Literature Unit Overview Lois Lowry’s The Giver

Abstract This unit includes a high degree of collaboration, autonomy, choice, and reflection. Its

foundation is a whole-class novel (The Giver) shared in small groups with an emphasis on interpretation

and expression. The unit's objectives focus on 1) leading students to make personal connections among

themselves, the novel, and the world in which they live; and 2) encouraging students to creatively

articulate their insights. Because adolescents constantly adjust their ideas and understandings as new

information is received and experienced, the overarching aim of this unit is for students to gain exposure

to a diverse pool of imaginations, opinions, and learning styles. The principal ways this unit seeks to

facilitate these learning experiences are through literature circles (role-sheets) and differentiated

learning activities. Further, to assist students with reading comprehension specific to the novel, the

unit includes two pre-reading activities, interspersed relevant focus lessons, a differentiated

spelling/vocabulary quiz based on words found in the novel by each group, and an after-reading fan

fiction writing exercise.

The Giver generally is appropriate for students in the 7th grade, but the methods and materials

in this unit can be used for any secondary classroom with grade-level texts and adjusted expectations for

complexity and mechanics. Indeed, the activities of this unit challenge students to think about abstract

concepts in ways that allow them construct meaning based on their own prior knowledge and life

experiences, which is sound pedagogy for all grade and ability levels.

Goals The overall objectives of this unit are for students to

� read, enjoy, and discuss The Giver.

� complete all associated tasks for each of the six literature circle roles.

� interpret the concepts of diversity, choice, wisdom, freedom, history, humanity (and others

students may identify), as they relate to The Giver and to their own lives personally and socially.

� use speaking and listening skills effectively and appropriately in order to arrive at meanings,

challenge thinking, and expand literary considerations while discussing concepts, issues, opinions,

and ideas related to The Giver.

� continue developing as a classroom community of thinkers and learners, respectful of views other

than their own.

� formulate questions as a way to explore and expand their existing knowledge of the issues raised

during discussions of The Giver.

� use illustrations and writing as a way to explore questions raised by or interpretations formed in

response to textual themes or issues.

� creatively present one or more character, issue, theme, moral, idea, or concept from The Giver.

� summarize the perspective of different characters using both explicit and implicit evidence from

the text.

� integrate technological tools in order to enhance communication.

� practice reflective thinking.

� research and compare one or more issue from the novel with real life.

� empathize with various issues, themes, and concepts raised by the text.

Common Core State Standards Addressed (CCSS ELA 7)

The following common core state standards for seventh-grade are addressed through the literature circle

roles, learning activities and presentation, spelling/vocabulary study guides, and culminating fan fiction

writing exercise.*

� RL.7.1. Cite several pieces of textual evidence to support analysis of what the text says explicitly

as well as inferences drawn from the text. (literary text)

� RL.7.3. Analyze how particular elements of a story or drama interact (e.g., how setting shapes

the characters or plot).

� RL.7.4. Determine the meaning of words and phrases as they are used in a text, including

figurative and connotative meanings; analyze the impact of rhymes and other repetitions of

sounds (e.g., alliteration) on a specific verse or stanza of a poem or section of a story or drama.

� RL.7.6. Analyze how an author develops and contrasts the points of view of different characters

or narrators in a text.

� RI.7.1. Cite several pieces of textual evidence to support analysis of what the text says explicitly

as well as inferences drawn from the text. (Informational text)

� W.7.1b. Support claim(s) with logical reasoning and relevant evidence, using accurate, credible

sources and demonstrating an understanding of the topic or text.

� W.7.1e. Provide a concluding statement or section that follows from and supports the argument

presented.

� W.7.2a. Introduce a topic clearly, previewing what is to follow; organize ideas, concepts, and

information, using strategies such as definition, classification, comparison/contrast, and

cause/effect; include formatting (e.g., headings), graphics (e.g., charts, tables), and multimedia

when useful to aiding comprehension.

� W.7.2b. Develop the topic with relevant facts, definitions, concrete details, quotations, or other

information and examples.

� W.7.2d. Use precise language and domain-specific vocabulary to inform about or explain the

topic.

� W.7.2f. Provide a concluding statement or section that follows from and supports the

information or explanation presented.

� W.7.3a. Engage and orient the reader by establishing a context and point of view and introducing

a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

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Reading (RL, RI)

Writing (W)

Listening & Speaking (SL)

Language (L)

� W.7.3b. Use narrative techniques, such as dialogue, pacing, and description, to develop

experiences, events, and/or characters.

� W.7.3c. Use a variety of transition words, phrases, and clauses to convey sequence and signal

shifts from one time frame or setting to another.

� W.7.3d. Use precise words and phrases, relevant descriptive details, and sensory language to

capture the action and convey experiences and events.

� W.7.3e. Provide a conclusion that follows from and reflects on the narrated experiences or

events.

� W.7.4. Produce clear and coherent writing in which the development, organization, and style are

appropriate to task, purpose, and audience.

� W.7.6. Use technology, including the Internet, to produce and publish writing and link to and cite

sources as well as to interact and collaborate with others, including linking to and citing sources.

� W.7.7. Conduct short research projects to answer a question, drawing on several sources and

generating additional related, focused questions for further research and investigation.

� SL.7.1a. Come to discussions prepared, having read or researched material under study;

explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe

and reflect on ideas under discussion.

� SL.7.1b. Follow rules for collegial discussions, track progress toward specific goals and deadlines,

and define individual roles as needed.

� SL.7.1c. Pose questions that elicit elaboration and respond to others’ questions and comments

with relevant observations and ideas that bring the discussion back on topic as needed.

