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Visual Prompt: Most people do things that make them happy. For some people, it’s sports; for others, it may be reading or hanging out with friends. What makes you happy?

UNIT

4

The Pursuit of Happiness

Unit OverviewThe pursuit of happiness is an integral part of the American Dream and part of the foundation of this country. Many people think that the fulfillment of the American Dream centers on financial success; however, riches are not the path to happiness for everyone. One major alternative for pursuing happiness was offered by the Transcendentalists, people who (partially in response to the Industrial Revolution) valued simplicy, intuition, and nature over the expanding complexities of an increasingly urbanized and modernized society.

In this unit, you will examine how their perspectives still resonate in America, exploring in depth the story of one person who rejected wealth in favor of a different pathway to happiness. After examining the narrative of his experience, you will craft your own narrative, reflecting on how your experiences have shaped you and your values. And finally, after understanding how an author can construct a narrative using many different genres to create a portrait of a person, you will research and craft a multi-genre project on a topic of your choice.

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UNIT 4

Ask students to examine the photograph and respond to the visual prompt either as a think-pair-share or a class discussion or a quickwrite.

Have students read the Unit Overview. Discuss the ideas in the overview and ask students to relate them to their own lives and/or predict the content of the unit.

TEACHER TO TEACHERYou may wish to engage students in the ideas in this unit by asking them to consider what they think the “pursuit of happiness” is. Also ask why the people who wrote the Declaration of Independence declared the pursuit of happiness a right. What happens when one person’s pursuit of happiness is in conflict with another person’s?

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ContentsActivities

4.1 Previewing the Unit ................................................................. 256

4.2 Searching for Meaning ............................................................ 257 Essay: from Self-Reliance, by Ralph Waldo Emerson Essay: “Where I Lived and What I Lived For,” from Walden, by Henry David Thoreau

4.3 Re-Searching for Meaning ....................................................... 265

4.4 Linking the Past to the Present ............................................... 266 Poetry: “In the Depths of Solitude,” by Tupac Shakur Poetry: “Remember,” by Joy Harjo Poetry: “A Light Exists in Spring,” by Emily Dickinson

4.5 Another Transcendental View .................................................. 269 *Art: The Oxbow, by Thomas Cole *Art: Kindred Spirits, by Asher Durand

4.6 Drafting My Credo ................................................................... 271 Nonfiction: Credo from “All I Really Need to Know

I Learned in Kindergarten,” by Robert Fulghum

4.7 Writer’s Craft: Revising My Credo ............................................ 274

4.8 Framing the Subject ................................................................ 276 Biography: “Author’s Note,”

from Into the Wild, by Jon Krakauer

4.9 Meeting Christopher McCandless ........................................... 279 *Biography: Into the Wild, by Jon Krakauer

4.10 Literary Connection ................................................................. 281 *Biography: Into the Wild, by Jon Krakauer

4.11 Shedding Light ........................................................................ 283 *Biography: Into the Wild, by Jon Krakauer

4.12 Meaning Through Structure .................................................... 285 *Biography: Into the Wild, by Jon Krakauer

4.13 A Personal Perspective ............................................................ 287 Biography: Excerpt from Into the Wild, by Jon Krakauer

4.14 Writer’s Craft: A Personal Perspective on Style ....................... 291

4.15 Reflecting on Life Experiences ................................................ 293 Essay: “A View from Mount Ritter,” by Joseph T. O’Connor

GoalS:• Tocomposeapersonal

essay that employs stylistic techniques

• Toanalyzeandevaluatethe structural and stylistic features of texts

• Touseavarietyofgenrestoexpress a coherent theme

The Pursuit of HappinessUNIT

4

literary Termsconnotation epigraphcoherence

academIc VocabUlarygenre conventions

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254 SpringBoard® English Language Arts Grade 11

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UNIT 4

Have students read the goals for the unit and mark any words that are unfamiliar to them. Have students add these words to the classroom Word Wall, along with definitions.

Once you have discussed the unit goals, consider posting them in a visible place in the classroom for the duration of the unit, allowing you and students to revisit the goals easily and gauge progress toward achieving the goals throughout the unit.

VOCABULARY DEVELOPMENTImportant terms in this unit are divided into Academic Vocabulary (those words that are used in multiple curriculum areas) and Literary Terms, which are specific to the student of literature and language arts.

Adding to vocabulary knowledge is essential for reading fluency. Students will encounter new vocabulary in this course in multiple ways:

• Academic Vocabulary• Literary Terms• Unfamiliar terms in text selections

(often glossed)• Word Connections• Oral discussions

Encourage students to keep a Reader/Writer Notebook in which they record new words and their meanings (and pronunciations if needed). Having students use word-study graphic organizers to study key vocabulary terms in depth will greatly enhance their understanding of new words and their connection to unit concepts and to the broader use of academic terms.

See the Resources section at the back of this book for examples of graphic organizers suitable for word study. As students become more familiar with using graphic organizers to explore the meaning of a word, you may want them to create their own graphic organizers.

ELL SupportDifferentiation in SpringBoard is organized around Process, Product, and Content. For ELL support, it may be necessary to adapt the content, or it may be necessary to adapt the product demanded in the Embedded Assessment or the formative assessments threaded throughout the unit. Differentiating the learning process by the deliberate application of instructional strategies known to be effective for English Language Learners is another way to provide ELL support.

Unit 4: Guidelines for ELL Support: Focus on Instructional Strategies

• Reading Focus: Literary nonfiction. Visualizing, shared reading, close reading, rereading, chunking, paraphrasing, and summarizing are all strategies that will help students comprehend text and develop their interpretation skills.

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4.16 Making Your Choice ................................................................. 297

Embedded Assessment 1: Writing a Personal Essay ....................... 299

4.17 Previewing Embedded Assessment 2 and Style ...................... 301 *Biography: Chapters 16–17 from Into the Wild,

by Jon Krakauer

4.18 Searching for the Author ......................................................... 303 *Biography: Chapter 18 from Into the Wild,

by Jon Krakauer

4.19 Many Ways of Showing ........................................................... 305 *Biography: Chapter 18 from Into the Wild,

by Jon Krakauer

4.20 The Nuts and Bolts of the Multi-Genre Research Project ........ 307 Multi-Genre Research Project: Student Sample

4.21 Exploring, Recording, and Imagining Research ....................... 325 Biographical Sketch: “Sparky,” by Earl Nightingale

4.22 Melding Facts, Interpretation, and Imagination ..................... 328 Article: “Charles M. Shulz Biography,”

from Notable Biographies

4.23 Meeting in the Middle ............................................................. 333

4.24 Thematic Threads to Create Flow ............................................ 335

4.25 Organizing the Multi-Genre Research Project ......................... 337

Embedded Assessment 2: Creating a Multi-Genre Research Project .................................... 339

*Texts not included in these materials.

language and Writer’s craft• Antithesis(4.2)• ReviewofSyntax(4.7)• InformalSpellingand

Usage (4.8)• RelativePronounsand

Clauses (4.14)

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ContentsActivities

4.1 Previewing the Unit ................................................................. 256

4.2 Searching for Meaning ............................................................ 257 Essay: from Self-Reliance, by Ralph Waldo Emerson Essay: “Where I Lived and What I Lived For,” from Walden, by Henry David Thoreau

4.3 Re-Searching for Meaning ....................................................... 265

4.4 Linking the Past to the Present ............................................... 266 Poetry: “In the Depths of Solitude,” by Tupac Shakur Poetry: “Remember,” by Joy Harjo Poetry: “A Light Exists in Spring,” by Emily Dickinson

4.5 Another Transcendental View .................................................. 269 *Art: The Oxbow, by Thomas Cole *Art: Kindred Spirits, by Asher Durand

4.6 Drafting My Credo ................................................................... 271 Nonfiction: Credo from “All I Really Need to Know

I Learned in Kindergarten,” by Robert Fulghum

4.7 Writer’s Craft: Revising My Credo ............................................ 274

4.8 Framing the Subject ................................................................ 276 Biography: “Author’s Note,”

from Into the Wild, by Jon Krakauer

4.9 Meeting Christopher McCandless ........................................... 279 *Biography: Into the Wild, by Jon Krakauer

4.10 Literary Connection ................................................................. 281 *Biography: Into the Wild, by Jon Krakauer

4.11 Shedding Light ........................................................................ 283 *Biography: Into the Wild, by Jon Krakauer

4.12 Meaning Through Structure .................................................... 285 *Biography: Into the Wild, by Jon Krakauer

4.13 A Personal Perspective ............................................................ 287 Biography: Excerpt from Into the Wild, by Jon Krakauer

4.14 Writer’s Craft: A Personal Perspective on Style ....................... 291

4.15 Reflecting on Life Experiences ................................................ 293 Essay: “A View from Mount Ritter,” by Joseph T. O’Connor

GoalS:• Tocomposeapersonal

essay that employs stylistic techniques

• Toanalyzeandevaluatethe structural and stylistic features of texts

• Touseavarietyofgenrestoexpress a coherent theme

The Pursuit of HappinessUNIT

4

literary Termsconnotation epigraphcoherence

academIc VocabUlarygenre conventions

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LANGUAGE AND WRITER’S CRAFTEach unit includes Language and Writer’s Craft features as well as Grammar & Usage content. You may want students to devote a section of their Reader/Writer Notebooks to their study of language and grammar. Encourage students to make notes about their understanding of specific grammar rules and how to use language in their writing to create specific effects.

