Tuesday

 Today we will discuss The English Patient and the upcoming poetry test.

POETRY TEST: THINGS TO KNOW


Forms:
Structure, line breaks, how the poem looks, rhyme and rhythm and how it is created
Blues, Sestina, Villanelle, Pantoum, Sonnet (English, Italian), quatrain, tercets, couplets, litany.

Poems:
“Love Song of J. Alfred Prufrock” “Home Burial” “ “The Flea” “My Last Duchess” “The Waste land” “To His Coy Mistress”,  “Nani” “The Colonel” “One Art” “Fern Hill” “The Waking” “My Mistress’ Eyes” “The Second Coming” 

The English Patient - ASSIGNMENT
(This assignment should equal about 20 pages)

This particular writing project requires you to read and write an in depth style analysis of a challenging work of literary merit. Due to the independent nature of the project, you will need to be vigilant in completing all of the tasks required because I will not be reminding you every week to work on this. There are two parts to this assignment. First, there is a dialectical journal you must keep while reading your novel (the guidelines for that journal will be provided separately) . Second, you must complete all of the sections detailed in this document.

For this project, you need to write about each of the areas below. For the sake of clarity and organization, please make sure that each of your sections has the proper heading, and that the sections are dealt with in the order in which they are listed on this assignment sheet. Due to the nature of this research paper you do not need to provide transitions between the different sections, you merely need to provide the heading. This assignment must be typed, with a standard 12 point Times New Roman font, and 1.5 spaced. The cover sheet should contain your name, class period, and date submitted. All of the standards for proper conventions are expected. A paper that has a distracting number of errors will only be eligible to receive a “C” or lower.

Each section has a series of questions that are meant to stimulate your thinking and writing. They are not intended to be answered in order, but instead are intended merely to act as a guide for your analysis.

One last important note: FOR EACH SECTION, make sure that you connect your commentary both to DIRECT TEXT EXAMPLES (always cited with the correct page number!) as well as to the NOVEL AS A WHOLE. Only papers that accomplish this will receive an “A” grade.

1. THE AUTHOR AND HER/HIS TIMES: Biographical and historical information pertinent to the novel. What important family, community, national, and world events helped inform this material? Do not provide an exhaustive biography; merely provide those details that can be directly linked to the novel in a manner that is convincing. This is one of the few sections that will require some outside research, so please remember to cite your source(s).

2. FORM/STRUCTURE, PLOT: How is the novel organized and what techniques are used? Discuss techniques such as sequencing, multiple, complex, or simple plot, foreshadowing, chapter choices. Then, provide a BRIEF outline of the events of the plot (no more than 200 words). For some modern novels, the plot may be difficult to describe succinctly – but try to do it anyway. When you discuss structure, remember that you need to discuss the effect of the intentional internal arrangement of parts.

3. POINT OF VIEW/ PERSPECTIVE: From what vantage point does the reader receive the information? Is the perspective reliable, or is it highly subjective? How are important ideas received? Is there an agenda that the narrator seems to have, either consciously or subconsciously? Does the perspective shift, and if so, to what end? Are characters explicit in their dialog, or does on omniscient narrator fill the reader in concerning the larger issues? Why is the perspective used particularly effective for this novel?

4. CHARACTER: Are each of the characters highly developed, or is most of the writing devoted to one character? Do you learn about them through what is not included in the text? How is character revealed for the most part? Is through what they say? What they do? What they wear? What they think? The people with whom they associate? What the narrator says about them? How complex are the people that you meet? Describe the central characters including what you find out about their names, ages, physical descriptions, personalities, functions in the novel – in other words, the responses to the questions asked in the preceding sentence. Also include one short quotation that reveals their character, and explain why the quote reveals character.


5. SETTING: Where and when does the novel occur? How many locations are described? Are there connections between the setting(s) and character(s)? How is the atmosphere described? Are there any important settings that contrast or parallel each other? Why is this setting so effective in supporting the ideas in the novel as a whole? Conversely, if the setting is ambiguous, what details seem most important and what is the effect of the ambiguity? Why is this story best told in this setting? When discussing setting, remember that it does not only mean the geographical location (topography, scenery) but also the cultural backdrop, social context, and the artificial environment (rooms, buildings, cities, towns) as well.