� SL.7.1d. Acknowledge new information expressed by others and, when warranted, modify their

own views.

� SL.7.4. Present claims and findings, emphasizing salient points in a focused, coherent manner

with pertinent descriptions, facts, details, and examples; use appropriate eye contact, adequate

volume, and clear pronunciation.

� L.7.4a. Use context (e.g., the overall meaning of a sentence or paragraph; a word’s position or

function in a sentence) as a clue to the meaning of a word or phrase.

� L.7.4c. Consult general and specialized reference materials (e.g., dictionaries, glossaries,

thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify

its precise meaning or its part of speech.

� L.7.4d. Verify the preliminary determination of the meaning of a word or phrase (e.g., by

checking the inferred meaning in context or in a dictionary).

� L.7.5c. Distinguish among the connotations (associations) of words with similar denotations

(definitions) (e.g., refined, respectful, polite, diplomatic, condescending).

� L.7.6. Acquire and use accurately grade-appropriate general academic and domain-specific words

and phrases; gather vocabulary knowledge when considering a word or phrase important to

comprehension or expression.

* In addition to the cited standards, which apply to the lessons and assessments undertaken by all students, other

standards may be met and assessed individually as students choose their own demonstrations of learning. For

example, a student who chooses to write a newspaper editorial in response to a project’s theme will work on

establishing and maintaining a formal style (W.7.1d); likewise, students who incorporate a PowerPoint slideshow,

video, chart/graph, etc. into their presentations will be using multimedia components/visual displays as a way to

clarify salient points of their analyses (SP.7.5). Neither of these possible standards is included in the above list,

although the learning activities potentially address each.

Schedule Items appearing in red are included in the Selected Focus Lessons section.

Monday Tuesday Wednesday Thursday Friday

Week 1

Day 1 ~ Introduction to the unit: Review of outcomes, expectations, activities, & due dates ~ Pre-reading class activity I

Day 2 ~ Pre-reading class activity II DUE: Signed parent letter DUE: Learning activities choices DUE: Signed literature circle acknowledgement

Day 3 ~ Literature circle meeting #1

Day 4 ~ Focus lesson: Class wiki, digital etiquette ~ Open work time (any activity related to the unit or spelling/vocab for the week)

Day 5 ~ Spelling/Vocab quiz (list #13) ~ Literature circle meeting #2 DUE: S/V list #13 study guide

Week 2

Day 6 ~ Literature circle meeting #3

Day 7 ~ Focus lesson: Euphemisms ~ Open work time (any activity related to the unit or spelling/vocab for the week) DUE: Sign up for a conference day

Day 8 ~ Literature circle meeting #4

Day 9 ~ Focus lesson: Sensory language ~ Open work time (any activity related to the unit or spelling/vocab for the week) ~ Teacher/student one-on-one conferences

Day 10 ~ Spelling/Vocab quiz (list #14) ~ Literature circle meeting #5 DUE: S/V list #14 study guide DUE: Journal responses #1 & #2

Week 3

Day 11 ~ Focus lesson: Fan fiction & flash fiction ~ Open work time (any activity related to the unit or spelling/vocab for the week) ~ Teacher/student one-on-one conferences DUE: Snowy day illustration DUE: Indicate working alone or with partner for final project

Day 12 ~ Literature circle meeting #6 (final) DUE: Bring five "what-if" or "why" questions about The Giver to share with the class

Day 13 ~ Focus lesson: Ambiguous story endings ~ Open work time (any activity related to the unit or spelling/vocab for the week) ~ Teacher/student one-on-one conferences DUE: Completed literature circle packet DUE: Indicate which learning activity will be presented DUE: Confidential Wiki screen name

Day 14 ~ Open work time (any activity related to the unit or spelling/vocab for the week) ~ Teacher/Student one-on-one conferences DUE: Fan fiction story idea

Day 15

~ Spelling/Vocab quiz (list #15) ~Voluntary student presentations (extra credit) DUE: S/V list #15 study guide DUE: Journal responses #3 & #4

Week 4

Day 16 ~ Student presentations: Group A ~ Fan fiction finishing touches work time in the media center: Group B

Day 17 ~ Student presentations: Group B ~ Fan fiction finishing work time in the media center: Group C

Day 18 ~ Student presentations: Group C ~ Fan fiction finishing work time in the media center: Group A

Day 19 ~ In-class peer reading and response on at least one fan fiction piece posted to the wiki DUE: Flash fan fiction writing exercise posted on class wiki before the start of class

Day 20

~ Spelling/Vocab quiz (The Giver) ~ Class discussion: Final thoughts DUE: S/V The Giver study guide DUE: Journal response #5

Literature Unit Selected Focus Lessons

The Giver Day 1

Pre-Reading Activity I: Reaction Guide

“How do I feel about society as I know it?”

Overview The first part of this introductory day is spent on a class activity designed to get students thinking about

how they feel when confronted with controversial questions based on important concepts addressed in

The Giver. These will be passed back on the last day of the unit for students to revisit and discuss their

initial responses. The remaining time is spent setting students' expectations for the unit by handing-out

and reviewing the schedule, the learning activities agreement, the literature circle packet, the after

reading exercise, and how the projects and unit will be evaluated.

Lesson Objectives � Use the reaction guide to focus on key social issues explored in The Giver

� Explain personal opinions relating to the social concepts raised by the reaction guide

� Demonstrate respect for the opinions of others

Procedure 1. The bellwork for the first day is a journal writing prompt that asks students to list distinctive

memories, both pleasant and unpleasant, and identify the emotion they felt during/feel about the

experience. Writers are then challenged to explore why they would or wouldn't choose to forget

negative memories if it also meant forgetting positive memories. To support and extend this exercise,

write the aphorism Ignorance is bliss on the board or project it on the smartboard before students enter

the room.