CONTENTSHave the students skim/scan the activities and texts to find a Wow (an activity that looks interesting) and a Whoa (an activity that looks challenging). Share responses in partner, small-group, or whole-class discussion.

TEACHER TO TEACHERThe SpringBoard program has been designed to allow students to interact with the text by making notes in their books and marking text to facilitate close reading. In addition to making notes in the text, students are expected to use their Reader/Writer Notebooks often: for vocabulary study, reflections, some writing assignments, notes about texts they read, capturing thoughts about learning strategies and how to use them, and so on. The Reader/Writer Notebooks are not listed as part of the materials for each activity, but the expectation is that students will have access to them.

ELL Support (continued)• Writing Focus: Narrative and research project.

To support students, outline the structure of a personal narrative. Emphasize genre forms and strategies for paraphrasing and summarizing to support students in transforming research into creative genres.

• Independent Reading should be at an appropriate reading level for the student’s skills.

• Strategic vocabulary development requires consistent application and practice using

interactive Word Walls, diffusing, vocabulary graphic organizers, and QHT.

• Language and Writer’s Craft/Grammar and Usage: Access additional Grammar and Usage lessons on SpringBoard Digital.

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Learning Targets• Identifyandanalyzetheskillsandknowledgenecessaryforsuccessonthe

Embedded Assessment.

Making ConnectionsWhat does it mean to pursue happiness? Do we have a right to pursue happiness at all costs? In Into the Wild, a biography that investigates the life and death of Chris McCandless, a young man with an adventurous spirit, Jon Krakauer creates a compelling story.

In telling this story, Krakauer uses multiple genres to illuminate the complex nature of McCandless’s character and pursuit of happiness. Using extensive primary and secondary research, Krakauer presents McCandless’s quest for personal freedom and a personal relationship with nature that is part of the soul of American life. As you read and analyze Into the Wild, you will also evaluate your own beliefs and values associated with the pursuit of happiness.

Essential QuestionsRespond to the questions based on your current knowledge.

1. What does it mean to pursue happiness?

2. How can a writer use/manipulate genre conventions for effect?

Developing VocabularyTurn to the Contents page and look at the Academic Vocabulary and Literary Terms. Use your Reader/Writer Notebook to explore the meanings of these terms as you study this unit.

Unpacking Embedded Assessment 1Closely read the assignment for Embedded Assessment 1.

Your assignment is to write a multi-paragraph reflective essay about a significant personal experience that involves the pursuit of happiness and/or transcendental ideals, being sure to describe the experience and your immediate response to it, as well as to reflect on the significance of the experience.

With your class, create a graphic representation of the skills and knowledge you must have to complete the Embedded Assessment. It is important to keep the task in mind as you work through the unit activities.

INdePeNdeNT readING lINkIn this unit, you will read texts that explore the pursuit of happiness and search for self. For independent reading, choose an autobiography, biography, memoir, or a collection of essays or short stories that explore this thematic concept.

learNING STraTeGIeS:Think-Pair-Share, Close Reading, Marking the Text, Summarizing, Paraphrasing

Previewing the Unit acTIVITy

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ACTIVITY 4.1

PLANMaterials: graphic organizer to unpack Embedded Assessment 1Suggested Pacing: 1 50-minuteclass period

TEACH1 Activate prior knowledge by having students mark the text, highlighting words or concepts that are familiar (what they know). They might use a question mark to indicate content that is unfamiliar (what they do not know but want to learn).

2 To reveal existing knowledge about the concepts for the unit, ask students to pair-share responses to the two Essential Questions. Students will revisit these questions throughout the unit to develop a more mature understanding of these ideas.

3 Provide students with a clear learning target by asking them to unpack Embedded Assessment 1. Lead students through a close reading of the assignment, steps, and Scoring Guide criteria. Instruct students to mark the text by underlining or highlighting the places in the text that mention a skill or knowledge necessary to succeed on the Embedded Assessment.

ASSESSInstruct students to summarize or paraphrase with a partner or small group the skills and knowledge they have underlined or highlighted. As you conduct a large group discussion, create a web graphic organizer that lists the knowledge and skills. You may want to ask students to construct their own unpacking web. Determine students’ understanding of the concept of genres and conventions.

ADAPTArrange to revisit the web graphic organizer throughout the unit to reinforce how each activity scaffolds for the skills and knowledge needed for success on the Embedded Assessment. You may want to enlarge the web graphic organizer to provide a visual in the classroom throughout the course of the unit.

COMMON CORE STATE STANDARDSFocus Standards:L.11-12.6: Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

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my Notes

learNING STraTeGIeS:Close Reading, Marking the Text, Graphic Organizer, Shared Reading

Learning Targets• DevelopaworkingdefinitionofTranscendentalismanditskeytenets.

• AnalyzefoundationalworksofAmericanliteraturetoidentifyphilosophical tenets.

• ExplainhowtheTranscendentalistsenvisionedthepursuitofhappiness.

Before Reading 1. The following excerpt from Jon Krakauer’s Into the Wild quotes a message

carved into plywood by the subject of the book, Chris McCandless. As you read it, identify concepts that seem to be central to his world view and create a web of them below the passage.

TWO YEARS HE WALKS THE EARTH. NO PHONE, NO POOL, NO PETS, NO CIGARETTES. ULTIMATE FREEDOM. AN EXTREMIST. AN AESTHETIC 1VOYAGER WHOSE HOME IS THE ROAD. ESCAPED FROM ATLANTA. THOU SHALT NOT RETURN, ‘CAUSE “THE WEST IS THE BEST.” AND NOW AFTER TWO RAMBLING YEARS COMES THE FINAL AND GREATEST ADVENTURE. THE CLIMACTIC BATTLE TO KILL THE FALSE BEING WITHIN AND VICTORIOUSLY CONCLUDE THE SPIRITUAL REVOLUTION. TEN DAYS AND NIGHTS OF FREIGHT TRAINS AND HITCHHIKING BRING HIM TO THE GREAT WHITE NORTH. NO LONGER TO BE POISONED BY CIVILIZATION HE FLEES, AND WALKS ALONE UPON THE LAND TO BECOME LOST IN THE WILD.

ALEXANDER SUPERTRAMP

MAY 1992

(Into the Wild, 163)

The Pursuit of Happiness

acTIVITy

4.2Searching for meaning

1 aesthetic (adj.): relating to the appreciation of beauty

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Learning Targets• Identifyandanalyzetheskillsandknowledgenecessaryforsuccessonthe

Embedded Assessment.

Making ConnectionsWhat does it mean to pursue happiness? Do we have a right to pursue happiness at all costs? In Into the Wild, a biography that investigates the life and death of Chris McCandless, a young man with an adventurous spirit, Jon Krakauer creates a compelling story.

In telling this story, Krakauer uses multiple genres to illuminate the complex nature of McCandless’s character and pursuit of happiness. Using extensive primary and secondary research, Krakauer presents McCandless’s quest for personal freedom and a personal relationship with nature that is part of the soul of American life. As you read and analyze Into the Wild, you will also evaluate your own beliefs and values associated with the pursuit of happiness.

Essential QuestionsRespond to the questions based on your current knowledge.



Developing VocabularyTurn to the Contents page and look at the Academic Vocabulary and Literary Terms. Use your Reader/Writer Notebook to explore the meanings of these terms as you study this unit.

Unpacking Embedded Assessment 1Closely read the assignment for Embedded Assessment 1.

Your assignment is to write a multi-paragraph reflective essay about a significant personal experience that involves the pursuit of happiness and/or transcendental ideals, being sure to describe the experience and your immediate response to it, as well as to reflect on the significance of the experience.

With your class, create a graphic representation of the skills and knowledge you must have to complete the Embedded Assessment. It is important to keep the task in mind as you work through the unit activities.