6. THEME: Identify one major theme (a central or controlling idea) and explicate the theme using specific moments from the text, either paraphrased or directly quoted. What is the abstract concept being addressed and what is the evaluation of that concept through the text? Are there any “universal” truths are revealed, supported, or challenged by this theme? Be aware that a theme cannot be expressed in a single word, and with complex works of literary merit the elucidation of a theme requires a full paragraph or more. Also note that the theme is rarely stated explicitly, but rather is implicit. Remember that a theme has TWO (2) PARTS: An abstract concept AND the author’s commentary on or evaluation of that concept through the text.

7. CRITICAL REVIEW: Find one critical review (not a Cliffs Notes or similar source) of you novel and offer your opinion of the critic’s analysis in two or three paragraphs. Attach a copy of the critical review to your paper, and cite it directly. When expressing your response to the review, be specific in your discussion. If you agree, then explain why and carry the argument beyond what the critic pointed out. If you disagree, provide support for your position from the text.

8. DICTION: Analyze the novelist’s word choice. Is the language high or formal, neutral, informal? Does the novelist employ slang(faddish words)? Colloquialisms (nonstandard regional ways of using language(like someone from Boston asking where you “paah-ked yeh caaah”)? Jargon (language associated with a particular trade)? Dialect (think Tom Sawyer)? Is the language plain? Flowery? Concise? Vulgar? Dense? Elevated? Select a passage that illustrates your observations and discuss this passage directly.

10. TONE: What is the author’s attitude towards the subject of the novel? Discuss how the author creates the tone you identified through a variety of vehicles including plot, characterization, setting, and anything else that contributes to tone. Use specific text examples to support your findings.

11. TITLE: Why is this title so appropriate for the novel? Does it have literal or symbolic significance? Does it actually appear in the novel, and if so, what is the situation? Is the title an allusion, and if so, why would the title include this allusion? Does the title implicitly connect to the theme of the work?

12. MEMORABLE QUOTE: Choose and type out one quotation that you believe to be significant or noteworthy. Please explain your choice. Is it an especially moving moment? Is it especially well-written? Why does this quote stand out for you?

13. PERSONAL RESPONSE: What did you enjoy about the novel and why? What did you not enjoy about the novel and why? Are you eager to read another novel by this author? Would you recommend this novel to a friend? Make a case for either adding the novel to the AP curriculum, or give reasons why it should not be a part of this course.




In order to prepare you to write the above - you'll need to keep a dialectical journal of these that you find interesting.  If you don't know what a dialectical journal is - I'll explain:

Effective students have a habit of taking notes as they read. This note-taking can several forms: annotation, post it notes, character lists, idea clusters, and many others. One of the most effective strategies is called a dialectical journal. The word “dialectical” has numerous meanings, but the one most pertinent is the “art of critical examination into the truth of an opinion” or reworded “The art or practice of arriving at the truth by using conversation involving question and answer.” As you read, you are forming an opinion about what you are reading (or at least you are SUPPOSED to be forming an opinion). That opinion, however, needs to be based on the text – not just a feeling. Therefore, all of your opinions need to be based on the text.

The procedure is as follows:

1. Either in your textbook or in a spiral notebook and draw a line down the center of each page of the notebook or on your computer. NOTE: I expect you to publish these journal entries on your blogs nightly and number them as you go.

2. As you read, pay close attention to the text.

3. Whenever you encounter something of interest (this could be anything from an interesting turn of phrase to a character note), write down the word/phrase in the LEFT HAND COLUMN making sure that you NOTE THE PAGE NUMBER. If the phrase is especially long just write the first few words, use an ellipsis, then write the last few words.

4. In the RIGHT HAND COLUMN, WRITE YOUR OBSEVRATIONS ABOUT THE TEXT you noted in the left-hand column. This is where you need to interact in detail with the text. Make sure that your observations are THOROUGH, INSIGHTFUL, and FOCUSED CLEARLY ON THE TEXT.

