TUESDAY --
Admin visit to discuss graduation logistics.
Group-based discussion of some key ideas generated by the TITLES of all three of these works.  They have been on the board for two days . . . not copying them over here now.

WEDNESDAY--
Song of Solomon people--time to work on the timeline for the novel.  **Please look back at the ground-rules given for timelines in the May 23rd post. What applied to the Fences timeline also applies to Song of Solomon.  These are due on Friday (start of Friday--no worktime then.)

The plays people--You received the power-point group component, and after a bit of spirited decision-making, each group was matched up with a set of questions.  I am linking just that list here, but I can't tell you which group is doing what from memory. (I need to get that written down tomorrow!)
Power-point topics for the plays
Tomorrow, Friday, and Monday will be full-period work time on these.  After that, however, the time is very fractured.

TOMORROW
Everyone receives the final packet, all things pulled together.  Four parts:
I--Timeline (done or will be soon).
II--Group Powerpoint--plays already assigned; S of S will get their passage choices tomorrow.
III--Essay topics (individual component)
IV--Final Exam:  ONLY the novel or the two plays.  Scantron.  Over and done.

1st Period--Don't be later than . . .

the assistant principal, who will be here at the start of class.  An administrator will be in all classes today, in fact, to discuss graduation logistics;  it is several of you in first period, however, who will be making quite the grand entrance if you're late. 

TODAY IN CLASS

Continued reading time for Song of Solomon people. 

More time than needed, really, for the play people to finish planning the timeline for Fences.

FOR TUESDAY

Song of Solomon: The novel really needs to be finished; I don't want to hit you up with plot-spoilers until you've experienced how Morrison reveals the final pieces of the puzzle. Moreover, you can't really do the complete timeline until you know the full range of what Milkman learns on his journey. And you need time to accomplish the other group piece. 

Fences timeline folks--a few reminders:

1) Get events of PAST and key events from the present in correct order; include exact years/dates where possible, and "guestimate" year ranges for others

2) Make it horizontal, like a number line.

3) Make sure that the work's actual "starting point" (opening scene) is clearly marked in the timeline.

4) Do not overstress presentation format, but it should be legible, readable from a couple feet away (will be taped to the boards), and reasonably attractive. 

There will be NO additional class time on this; turn them in either no later than Wednesday.

FOR EVERYONE TO THINK ABOUT

Some essential questions for both plays and Song of Solomon

• What do parents want/expect/hope from or for their children?
• How important is the family in shaping not only the present lives but the future lives of children?
• What holds people back?  (especially from achieving their dreams?)
• “Crippled”  à who?  How?  Really???
• Ways in which people “fly the coop”?
• MUSIC à all three works (define, characterize, connect)

 Backdrop:  In some ways, the overall purpose here is to explore human existence; we are all creatures bound by our families and circumstances—except when we are not.  These works, in one way or another, all address the notion of “family” in ways that show the intersection between the present circumstances and the past (as it happened, as it is told, as it is remembered, as it is imagined . . .). 

• Parents and children, particularly, are caught in age-old tensions that are both universal in one sense and excruciatingly personal and private in others. 
• The works also reveal, for both protagonists and other key characters, ways of perceiving themselves that may or may not be in synch with what others see.  
• And in one of these works, a character questions out loud if “the sins of the fathers are visited upon the children”; this becomes an implicit concern in the other works as well.  
• Furthermore, they show how people cope—or choose NOT to cope—with the “ties that bind”; sometimes this results in the decision to “fly the coop” in a variety of literal or metaphorical ways. Finally, each of these works is set in a particular place and time whose context helps to circumscribe the scope, the playing field, in which these people live through their particular family drama.

So I totally forgot to post to the blog. Not much to say, though.

TODAY IN CLASS
Fences discussion with the play people.
Reading time for Song of Solomon people.

FOR TOMORROW
Play people--think through and jot down several similarities/overlap between The Glass Menagerie and Fences. Explain them briefly (not with fully argued developement/quotes, etc.--just a sentence or two of clarification).