INdePeNdeNT readING lINkIn this unit, you will read texts that explore the pursuit of happiness and search for self. For independent reading, choose an autobiography, biography, memoir, or a collection of essays or short stories that explore this thematic concept.


Previewing the Unit acTIVITy

4.1

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ACTIVITY 4.2

PLANMaterials: sentence strips, sticky notesSuggested Pacing: 2 50-minute class periods + homework

TEACH1 To prepare students for reading Into the Wild, a nonfiction account of one man’s journey to self-discovery and the pursuit of happiness, students will read foundational works of Transcendentalism and think about how this philosophical attitude still resonates and manifests itself in today’s society. This is the first in a series of readings for which students are asked to inductively infer characteristics of Transcendental thinking by analyzing literary works.

2 Have students unpack the quote from page 163 of Into the Wild. You might model this with the first few sentences (e.g., “Alex” rejects society and material comforts; he seeks freedom from obligations and possessions). The goal is to have students draw inferences about McCandless’s values to contextualize the ideas and values of the transcendentalist thinking of Emerson and Thoreau.

3 Possible responses for the webbing include “ultimate freedom;” escape from the poisoning of civilization; the need to be alone and “upon the land to become lost in the wild;” a spiritual need to kill the “false being;” an emphasis on spiritual and aesthetic concerns. These ideas connect McCandless to transcendentalist thinking.

COMMON CORE STATE STANDARDSFocus Standards:RI.11-12.4: Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze how an author uses and refines the meaning of a key term or terms over the course of a text (e.g., how Madison defines faction in Federalist No. 10).

W.11-12.9: Draw evidence from literary or

informational texts to support analysis, reflection, and research

W.11-12.9b: Apply grades 11–12 Reading standards to literary nonfiction (e.g., “Delineate and evaluate the reasoning in seminal U.S. texts, including the application of constitutional principles and use of legal reasoning [e.g., in U.S. Supreme Court Case majority opinions and dissents] and the premises, purposes, and arguments in works of public advocacy [e.g., The Federalist, presidential addresses]”).©

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During Reading 2. The following excerpts are from two of the foundational texts of

Transcendentalism in America, a literary and philosophical movement associated with Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and others. It asserts the existence of an ideal spiritual reality that transcends the empirical world and is knowable through intuition. As you read each excerpt, you will discover key concepts and define the values that are central to Emerson and Thoreau’s perspectives.

3. First, as you read the passage from Emerson’s essay, “Self Reliance,” highlight one sentence in each paragraph that seems to best express the main idea of the paragraph. Then, paraphrase the highlighted phrases.

About the AuthorEducated at Harvard University, Ralph Waldo Emerson was the chief founder of the Transcendentalist movement. Fueled by strong optimism and the belief in the importance of the individual, Emerson helped to inspire social reforms in education, slavery, and the rights of women and Native Americans.

essay

by Ralph Waldo Emerson

1 There is a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better, for worse, as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed2 on that plot of ground which is given him to till. The power which resides in him is new in nature, and none but he knows what he can do, nor does he know until he has tried. . . .

2 Society everywhere is in conspiracy against the manhood of every one of its members. Society is a joint-stock company, in which the members agree, for the better securing of his bread to each shareholder, to surrender the liberty and culture of the eater. The virtue in most request is conformity. Self-reliance is its aversion3. It loves not realities and creators, but names and customs.

3 Whoso would be a man must be a nonconformist. He who would gather immortal palms must not be hindered by the name of goodness, but must explore if it be goodness. Nothing is at last sacred but the integrity of your own mind. . . .

Searching for meaning acTIVITy 4.2continued

my Notes

key IdeaS aNd deTaIlSIn the first two paragraphs, Emerson contrasts the image of the individual as a farmer with that of being a shareholder. What is he attempting to establish through these analogies?

Word coNNecTIoNS

AnalogiesAnalogies express relationships between meanings of words. When creating or analyzing analogies, pay attention to consistency in parts of speech. For example, if a set of words is noun : adjective, then the related set of words will be noun : adjective.

Is this analogy correct? Explain. appoint : ambassador ::elect : President

Grammar USaGeSemicolons

Emerson uses semicolons to string together a series of relative clauses into one long sentence to show his convictions are broad and deep.

2 bestowed (v.): presented as a gift or an honor 3 aversion (n.): strong feeling of dislike

Self-Reliancefrom ”“

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ACTIVITY 4.2 continued

4 Introduce Emerson and the term Transcendentalism. Have students mark this as a vocabulary word and discuss the affixes and the root of the word transcend.

Grammar Extension Review with students the most common uses of semicolons:

• to separate items in a series (as Emerson does here) when the items contain commas

• to separate closely related independent clauses when there is no coordinating conjunction between them.

Have students practice the use of semicolons in their own sentences.

Text ComplexityOverall: ComplexLexile: 930Qualitative: High DifficultyTask: Moderate (Analyze)

5 As students read and highlight for main ideas, monitor the paraphrasing of the passages. You may ask that they simply paraphrase the topic sentences or meaningful phrases. The point is to get students to engage in the text and make meaning of Emerson’s ideas.

Key Ideas and Details In Emerson’s analogy a farmer works with nature and is thus nurtured by this work, whereas society is a company that demands conformity and a surrender of personal freedom.

COMMON CORE STATE STANDARDSAdditional Standards Addressed:RL.11-12.9; RI.11-12.1; RI.11-12.2; RI.11-12.3; RI.11-12.9; W.11-12.4; W.11-12.5; W.11-12.7; W.11-12.10; SL.11-12.1a; L.11-12.3a; L.11-12.4a; L.11-12.5a; L.11-12.6

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acTIVITy 4.2continued

my Notes

4 A foolish consistency is the hobgoblin4 of little minds, adored by little statesmen and philosophers and divines. With consistency a great soul has simply nothing to do. He may as well concern himself with his shadow on the wall. Speak what you think now in hard words, and tomorrow speak what tomorrow thinks in hard words again, though it contradict everything you said today.” Ah, so you shall be sure to be misunderstood.” Is it so bad, then, to be misunderstood? Pythogoras was misunderstood, and Socrates, and Jesus, and Luther, and Copernicus, and Galileo, and Newton, and every pure and wise spirit that ever took flesh. To be great is to be misunderstood. . . .

5 The civilized man has built a coach, but has lost the use of his feet. He is supported on crutches, but lacks so much support of muscle. He has got a fine Geneva watch, but he has lost the skill to tell the hour by the sun. A Greenwich nautical almanac he has, and so, being sure of the information when he wants it, the man in the street does not know a star in the sky. The solstice he does not observe; the equinox he knows as little; and the whole bright calendar of the year is without a dial in his mind. His notebooks impair his memory; his libraries overload his wit; the insurance office increases the number of accidents; and it may be a question whether machinery does not encumber;5 whether we have not lost by refinement some energy, by a Christianity entrenched in establishments and forms some vigor of wild virtue. For every Stoic was a Stoic; but in Christendom, where is the Christian?

Check Your UnderstandingWriting Prompt: Choose two or three lines from the “Self-Reliance” excerpt that state a strong opinion. Write a personal response to these lines, reflecting on how they compare with your own beliefs. Be sure to:

• Demonstrateyourunderstandingofthetextbysummarizingatleastonequotefrom Emerson in your reflection.

• Supportyourresponsewithdetailsandexamplesfrompersonalexperience.

• Embedyourquotationusingcorrectconventions.

About the AuthorWell educated and brilliant, Henry David Thoreau defied expectations to live an uncommon life of reflection and simplicity. As an experiment to reconnect with nature and discover the meaning of life, he lived for two years in a cabin in the woods of Massachusetts. He wrote about his experiences in Walden, one of the most well-known works in American literature.

4 hobgoblin (n.): something causing superstitious fear 5 encumber (v.): to impede or hinder

key IdeaS aNd deTaIlSWhat is Emerson’s criticism of consistency?

Grammar USaGeInfinitive Phrases

Emerson’s use of parallel infinitive phrases effectively creates a memorable line:

“To be great is to be misunderstood.”

Infinitive phrases may function as nouns, adjectives, or adverbs. In this sentence, Emerson uses infinitive phrases as the subject and as the predicate nominative in the sentence.

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During Reading 2. The following excerpts are from two of the foundational texts of

Transcendentalism in America, a literary and philosophical movement associated with Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and others. It asserts the existence of an ideal spiritual reality that transcends the empirical world and is knowable through intuition. As you read each excerpt, you will discover key concepts and define the values that are central to Emerson and Thoreau’s perspectives.

3. First, as you read the passage from Emerson’s essay, “Self Reliance,” highlight one sentence in each paragraph that seems to best express the main idea of the paragraph. Then, paraphrase the highlighted phrases.

