KIRBY/SUMMER 2014 Your summer assignment is comprised of two major components--- a fictional work from the list of titles and a nonfiction work from the list. Each component has several sections to be completed, all of them dealing specifically with the text itself and your reading and interaction with it. Each of these components constitutes a major test grade; thus, you will have two major test grades in the grade book the first day you arrive for the new school year. If you complete these two assignments as you have been instructed, then you may also complete the extra credit grade in poetry if you wish. It, too, will be a test grade. No extra credit will be accepted if it is not thoroughly completed or if you haven’t turned in the first two assignments, fully completed. Failure to do this assignment will result in two zeros in the grade book.
ASSIGNMENT #1- FICTIONAL WORK Choose one of the fictional works from any of those listed. Personally, I would take a little time and research the titles that piqued my interest. What is the work about? What themes does it touch on? Does it take on a more optimistic tone? What do the critics and literary analysts think of it? What about your parents, your siblings, your friends--- have they read it? Did they enjoy it? Ask yourself any number of questions before you begin reading. I would take the time to do this, rather than start and stop several different works over the summer because I realized they were not my type of reading. Ideally, it would be nice if you read five or six of these just for the sheer love of reading.
Once you’ve made your selection, look over the sections that you must complete in connection with the work. There are five sections, and each must be done thoroughly and wisely. Please don't place each page in a separate plastic sheet; I make remarks and comments on these, and I don't need to spend time disassembling papers. Also, If you turn in summer assignments that aren't complete (all sections done according to instructions), then you will be given the appropriate grades, but they will be returned to you with no marks or replies. My time is just as valuable as yours, and I won't waste it on incomplete work.
***An important note: You may NOT read any work that you have already read, either on your own or in a class, no matter how long ago. This is not about appearances and just making do; it's about growing as a reader and a writer and a thinker. It's ADVANCED PLACEMENT, which means beginning college level. Let it be so.
*** One more important point: I haven’t read every one of these works nor do I know everything about each one of them. With that said, do a bit of research before you commit to any one work. If you think it contains a degree of profanity, sex, violence, racism, etc. that you are unable to deal with, then by all means, don’t read it. I can’t and won’t be a censor for your reading in this regard. I chose these fiction and nonfiction works because they represent the best examples of their genres. Use your head and make wise decisions based on your reading preferences and your likes and dislikes. Section I- Reading Journals Whatever the number of pages in the book you’ve chosen, divide it into groups of chapters or pages that fall roughly into five sections and write a reader’s response for each of those five sections (For instance, if I’m reading a novel that is 260 pages long, than I’m going to write response journals for about every 52 pages).
If you’re reading a collection of short stories, then divide those into five commonsensical sections instead. At the end of this document I have attached a list of possible journal “starters,” statements or questions that may stimulate your writing and reflecting. I do not want a summary; I’ve either read the work or know a great deal about it. You are to simply react to and reflect on what you’ve read. I don’t expect everyone to enjoy reading the works (but you chose it!), but I do expect everyone to engage the text in an intelligent manner. If you didn’t like the work, that’s fine, but by all means tell me why and give proof. It’s all about the text. Each entry is to be approximately one and a half to two pages single-spaced handwritten or two pages or more typed (double-spaced).
Section II- Unfamiliar or Archaic Vocabulary During your reading you are to write down twenty unknown (to you!) vocabulary words you find in the text; some of them may be archaic. One of your tasks, then, of course, is to learn what is meant by archaic and to see how archaic and/or unknown terms impede your reading. You must first write down the sentence in which the word is found, along with the page number, then a brief definition of it, and then explain in writing what you at first thought it meant, write how it was used in the novel, and then explain how its new meaning changed the text for you. This sounds like a difficult and time-consuming job, but it really isn’t; I expect that you will encounter at least 20 terms within the first twenty or thirty pages of the work. Each entry should only take a few minutes. Note: the words you think are archaic may not actually be archaic, they may simply be words you don’t know. To tell the truth, that’s the whole point of this section---- learning new vocabulary and seeing how they work in the context of your reading.