2. To start instruction, call students' attention to the saying and ask for a count of who has heard the

expression. Take a few volunteers to describe what they think it means. The supported answer should

relate to the idea that not knowing about difficult or painful situations, comments, circumstances, etc.

means we do not have to think about unpleasant things, and if we do not think about unpleasant things,

we can continue living happily.

3. Offer this follow-up thought for students to consider: Not knowing about the difficulties of life

doesn't mean the difficulties cease to exist. So, if these parts of our life continue to exist—and yet we

ignore them—how does change happen? How can progress be made? Offer an example from history that

demonstrates society addressing a problem and effecting a beneficial change, such as, Upton Sinclair's

1906 book The Jungle. In this example, point out that Sinclair's book was instrumental in showing

society the unsafe and unsanitary practices at American meat-packing plants and also the terrible

conditions of poverty that immigrants and low wage workers dealt with in the cities. Ask students if

they know what happened as a result of people being made aware of these unpleasant conditions? If

not, solicit best guesses. Tell or affirm to the class that several acts were passed by congress dealing

with both employment laws and those affecting food and safety standards.

4. Pass out the reaction guide (printed on the back of this page) and give students time to record their

answers.

5. Facilitate a discussion about students' responses, allowing students to choose the order of the

discussion questions to ensure that the one considered most controversial have time to be discussed.

6. Finish the class by handing out (or having students navigate to the editable online documents) and

reviewing the unit materials.

Name:________________________________________ Date:______________________ Class/Hour:___________

The Giver Reaction Guide

Based on what you know or think about society, answer the questions below. Circle either

Agree or Disagree and then explain your answer in one or two sentences in the shaded area.

1. Agree Disagree A society without competition, unemployment, hunger, and jealousy would be an ideal state in which to live.

Explain:

2. Agree Disagree Parents could raise their children much better if they did not love them so much.

Explain:

3. Agree Disagree We should not have to carry bad memories in our heads. It would be much better

if all bad things were forgotten.

Explain:

4. Agree Disagree Color, weather, and music are not really necessary things in life; they are simply frills, and we could do just as well without them.

Explain:

5. Agree Disagree People who are born inferior to others (disability etc.) and persons who have become too old to be of any use in the workplace should be quietly put to death.

Explain:

6. Agree Disagree If society could just pick our occupation for us at the age of 12, it would be much simpler and help us avoid making hard choices about how to spend our lives.

Explain:

7. Agree Disagree Families should not be allowed to have more than two children.

Explain:

The Giver Day 2

Pre-Reading Activity II: Carousel

“What do we know or think we know about…?”

Overview In preparation for evaluating the fictional world students will encounter in The Giver, this class is

primarily devoted to activating students' prior knowledge of the novel's major concepts and to providing

them with an opportunity to construct and reflect on their own definition of the perfect society. These

goals will be facilitated by a carousel brainstorming session and subsequent whole-class discussion.

Additionally, part of this class is reserved for answering follow-up questions students may have regarding

the unit, such as expectations, activities, grading, etc.

Lesson Objectives � Define the concepts of feelings, diversity, rights, choices, history, and society based on their

prior knowledge and life experiences

� Define utopia

� Recognize that conflicts exists even among necessary utopian characteristics

� Explore how the concepts of feelings, diversity, rights, choices, history, and society relate to the

functioning of community

� Demonstrate respect for the opinions of others

Procedure 1. Before students enter the room, tape large pieces of chart paper, numbered one to six, on the walls

creating six stations. Each one will have on it a concept related to The Giver, which students will

discuss, in turn, among their home group peers: feelings, diversity, rights, choices, history, and society.

Have written or projected on the smartboard: How do you imagine the perfect society?

2. As students arrive, hand each person a slip of paper with a number pre-written on it ranging from

one to six and instruct them to stand in front of the chart paper that has their number shown. All of

the ones, twos, threes, etc. will get together to form small groups of approximately five students each.

3. Each group will choose a person to be the writer, and that person will be given a colored marker to

record his or her respective group's ideas about each concept on the appropriate piece of chart paper.

Each group will have a distinctive color and will keep that color as they move from station to station.

4. Instruct students to begin the carousel: Each group will discuss the word noted on their station's

chart paper and then write down everything they know or think they know about that concept.

5. After about four minutes, have the groups rotate to the next station (the group starting at station six

will progress to station one) where they will read and discuss that concept along with the ideas or

questions the previous group(s) has/have written. They will then add new ideas to the list or pose

questions about another group's thoughts. This process will continue until each group is back to its

original station, having commented on all six concepts.

6. Once the students have returned to their seats, pick out key points or questions for a whole-class

discussion, asking students to elaborate on the original comments or asking follow-up questions wherever

it makes sense. Guide students to discuss how these concepts function within a society and how they fit

into their own visions of a utopic community (making sure that students recognize that utopia means an

ideal community or society possessing a flawless socio-politico-legal system). Ask students how there

can be a perfect society if the definition of perfect varies from person to person. How could we get

everyone to agree and thus reach a utopic state? Be sure to raise some of the pathways presented in the

novel, such as suppressing feelings of attraction/love, climate control, equal amounts and kinds of food

for everyone alike, precise language to avoid ambiguity, and non-negotiable, assigned jobs that benefit

the whole community.

The Giver Day 7

Focus Lesson: Euphemisms

“How do euphemisms affect our interpretation of language?”

Overview Euphemisms are routinely used in everyday English to make harsh or direct words less offensive.