About the AuthorEducated at Harvard University, Ralph Waldo Emerson was the chief founder of the Transcendentalist movement. Fueled by strong optimism and the belief in the importance of the individual, Emerson helped to inspire social reforms in education, slavery, and the rights of women and Native Americans.

essay

by Ralph Waldo Emerson

1 There is a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better, for worse, as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed2 on that plot of ground which is given him to till. The power which resides in him is new in nature, and none but he knows what he can do, nor does he know until he has tried. . . .

2 Society everywhere is in conspiracy against the manhood of every one of its members. Society is a joint-stock company, in which the members agree, for the better securing of his bread to each shareholder, to surrender the liberty and culture of the eater. The virtue in most request is conformity. Self-reliance is its aversion3. It loves not realities and creators, but names and customs.

3 Whoso would be a man must be a nonconformist. He who would gather immortal palms must not be hindered by the name of goodness, but must explore if it be goodness. Nothing is at last sacred but the integrity of your own mind. . . .


my Notes

key IdeaS aNd deTaIlSIn the first two paragraphs, Emerson contrasts the image of the individual as a farmer with that of being a shareholder. What is he attempting to establish through these analogies?

Word coNNecTIoNS

AnalogiesAnalogies express relationships between meanings of words. When creating or analyzing analogies, pay attention to consistency in parts of speech. For example, if a set of words is noun : adjective, then the related set of words will be noun : adjective.

Is this analogy correct? Explain. appoint : ambassador ::elect : President

Grammar USaGeSemicolons

Emerson uses semicolons to string together a series of relative clauses into one long sentence to show his convictions are broad and deep.

2 bestowed (v.): presented as a gift or an honor 3 aversion (n.): strong feeling of dislike

Self-Reliancefrom ”“

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Key Ideas and Details Emerson believes that consistency of mind is typical of small-mindedness; it takes greatness to say what you think honestly at all times. Those who have done so have been misunderstood—to be wise is to be misunderstood.

6 As students continue to read and infer characteristics from the three works in this activity, consider starting a class list of characteristics. Keep the list posted in the classroom as students work through the unit and apply these characteristics to their reading. This inductive experience can then be compared with students’ findings when they later research the characteristics of Transcendentalism. Some inferences from “Self-Reliance” are as follows:

• Transcendentalism places an emphasis on the individual over society.

• Nonconformists are valued.• A ‘great soul’ speaks its truth.• Stay in touch with nature.

7 After reading, lead a class discussion responding to and clarifying Emerson’s ideas and answering the Essential Question by characterizing what Emerson suggests is necessary to pursuing happiness in life.

8 Have students respond to the Check Your Understanding writing prompt as an opportunity for them to begin creating a personal response to the ideas of the unit as they move toward writing a personal essay. Just as “Self-Reliance” expresses Emerson’s reflections on how to live a meaningful life, students should reflect on this idea of what is happiness.

9 To begin synthesizing connections between texts, have students collaborate to fill out the first two columns of the graphic organizer on the last page of the activity, based on their reading and understanding of McCandless’s brief words and the excerpt from Emerson’s work.

0 Introduce Thoreau and explain that Walden is another foundational text from American literature and the Transcendentalist movement.

Grammar Extension Infinitive phrases are just one kind of verbal phrase. Review with students participial phrases (which contain a participle and act as adjectives) and gerund phrases (which contain an –ing form and act as nouns). Have students write their own sentences with verbal phrases, modeling them on Emerson’s sentence.

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essay

from Walden by Henry David Thoreau

1 When first I took up my abode in the woods, that is, began to spend my nights as well as days there, which by accident, was on Independence Day, or the Fourth of July, 1845, my house was not finished for winter, but was merely a defense against the rain, without plastering or chimney, the walls being of rough, weather-stained boards, with wide chinks, which made it cool at night. The upright white hewn studs and freshly planed door and window casings gave it a clean and airy look, especially in the morning, when its timbers were saturated1 with dew, so that I fancied that by noon some sweet gum would exude2 from them.

2 I was seated by the shore of a small pond, about a mile and a half south of the village of Concord and somewhat higher than it, in the midst of an extensive wood between that town and Lincoln,3 and about two miles south of our only field known to fame, Concord Battle Ground;4 but I was so low in the woods that the opposite shore, half a mile off, like the rest, covered with wood, was my most distant horizon.

3 Every morning was a cheerful invitation to make my life of equal simplicity, and I may say innocence, with Nature herself. I have been as sincere a worshiper of Aurora5 as the Greeks. I got up early and bathed in the pond; that was a religious exercise, and one of the best things which I did. They say that characters were engraven on the bathing tub of King Tching-thang to this effect: “Renew thyself completely each day; do it again, and again, and forever again.” I can understand that. Morning brings back the heroic ages. I was as much affected by the faint hum of a mosquito making its invisible and unimaginable tour through my apartment at earliest dawn, when I was sitting with door and windows open, as I could be by any trumpet that ever sang of fame. It was Homer’s requiem6; itself an Iliad and Odyssey in the air, singing its own wrath and wanderings.7 There was something cosmical about it; a standing advertisement, till forbidden, of the everlasting vigor and fertility of the world. The morning, which is the most memorable season of the day, is the awakening hour. Then there is least somnolence8 in us; and for an hour, at least, some part of us awakes which slumbers all the rest of the day and night. After a partial cessation of his sensuous life, the soul of man, or its organs rather, are reinvigorated each day, and his Genius tries again what noble life it can make. All memorable events, I should say, transpire in morning time and in a morning atmosphere. The Vedas9 say, “All intelligences awake with the morning.” Poetry and art, and the fairest


my Notes

key IdeaS aNd deTaIlSIn paragraphs 3 and 4, Thoreau describes the importance of morning. Pick two or three phrases or sentences that show he is talking about more than the literal morning; rather, he is expressing the significance of morning as it relates to leading a full life. Explain Thoreau’s thinking.


Like Emerson, Thoreau uses infinitive phrases for effect. Identify where he does so at the end of paragraph 3 and in paragraphs 4 and 5. Then, craft your own statement about life using this pattern.

1 saturated (adj.): soaked, full to capacity 2 exude (v.): to ooze or spread in all directions 3 Lincoln: small town in Massachusetts between Concord and Sudbury 4 Concord Battle Ground: reference to Emerson’s poem “Concord Hymn.” 5 Aurora: Greek goddess of dawn 6 requiem (n.): a mass or a solemn ceremony for a deceased person 7 wrath and wanderings: Homer’s Iliad concerns the “wrath” of Achilles and the Odyssey

tells of the “wanderings” of Odysseus 8 somnolence (n.): sleepiness, drowsiness 9 Vedas: collection of sacred Hindu literature

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Differentiating Instruction/ELLTo support students’ reading of Emerson and Thoreau, have students copy short phrases and sentences from these essays, write them on sentence strips and post them in the classroom. Have groups discuss the meaning of each phrase and sentence. To extend this activity you may want students to read a longer excerpt from Emerson’s “Self-Reliance” essay.

Text ComplexityOverall: Very ComplexLexile: 1250Qualitative: High DifficultyTask: Challenging (Create)

a Conduct a shared reading of the first two paragraphs of the Walden excerpt, and then have students identify ways in which Thoreau’s text initially differs from Emerson’s (i.e., his use of first person, his focus on a specific personal experience, his use of past tense). Then continue through paragraph 3, and ask them how his approach shifts. Compare and contrast this paragraph with Emerson’s text. This is a way to start a discussion of both personal essay elements (event, response, reflection) and genre conventions (reflective essay vs. memoir) to scaffold Embedded Assessments 1 and 2.

Key Ideas and Details Possible phrases and sentences that show the significance of morning—• “Every morning was a cheerful

invitation…”• “There was something cosmical

about it…, of the everlasting vigor and fertility of the world.”

• “The morning, which is the most memorable season of the day, is the awakening hour.”

• “The Vedas say, ‘All intelligences awake with the morning.’

• “Morning is when I am awake and there is a dawn in me.”

Thoreau encourages us to be as awake and alive to the emotional, spiritual, physical world as possible.

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my Notes

and most memorable of the actions of men, date from such an hour. All poets and heroes, like Memnon,10 are the children of Aurora, and emit their music at sunrise. To him whose elastic and vigorous thought keeps pace with the sun, the day is a perpetual morning. It matters not what the clocks say or the attitudes and labors of men. Morning is when I am awake and there is a dawn in me. Moral reform is the effort to throw off sleep. Why is it that men give so poor an account of their day if they have not been slumbering? They are not such poor calculators. If they had not been overcome with drowsiness, they would have performed something. The millions are awake enough for physical labor; but only one in a million is awake enough for effective intellectual exertion, only one in a hundred millions to a poetic or divine life. To be awake is to be alive. I have never yet met a man who was quite awake. How could I have looked him in the face?