Section III- Characterization In most fictional work there is a protagonist and usually an antagonist. There are many other characters, of course, some carrying more novelistic weight than others. In this section, you will concentrate on what you feel are the two main characters. I also want you to view Nature as a third character. By this, I mean that authors usually view Nature or Life or the Universe (maybe even Fate or Fortune) as a character, interacting and influencing the other characters and the story’s outcome in some major or minor way. Your task, then is this: within the novel, no matter in what section, find five instances that give some insight into that character, whether it’s how he/she feels about himself/herself, the world, love, whatever. This will be fairly easy for the two main characters; it will be a bit more difficult regarding Nature or Life. Anywhere the author reflects on how the world operates, or how fate or nature controls life, etc., then that’s a characterization of Nature. You are to write down the insight (quote it), then give the page number, and then write your own commentary concerning it, whether that commentary regards the character, that situation in the fictional piece, or life in general.
Section IV- Themes Once you have read the work, write a one to one and a half page, single-spaced (or two pages typed and double-spaced) analysis of what you think the theme/themes are. I don’t want some polished cut and paste piece from the Internet or something you copied from Cliff Notes; I want an insightful explanation of what you think this work is telling us about an event or occurrence in particular, or people in general, or about life, or responsibility---- whatever you see its major view or statement to be. Be clear, be concise.
Section V- Your Assessment In one to one and a half pages, tell us why you would or would not recommend this book as part of an AP English Language and Composition reading list. Be sure to be specific and explain yourself thoroughly. You might also want to reference various literary critics or other readers, like your parents or your friends. Explain in detail why this novel should be or not be required reading for all AP English students. You may connect it to a particular genre, literary movement, historical event, or personal benchmark as a reader. At some point, explain why, in your estimation, it is included in so many anthologies and lists of great works. Whatever you do, give specific reasons and sound evidence, not emotionally overwrought generalities or fluffy platitudes.
ASSIGNMENT #2- NONFICTION WORK Choose any one of the nonfiction works from any of the nonfiction works listed. Do the same type of investigation of these as you did with the fictional works. What have you heard about the piece? What’s its main thrust, its subject matter? Is it philosophical, political, religious? When was it written, what were the prevailing attitudes of the day---- does this work agree or disagree with them? Is there a hidden agenda behind the work? Ask any number of questions regarding the work, and again, do the research. This will be an entirely different type of reading than that experienced in the novel (and there is no order to which one you read first; it’s your work), and you must read it with a different “eye.” There are four major components to this assignment and each must be done thoroughly with intelligence. It goes without saying that I want to see you in this work, not some cut and paste sound bites from the Internet or your brother’s college study guides or one of my former student’s work.
Section I- Reading Journals Divide your chosen work into five sections just as you did with the reading of the novel. I want you to write the same type of personal reading reflections and reactions as you did with the fictional piece. Make sense of the writing through your journaling. Ask questions, make connections. Engage the text through your own writings and musings about the text. Some of the suggested response questions might work well with these, too. Think about how the text reflects the thinking of that particular time in history. How does it mirror the hopes and aspirations, fears and anxieties, bias and prejudices of the people of that era? Do we see evidence of it in our daily lives today?
Section II- Archaic or Unknown Vocabulary/Allusions/Concepts During your reading you are to write down twenty archaic or unknown vocabulary words, unknown allusions, or unfamiliar concepts you find in the text. Your task, of course, is to learn what is meant by the terms archaic, allusion, and concept and to see how your lack of general background knowledge impedes your understanding of the text and its subject matter. You must first write down the sentence in which the word/allusion/concept is found, along with the page number, then a brief definition of it, and then explain in writing what you at first thought it meant, write how it was used in the work/essays, and then explain how its new meaning changed the text for you.