Consequently, it is important to explore how, why, and when we choose to soften our language. The

Giver offers its readers several euphemisms as an excellent jumping off point to start thinking about the

affect word choice has over the attitude and behaviors of a society. More than just direct instruction on

word-substitution, the goal of this lesson and activity is to raise students' awareness to the juxtaposition

in the novel of the Community's insistence of precise language even as it encourages the impreciseness

of euphemisms.

Lesson Objectives • Define a euphemism

• Identify examples of euphemisms

• Recognize the difference in connotation between a direct word and its euphemism

• Determine the meaning of euphemisms found in The Giver by placing them in context

Procedure 1. As students enter the room, have a close-up picture of a toilet projected on the smartboard (like the

one shown below on the left). Once class has started, ask for a volunteer to name the object in the

picture.

2. After receiving the answer toilet or commode, project a picture of a bathroom (like the one shown

above on the right). Ask for another volunteer to name the new object being shown. After receiving the

response bathroom or restroom, ask students why we don't call it a toilet room. Follow-up by

questioning students about why most of us prefer to say, please excuse me; I need to use the restroom

rather than, please excuse me; I need to use the toilet. After all, aren’t we usually going to use the

toilet more often than not? Wait for a response related to it is impolite to say toilet and then ask

students if they know the term we use to refer to the substitution in everyday conversation of the word

bathroom for the word toilet. If no one volunteers, tell students that when a mild or vague word or

expression is substituted for a more direct one it is called a euphemism.

3. Ask students to volunteer some of the euphemisms with which they may be familiar. To get students

started, ask them for some expressions they may have heard people use when speaking about someone's

death (examples include passed away, kicked the bucket, went to heaven, met his maker, came to the

end of the line).

4. Remind students that different words carry different connotations (students should already be

familiar with connotative and denotative meanings from their literature circle role sheet on vocabulary)

and the words we use to describe an object or situation can have a neutral, positive, or negative impact

on a reader or listener's interpretation of what we say or write. Offer the following sentences for

comparison:

� The model looks slender. (positive)

� The model looks thin. (neutral)

� The model looks scrawny. (negative)

5. Next, ask students if they agree or disagree that Jonas's community is very concerned with using

exact words. Most students should agree. Pivot to reading aloud two short exemplar passages from The

Giver demonstrating how Jonas's community encourages precision in language (both passages are printed

below and continue onto the back of this sheet).

6. Pass out the euphemisms worksheet (printed on the next page) and give students time to answer the

questions. (Ideally, students would open laptops, navigate to Google drive, and open/edit the writable

.pdf version of the exercise.) After ten minutes or so, have students pair up with the person next to

them to discuss their answers with one another. After a few minutes, ask for volunteers to share their

answers with the class. Ask follow-up questions to challenge students to consider the significance of

using euphemisms within a framework of precise speech (if in need, read aloud a reminder passage from

the novel, which is attached).

Read Aloud Passages: Precision of Language

Chapter 7, Pages 55-56 Poor Asher, who always talked too fast and mixed up words, even as a toddler. As a Three, eager

for his juice and crackers at snacktime, he one day said "smack" instead of "snack" as he stood waiting in

line for the morning treat.

Jonas remembered it clearly. He could still see little Asher, wiggling with impatience in the line.

He remembered the cheerful voice call out, "I want my smack!"

The other Threes, including Jonas, had laughed nervously. "Snack!" they corrected. "You meant

snack, Asher!" But the mistake had been made. And precision of language was one of the most important

tasks of small children. Asher had asked for a smack.

The discipline wand, in the hand of the Childcare worker, whistled as it came down across Asher's

hands. Asher whimpered, cringed and corrected himself instantly. "Snack," he whispered.

But the next morning he had done it again. And again the following week. He couldn't seem to

stop, though for each lapse, the discipline wand came again, escalating to a series of painful lashes that

left marks on Asher's legs. Eventually, for a period of time, Asher stopped talking altogether, when he

was a Three.

Chapter 9, Pages 71-72

He had been trained since earliest childhood, since his earliest learning of language, never to lie.

It was an integral part of the learning of precise speech. Once, when he had been a Four, he had said,

just prior to the midday meal at school, "I'm starving."

Immediately he had been taken aside for a brief private lesson in language precision. He

was not starving, it was pointed out. He was hungry. No one in the community was starving, had ever

been starving, would ever be starving. To say starving was to speak a lie. An unintentioned lie, of

course. But the reason for precision of language was to ensure that unintentional lies were never

uttered. Did he understand that? they asked him. And he had.

Chapter 1, Pages 3-4 (extra passage) Jonas grinned, remembering the morning that Asher had dashed into the classroom, late as usual,

arriving breathlessly in the middle of the chanting of the morning anthem. When the class took their

seats at the conclusion of the patriotic hymn, Asher remained standing to make his public apology as was

required. …

Asher ran through the standard apology phrase rapidly, still catching his breath. The Instructor

and class waited patiently for his explanation. … "I left home at the correct time but when I was riding

along near the hatchery, the crew was separating some salmon. I guess I just got distraught, watching

them. …

"I accept your apology, Asher," the Instructor said. He was smiling. "And I thank you, because

once again you have provided an opportunity for a lesson in language. Distraught' is too strong an

adjective to describe salmon-viewing." He turned and wrote "distraught" on the instructional board.

Beside it he wrote "distracted."

Name:________________________________________ Date:______________________ Class/Hour:___________

Thinking about the Use of Language in The Giver

EUPHEMISMS

(yoo-fa-mizzums)

There are some things people do not like to talk about because they might offend or hurt others.

In these cases we might use a euphemism to be more polite. A euphemism is the substitution of a mild or

neutral expression for one thought to be offensive, harsh, or blunt. For example, we might say to pass

away instead of to die.