4 We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn, which does not forsake us in our soundest sleep. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavor. It is something to be able to paint a particular picture, or to carve a statue, and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look, which morally we can do. To affect the quality of the day, that is the highest of arts. Every man is tasked to make his life, even in its details, worthy of the contemplation of his most elevated and critical hour. If we refused, or rather used up, such paltry information as we get, the oracles would distinctly inform us how this might be done.

5 I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartanlike11 as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime,12 to know it by experience, and be able to give a true account of it in my next excursion. For most men, it appears to me, are in a strange uncertainty about it, whether it is of the devil or of God, and have somewhat hastily concluded that it is the chief end of man here to “glorify God and enjoy him forever.”13

6 Still we live meanly, like ants; though the fable tells us that we were long ago changed into men; like pygmies we fight with cranes; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable14 wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead

key IdeaS aNd deTaIlSBased on his description of the value of communication and news, how do you think Thoreau would feel about the role of the Internet and social media in modern life?

key IdeaS aNd deTaIlSWhat is the connection between Emerson’s ideas of ‘self-reliance’ and Thoreau’s idea of living in the woods? Use a quote from each in formulating your answer.

10 Memnon: In Greek mythology, the King of the Ethiopians whom Zeus made immortal. Memnon’s statue at Thebes was supposed to emit musical notes at dawn.

11 Spartanlike: The inhabitants of the ancient Greek city-state of Sparta were famed for their courage, discipline, and frugality

12 sublime (adj.): elevated or lofty in thought or language 13 “glorify. . .forever”: From the Presbyterian book of beliefs: Westminister Shorter Catechism 14 evitable (adj.): avoidable

Word coNNecTIoNS

Roots and AffixesInfinite comes from the Latin word meaning “unbounded” or “unlimited.” The word is formed from the root fini, meaning “end” plus in, meaning “not.” Other words based on fini include final, confine, and definitive.

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essay

from Walden by Henry David Thoreau

1 When first I took up my abode in the woods, that is, began to spend my nights as well as days there, which by accident, was on Independence Day, or the Fourth of July, 1845, my house was not finished for winter, but was merely a defense against the rain, without plastering or chimney, the walls being of rough, weather-stained boards, with wide chinks, which made it cool at night. The upright white hewn studs and freshly planed door and window casings gave it a clean and airy look, especially in the morning, when its timbers were saturated1 with dew, so that I fancied that by noon some sweet gum would exude2 from them.

2 I was seated by the shore of a small pond, about a mile and a half south of the village of Concord and somewhat higher than it, in the midst of an extensive wood between that town and Lincoln,3 and about two miles south of our only field known to fame, Concord Battle Ground;4 but I was so low in the woods that the opposite shore, half a mile off, like the rest, covered with wood, was my most distant horizon.

3 Every morning was a cheerful invitation to make my life of equal simplicity, and I may say innocence, with Nature herself. I have been as sincere a worshiper of Aurora5 as the Greeks. I got up early and bathed in the pond; that was a religious exercise, and one of the best things which I did. They say that characters were engraven on the bathing tub of King Tching-thang to this effect: “Renew thyself completely each day; do it again, and again, and forever again.” I can understand that. Morning brings back the heroic ages. I was as much affected by the faint hum of a mosquito making its invisible and unimaginable tour through my apartment at earliest dawn, when I was sitting with door and windows open, as I could be by any trumpet that ever sang of fame. It was Homer’s requiem6; itself an Iliad and Odyssey in the air, singing its own wrath and wanderings.7 There was something cosmical about it; a standing advertisement, till forbidden, of the everlasting vigor and fertility of the world. The morning, which is the most memorable season of the day, is the awakening hour. Then there is least somnolence8 in us; and for an hour, at least, some part of us awakes which slumbers all the rest of the day and night. After a partial cessation of his sensuous life, the soul of man, or its organs rather, are reinvigorated each day, and his Genius tries again what noble life it can make. All memorable events, I should say, transpire in morning time and in a morning atmosphere. The Vedas9 say, “All intelligences awake with the morning.” Poetry and art, and the fairest


my Notes

key IdeaS aNd deTaIlSIn paragraphs 3 and 4, Thoreau describes the importance of morning. Pick two or three phrases or sentences that show he is talking about more than the literal morning; rather, he is expressing the significance of morning as it relates to leading a full life. Explain Thoreau’s thinking.


Like Emerson, Thoreau uses infinitive phrases for effect. Identify where he does so at the end of paragraph 3 and in paragraphs 4 and 5. Then, craft your own statement about life using this pattern.

1 saturated (adj.): soaked, full to capacity 2 exude (v.): to ooze or spread in all directions 3 Lincoln: small town in Massachusetts between Concord and Sudbury 4 Concord Battle Ground: reference to Emerson’s poem “Concord Hymn.” 5 Aurora: Greek goddess of dawn 6 requiem (n.): a mass or a solemn ceremony for a deceased person 7 wrath and wanderings: Homer’s Iliad concerns the “wrath” of Achilles and the Odyssey

tells of the “wanderings” of Odysseus 8 somnolence (n.): sleepiness, drowsiness 9 Vedas: collection of sacred Hindu literature

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b Have students finish reading the excerpt, marking the text for the main idea of each paragraph. Discuss reactions to Thoreau’s ideas, focusing on what aspects of society he criticizes and how he thinks these aspects of society inhibit the pursuit of happiness and a meaningful life.

Key Ideas and Details Quotations will vary, but the connection between Emerson’s ideas of self-reliance and Thoreau’s ideas about living in the woods should be clearly stated. Thoreau was the ultimate self-reliant man and nonconformist, who lived as much as possible alone and without the aid of society in the everyday activities of his life.

“Whoso would be a man must be a nonconformist.” (Emerson)

“Every man is tasked to make his life, even in its details, worthy of the contemplation of his most elevated and critical hour.”(Thoreau)

Key Ideas and Details Answers to this will vary, but in general we can assume that if Thoreau can do without the post office and the newspaper, he would have no use for the Internet and social media.

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reckoning,15 and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion. Our life is like a German Confederacy,16 made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not; but whether we should live like baboons or like men, is a little uncertain. If we do not get out sleepers,17 and forge rails and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them.

7 For my part, I could easily do without the post office. I think that there are very few important communications made through it. To speak critically, I never received more than one or two letters in my life—I wrote this some years ago—that were worth the postage. The penny post is, commonly, an institution through which you seriously offer a man that penny for his thoughts which is so often safely offered in jest. And I am sure that I never read any memorable news in the newspaper. If we read of one man robbed, or murdered, or killed by accident, or one house burned, or one vessel wrecked, or one steamboat blown up, or one cow run over on the Western Railroad, or one mad dog killed, or one lot of grasshoppers in the winter—we never need read of another. One is enough. If you are acquainted with the principle, what do you care for myriad instances and applications? To a philosopher all news as it is called, is gossip, and they who edit and read it are old women over their tea. Yet not a few are greedy after this gossip. There was such a rush, as I hear, the other day at one of the offices to learn the foreign news by the last arrival, that several large squares of plate glass belonging to the establishment were broken by the pressure—news which I seriously think a ready wit might write a twelvemonth, or twelve years, beforehand with sufficient accuracy. . . .

8 Shams and delusions are esteemed for soundest truths, while reality is fabulous. If men would steadily observe realities only, and not allow themselves to be deluded, life, to compare it with such things as we know, would be like a fairy tale and the Arabian Nights’ Entertainments. If we respected only what is inevitable and has a right to be, music and poetry would resound along the streets. When we are unhurried and wise, we perceive that only great and worthy things have any permanent and absolute existence, that petty fears and petty pleasures are but the shadow of the reality. This is always exhilarating and sublime. By closing the eyes and slumbering, and consenting to be deceived by shows, men establish and confirm their daily life of routine and habit everywhere, which still is built on purely illusory foundations. Children, who play life, discern its true law and


my Notes

Grammar USaGeConditional Mood

Thoreau uses conditional tense to suggest what would happen if a change were made. Consider this example:“If we respected only what is inevitable . . . music and poetry would resound. . . ”

15 dead reckoning (n.): nautical term for a method of positioning a ship without using the more reliable method of astronomical observation

16 German Confederacy: in 1815, the first ineffective alliance of German territories 17 sleepers (n.): wooden beams to which railway tracks are riveted

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c Thoreau’s use of the conditional fits with his desire to explore possibilities and improbabilities, which is the nature of the conditional mood.