Section III- Critical Analysis After having read the nonfiction work and having written your response journals, visit the Internet or the local library (the USM library is even better; the JSTOR database provides a wealth of sources; you may also want to use Academic Search Premier from our school library, listed under Magnolia. Our school passwords are magn0719 or magn0879. Find three critiques or analyses of that particular book or essays. Print out and read at least three of these. Mark them up, take notes, make the connections. I want you to then write a précis of these critiques. For the second part of this section, I want you to then write a page and a half to two page commentary where you either defend, oppose, or qualify the stances taken by these critics regarding the work in question (the nonfictional work you chose and read).
Section IV- Your Assessment In one to one and a half pages, tell us why you would or would not recommend this nonfiction work as part of an AP English Language and Composition reading list. Be sure to be specific and explain yourself thoroughly. You might also want to quote various literary critics or other readers, like your parents or your friends. Explain in detail why this piece should be or not be required reading for all AP English students. You may connect it to a particular genre, philosophical movement, historical event, or personal benchmark as a reader. At some point, explain why, in your estimation, it is included in so many anthologies and lists of great works. Whatever you do, give specific reasons and sound evidence, not emotionally overwrought generalities or fluffy platitudes.
ASSIGNMENT #3- EXTRA CREDIT (POETRY) Choose one of the poets listed and read his or her works. The collection you choose must contain at least ten poems; the more the better (with more, you will be able to gain more insights into that poet and/or see changes in the work and in writing/attitudes over the years). Choose ten of your favorite poems, then write a one and half to two page journal for each one. These journals should reflect your reactions to the poems, any questions that arise from them, and any patterns you see in the use of figurative language or the manipulation of language. You might talk about the use of various symbols, or alliteration, the cacophony or euphony of the words chosen. In other words, fully engage with the poems as a reader and a thinker. Again, I don’t want summaries; I read poetry as well, and I’d like to see how you interact with poetry. If you rather, you may take one poem from ten of the various poets listed and write your journals. In this way you are introduced to the works of more poets. Again, if the first two assignments aren’t done according to the instructions, nor is this extra credit completed according to the explicit directions, then no extra credit will be given. These two assignments, and the extra credit if you choose to do it, are due the very first day of the 2014-2015 school year, whether you have AP English first semester or second semester. NO WORK WILL BE ACCEPTED AFTER 3:00 P. M. OF THAT DAY. By hook or by crook, your work must be turned in on time. The manner in which you complete this work, and your completing of it, will tell me a great deal about you as a reader, writer, thinker, and student. Make sure my first impression of your work ethic is a positive one. If you have any questions regarding the assignment, or the works, feel free to email me at email@example.com. I will be in and out of town this summer, but I will call or email you back as soon as possible if I miss your call or email. Have a great summer; I’m looking forward to some great responses and to a great school year. Take care.
P.S. If you finish this early and can get it to me on or before July 31, 2014, then I'll check it in and give you an additional 30 extra credit test points. Trust me, you'll be able to use them later. You can email me at firstname.lastname@example.org to make arrangements.
AP ENGLISH LANGUAGE AND COMPOSITION SUMMER ASSIGNMENT READING LIST KIRBY Although this is a long and fairly dense list, it will be less intimidating if you look at as analogous to a Chinese menu: you simply pick an item from Column A and an item from Column B. If you desire dessert (extra credit), you may choose an item from Column C as well. Simple as that! Seriously, your summer reading assignment is relatively straightforward. You choose a fictional work from the list of fiction and you choose a nonfiction work from any of those listed; you then read each book and complete the sections assigned for each type of work. You cannot deviate from this list: if you complete your assignments using any book NOT on this list, then you will NOT receive credit for the work, resulting in a zero for a grade. For extra credit, you may then choose one of the poetry selections. Of course, extra credit is just that--- no extra credit is given if you don’t first complete the two required portions of the summer assignment. *** NO MATTER WHAT WORKS YOU CHOOSE, THEY MUST BE UNABRIDGED VERSIONS!!! NO SHORTENED OR DUMBED-DOWN VERSIONS WILL DO!**** These works are from European and World Literatures; there is no pattern in their listing according to genre, gender, race, time period, or country of origin. They are simply scattered like seeds to the wind. There are simply too many to worry about attempting to place them in some kind of order. You do the research and enjoy the reading!