In The Giver, Lois Lowry helps create an alternate world by having the community use words in a

special way. Although that world stresses what it calls precise speech, it is, in fact, built upon language

that deliberately clouds meaning. Consider what Jonas's community really means by the words listed

below and write your interpretation in the space provided, then answer the two questions that follow.

Do you think Jonas's community uses euphemisms to distance themselves from the reality of what the

above terms really mean? Explain.

What benefits and disadvantages are there to such a use of language?

release (page 2) feelings (page 4)

nurturer (page 7) stirrings (page 37)

replacement child (page 44) elsewhere (page 78)

The Giver Day 9

Focus Lesson: Sensory Language

“How does sensory language create vivid imagery for the reader?”

Overview Descriptive language that appeals to a reader's senses (sights, sounds, smells, tastes, feelings) helps

readers to become invested in a story. In The Giver, the transmissions of memories to Jonas are

described in terrific detail by Lois Lowry. The first transmission of snow and the elephant scene are just

two examples of the detailed, descriptive writing that provides imagery for the reader and allows us to

really experience what Jonas is experiencing. This mini-lesson and activity is intended to help students

visualize someone else's experience and then practice "transmitting" a memory of their own.

Furthermore, students must use oral comprehension skills to complete the activity, addressing speaking

and listening core standards.

Lesson Objectives � Recognize descriptive words from selected text passages

� Use adjectives and adverbs to create vivid imagery

� Speak in a clear voice using appropriate inflection

� Listen to a read aloud passage with courtesy and specific intent

Procedure 1. Prompt students to recall the scene from chapter 11 when The Giver transmits the pain of sunburn

to Jonas, who then feels he understands pain. Ask for a volunteer to describe The Giver's apparent

feelings about transmitting the memory (the accepted response should indicate that The Giver appears

sad and concerned). Next, ask students to think of memories that The Giver could transmit to Jonas

that would be far more painful than the sunburn. After about 30 seconds, take responses from

volunteers and probe their offerings with questions to elicit how their examples might feel (physically

and emotionally) and what they might taste, smell, sound, and/or look like.

2. Ask for a volunteer to identify the parts of speech mostly being used to describe these experiences

(the accepted responses are adjectives and adverbs and potentially nouns). If necessary, briefly explain

that adjectives modify nouns usually by answering the questions Which? How many? What kind of? and

that adverbs modify verbs mainly by answering the questions How? When? Where? Offer a few examples

to demonstrate adjectives and adverbs, such as The big, brown dog quickly chased me around the wet

field (adjectives = big, brown, wet; adverbs = quickly, around). Point out for students that nouns can

also act as adjectives, as in this sentence: Tuesday mornings are special in my family (Tuesday modifies

the noun morning, but is a noun itself). Also, clarify that for our purposes, we are paying attention to

all descriptive words, not just adjectives and adverbs.

3. Pass out the descriptive language worksheet (attached) and go over the instructions. Tell students to

listen to the passage from chapter 11 as it is being read aloud and to pick out and write down the

descriptive words they hear.

4. Read aloud from chapter 11 of The Giver (the excerpt follows this lesson plan) where Lowry

describes the transmission of two memories (snow/sledding and sunshine/sunburn) from The Giver to

Jonas.

5. Allow students time to complete the worksheet. After about fifteen minutes, pair students together

and allow about ten minutes for teams to complete the partnering exercise. Collect the worksheets as a

formative check for understanding.

Read Aloud Passage: Descriptive Language

Chapter 11, Pages 80-86 Snow/Sledding: [80] Jonas felt nothing unusual at first. He felt only the light touch of the old man's

hands on his back.

He tried to relax, to breathe evenly. The room was absolutely silent, and for a moment Jonas

feared that he might disgrace himself now, on the first day of his training, by falling asleep.

Then he shivered. He realized that the touch of the hands felt, suddenly, cold. At the same instant,

breathing in, he felt the air change, and his very breath was cold. He licked his lips, and in doing so, his

tongue touched the suddenly chilled air.

It was very startling; but he was not at all frightened, now. He was filled with energy, and he

breathed again, feeling the sharp intake of frigid air. Now, too, he could feel cold air swirling around his

entire body. He felt it blow against his hands where they lay at his sides, and over his back.

The touch of the man's hands seemed to have disappeared.

Now he became aware of an entirely new sensation: pinpricks? No, because they were soft and

without pain. Tiny, cold, featherlike feelings peppered his body and face. He put out his tongue again,

and caught one of the [81] dots of cold upon it. It disappeared from his awareness instantly; but he

caught another, and another. The sensation made him smile.

One part of his consciousness knew that he was still lying there, on the bed, in the Annex room.

Yet another, separate part of his being was upright now, in a sitting position, and beneath him he could

feel that he was not on the soft decorated bedcovering at all, but rather seated on a flat, hard surface.

His hands now held (though at the same time they were still motionless at his sides) a rough, damp rope.

And he could see, though his eyes were closed. He could see a bright, whirling torrent of crystals in the

air around him, and he could see them gather on the backs of his hands, like cold fur.

His breath was visible.

Beyond, through the swirl of what he now, somehow, perceived was the thing the old man had

spoken of-- snow-- he could look out and down a great distance. He was up high someplace. The ground

was thick with the furry snow, but he sat slightly above it on a hard, flat object.

Sled, he knew abruptly. He was sitting on a thing called sled. And the sled itself seemed to be poised at

the top of a long, extended mound that rose from the very land where he was. Even as he thought the

word "mound," his new consciousness told him hill.