Key Ideas and Details Thoreau juxtaposes paradoxical mixed metaphors combining the imagery of sky and streams and time. To confront the infinite, to study the secret of things, one must be able to go beyond the shallow stream of time and confront eternity. His head is his “hands and feet” so he can burrow deeply to find wisdom. In the previous paragraph, Thoreau explains that most of us accept shams and delusions and give over our lives to habit and routine rather than actively engaging in order to “mine” the truth of the eternal realities.

TEACHER TO TEACHERContinue to ask students to make inferences about characteristics of Transcendentalism based on their reading. Inferences about Transcendentalism that can be made from Thoreau’s essay include the following:

• Live close to nature.• Live simply and deliberately.• Be aware and alive to the gift

of life. Each new day is a new beginning.

• Eschew society’s conveniences; they take away our individual independence.

• See and value truth over delusions and illusions.

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relations more clearly than men, who fail to live it worthily, but who think that they are wiser by experience, that is, by failure. . . .

9 Time is but the stream I go-a-fishing in. I drink at it; but while I drink I see the sandy bottom and detect how shallow it is. Its thin current slides away, but eternity remains. I would drink deeper; fish in the sky, whose bottom is pebbly with stars. I cannot count one. I know not the first letter of the alphabet. I have always been regretting that I was not as wise as the day I was born. The intellect is a cleaver; it discerns and rifts its way into the secret of things. I do not wish to be any more busy with my hands than is necessary. My head is hands and feet. I feel all my best faculties concentrated in it. My instinct tells me that my head is an organ for burrowing, as some creatures use their snout and forepaws, and with it I would mine and burrow my way through these hills. I think that the richest vein is somewhere hereabouts; so by the divining rod and thin rising vapors I judge; and here I will begin to mine.

After ReadingWriting Prompt: Summarize Thoreau’s criticisms of society. Consider especially paragraphs 6 and 7. Then identify a facet of modern society that Thoreau would object to, and explain why he would find it objectionable. Be sure to:

• FocusonThoreau’sgeneralideas,nothisspecificdetails,byusingafewkeyquotes to capture his voice and major claims.

• Presenthisideaswithanobjectivetone.

• Includeoneinfinitivephraseinyourwriting.

Language and Writer’s Craft: AntithesisThoreau uses syntax for rhetorical impact. Among the syntactical rhetorical devices Thoreau uses is antithesis—the use of parallel, contrasting elements.

Example: “We do not ride on the railroad; it rides upon us.”

The parts of the parallel sentence express contrasting ideas. The result is an effective and memorable statement. Other famous examples include these:

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way. —A Tale of Two Cities, by Charles Dickens

We must learn to live together as brothers or perish together as fools. —1964 speech by Dr. Martin Luther King, Jr.

The world will little note, nor long remember what we say here, but it can never forget what they did here. —The Gettysburg Address, by Abraham Lincoln

Using antithesis can help you vary syntax and engage your reader. Write your own sentence or passage comparing two of the three authors (Emerson, Thoreau, McCandless) you have been studying. Use antithesis to express your comparison.

for rhetorical impact. Among the syntactical rhetorical devices for rhetorical impact. Among the syntactical rhetorical devices —the use of parallel, contrasting elements.—the use of parallel, contrasting elements.

The parts of the parallel sentence express contrasting ideas. The result is an The parts of the parallel sentence express contrasting ideas. The result is an effective and memorable statement. Other famous examples include these:effective and memorable statement. Other famous examples include these:

It was the best of times, it was the worst of times, it was the age of wisdom, it was the It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all winter of despair, we had everything before us, we had nothing before us, we were all

We must learn to live together as brothers or perish together as fools. We must learn to live together as brothers or perish together as fools.

The world will little note, nor long remember what we say here, but it can never forget The world will little note, nor long remember what we say here, but it can never forget

Using antithesis can help you vary syntax and engage your reader. Write your Using antithesis can help you vary syntax and engage your reader. Write your own sentence or passage comparing two of the three authors (Emerson, Thoreau, own sentence or passage comparing two of the three authors (Emerson, Thoreau, McCandless) you have been studying. Use antithesis to express your comparison.McCandless) you have been studying. Use antithesis to express your comparison.

my Notes

key IdeaS aNd deTaIlSThoreau uses several key metaphors in paragraph 9. What does each of these metaphors suggest about the importance of living a reflective life? How does this type of life contrast to the one described in the paragraph above?

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reckoning,15 and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion. Our life is like a German Confederacy,16 made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not; but whether we should live like baboons or like men, is a little uncertain. If we do not get out sleepers,17 and forge rails and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them.

7 For my part, I could easily do without the post office. I think that there are very few important communications made through it. To speak critically, I never received more than one or two letters in my life—I wrote this some years ago—that were worth the postage. The penny post is, commonly, an institution through which you seriously offer a man that penny for his thoughts which is so often safely offered in jest. And I am sure that I never read any memorable news in the newspaper. If we read of one man robbed, or murdered, or killed by accident, or one house burned, or one vessel wrecked, or one steamboat blown up, or one cow run over on the Western Railroad, or one mad dog killed, or one lot of grasshoppers in the winter—we never need read of another. One is enough. If you are acquainted with the principle, what do you care for myriad instances and applications? To a philosopher all news as it is called, is gossip, and they who edit and read it are old women over their tea. Yet not a few are greedy after this gossip. There was such a rush, as I hear, the other day at one of the offices to learn the foreign news by the last arrival, that several large squares of plate glass belonging to the establishment were broken by the pressure—news which I seriously think a ready wit might write a twelvemonth, or twelve years, beforehand with sufficient accuracy. . . .

8 Shams and delusions are esteemed for soundest truths, while reality is fabulous. If men would steadily observe realities only, and not allow themselves to be deluded, life, to compare it with such things as we know, would be like a fairy tale and the Arabian Nights’ Entertainments. If we respected only what is inevitable and has a right to be, music and poetry would resound along the streets. When we are unhurried and wise, we perceive that only great and worthy things have any permanent and absolute existence, that petty fears and petty pleasures are but the shadow of the reality. This is always exhilarating and sublime. By closing the eyes and slumbering, and consenting to be deceived by shows, men establish and confirm their daily life of routine and habit everywhere, which still is built on purely illusory foundations. Children, who play life, discern its true law and


my Notes

Grammar USaGeConditional Mood

Thoreau uses conditional tense to suggest what would happen if a change were made. Consider this example:“If we respected only what is inevitable . . . music and poetry would resound. . . ”

15 dead reckoning (n.): nautical term for a method of positioning a ship without using the more reliable method of astronomical observation

16 German Confederacy: in 1815, the first ineffective alliance of German territories 17 sleepers (n.): wooden beams to which railway tracks are riveted

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d Use the writing prompt as an opportunity for students to synthesize their understanding of Thoreau’s ideas and present his ideas objectively. You could ask students to start with a quote that expresses one of Thoreau’s ideas, then indicate what facet of modern society is analogous to this objection and explain how and why Thoreau would object to it.

e Both Emerson and Thoreau are masterful prose stylists. Antithesis is one of many rhetorical devices they use in their writing. To recognize and practice antithesis goes hand in hand with using infinitive phrases, parallel structure, anaphora, and rhetorical questions to express ideas formally and effectively.

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4. Use the 3-column log below to note and compare inferences from the three texts you have examined relative to the meaning of Transcendentalism and the pursuit of happiness. Then mark the log to show connections between ideas expressed in the texts.

McCandless Emerson Thoreau

rejects society and material comforts

seeks freedom

wants to escape to the wild and no longer be “poisoned by civilization”

calls himself an “aesthetic”

“…spiritual revolution shows that he is concerned with matters of the spirit.”

Check Your UnderstandingWork collaboratively with your peers to generate a working definition of Transcendentalism and a preliminary list of its key beliefs. Review the notes from each of the texts and explain how the characteristics of Transcendentalism are reflected in each text. ©

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f Have students work in small groups to complete each column of the graphic organizer, and then have each group complete the Check Your Understanding, writing their definitions on sentence strips and their list of beliefs on sticky notes. This inductive approach to definition sets students up for the more deductive research beginning in the next activity.

ASSESSReview student responses to the writing prompt for a focus on Thoreau’s general ideas, key quotes from the text, and an objective tone. Check for the proper use of at least one infinitive phrase. Also collect student sentence strips and sticky notes to ensure a clear definition of Transcendentalism and to gauge understanding of its key beliefs.

ADAPTYou might consider doing some in-class prewriting work on the writing prompt, then asking students to complete the writing prompt responding to Thoreau as homework.