Requirements:

1) For The English Patient you will need to complete a MINIMUM of 55 entries if you wish to be eligible for an “A”. 35 is the minimum for a passing grade. Make sure you number your entries.
2) A completed dialectical journal should be brought to class each day a reading assignment is due. 

When should you write things down?
• When certain details seem important to you
• When you have an epiphany
• When you learn something significant about a character
• When you recognize a pattern (overlapping images, repetitions of idea, details, etc.)
• When you agree or disagree with something a character says
• When you find an interesting or potentially significant quote.
• When you notice something important or relevant about the writer’s style.
• When you notice effective uses of literary devices.
• When you notice something that makes you think of a question

That is all there is to it. This way, once you have read your text you will already have a great set of notes on which to draw when you write your paper. You also should have gained a great deal of insight about your particular text.



Grading (based on 55 entries, if you have 45 entries an A= B, B= C, 35 entries A=C)

A—Detailed, meaningful passages, plot and quote selections; thoughtful interpretation and commentary about the text; includes comments about literary elements (like theme, diction, imagery, syntax, symbolism, etc.) and how these elements contribute to the meaning of the text; asks thought-provoking, insightful questions; coverage of text is complete and thorough; journal is neat, organized, numbered and readable.
B—Less detailed, but good selections; some intelligent commentary about the text; includes some comments about literary elements (like theme, diction, imagery, syntax, symbolism, etc.) but less than how these elements contribute to the meaning of the text; asks some thought-provoking, insightful questions; coverage of the text is complete and thorough; journal is neat, organized, numbered and readable.
C—A few good details about the text; most of the commentary is vague, unsupported or plot summary/paraphrase; some listing of literary elements, but perhaps inadequate discussion, but not very thoroughly; journal is relatively neat.
D—Hardly any good or meaningful details from the story; notes are plot summary or paraphrase; few literary elements, virtually no discussion on meaning; no good questions; limited coverage of text, and/or too short.   

Reading Schedule:

10/11 page 27
10/15 page 48
10/16 page 69
10/17 page 131
10/21 page 147
10/22 page 159
10/23 page 179
10/24 page 205
10/25 page 227
11/4 page 248
11/5 page 263
11/6 page 282
11/7 FINISHED
11/8 Dialectical Journals FINISHED

THEMES to think about or consider:

* The Effects of War
* Identity (Do any of these people completely know who they are?)
* The Power of Stories/The Power of Words
* Colonialism/Imperialism
* What does it mean to be human?  What will a person do for their passions?
* The destructive nature of WWII
* Connections between people during stressful times 
* Racism - West vs East

CHARACTERS:

Hana (a nurse)
Caravaggio (a former thief put in the secret service)
Kip (an Indian sapper who defuses bombs for the English Army)
The English Patient (?)

Setting - Italy, 1944/1945

What do you need to know about Italy during WWII?  What do you get from the title?  Do you see any allusions?  

Michael Ondaatje was born in 1943 in Sri Lanka, moved to England in 1954, and then to Canada in 1962.

"Never again will a story be told as if it were only one" - This is one of Ondaatje's favorite quotes.
It is a moral imperative, isn’t it? Especially in current western politics, which seems so determined to cancel the multiplicity of viewpoints from all over the world, or at least to pretend that they don’t exist.  (this is from a recent interview with Ondaatje) and this is  - in part - what the novel is about.

 

The English Patient has been translated into 38 languages.  It is the book that established Michael Ondaatje.  

Dialectical Journals:

(From Adalia)

Journal 2 : Setting and Allusions (Chapter 1)

There are many important and underlying messages to be found within the house as well as the overall setting that the characters find themselves in in the beginning of the book. The house number - 124 - for example, is missing a 3, which may represent how Sethe’s third child was killed while the others remain living (in one way/place or another). The house itself is a representation of the third child - Beloved - who haunts it. The place is described as having a heavy, sad energy to it, and there is little to no color in or around the place. The house, although on a road referencing color (Bluestone Road) is gray and white. This may be a subtle nod to the colors of the two apposing armies in the Civil War - grey for the Confederacy, and white for the Union, which brings to attention the symbol of slavery and its effects, setting up the theme to appear repeatedly throughout the rest of the novel (for reference, the novel takes place in 1873, and the Civil War was from 1861-1865 with slavery being abolished legally in 1865). The name “Bluestone Road” may also represent water, or a river, again tying to themes of slavery and freedom. The story as a whole takes place in Cincinnati, Ohio, across the river from Kentucky - yet another nod to the conflicts of the Civil War and of slavery. The Ohio River in itself is a symbol for freedom and slavery as many slaves used it to escape from their servitude into free states such as Ohio. 