Song of Solomon people--Read.  Many of you seem to be in the 9-10 area.  I mentioned 11 for Thursday as being a great thing.  Obviously the world does not fall apart if you are not there tomorrow. However, I am hoping that you'll be able to read quite a bit over the 3-day week-end so that you can have the book finished by Tuesday.  This is especially important for 5th period.

Part II goes by really fast.  What do you remember of the hero's journey (Joseph Campbell, but the name might not have been used as it's been piece-mealed out to you).

EVERYBODY--start considering titles as fully as possible.
The Glass Menagerie is both obvious and problematic:  clear as it may be for Laura, to what extent does the title involve Tom and Amanda?  Does that matter?

Fences: Much use and much discussion within the play itself.  Start with what August Wilson invites us (demands us) to consider.  Then move on with other possible ramifications.

Song of Solomon:  Finish the book first . . . but if you were aware the Old Testament book called Song of Solomon, you already know that that's not the basis for this book.  But don't think for a moment that Toni Morrison was not fully aware of the borrowing.  So at some point it's important to consider what resonated for her--and should for us in considering the novel's larger themes.

TODAY IN CLASS
For both Fences and Song of Solomon people, please refer to this site for some background information on major court cases, legislation, and events that shaped the era covered by Fences and by Milkman's adolescence and young adulthood:
http://crdl.usg.edu/events/?Welcome

For sure, check out Brown v Board of Education, the Civil Rights Act of 1957, and the Civil Rights Act of 1964.  Browse as you wish; know what's there in case you find a need for it later on.
Fences--pay special attention to the sports figures mentioned (esp. for baseball). LOOK UP names you do not know about.
For both works--pay special attention to the military--reference to former pilots, soldiers, people who join the military in the course of the work, etc.

Song of Solomon people received a hand-out containing detailed Ch. 1 questions to use as a "then and now" comparison/contrast.  Use this series of close questions/observations re: Chapter 1 as a springboard for figuring out what we can now understand about the people, the motivations, and the prior actions that seemed so puzzling or even "random" in this first chapter, especially at the start of the chapter.

FOR TOMORROW
S of S:  Discussion tomorrow.  Individual accountability expected.

• It's not all clear yet, but review Ch. 2-7 to make sure you realize how things match up.  
• Utilize the back of the sheet to make sure you're not missing specific areas to be noting/tracking/and pondering.  
• Add to the list of suggest symbols/motifs (earlier hand-out; sliding board today) if you can.  There are some things omitted so far!
• Continue with Ch. 8 if you feel secure up to this point
• Be prepared for some free-ranging questions and discussion on Tuesday!!

Fences: Significant whole-group discussion on WEDNESDAY.

• Be finished with the play by class-time tomorrow.
• During the first part of class tomorrow, you'll be working together to fine-tune your responses to questions #3 and #4 on p. 1623. 
• That should go quickly, because you've had time to prepare your own contribution.
• There will be a new "joint" step tomorrow.

TODAY IN CLASS
Counselor visit--senior graduation focus.
Reading time.

BY TOMORROW and BEYOND
Fences

• finish Act I for Friday 
• finish the play by TUESDAY (May 20)

Song of Solomon--

• be finished with Ch. 5 for Friday. Lots to digest from 1-5.
• By MONDAY (May 19), be finished with Ch. 7.  (So Ch. 6 for tomorrow or for Monday--whatever works for you.)

TODAY IN CLASS
Song of Solomon people just reading--the goal during class was Ch. 3, but you might well have gotten farther.  Continue adding to patterns, notice elements that may not repeat but seem really significant, and most definitely be ready to discuss troubling elements ("troubling" can have many shades of meaning).