Then the sled, with Jonas himself upon it, began to move through the snowfall, and he

understood instantly that now he was going downhill. No voice made an explanation. The experience

explained itself to him.

His face cut through the frigid air as he began the [82] descent, moving through the substance

called snow on the vehicle called sled, which propelled itself on what he now knew without doubt to be

runners.

Comprehending all of those things as he sped downward, he was free to enjoy the breathless glee

that overwhelmed him: the speed, the clear cold air, the total silence, the feeling of balance and

excitement and peace.

Then, as the angle of incline lessened, as the mound--the hill-flattened, nearing the bottom, the

sled’s forward motion slowed.

The snow was piled now around it, and he pushed with his body, moving it forward, not wanting

the exhilarating ride to end.

Finally the obstruction of the piled snow was too much for the thin runners of the sled, and he

came to a stop. He sat there for a moment, panting, holding the rope in his cold hands. Tentatively he

opened his eyes--not his snow-hill-sled eyes, for they had been open throughout the strange ride. He

opened his ordinary eyes, and saw that he was still on the bed, that he had not moved at all.

Sunshine/Sunburn: [84] "Lie quietly now. Since we've entered into the topic of climate, let me

give you something else. And this time I'm not going to tell you the name of it, because I want to test

the receiving. You should be able to perceive the name without being told. I gave away snow and sled

and downhill and runners by telling them to you in advance."

Without being instructed, Jonas closed his eyes again. He felt the hands on his back again. He

waited.

Now it came more quickly, the feelings. This time the hands didn't become cold, but instead

began to feel warm on his body. They moistened a little. The warmth spread, extending across his

shoulders, up his neck, onto the side of his face. He could feel it through his clothed parts, too: a

pleasant, all-over sensation; and when he licked his lips this time, the air was hot and heavy.

[85] He didn't move. There was no sled. His posture didn't change. He was simply alone

someplace, out of doors, lying down, and the warmth came from far above. It was not as exciting as the

ride through the snowy air; but it was pleasurable and comforting.

Suddenly he perceived the word for it: sunshine. He perceived that it came from the sky. Then it

ended.

"Sunshine," he said aloud, opening his eyes.

"Good. You did get the word. That makes my job easier. Not so much explaining."

"And it came from the sky."

"That's right," the old man said. "Just the way it used to.”

"Before Sameness. Before Climate Control," Jonas added.

The man laughed. "You receive well, and learn quickly. I'm very pleased with you. That's enough for

today, I think. We're off to a good start."

There was a question bothering Jonas. "Sir," he said, "The Chief Elder told me—she told

everyone—and you told me, too, that it would be painful. So I was a little scared. But it didn't hurt at

all. I really enjoyed it." He looked quizzically at the old man.

The man sighed. "I started you with memories of pleasure. My previous failure gave me the

wisdom to do that." He took a few deep breaths. "Jonas," he said, "it will be painful. But it need not be

painful yet."

"I'm brave. I really am." Jonas sat up a little straighter.

The old man looked at him for a moment. He smiled.

"I can see that," he said. "Well, since you asked the [86] question—I think I have enough energy

for one more transmission.

"Lie down once more. This will be the last today."

Jonas obeyed cheerfully. He dosed his eyes, waiting, and felt the hands again; then he felt the

warmth again, the sunshine again, coming from the sky of this other consciousness that was so new to

him. This time, as he lay basking in the wonderful warmth, he felt the passage of time. His real self was

aware that it was only a minute or two; but his other, memory-receiving self felt hours pass in the sun.

His skin began to sting. Restlessly he moved one arm, bending it, and felt a sharp pain in the crease of

his inner arm at the elbow.

"Ouch," he said loudly, and shifted on the bed. "Owwww," he said, wincing at the shift, and even

moving his mouth to speak made his face hurt.

He knew there was a word, but the pain kept him from grasping it.

Then it ended. He opened his eyes, wincing with discomfort. "It hurt," he told the man, "and I

couldn't get the word for it."

"It was sunburn," the old man told him.

"It hurt a lot," Jonas said, "but I'm glad you gave it to me. It was interesting. And now I

understand better, what it meant, that there would be pain."

The man didn't respond. He sat silently for a second. Finally he said, "Get up, now. It's time for

you to go home."

Name:________________________________________ Date:______________________ Class/Hour:___________

Thinking about Descriptive Word Choices

Directions: In chapter 11, The Giver transmits two memories to Jonas. Think about Lowry’s use of

sensory language (words and phrases that describe to the reader what the experience looked like,

sounded like, felt like, smelled like, or tasted like). As the chapter is being read aloud, listen for the

descriptive words and write them in the appropriate column and row below.

Next, pretend that you are The Giver. Think of a memory that you will transmit to Jonas. Use the third

column to write your own descriptive word choices in the squares for each of the five senses. On the

back of this paper, use your words to write a short paragraph (4-6 sentences) describing the event.

Then, complete the partnering exercise.

Snow/Sledding Sunshine/Sunburn You:___________________

Sig

hts

Sounds

Sm

ell

s

Feeli

ngs

Tast

es

Descriptive Word Choices Continued: Creating Imagery

Read your descriptive paragraph to your partner, but do not tell him/her what you are describing until

he/she has written answers for boxes 1 – 7. When your partner is reading to you, close your eyes and try

to imagine the scene. Next, take a few minutes to write down the descriptive words your partner used in

the appropriate boxes below (2 – 6). Then, in box 7, write your best guess of what event your partner

described. Once you have recorded your guess, ask your partner what he/she was describing and record

the answer in box 8.

1. Partner’s Name 2. Sights

3. Sounds 4. Smells

5. Feelings 6. Tastes

7. What do you think is being described? 8. What did your partner say he/she described?

Describe your event in this box, using the adjectives and adverbs you wrote on page 1.