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acTIVITy

4.3

Learning Targets• Expandknowledgeofasubjectwithprimaryandsecondarysources.

• InvestigateforevidenceofTranscendentalism’srelevancetoAmericanlife.

Transcendentalism1. To deepen your understanding of Transcendentalism, you will work with group

members to create a poster depicting Trascendentalism’s key beliefs. Consider the framing questions below, but you may revise, cut, or add to the list of questions based on your initial work with Emerson and Thoreau.

2. Research to answer the following questions regarding the Transcendentalists:

• WhatistheirviewofGod?

• Whataretheirvalues?

• Howdotheydefinetruth?

• Dotheyhaveanoptimisticorpessimisticviewoflife?

• Whataretheirviewsofworkandworldlysuccess?

• Whatistheirviewofsociety?

• Whoistheirauthority?

• Whatistheirviewofeducation?

• Dotheyviewmanasinherentlygood,evil,orsomewhereinbetween?

3. Be sure to compile a list of your resources and sources, both for specific quotes and for general ideas. Use a graphic organizer like the one below to collect your information. Each member should use a different source, and all sources should be credible.

Source Information/Citation: Interpretation: Connections:

Record pertinent information and include page numbers. Be sure to use quotation marks if using a direct quote.

Question and comment on the facts presented. Imagine the people, the situation, and the events surrounding the research facts.

Consider possible contemporary texts that express or link to the ideas presented in this source.

Check Your Understanding4. As a group, construct a poster synthesizing your research.

• Incorporatecommoninformationintoyourposter.

• Findspecificquotesfromsourcesthatbestarticulatethisinformation.

• AddvisualstohelpexpressthebasicbeliefsofTranscendentalism.

• Compareyourinformation.ReviseyourdefinitionofTranscendentalismtoreflect your research and information sharing with peers.

my Notes

re-Searching for meaning©

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4. Use the 3-column log below to note and compare inferences from the three texts you have examined relative to the meaning of Transcendentalism and the pursuit of happiness. Then mark the log to show connections between ideas expressed in the texts.

McCandless Emerson Thoreau

rejects society and material comforts

seeks freedom

wants to escape to the wild and no longer be “poisoned by civilization”

calls himself an “aesthetic”

“…spiritual revolution shows that he is concerned with matters of the spirit.”

Check Your UnderstandingWork collaboratively with your peers to generate a working definition of Transcendentalism and a preliminary list of its key beliefs. Review the notes from each of the texts and explain how the characteristics of Transcendentalism are reflected in each text. ©

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COMMON CORE STATE STANDARDSFocus Standards:W.11-12.7: Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.

SL.11-12.1d: Respond thoughtfully to diverse perspectives; synthesize comments, claims, and evidence made on all sides of an issue; resolve contradictions when possible; and determine what additional information or research is required to deepen the investigation or complete the task.

Additional Standards Addressed: SL.11-12.1a; SL.11-12.1b; SL.11-12.1c; SL.11-12.5; L.11-12.6

ACTIVITY 4.3

PLANMaterials: chart paper, markers, access to a computer lab/Internet researchSuggested Pacing: 2 50-minute periods + homework

TEACH1 Students will be working in small groups. The goal of the research is to expand and clarify how Transcendentalism influenced and continues to be reflected in the intellectual and cultural development of American society.

2 Post the various sentence strip definitions from Activity 4.2, and have students evaluate which offers the best general definition for Transcendentalism. Explain that they will further refine this definition based on their research for this activity.

3 Have each small group use their notes from Activity 4.2 to fill out the first column in a KWHL chart, using the framing questions to fill out the second column and focusing on areas where they have gaps in their knowledge.

4 Briefly review criteria for selecting sources. Have students form a plan for research that will ensure they do not duplicate sources. Each student in the group should fill out a source sheet on a unique source. On page 253f, you will find a blank copy of a source sheet.

5 Have students work in their groups synthesizing responses and selecting key quotes to use on their posters.

6 Post completed posters, and then conduct a gallery walk. Have students discuss the posters’ effectiveness. You might have students select the best poster, then keep it posted to reference during the remainder of this unit.

ASSESSReview student posters for clear synthesis of ideas and strong, relevant visuals.

ADAPTConsider providing students with a model works consulted/bibliography and requiring formal source documentation as part of the process.

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Learning Targets• Supportinterpretiveclaimswithtextualevidence.

• Collaborativelydevelopcriteriaforevaluatinghowtextstreatthemesortopics.

Before Reading1. While the Transcendentalist movement occurred in the first half of the

nineteenth century, it fundamentally influenced American thinking by giving expression to many ideas, values, and themes that continue to be explored in literature today. How might Transcendentalism connect to a modern song?

During Reading2. As you read the poems, mark the texts for ideas that connect to transcendental

thinking. How do the following three pieces relate to the core tenets of Transcendentalism?

Poetry

In the Depths of Solitudeby Tupac Shakur

I exist in the depths of solitude Pondering my true goal Trying to find peace of mind And still preserve my soul 5 Constantly yearning to be accepted And from all receive respect Never compromising but sometimes risky And that is my only regret A young heart with an old soul 10 How can there be peace How can I be in the depths of solitude When there are two inside of me This Duo within me causes The perfect opportunity 15 To learn and live twice as fast As those who accept simplicity

After Reading3. A genre is a style of literature or art with specific characteristics, features, and

format. These generalizable characteristics are called genre conventions. What conventions characterize poetry as a broad literary genre? How does Shakur use these conventions in “In the Depths of Solitude”?

my Notes

learNING STraTeGIeS:Reading aloud, Choral reading, Marking the Text, Visual/Auditory Prompt

acTIVITy

4.4linking the Past to the Present

academIc VocabUlaryGenre conventions are the essential features and format that characterize a particular genre.

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ACTIVITY 4.4

PLANSuggested Pacing: 2 50-minute periods + homework

TEACH1 By asking students to analyze contemporary texts for evidence of Transcendentalist ideas, this activity prepares them to read Into the Wild and to understand how various genres can explore similar themes, which scaffolds Embedded Assessment 2 of this unit.

2 Read aloud “In the Depths of Solitude,” and ask students to follow along and mark the text for ideas that connect to Transcendentalist thinking.

3 With the whole class, discuss the connections between “In the Depths of Solitude” and the ideas of Transcendentalism to examine the modern relevance of a literary era.

4 Review the general conventions of poetry, focusing on how Tupac uses rhyme scheme and meter. This can then set up a discussion of how other types of poetry that will be introduced in the next two pieces are defined by shared conventions.

COMMON CORE STATE STANDARDSFocus Standards:W.11-12.4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1–3.)

Additional Standards Addressed: RL.11-12.2; RL.11-12.5; RL.11-12.10; W.11-12.5

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my Notes

Poetry

Rememberby Joy Harjo

Remember the sky that you were born under, know each of the star’s stories. Remember the moon, know who she is. I met her in a bar once in Iowa City.

5 Remember the sun’s birth at dawn, that is the strongest point of time. Remember sundown and the giving away to night. Remember your birth, how your mother struggled to give you form and breath. You are evidence of

10 her life, and her mother’s, and hers. Remember your father. He is your life also. Remember the earth whose skin you are: red earth, black earth, yellow earth, white earth brown earth, we are earth.

15 Remember the plants, trees, animal life who all have their tribes, their families, their histories, too. Talk to them, listen to them. They are alive poems. Remember the wind. Remember her voice. She knows the origin of this universe. I heard her singing Kiowa war

20 dance songs at the corner of Fourth and Central once. Remember that you are all people and that all people are you. Remember that you are this universe and that this universe is you. Remember that all is in motion, is growing, is you. Remember that language comes from this.

25 Remember the dance that language is, that life is. Remember.

Grammar USaGeImperative Mood“Remember” uses the imperative mood, in which sentences state commands or instructions, often with an implied “you” but no explicit subject. Consider using imperatives to construct your own “how to” poem related to pursuing happiness.

key IdeaS aNd deTaIlSHarjo combines anaphora with the imperative mood, repeating “Remember” as a command or instruction. As you analyze the effect of these rhetorical choices, consider three elements of how Harjo uses this approach:

1. who’s speaking to whom

2. the effect of the imperative (tone, mood, theme)

3. the degree of authority the speaker has

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Learning Targets• Supportinterpretiveclaimswithtextualevidence.

• Collaborativelydevelopcriteriaforevaluatinghowtextstreatthemesortopics.

Before Reading1. While the Transcendentalist movement occurred in the first half of the

nineteenth century, it fundamentally influenced American thinking by giving expression to many ideas, values, and themes that continue to be explored in literature today. How might Transcendentalism connect to a modern song?