Authors and Works (Non-American) Fiction Dante- The Divine Comedy
James Joyce- Ulysses, Dubliners, Finnegan's Wake, A Portrait of the Artist as a Young Man
Aldous Huxley- Brave New World, Eyeless in Gaza
Samuel Butler- The Way of All Flesh
Beowulf- Anonymous (the Rebsamen edition is the highly recommended one!) Seamus Heaney’s
translation is not bad, either!
Chinua Achebe- Things Fall Apart
Honore De Balzac- Cousin Bette, Eugenie Grandet, Le Pere Goriot, Lost Illusions
Charlotte Bronte- Jane Eyre, Villette
Emily Bronte- Wuthering Heights
Geoffrey Chaucer- The Canterbury Tales
Miguel de Cervantes- Don Quixote
Arthur Koestler- Darkness at Noon
Italo Calvini- The Baron in the Trees, The Path to the Nest of Spiders, The Nonexistent Knight, Invisible
Cities, If on a Winter's Night a Traveler, The Cloven Viscount
Anton Chekhov- The Cherry Orchard, The Sea-Gull, Uncle Vanya, The Lady with the Dog and Other
Wilkie Collins- The Woman in White, The Moonstone, Armadale, No Name
Bram Stoker- Dracula
Mary Shelley- Frankenstein
George Eliot- Middlemarch, Adam Bede, The Mill on the Floss, Silas Marner, Daniel Deronda
Ford Madox Ford- The Good Soldier
E. M. Forster- A Passage to India, Howards End, A Room with a Vie, Where Angels Fear to Tread
Joseph Conrad- Lord Jim, The Secret Agent, Heart of Darkness, Almayer's Folly, Nostromo, Under
Albert Camus- The Stranger, The Plague, The Fall
Daniel Defoe- Robinson Crusoe, A Journal of the Plague Year, Moll Flanders
Charles Dickens- Great Expectations, A Tale of Two Cities, David Copperfield, Oliver Twist, The
Pickwick Papers, Nicholas Nickleby, The Old Curiosity Shop, Bleak House, Little Dorrit
Fyodor Dostoevsky- Crime and Punishment, The Idiot, The Possessed, The Double, Notes from
Underground, The Gambler, The Brothers Karamazov
Gunter Grass- The Tin Drum
Graham Greene- The Ministry of Fear, Our Man in Havana, Loser Takes All, Brighton Rock, The Heart of
the Matte, The End of The Affair, The Quiet America, A Gun for Sale
Sherwood Anderson- Winesburg, Ohio (A Collection of short stories but with a common thread running
through it--- in your journals relate to it as if it were a novel)
Pearl S. Buck- The Good Earth, Dragon Seed, Peony
Willa Cather- My Antonia, Death Comes for the Archbishop, O Pioneers!
