Summary of the Third Session, Post-Session #3 Assignments, Pre-Session #4 Assignments

1. Summary of the Third Session
I'll expand the summary later but here's the short version:
* during the first part of day's class we discussed Translations, exploring the relationship between one's surrounding culture and one's identity. We were especially keen to think about the ways (and reasons) that individuals either embrace cultural change or resist it. We talked about this in relation to Gloucester too. We also explored the techniques that Brian Friel used in the play to develop ideas about threats to and preservation of cultural identity; we focused especially upon language (and issues of language such as translation and naming) as an aspect of individual identity and cultural identity.
* Then we talked about writing passage analysis.
* Finally we talked about Waiting for Godot. We focused on how Beckett's choices (his techniques) as a playwright helped create a sense of the absurdity of existence. We talked about how the play makes the reader/audience uneasy and that this unease is both funny and disturbing. The play, after all, is a tragicomedy, we observed. Finally, we discussed how unease, absurdity, alienation relate to issues of identity and the individual's relationship with others in all the work we've discussed so far this summer. Oh, and I also mentioned this passage from Six Degrees of Separation, a play-made-into-a-film, which deals with the imagination as a possible way out of alienation. (Will Smith!?!?) Notice the mention of the end of Godot.

2. In the comment box post your post-session #3 work by Monday, August 10 (before pumpkin time).

What do you do?
* Write your first name and last initial.
* Choose a rich, interesting, beguiling passage from Translations. On the blog type up the passage, include the page number. Write a summary of the passage. What happens? Who is involved? Where are they? When? Etc. Then write an analytical commentary. How Brian Friel is using literary techniques (is making particular choices with language) in the passage. How does the passage relate to other passages and to the themes in the play as a whole? Peel back the layers. What do you find? Remember that I encourage to speculate and take interpretive risks. (X appears to mean Y. X suggests or might mean Y.) 300+ words
* Do the same for Waiting for Godot. Choose a passage. Type it out with the page number. Write a summary. Write an analytical commentary. 300+ words.
* Finally, if you didn't turn in your pre-session work post it.

3. Wide Sargasso Sea pre-session work still to come. (If you want to start reading now. Look for motifs and look for the ways Jean Rhys shows the difficulty Antoinette has forming a viable, healthy identity in her environment. Mark the passages as you read.)
Finally, as previously sent in an email, your last pre-session work for the summer of '09:

What should you bring to class on Monday? Bring Wide Sargasso Sea. Bring paper and something to write with. Write down the page number, first few words and last few words of one passage that you would like to discuss on Monday from each of the novel's three sections. (So you'll choose three passages total; one from each of the three sections.) Then write a brief (four sentence or so) summary of each passage and three open-ended discussion questions for each passage. The passages, brief summary, and questions will be your entry ticket. (This will be a common procedure in preparation for student-led discussions.)

When choosing passages you might think about:
happiness (the desireability of, the elusiveness of, the sources of); identity (racial identity, social class identity, national identity, family and self, name and self); safety and threat (the effect of living with threats); madness, sanity, reason, and passion (and complications of identity); sexuality and power; reality and dreams; and images of fire and destruction, images of animals and plants (and what these images suggest about the themes stated above); finally you might consider narrative point of view (what is the effect of the shifting narrator?)

Summary of the Second Session, Post-Session #2 Assignments, Pre-Session #3 Assignments

1. A Summary of the Second Session
For today's session I decided to jump right into the task of figuring out how every chapter and every aspect of every chapter contributes to Invisible Man as a bildungsroman, a novel of identity formation. I thought it was most important to figure out what the novel as a whole suggests about identity and how the smaller pieces -- the plot (or logic of sequential events), the scenes (a scene consists of one time and place), the characters (even the less overtly significant ones), the symbolic objects, the repeated images and other motifs, etc. -- contribute to what the books as a whole suggests about identity.

So we worked our way through chapter 14 meticulously (the re-birth and Mary Rambo section, the Yam episode and eviction, the meeting with Brother Jack and introduction to the Brotherhood, The Chthonian, Emma, etc.) then (mindful of time) jumped to some important characters (Brother Hambro, Brother Tarp, Tod Clifton, the Rich woman, Rinehart, Sybil, and Ras) and scenes (Clifton's show in the park, Clifton's funeral, the protagonist's decision to undermine the Brotherhood, the riot, the choice to go underground). We gave special attention to the relationship between identity formation and objects (the "feed me" bank, the Tarp's shackles, the briefcase, etc.) food, sexuality, speech-making, subordinating one's identity to larger causes (whether the race or the Brotherhood), shifting identity (Rinehart) versus singular identity, action versus contemplation, etc.. I also gave you some information about Marxism and Communism to make a bit more sense of the Brotherhood. Then in the last half hour we developed a question to answer with an essay. Does that cover it? Did I leave anything out?