The Giver Day 13 Focus Lesson: Ambiguous Story Endings

“How is an ambiguous ending different than a cliff-hanger?”

Overview The purpose of this metacognitive focus lesson is to get students thinking about how individual

perceptions affect the reading experience. As such, it touches on semantics but does not, nor is it

intended to, delve into other various forms of ambiguity in language, such as "homonymy, vagueness,

relativity, indexicality, nonliterality, indirection and inexplicitness (http://online.sfsu.edu/kbach/ambguity.html)."

Exploring these elements would be a separately structured language unit for a higher grade level.

Lesson Objectives � Define the word ambiguous

� Distinguish the difference between an ambiguous ending and a cliff-hanger ending

� Recognize the relationship between a reader's experiences and a reader's interpretation of an

open plot

Procedure 1. Have one of the four optical illusion images shown below projected on the smartboard as students

enter the room (reserve the caption questions for when students are deciding how to describe the

images).

Is this a white candlestick on

a black background or two

silhouettes in profile looking

at one another?

Is this window facing right

with the glass opening out or

is it facing left with the glass

opening in?

Is this the profile of a man

turning slightly to the left or

is it the word "Liar" written

on a downward angle?

Is this a sketch of a duck facing left or a rabbit facing right?

2. Ask for a volunteer to identify the projected image for the class. Poll the class for who agrees and

disagrees. Choose one or two students to share their reasoning and then project the remaining images in

turn, asking students to identify each one as they are shown. Interject comments or questions as

necessary.

3. Tell students that just like these optical illusion images—which can be viewed in more than one way—

a word, phrase, or sentence is ambiguous if it has more than one meaning. Offer the example of the

word light, which can mean not very heavy or not very dark. Use the word in a sentence to illustrate the

point: My father wore a light suit to the party. Follow-up by asking the class, Does the sentence suggest

a light fabric, such as linen, or does it mean to describe the color? Ask students how we can tell which

meaning to assume. The supported response should refer to placing the sentence into context. Make

sure that all students understand what is meant by the idea of context (the words, sentences, events,

situations, ideas that come just before and after a word or sentence that help us understand its

meaning).

4. Ask students to consider the ending of The Giver: Is it an ambiguous ending or a cliff-hanger? Poll

students and ask one student from each school of thought (if applicable) to explain his/her reasoning.

Build on student responses, starting with their thoughts on ambiguous endings.

5. Tell/restate/clarify for students that ambiguous endings leave readers with something to think

about; the ending is left to the reader to decide. It is satisfying to our minds even though it is open to

interpretation. Ask students why this might be true, and lead into the suggestion that although there

could be more than one way to envision an ambiguous ending, the possibilities—the reasonable

possibilities—provide for an actual ending based on everything we know about the whole story. Ask

students if they are aware of a different name for this type of ending. If no one names it, offer the

story element term open plot.

6. Read the last few pages of The Giver aloud to the class (the excerpt follows this lesson plan).

Afterward, ask students to consider whether or not Jonas actually hears music or sees the glow of

another community (has he reached Elsewhere as he understood it?) or is he simply hallucinating from

the onset of hypothermia (make sure students recognize this means the beginning stages of freezing to

death)? Revisit our day 9 discussion about the possibility that Jonas's community uses Elsewhere as a

euphemism for heaven or a place after death, and ask students to think about whether or not the

acceptance or non-acceptance of Elsewhere as a euphemism (versus a more literal meaning, such as

physically going to another community) affects our interpretation of whether or not Jonas and Gabriel

actually survive their escape. NOTE: These questions are meant to be rhetorical as students are given

the space to independently reflect on the ending for themselves.

7. Show students the Kanizsa triangle (pictured below). Point out how there are no lines framing the

center upside-down triangle, but our minds perceive it anyway because of the form and placement of

the surrounding shapes. Help students to make the comparison that the Kanizsa triangle is like the

ambiguous ending of The Giver: The ending takes shape in readers' minds depending on our perception

(informed by our own life experiences) of the story's events, the characters' responses to situations and

their personalities, and the author's message(s)—all of which are like the partial shapes in this optical

illusion.

Read the following quote from Lois Lowry, taken from an interview printed by Random House and

published on the web at http://www.randomhouse.com/teachers/guides/give.html:

Many kids want a more specific ending to The Giver. Some write, or ask me when they see me, to spell it out exactly. And I don't do that. And the reason is because

The Giver is many things to many different people. People bring to it their own

complicated sense of beliefs and hopes and dreams and fears and all of that. So I

don't want to put my own feelings into it, my own beliefs, and ruin that for people who create their own endings in their minds.

8. Contrast an ambiguous ending with a cliff-hanger by telling/restating/clarifying that cliff-hangers

are endings that leave readers in suspense without a resolution. For example, a story (mainly a serial

such as a comic book or television show) that ends with a train barreling full-steam-ahead on an

incomplete track as it approaches a cliff is not ambiguous even though we don't know for sure that the

train will run off the cliff. These types of endings generally make us feel a little cheated because there

simply is an abrupt pause in the action. The story is left unfinished and needs to continue. Play the last

one minute forty-one seconds of season 6, episode 25 “Who Shot Mr. Burns (Part I)” from the animated

television "The Simpsons" as an example of a classically-styled cliffhanger (you can access the video on

the web for free at http://wtso.net/movie/330-625_Who_Shot_Mr_Burns_Part_One.html).

9. Check for understanding by asking students if they recognize the differences between ambiguous

endings and cliffhanger endings. Take answers from a few volunteers to reiterate the points that the

ambiguous ending does not need further explanation; there are several possibilities based on how the

reader puts together the characters and events from the story with his/her own life experiences.

