it to read in preparation for Wednesday.  You will need a copy for class discussion and potential future writing; let me know tomorrow if it won't be possible for you to print this at home. (I do not want to make 64 copies . . . . )
• BUT the good news about that is that you do NOT have to bring the Perrine text on Wednesday.  
• More details about this unit will be forthcoming shortly.