Edgar Rice Burroughs- Tarzan of the Apes, Pellucidar, A Princess of Mars, The Land That Time Forgot
William Saroyan- The Human Comedy
Nathanael West- Miss Lonelyhearts, The Day of the Locust
Thomas Wolfe- Look Homeward, Angel; Of Time and the River, You Can’t Go Home Again
Richard Wright- Native Son, The Outsider
H. P. Lovecraft- The Case of Charles Dexter Ward, At the Mountains of Madness
Ring Lardner- You Know Me, Al
James T. Farrell- Studs Lonigan (a series, and perhaps too long for a summer read; I would read Young
Lonigan if nothing else)
Ellen Glasgow- The Romantic Comedian, They Stooped to Folly, The Sheltered Life, The Deliverance,
Virginia, Life and Gabriella, Barren Ground
Erskine Caldwell- Tobacco Road, God’s Little Acre
Katherine Ann Porter- Noon Wine, Old Mortality; Pale Horse, Pale Rider; Ship of Fools, The Collected
Stories of Katherine Anne Porter
Robert Penn Warren- All the King’s Men
Anzia Yezierska- Bread Givers
Oliver LaFarge- Laughing Boy
MacKinlay Kantor- Andersonville
Post-Modernism Period-Fiction James Agee- A Death in the Family
Sherman Alexie- Reservation Blues, Indian Killer
James Baldwin- Go Tell It on the Mountain
John Barth- The Sot-Weed Factor, Giles Goat-Boy
Donald Barthelme- Snow White, The Dead Father, The King, City Life
Saul Bellow- Henderson the Rain King, The Adventures of Augie March, Seize the Day, Humboldt’s Gift,
Herzog, Mr. Sammler’s Planet
Paul Bowles- The Sheltering Sky
Ray Bradbury- Fahrenheit 451, Dandelion Wine, The Martian Chronicles, Something Wicked This Way
Richard Brautigan- Trout Fishing in America, A Confederate General from Big Sur
Raymond Carver- Cathedral, What We Talk About When We Talk About Love
Raymond Chandler- The Big Sleep, Farewell, My Lovely
John Cheever- The Wapshot Chronicles, Falconer
Sandra Cisneros- The House on Mango Street, Caramelo
Don Delillo- White Noise, Libra, End Zone, Underworld, Mao II: a Novel, The Names, The Body Artist
James Dickey- Alnilam, To the White Sea
Joan Didion- Play It As It Lays, A Book of Common Prayer
E. L. Doctorow- Ragtime, Loon Lake, The Book of Daniel, Billy Bathgate
Ralph Ellison- Invisible Man
Louise Erdrich- Love Medicine, The Bingo Palace, The Beet Queen, The Master Butcher’s Singing Club,
The Plague of Doves
Joseph Heller- Catch 22, God Knows
John Hersey- A Bell for Adano
Gish Jen- Typical American, Mona in the Promised Land, The Love Wife
Jack Kerouac- On the Road
Ken Kesey- One Flew Over the Cuckoo’s Nest, Sometimes a Great Notion
Barbara Kingsolver- The Bean Trees, The Poisonwood Bible, Pigs in Heaven, Flight Behavior
Maxine Hong Kingston- Tripmaster Monkey: His Fake Book
Harper Lee- To Kill a Mockingbird
Ursula K. Le Guin- any of her novels
Norman Mailer- The Naked and the Dead, Harlot’s Ghost
Bernard Malamud- The Natural, The Assistant, The Fixer, The Magic Barrel
Cormac McCarthy- All the Pretty Horses, The Road, No Country for Old Men, Child of God,
The Crossing, Cities of the Plain, Blood Meridian, Suttree, The Outer Dark
Carson McCullers- The Heart is a Lonely Hunter, The Member of the Wedding, The Ballad of the Sad Café
and Other Stories
N. Scott Momaday- House Made of Dawn
Toni Morrison- The Bluest Eye, Sula, Tar Baby, Beloved, Song of Solomon
Tim O’Brien- Going After Cacciato, In the Lake of the Wood, The Things They Carried (actually a
Flannery O’Connor- Wise Blood, The Violent Bear It Away, A Good Man is Hard to Find, The Complete
Short Stories of Flannery O’Connor
John Gardner- Grendel, Mickelsson’s Ghost, Nickel Mountains
John O’Hara- Appointment in Samarra, Butterfield 8