The Glass Menagerie--I was really impressed with the knowledge and insight that came out in the pull-out discussion groups today.  Apologies to the second group from 1st period--you did fine, but you definitely got short shrift.  Do think about a couple of other things we didn't get to at all--the elements/motifs of interest besides the "glass menagerie" itself  (we'll take just a moment for this tomorrow) and note that there really is a set composition that the text refers to when it's speaking of music. And even though I was determined to split the time evenly in 5th, the first group was exceptionally willing to carry on discussion on their own, and I just can't stop that sort of thing!  Keep up the good reading.

FOR WEDNESDAY
S of S--read Chapter 5 for sure.
The Glass Menagerie--you should easily be able to finish the play for tomorrow.

TODAY IN CLASS
Students began reading their choice of final works:

• Toni Morrison's Song of Solomon (only for people who actually DO have the book in hand already
• Two plays from the Perrine text:
• The Glass Menagerie,  by Tennessee Williams (starts on p. 1156)
• Fences,  by August Wilson (starts on p. 1565)

First-round heads-up for Song of Solomon:

Keep track of the FLIGHT motif, pay attention to COLORS; know that every single person introduced in Chapter 1 (whether by name or description) will recur throughout the novel.

Your job as you're reading Ch. 1-2--what other obvious categories come to mind just based on these opening chapters?  

FOR TOMORROW

Song of Solomon:  read to the end of Chapter 2 (p. 55)

The Glass Menagerie:  read to the end of Scene 6 (p. 1191)

I'll be chatting with the Perrine people about The Glass Menagerie, probably in at least two groups. I'll be trying to find out what's going well, and what isn't--so you can get squared away.

Good Luck Tomorrow!

Just a very brief post today. If you didn't read yesterday's, particularly the "Final Advice"--please DO SO!

AP Test Takers--
Report to the Aux Gym by 7:15, well-rested and breakfasted,  with a pencil and two dark blue or black pens in hand.

5th period--yes, you need to come to class later, but don't worry.  It's a kick back and relax day for you.

Non-AP Test Takers--
Report to the classroom as usual.  First period students will do their final poetry timed write in 2303; 5th period people, I'll be moving you elsewhere, but come to class first.

VIP (Very Important Post)

Final Advice for AP Exam

Two additional things not on this list.

• Be sure you have 2 or even 3 of your favorite pens.  Dark blue or black ink.  No exceptions. 
• Re: Part II, Question 3:  if you know and can write on a work listed, that is the safest bet because sometimes students substitute something that does not actually fit the parameters of the question.  But of course you can use something else studied at school that seems to work.

TODAY IN CLASS
Full period:  Multiple Choice practice exam

• Will count (slightly adjusted) as assignment grade; thus must be made up if you missed it (regardless of whether you are taking the actual AP exam or not)
• If you miss class tomorrow, you can come by tomorrow to see where the missed items clustered (if there was a pattern
• You can check particular questions if you wish, but I'm not actually giving these back

FOR TOMORROW

Be studying.  

If you'll miss class tomorrow, utilize the hand out you received today to think through how  Crime and Punishment could be used in an exam setting for Question 3.  Some would also apply to Tess. Students will participate in a short "speed-dating" exercise using this hand-out during class tomorrow.

Choices from this year:

Franz Kafka--Metamorphosis (best to use only if it's on the list)

Joseph Conrad--Heart of Darkness

Henrik Ibsen--A Doll House

George Bernard Shaw--Pygmalion

Mary Shelley--Frankenstein

Fyodor Dostoevsky--Crime and Punishment

Thomas Hardy--Tess of the D'Urbervilles

Choices from last year (only if you pick one tonight and review!!)
Nathaniel Hawthorne--The Scarlet Letter
Mark Twain--The Adventures of Huckleberry Finn
F. Scott Fitzgerald--The Great Gatsby
Harper Lee--To Kill a Mockingbird (in years past I'd have called this too "young" a book for AP Lit, but it was actually on the list for last year's question)

Do not write about Harry Potter, Hunger Games, or Game of Thrones, volume anything.

Tonight's essay instructions in case you've lost the sheet . . .