2. Post-Session #2 Work
Here's the question you developed:

Use your "personal key" (the events, objects, motifs you have tracked through the novel) to illustrate the purpose of the novel as you understand it. (Instead of "purpose" you might deal with the "meaning and effect" of the novel as a whole.)

Write an essay (oh, five hundred to a thousand words or so) responding to the prompt. I'll be looking for an idea (not a single sentence) about the significance of the novel as a whole that boldly and insightfully encapsulates Ralph Ellison's exploration of the identity development of an African-American man in hostile environments. Then, I'll be looking for close, careful analysis of specific passages in the text that support and develop your bold, insightful central idea. Finally, I'll look for the final conclusions your careful analysis has driven you toward.

"A+/A" essays will thoroughly and convincingly develop a bold, insightful idea about the novel's apparent meaning and effect with commanding, precise, and well-chosen details from the novel. "A-/B" essays will develop a plausible response to the prompt with enough relevant supporting evidence to come across as reliable. "B-" essays will often develop a plausible but superficial response to the prompt with some errors and omissions in interpretation of details. "C/C-" essays will often include significant errors and omissions in the central idea and in the supporting details, though these essays will show an understanding of some aspects of the text. Essays with lower scores will not meet requirements or will show little to no understanding of the prompt and/or the text.

This is your first attempt at an AP essay. No worries. It's a low stakes endeavor. (It won't count as a test grade on its own but it will count toward your summer session grade, which will be the equivalent of a term one test grade.) Do your best but consider it a learning experience.

Post the essays in the comment box (break them into sections if necessary) by Monday, July 27 11:59. I look forward to reading what you have to say. (I have enjoyed our time together, especially your ideas and close readings of the text.)

3. Pre-Session #3 Work
Read Translations by Brian Friel and Waiting for Godot by Samuel Becket.
For Translations note passages (at least ten) that deal with the relationship between culture (especially language, learning, and history) and identity. For Waiting for Godot note passages (at least ten) that deal with the absurdity of existence. (Culture-and-identity, on the one hand, and the absurdity of existence, on the other hand, are important aspects of Invisible Man. With these plays we'll focus a bit more closely on these two themes. (If we had gotten to the Harlem riots we'd have talked a bit more about absurdity today.)

I look forward to talking with you about these plays on August 3.

Summary of the First Session, Post-Session #1 Assignments, & Pre-Session #2 Assignments

I. A Summary of the First Session

For the first five minutes you shared with the people sitting near you observations of "what stood out" to you while reading the first eleven chapters of Invisible Man. Then, one by one you each introduced one of the peers you spoke with and explained what you talked about with that peer.

I had planned this as a warm-up exercise -- lasting maybe twenty minutes -- but so much of what I'd hoped to deal with in the first hour came up in your discussions that I decided to roll with it. We talked about how the motifs -- the repeated ideas, images, etc. -- help the reader figure out what to pay attention to. We talked about how the first step is to notice choices the writer makes and the second step is to come up with ideas about the significance of those choices: how do those choices affect meaning? & that's the gist of AP writing: how does the way something is written influence the effect the writing has on the reader and the meaning the reader makes of the writing?

But what should we notice? Things that reoccur (words, images, ideas, etc.) Things that reoccur but with a difference. Things that seem symbolic or allegorical: what's the symbolic significance of Reverend Barbee's blindness or of the Golden Day (Supercargo as superego) or of the black mixed into Optic White or of the paint factory explosion, for example? Moments that make reference to culture, folklore, history outside the novel. (These are allusions.) For example what is the significance of the references to Louis Armstrong? Booker T. Washington? We should also pay attention to things that seem strange, that deviate from norms. Why is the protagonist unnamed, for example? (Lazy readers often say that strange things are "random"; strong readers are able to make meaning from author's choices, especially the ones that are most challenging.) Then we ask how are these things significant to the work as a whole?

We talked about a lot more in the first hour. As I review my notes, I may add more.

After a break we set up a chart for the motifs. I listed the motifs along an x-axis and listed the chapters along a y-axis then you offered specific examples. We found so much that we were able to spend nearly an hour on the first three chapters! (The next step is to make meaning using some of this data we've compiled.) [Note: for a more complete chart you can finish our class chart on your own and/or go to this webpage, scroll down to "motif chart" and click on the link.]

After the final break we tried out a learning strategy: student-led discussions. Sarah A. quoted Bledsoe talking about "these people" while referring to other African-Americans and collectively you didn't stop talking for more than twenty-minutes while I took notes. I then read over my notes of the discussion adding a point or two here and there while also asking follow up questions. (That's part of the strategy too.)