Cynthia Ozick- The Puttermesser Papers
Ann Petry- The Street, The Narrows
Thomas Pynchon- Gravity’s Rainbow, Vineland
Ayn Rand- Anthem, Atlas Shrugged, The Fountainhead, We, the Living
J. D. Salinger- The Catcher in the Rye
Leslie Marmon Silko- Ceremony, Almanac of the Dead
Wallace Stegner- Angel of Repose, The Spectator Bird
William Styron- The Confessions of Nat Turner, Sophie’s Choice, The Long March
Amy Tan- The Joy Luck Club, The Kitchen God’s Wife, Saving Fish from Drowning
Walker Percy- The Moviegoer, The Last Gentleman, The Second Coming, Love in the Ruins, The Thanatos Syndrome,
John Kennedy Toole- A Confederacy of Dunces
John Updike- any of his novels
Gore Vidal- Burr
Kurt Vonnegut, Jr.- Slaughterhouse Five, Player Piano, Cat’s Cradle, Deadeye Dick, Mother Night,
Jailbird, Slapstick, Welcome to the Monkey House
Alice Walker- The Color Purple, The Temple of My Familiar
Margaret Walker- Jubilee
Tom Wolfe- Bonfire of the Vanities
David Foster Wallace- Infinite Jest
Richard Yates- Revolutionary Road
James Jones- From Here to Eternity
Isaac Bashevis Singer- Gimpel the Fool and Other Stories
Tillie Olsen- Tell Me A Riddle
Jean Stafford- Collected Stories of Jean Stafford
Richard Ford- The Sportswriter, Independence Day, Rock Springs (a collection of short stories)
John Pipkin- Woodsburner
David Benioff- City of Thieves
Marilynne Robinson- Housekeeping, Gilead, Home
Jonathan Franzen- Freedom: a Novel, The Corrections
John Irving- A Prayer for Owen Meany, Cider House Rules, The Hotel New Hampshire, The World
According to Garp
Annie Proulx- The Shipping News
Paul Theroux- The Lower River, The Mosquito Coast, The Elephanta Suite, My Other Life, My Secret
History, O-Zone, Millroy the Magician Modernism/Post-Modernism Period-Nonfiction William Alexander Percy- Lanterns on the Levee
Ernest Hemingway- A Moveable Feast
Black Elk- Black Elk Speaks
Studs Terkel- Working
Gertrude Stein- The Autobiography of Alices B. Toklas
John Steinbeck- Travels With Charley in Search of America
Richard Wright- Black Boy
Maya Angelou- I Know Why the Caged Bird Sings
John Agee- Let Us Now Praise Famous Men
Truman Capote- In Cold Blood
John Hersey- Hiroshima
Jack Kerouac- The Dharma Bums
N. Scott Momaday- The Way to Rainy Mountain
John Gardner- On Moral Fiction, On Becoming a Novelist
Richard Rodriguez- Hunger of Memory
Rachel Carson- Silent Spring
Mike Rose- Lives on the Boundary, Possible Lives, Why School
Tom Wolfe- Radical Chic and Mau-Mauing the Flak Catchers, The Right Stuff, The Pumphouse Gang, The Electric Kool-Aid Acid Test, From Bauhaus to Our House, The Kandy-Kolored Tangerine-Flake Streamline Baby,
Malcolm X (as told to Alex Haley)- The Autobiography of Malcolm X
H. L. Mencken-The American Language
William Carlos Williams- In the American Grain
Joseph Campbell- The Hero with a Thousand Faces
Annie Dillard- Pilgrim at Tinker Creek
Michael Herr- Dispatches
M. F. K. Fisher- The Art of Eating
Vine Deloria, Jr.- Custer Died for Your Sins
bell hooks- Aint’ I a Woman: Black Women and Feminism
Joan Didion- Slouching Toward Bethelem
Maxine Hong Kingston- The Woman Warrior: Memoirs of a Girlhood Among Ghosts
Li-Young Lee- The Winged Seed: A Remembrance
Gore Vidal- The United States: Essays 1952-1992
Ruth Reichl- Tender at the Bone
Marilynne Robinson- Mother Country, The Death of Adam
Dan Koeppel- Banana, To See Every Bird on Earth
Paul Theroux- The Great Railway Bazaar, The Tao of Travel, Riding the Iron Rooster: By Train Through China, The Old Patagonian Express, Sunrise with Seamonsters