Ohio isn’t the only setting in the first chapter. As Sethe reminisces on her past, we’re taken to the Sweet Home plantation in Kentucky - again, across the river from Ohio and in a slave state - where Sethe used to live and work with five other men: Paul D. Garner, Paul F. Garner, Paul A, Garner, Halle Suggs, and Sixo. The plantation again brings to attention themes of slavery. 

_____________________________________________________________________________

Journal 3: Color (Chapters 1-5)

Color plays an interesting role in the lives of the characters in the novel, particularly with Baby Suggs and Beloved. In Chapter 1, which is told primarily from Sethe’s point of view, Baby Suggs repeatedly asks for more color in the room, something which Sethe doesn’t really understand. “Bring a little lavender in, if you got any. Pink, if you don’t (pg. 4).” she requests in the first chapter. In this chapter, pink is also tied to Beloved’s gravestone as Sethe notices the chips in her grave as the engraver works. Lavender, in a general sense, represents healing, cleansing, or calmness, reflecting the grandmother’s state in her old age. Color takes on a different meaning with the introduction of Paul D. as the chapter continues. When he first enters the house, he notes seeing “a pool of red and undulating [shifting] light that locked him where he stood (pg. 10).” This, in reference to Sethe’s killing of Beloved, could represent the bloodshed that occurred at the house. It also reinforces the heavy and almost angry feeling that the house holds. Thus far, warm tones (red and pink) have been used to represent and reinforce Beloved and her influence.

Sethe becomes conscious of this in Chapter 3, after Paul D. moves in, as she realizes how colorless and drab the house is, both inside and out. She notes, on page 46, that she must have been deliberately ignoring the lack of color “...because the last color she remembered was the pink chips in the headstone of her baby girl.” and on page 47 that “It was as though one day she saw red baby blood, another day the pink gravestone chips, and that was the last of it.” From this perspective, it’s almost as though her forgetting or losing of color in her life is representing by the fading of red to pink and finally to nothing.

With the return (or coming in general) of Beloved as a person in Chapter 5, Sethe begins to see color again, starting with the orange squares on the quilt in Baby Suggs’ bedroom where Beloved is staying. Beloved too seems enamored with the color, and is described as being “...totally taken with those faded scraps of orange (pg. 65),” so much so that Sethe adjusts the blanket for her to see it better.

(From Zoe)

Chapter One

The fog in "Bleak House" represents the ineffectiveness and lack of integrity in the Court of Chancery. Though the fog is literal in the way that the weather is bad and how London appears to be very gloom and doom, it is also a metaphor for the "fogginess" of the Justice system; more specifically, the lack of clarity the case of Jarndyce and Jarndyce has, since the founders of the case have long since passed, and now it sits on the shoulders of their grandchildren.

Chapter Two

This chapter is about the introduction of Lady Dedlock and the going-ons in her life. They also introduce a character named Mr. Tulkinghorn, who is very scary in the way that he knows everyone's secrets. During chapter two,  Lady Dedlock faints when she sees the handwriting on one of the documents Mr. Tulkinghorn brings to her. This could be a foreshadow to something relevant in the J&J case because back then, everything was handwritten so you got to know everyone's individual style- especially that of your loved ones. This foreshadows a connection between this frivolous character and someone mentioned in the telling of Esther's life.

Chapter Three

A bit of irony abounds with the introduction of one of the dueling narrators- Esther Summerson. I think it's interesting that Dicken's chose a self-depricating, humble, kind girl as a main character, considering she doesn't have the personality of someone who would even dream of talking about her experiences. In my opinion, he created a very biased character (thinking the best of everybody and their actions) which may come in handy later in the story.