I wrapped up the exhilarating first session with the post-session assignments...

II. Post-Session Assignments
Click on the comment box below and paste in the following work...

1. After writing your name (first name, last initial) write down a motif you tracked along with five places you found the motif (a brief mention of how the motif appeared & the page number will suffice). You don't need to analyze or explain the motif at this point.

2. Now, explain how one of the motifs reveals something significant about the relationship between the protagonist's environment and his developing identity. This explanation should be 300+ words and include specific references to the text, including direct quotations. Interpretation and insight with developed support is what I'm looking for here. (This is a quintessential AP assignment.)

3. Because we didn't get to a discussion of the images you chose, post the page number and the quotation using only the first few words and last few words of the quotation, like this "'Our white is so white ... white clear through.'". (If you'd like to go above and beyond I'd love to hear why you think the image "most vividly conveys the protagonist's struggle between self and environment".)

4. Personal reflection: choose some idea in the book to apply to yourself and/or your surroundings. Write a paragraph (7+ sentences). Here are a few ideas:
*Invisibility. Are you invisible? How? Is someone else -- or some other group -- invisible at GHS or in Gloucester? Explain.
* Loss of innocence. Write about someone or something that you thought you knew and understood (like the occasion of the graduation speech (which entailed a battle royal first), like Bledsoe and the college, like the letters, etc.) but turned out to be quite different, quite disillusioning.
* Playing the game. Write about learning to play the game, to work with the system. What's gained? What's lost?
* Other ideas!?!?

Make sure you label each answer (1, 2, 3, 4) and include your first name and last initial at the beginning of the response.

Responses are due by Pumpkin Time Monday, July 13. (If you have trouble posting your work. Send it to apenglishghs@gmail.com.)

III. Pre-Session #2
You will show me this work as a "ticket" before the session. It's the hottest ticket in town.

* Continue to follow a motif you have chosen. Write down a motif you tracked along with at least five places you found the motif. (Some motifs will appear in every chapter.) A brief mention of how the motif appeared & the page number will suffice). You don't need to analyze or explain the motif at this point.

* Follow the key moments in the protagonist's identity development in relation to his environment. Where does the environment change? Where does his understanding of his environment change? Where does he change in response to his environment, especially in terms of ideology (what he believes and thinks is important), vocation (what he does), and sexuality? I'm especially interested in the choices the protagonist makes in response to his environment. Mark down the most important moments in the novel that deal with the protagonist's identity development (at least five). A brief comment about the moment & the page number will suffice.


*

Invisible Man (through chapter 11) Pre-Session Work

On Monday, July 6 we will meet to deepen our understanding, appreciation, and enjoyment of the first eleven chapters of Ralph Waldo Ellison's novel Invisible Man.

To be prepared for the first summer session do the following...

1. Actively read the Prologue through chapter 11 of Invisible Man by Ralph Ellison. (Reading the introduction is optional.)

What does it mean to read actively?

To read actively, we must think about the significance of what we are reading. To guide this we should all reflect upon the struggle to create an identity and develop a self that will survive within precarious and often hostile environments. This struggle -- common among thoughtful high school students -- is also the struggle experienced by the protagonist of Invisible Man.

To read actively, we will not only think about the novel's central theme; we will also jot down or mark whatever seems significant. So keep track of significant characters, events, and motifs. In Invisible Man aspects of vision (eyes, sight, blindness, and, of course, invisibility) are among the motifs. Other motifs include light and dark, colors (especially white, black, and red), the underground, dreams, sex, violence, food, speech-making, music, and blood. You should jot these down or mark them as you find them so we can go back to them to puzzle out how they are significant in the novel.

2. What else should we do before July 6?
In addition to your other active reader notes and markings, choose a motif and write down five specific places where it appears. Write down each of the five quotations and page numbers. Bring these notes to class on July 6.

Also write down the page numbers of three passages that illustrate some aspect of the protagonist's struggle to figure out how to live within hostile and confusing environments. This struggle is often called identity formation. Pick one passage from the Prologue or chapter one; pick another passage from chapter two through chapter six and another passage from chapter seven through chapter eleven. Write an open-ended discussion question for each of the three passages.

Choose one image (a sensory experience created with words) from the first eleven chapters that for you most vividly conveys the protagonist's struggle between self and environment. Write down (or type out) the exact words Ellison uses to present the image.

Email me at jcook@gloucester.k12.ma.us or apenglishghs@gmail.com with any questions.

Summer Session Dates, etc.

Based on the blog poll and an informal polling of students who saw me after the polling closed, Mondays seem to work best for most of you.