Walker Percy- Lost in the Cosmos, The Message in the Bottle, Signposts in a Strange Land
Katherine Boo- Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity
American Poets from the Various Literary Periods-For Extra Credit Anne Bradstreet- The Tenth Muse Lately Sprung Up in America or any collection of her
Phillis Wheatley- Poems on Various Subjects, Religious and Moral or any complete
collection of her poems
Walt Whitman- Leaves of Grass or any collection
John Greenleaf Whittier- any collection
Emily Dickinson- The Poems of Emily Dickinson or any collection
Henry Wadsworth Longfellow- any collection of his poems
Sidney Lanier- any collection
Paul Lawrence Dunbar- The Complete Poems or any collection
Hart Crane- Collected Poems or White Buildings or The Bridge
Edgar Allan Poe- any collection of his poetry
William Cullen Bryant- any collection of his poetry (but must contain “Thanatopsis” and
“To a Waterfowl”)
Langston Hughes Amy Lowell Robert Frost Carl Sandburg
Sylvia Plath Wallace Stevens William Carlos Williams
Countee Cullen Ezra Pound H.D. Robinson Jeffers
Robert Frost Marianne Moore Elizabeth Bishop Jean Toomer
T. S. Eliot Edna St. Vincent Millay Louise Bogan Hart Crane
Allen Tate John Berryman Randall Jarrell Gwendolyn Brooks
Robert Lowell James Dickey Richard Wilbur Denise Levertov A. R. Ammons
Allen Ginsberg W. S. Merwin James Wright Anne Sexton Adrienne Rich
Amiri Baraka Wendy Rose Joy Harjo Rita Dove Cathy Song Billy Collins
Ishmael Reed Simon Ortiz Maya Angelou e.e. cummings Gary Snyder
Galway Kinnell Robert Bly Archibald MacLeish Dana Gioia Alan Dugan
Stephen Vincent Benet Nikki Giovanni Charles Bukowski Robert Creeley
William Stafford Theodore Roethke Lawrence Ferlinghetti Naomi Shihab Nye
NON-AMERICAN POETS WHOSE WORKS YOU MAY CHOOSE FROM FOR EXTRA CREDIT
(Read Prior Instructions Regarding This Very Closely)
W. H. Auden Elizabeth Barrett Browning Li Po Lord Byron Milton
William Butler Yeats Samuel Taylor Coleridge John Donne William Shakespeare
Pablo Neruda Charles Baudelaire Rimbaud Siegfried Sassoon Seamus Heaney
Ted Hughes T. S. Eliot Alfred Lord Tennyson John Keats William Blake
Rainer Marie Rilke Matthew Arnold Guillaume Apollinaire Robert Browning
Jorge Luis Borges Andre Breton Khalil Gibran Rudyard Kipling
Nimah Nawwah Wole Soyinka Percy Bysshe Shelley Dylan Thomas
Paul Valery Paul Verlaine William Wordsworth Yevgeny Yevtushenko
POSSIBLE SENTENCES FOR RESPONSE NOTEBOOKS
As you read your novel/essays/nonfiction, you will respond in your notebook with one and a half to two single-spaced pages. Here are some possible sentences that might help you to articulate your response. They are merely suggestions; you respond in the manner you think best, but remember, it is not a summary or a book report. It is you interacting with the text in an intelligent, thought-provoking way. Be sure to mark the page numbers in each response.
I think . . .
I wonder . . .
This reminds me of . . .
This scene (object, character) symbolizes . . .
I feel uncomfortable . . .
I wish . . .
I sympathize with . . .
I like (dislike) the part . . .
I agree (disagree) . . .
My attitude is different . . .
I did not understand the part . . .
I predict . . .
I am afraid . . .
This book is unusual because . . .
This seems to foreshadow . . .
This part is juxtaposed . . .
I was impressed by the phrase (or line) [insert quote here], suggesting . . .
The irony here is . . .
The most important rule for you to remember is that there is no right or wrong answer as long