Cliffhangers, on the other hand, are unfinished stories.

10. End the lesson by suggesting that students avoid cliff-hangers unless they are purposefully writing a

continuing story. Ambiguous endings are difficult to write and take practice, but are also a fantastic

opening for entering the world of fan fiction (the final exercise of the unit). Remind students that a

great idea for their culminating writing piece could be to take a position on the ending and continue it

or add an event to the middle of the story that makes the existing ending less ambiguous.

Read Aloud Passage: Ambiguous Ending to The Giver

Pages 176-180: Wearily he remounted the bicycle. A steep hill loomed ahead. In the best of conditions, the hill

would have been a difficult, demanding ride. But now the rapidly deepening snow obscured the narrow

road and made the ride impossible. His front wheel moved forward imperceptibly as he pushed on the

pedals with his numb, exhausted legs. But the bicycle stopped. It would not move.

He got off and let it drop sideways into the snow. For a moment he thought how easy it would be

to drop beside it himself, to let himself and Gabriel slide into the softness of snow, the darkness of

night, the warm comfort of sleep. But he had come this far. He must try to go on.

The memories had fallen behind him now, escaping from his protection to return to the people of

his community. Were there any left at all? Could he hold onto a last bit of warmth? Did he still have the

strength to Give? Could Gabriel still Receive?

He pressed his hands into Gabriel's back and tried to remember sunshine. For a moment it

seemed that nothing came to him, that his power was completely gone. Then [177] flickered suddenly,

and he felt tiny tongues of heat begin to creep across and into his frozen feet and legs. He felt his face

begin to glow and the tense, cold skin of his arms and hands relax. For a fleeting second he felt that he

wanted to keep it for himself, to let himself bathe in sunlight, unburdened by anything or anyone else.

But the moment passed and was followed by an urge, a need, a passionate yearning to share the

warmth with the one person left for him to love. Aching from the effort, he forced the memory of

warmth into the thin, shivering body in his arms.

Gabriel stirred. For a moment they both were bathed in warmth and renewed strength as they

stood hugging each other in the blinding snow.

Jonas began to walk up the hill.

The memory was agonizingly brief. He had trudged no more than a few yards through the night

when it was gone and they were cold again.

But his mind was alert now. Warming himself ever so briefly had shaken away the lethargy and

resignation and restored his will to survive. He began to walk faster on feet that he could no longer feel.

But the hill was treacherously steep; he was impeded by the snow and his own lack of strength. He didn't

make it very far before he stumbled and fell forward.

On his knees, unable to rise, Jonas tried a second time. His consciousness grasped at a wisp of

another warm memory, and tried desperately to hold it there, to enlarge it, and pass it into Gabriel. His

spirits and strength lifted with the momentary warmth and he stood. Again, Gabriel stirred against him

as he began to climb.

[178] But the memory faded, leaving him colder than before. If only he had had time to receive

more warmth from The Giver before he escaped! Maybe there would be more left for him now. But there

was no purpose in if-onlys. His entire concentration now had to be on moving his feet, warming Gabriel

and himself, and going forward.

He climbed, stopped, and warmed them both briefly again, with a tiny scrap of memory that

seemed certainly to be all he had left.

The top of the hill seemed so far away, and he did not know what lay beyond. But there was

nothing left to do but continue. He trudged upward.

As he approached the summit of the hill at last, something began to happen. He was not warmer;

if anything, he felt more numb and more cold. He was not less exhausted; on the contrary, his steps

were leaden, and he could barely move his freezing, tired legs.

But he began, suddenly, to feel happy. He began to recall happy times. He remembered his

parents and his sister. He remembered his friends, Asher and Fiona. He remembered The Giver.

Memories of joy flooded through him suddenly.

He reached the place where the hill crested and he could feel the ground under his snow-covered

feet become level. It would not be uphill anymore.

"We're almost there, Gabriel," he whispered, feeling quite certain without knowing why. "I

remember this place, Gabe." And it was true. But it was not a grasping of a thin and burdensome

recollection; this was different. This was something that he could keep. It was a memory of his own.

[179] He hugged Gabriel and rubbed him briskly, warming him, to keep him alive. The wind was

bitterly cold. The snow swirled, blurring his vision. But somewhere ahead, through the blinding storm,

he knew there was warmth and light.

Using his final strength, and a special knowledge that was deep inside him, Jonas found the sled

that was waiting for them at the top of the hill. Numbly his hands fumbled for the rope.

He settled himself on the sled and hugged Gabe close. The hill was steep but the snow was

powdery and soft, and he knew that this time there would be no ice, no fall, no pain. Inside his freezing

body, his heart surged with hope.

They started down.

Jonas felt himself losing consciousness and with his whole being willed himself to stay upright

atop the sled, clutching Gabriel, keeping him safe. The runners sliced through the snow and the wind

whipped at his face as they sped in a straight line through an incision that seemed to lead to the final

destination, the place that he had always felt was waiting, the Elsewhere that held their future and

their past.

He forced his eyes open as they went downward, downward, sliding, and all at once he could see

lights, and he recognized them now. He knew they were shining through the windows of rooms, that

they were the red, blue, and yellow lights that twinkled from trees in places where families created and

kept memories, where they celebrated love.

Downward, downward, faster and faster. Suddenly he [180] was aware with certainty and joy

that below, ahead, they were waiting for him; and that they were waiting, too, for the baby. For the

first time, he heard something that he knew to be music. He heard people singing.

Behind him, across vast distances of space and time, from the place he had left, he thought he

heard music too. But perhaps it was only an echo.