TODAY IN CLASS

• Returned the Keats/Longfellow timed write; went over the Chief Reader's account
• Briefly returned the Cardinal Wolsey speech for students to self-score, using the real AP rubric for that prompt.  Scored and returned in class.  

Students quickly assessed and annotated the "Century Quilt" prompt--general surprise that the particular essay read aloud had not received an upper-half score.  Students wrote a thesis (individually) and compared them in groups.

I handed out a prose passage from George Eliot's Middlemarch ("Question 2"); it's the longest I ever recall seeing, but recent enough that it could easily happen again.  Try to find just a few minutes before class tomorrow to READ and lightly mark; how long did it take?  How long (out of 40 minutes) would be worthwhile spending on this prompt?  Can you get a handle on how to respond to the prompt?

FOR TOMORROW (tonight, really)

The Crime and Punishment Epilogue assignment.  Be sure to utilize all the guidelines in the hand-out. 

You should have it, but it's also available here  .

If you've done that . . . be reviewing Tess, especially by thinking how the book is like/unlike C and P. Someone said the other day that she wished the endings for these protagonists could have been swapped. 

Do you agree?

I am too hungry to proceed right now, but I may link a couple of things to this post later on. (Will be of value tonight only to those who have finished the short C and P essay!)   

TODAY IN CLASS
Some time to recognize college choices. Congratulations to all!

Crime and Punishment:
Yesterday's homework discussed in table groups and collected.
Hand-out provided for "Epilogue" assignment due on Monday night

Finished "When I do count the clock . . ." in 5th; finished form to content match/but with a wrinkle in 1st.  Need to add  just a bit on sound features in 1st.

Two poems "at home" timed write:  Covered both poems pretty thoroughly in first--didn't really finish the 2nd in 5th. If you have not done this prompt yet, you can no longer do this one for credit.  For excused absences, there is a substitute prompt. Be sure to ask for one tomorrow!

So for "Mezzo Cammin"--

• note that the Italian sonnet structure corresponds to the content of ONE essential "issue" (I haven't accomplished the writing I had hoped for--"Some tower of song with lofty parapet"--because of unnamed grief and cares. It is that "sorrow" rather than other possibilities (laziness, time spent on pleasure, or by scattering attention on various pursuits).  All of this is in the octave.
• the sestet switches to his sense of his current status--at the midpoint of his life(halfway up the hill [of life], though there could be a literal hill as well)  he sees "the Past" [note the cap] as a city laid out beneath him .  
• but still in the sestet, as he reflects on the past, he feels the chill of autumn and hears a waterfall that he equates with death above him

Thus the water imagery that seemed positive in the Keats poem as his own problems seem to sink in the presence and realization of the vastness and beauty of the world becomes a more negative force for Longfellow.  He sees nothing but death looming in the future, and apparently has limited expectations for the second half of his life.

(And for both--if you didn't hear this in class--use the dates at the bottom of each poem to understand the actual situation of both writers as they were composing these poems)

Re: the rubric--these are never very exact, even when the rubric relates to a specific prompt as this one does.

But there is some language that has been repeated for most rubrics over the past several years:

9-8 essays offer a persuasive response

7-6 essays offer a reasonable response

5 essays offer a plausible reading

4-3 essays fail to offer an adequate analysis

2-1 essays compound the weaknesses of the 4-3's

Note particularly this phrase within the 4-3 description:  

evidence may be slight or misconstrued

Not clear in this rubric as usual is the following:

leaving out any part of what is designated in the prompt results in a score no higher than a 4

(here, it's "covered" by the phrase "the analysis may be partial" . . . )

In first, I returned the "Judging Distances" papers but we did not have a chance to do much with them.  We'll do so briefly tomorrow in both sections.

FOR TOMORROW

Assign the score and justify it.  Turn the rubric back in with your essay.

Be working on C and P assignment.

If you are taking the AP exam, choose one major work from last year (Gatsby/Huck/Scarlet Letter) and start reviewing it as a backup option.

Find Tess.