I expect you to attend the four sessions, to do the reading, to complete the pre-session work and the post-session work. You're in college now, at least as far as AP English is concerned. So...

Get the time off from work. Get the books. Figure out when you will read and how much at each sitting. Check the blog and your email for updates. (I have no email addresses for Hidenori Ono, Megan Keegan, and Brianna Aloisio.)

If you plan time to get the reading done I think you'll find you will be able to do the work and do all the other summer things you look forward to.

Email me at my new AP English email address with any questions
apenglishghs@gmail.com (the beginning is the same as the blog)
[Oops I wrote the gmail address in the message I sent to you on Wednesday.]

Here is the schedule:
Monday July 6 from 8:00 am until we're done (we'll be done by noon).
Read Invisible Man through chapter 11 (page 250 in most editions)

Monday July 20 from 8:00 am until we're done
Read Invisible Man through the end.

Monday August 3 from 8:00 am until we're done.
Read Translations & Waiting for Godot.

Monday August 17 from 8:00 am until we're done.
Read Wide Sargasso Sea.

Don't forget to write a comment on the previous blog post. (If you can't do it you must let me know.)

I think that's enough for now.
Good luck with the rest of your exams.

James W. Cook
Gloucester High School

Post a comment

O.K. Here we go...
1. Click on the comments link at the bottom of this post. You'll get a comment window.
2. At the bottom of the window click on "Sign up here." Fill out all the necessary information. (Write your password somewhere where you will not lose it. Maybe create an "AP English" folder on your computer and put it there and print it out and put it in your purse or wallet. Lots of students lose passwords and have to create new accounts.) Also your name should be your first name and last initial. Mine would be "James C". I'm trying to keep your exposure on the internet to a minimum.
3. After creating an account blogger will return you to the comment window. In the window you'll type your comment: tell us all about your wonderful experience of learning how to post a comment, send a greeting to your peers, tell a (clean) joke, comment on the summer session dates, etc. When you post assignments you'll want to write in a word processing document then paste that into the comment box, so if blog doesn't except the comment for some reason you'll still have it. Don't forget the Word Verification.
4. Then click on the "publish your comment" button. (If you want to make sure its there click on the "comment" link at the bottom of the post again and you should see your comment. (Nancy F has already commented on the previous post!)
***
I very much enjoyed meeting many of you today. If you did not attend the meeting you must see me or risk losing your spot in the class. (Two of you who missed the meeting already spoke to me. I look forward to meeting with you.)
***
Overview of summer reading (with lots more information to come)
1. Read and complete session work on Invisible Man (through chapter 11, page 250) by the week of July 5-11.

2. Read and complete summer session work on Invisible Man (through epilogue, page 580) by the week of July 19-25.

3. Read and complete summer session work on Translations and Waiting for Godot by the week of August 2-8

4. Read and complete summer session work on Wide Sargasso Sea by the week of August 16-22.

Exact dates will be announced on the blog and through email next week.

AP English Literature and Composition Commitment Letter

May 15, 2009

My name is Mr. James Cook. I will be teaching the AP English Literature and Composition course during the upcoming school year. Unfortunately, Gloucester High School can offer only one section of AP English Literature and Composition during the 2009-2010 school year, which means that some of twenty-seven students who have signed up for the course will not be able to take it. Before the English Department selects students for the course I want to make sure you are still committed to doing all that taking AP English Literature and Composition entails.

During the summer you are expected to read Invisible Man by Ralph Ellison (581 pages), Wide Sargasso Sea by Jean Rhys (171 pages), Translations by Brian Friel (86 pages), Waiting for Godot by Samuel Beckett (109 pages), and a book of your choice from the Gloucester High School summer reading list. You will also be expected to attend four AP English summer sessions at Gloucester High School, read and write comments on the AP English blog, and write analytical and personal responses to the summer reading. This list is not intended to scare you off. However, I want to honest and upfront about the expectations. If you are seriously committed to reading, writing, and thinking at a college level, I promise that you will find the summer experience to be fulfilling and rewarding.

During the school year you will read approximately 500 pages and write approximately twenty pages per term. You are expected to be self-motivated and genuinely engaged; and, since the goal of the class is for every student to do well on the AP exam, it is important that you are willing to work with classmates in small groups to analyze text and evaluate peer work. The class atmosphere must be collegial rather than competitive, and you must do your share of the work.

Please consider this information and make a decision about whether or not you are committed to fulfilling the requirements of AP English Literature and Composition. Please complete the form on the back and attend a brief but mandatory meeting in room 2207 on Wednesday, May 20 immediately after school. If you have questions about any of the expectations please stop by 2207. I am looking forward to seeing you.

Sincerely,

James W. Cook
English Teacher
Gloucester High School