During Reading2. As you read the poems, mark the texts for ideas that connect to transcendental

thinking. How do the following three pieces relate to the core tenets of Transcendentalism?

Poetry

In the Depths of Solitudeby Tupac Shakur

I exist in the depths of solitude Pondering my true goal Trying to find peace of mind And still preserve my soul 5 Constantly yearning to be accepted And from all receive respect Never compromising but sometimes risky And that is my only regret A young heart with an old soul 10 How can there be peace How can I be in the depths of solitude When there are two inside of me This Duo within me causes The perfect opportunity 15 To learn and live twice as fast As those who accept simplicity

After Reading3. A genre is a style of literature or art with specific characteristics, features, and

format. These generalizable characteristics are called genre conventions. What conventions characterize poetry as a broad literary genre? How does Shakur use these conventions in “In the Depths of Solitude”?

my Notes

learNING STraTeGIeS:Reading aloud, Choral reading, Marking the Text, Visual/Auditory Prompt

acTIVITy

4.4linking the Past to the Present

academIc VocabUlaryGenre conventions are the essential features and format that characterize a particular genre.

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5 Engage the class in a choral reading of “Remember,” emphasizing each “remember” clause. Ask students to identify those clauses that contain information that most clearly link to Transcendentalism.

Key Ideas and Details As the speaker instructs the reader to “remember” certain things, so the poem becomes an instruction on how to live a thoughtful, meaningful life.

• The speaker is a Kiowa, instructing the next generation in the truths of the world.

• The speaker exudes authority partially because of the commanding tone of the anaphora.

• The poem speaks with authority about a way of life in which nature and man are all one. It is the wisdom of the tribe.

Grammar Extension Discuss using the imperative mood in poetry. Brainstorm imperative statements that Emerson and Thoreau would approve of, such as live simply, avoid the poisoning influence of society, consider each day a new beginning.

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linking the Past to the Present

my Notes


Poetry

by Emily Dickinson

A Light exists in Spring Not present on the Year At any other period – When March is scarcely here

5 A Color stands abroad On Solitary Fields That Science cannot overtake But Human Nature feels.

It waits upon the Lawn, 10 It shows the furthest Tree Upon the furthest Slope you know

It almost speaks to you.

Then as Horizons step Or Noons report away 15 Without the Formula of sound It passes and we stay –

A quality of loss Affecting our Content As Trade had suddenly encroached 20 Upon a Sacrament.

After ReadingCreative/Reflective Writing Prompt: Write an original poem exploring your beliefs about the pursuit of happiness, emulating one of the three poems explored in this unit: use Tupac’s alternating rhyme scheme, Harjo’s imperative mood, or Dickinson’s lyric approach. Be sure to:

• LinktoatleastoneoftheTranscendentalidealsyou’veidentifiedinthisunit.

• Considerthecriteriayouhaveidentifiedwithyourclassmatesasyoucraftyour text.

• Incorporatethegenreconventionsofthemodelyouemulate.

Check Your UnderstandingAnnotate your poem to explain what genre conventions you have used.

ExistsA Light Springin

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TEACHER TO TEACHERBe sure students recognize the connection between Dickinson and the Transcendentalists: She links the light of “Spring” to a “Sacrament” or holy ceremony, while describing the loss of the pleasure or contentment at seeing it as “Trade” or business invading the appreciation of nature.

6 As students draft an original poem on the pursuit of happiness, encourage them to make the ideas of Transcendentalism apparent in their text.

Differentiating InstructionTo support learning, encourage students to work in pairs in response to the writing prompt.

ASSESSReview student responses to the writing prompt and Check Your Understanding as a way to monitor students’ understanding of genre conventions and how to craft original works according to a set of conventions.

ADAPTWriting in the form of Harjo’s poem might be especially good in preparing students for drafting a credo in Activity 4.6. Though all of the poems included here are certainly worth emulating, you may want to allow students to respond to the writing prompt by writing in a genre other than a poem. Use Activity 4.5 to reinforce the idea of genre conventions if students seem unclear about how to identify them.


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my Notes

learNING STraTeGIeS:Quickwrite, Visual/Auditory Prompt, OPTIC, Think-Pair-Share, Discussion Groups, Jigsaw

Learning Targets• Identifygenreconventionsfornaturepaintings.

• ExplorehowvisualtextscanconveyTranscendentalistthemes.

Before Reading1. Quickwrite: Based on what you now know about Transcendentalism, what sort

of conventions of style, content, and/or themes might typify Transcendentalist artwork?

2. As you read the following description of the Hudson River School of painters, from www.askart.com, use the space in the margins to note links to the characteristics of Transcendentalism you identified as you completed your research in Activity 4.3.

The Hudson River School of painters was America’s first so-called school of painting and the dominant landscape style until the Civil War. The name derives from a group of 19th-century landscape painters working in New York state. With realistic composition, they depicted romantic views of unsettled areas of the Hudson River Valley especially lakes, rocky gorges, and forests in the Catskill Mountains.

Thomas Cole is considered the leader of the movement, which began in 1825 when other artists discovered Cole’s landscapes whose loftiness and sense of high drama suggested communication with God through nature. For Cole, and later his followers, the landscape was a sacred place.

Hudson River School adherents included Asher Durand, who often did panoramic views in a romantic, semi-realist style, with an underlying mood of serenity and contemplation.

The School is credited with making landscape for the first time a legitimate subject for canvas and for conveying a sense of place that was uniquely American. Although the compositional and stylistic devices were Old World—at least 36 of the Hudson River artists had been trained in European academies—the subject matter infused Americans with the confidence to turn away from European subjects to their own culture.

During Reading 3. With your understanding of Transcendentalism and the Hudson River artists

in mind, analyze the following paintings: “The Oxbow,” by Cole and Durand’s “Kindred Spirits.” OPTIC is a strategy for analyzing visual texts. You may remember that OPTIC is an acronym for the following: Overview, Parts, Title, Interrelationships, and Conclusion. Use the parts of the chart on the next page to note the elements of each painting that contribute to its thematic meaning.

acTIVITy

4.5another Transcendental View

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linking the Past to the Present

my Notes


Poetry

by Emily Dickinson

A Light exists in Spring Not present on the Year At any other period – When March is scarcely here

5 A Color stands abroad On Solitary Fields That Science cannot overtake But Human Nature feels.

It waits upon the Lawn, 10 It shows the furthest Tree Upon the furthest Slope you know

It almost speaks to you.

Then as Horizons step Or Noons report away 15 Without the Formula of sound It passes and we stay –

A quality of loss Affecting our Content As Trade had suddenly encroached 20 Upon a Sacrament.

After ReadingCreative/Reflective Writing Prompt: Write an original poem exploring your beliefs about the pursuit of happiness, emulating one of the three poems explored in this unit: use Tupac’s alternating rhyme scheme, Harjo’s imperative mood, or Dickinson’s lyric approach. Be sure to:

• LinktoatleastoneoftheTranscendentalidealsyou’veidentifiedinthisunit.

• Considerthecriteriayouhaveidentifiedwithyourclassmatesasyoucraftyour text.

• Incorporatethegenreconventionsofthemodelyouemulate.

Check Your UnderstandingAnnotate your poem to explain what genre conventions you have used.

ExistsA Light Springin

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COMMON CORE STATE STANDARDSFocus Standards:W.11-12.1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

W.11-12.1a: Introduce precise, knowledgeable claim(s), establish the significance of the

claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that logically sequences claim(s), counterclaims, reasons, and evidence.

Additional Standards Addressed:W.11-12.10; SL.11-12.1a; SL.11-12.1b; SL.11-12.1c; SL.11-12.1d

ACTIVITY 4.5

PLANMaterials: projector, online links or posters of Thomas Cole’s “The Oxbow” and Asher Durand’s “Kindred Spirits,” OPTIC graphic organizers, chart paper, markersSuggested Pacing: 1 50-minute period

TEACH1 This activity scaffolds Embedded Assessment 2 by encouraging students to consider how visual texts can be constructed to express particular values or beliefs and by having students define criteria for evaluating creative texts.

2 Have students respond to the quickwrite, then discuss their responses. Explain that they’ll be contrasting two paintings and how they explore similar themes in different ways.

3 Have students read the excerpt regarding the Hudson River School, marking the text for information regarding how Cole and Durand used style and content to express Transcendentalist themes. Discuss their observations.

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OPTIC Analysis

Overview: Take a first look at the artwork, noticing the subject. Brainstorm some questions about it.

Parts: Look closely at the artwork, making note of important elements and details. Consider composition, lighting, framing, etc.

Title: Pay attention to the title and any captions.

Interrelationships: Look for connections between and among the title, caption, and the parts of the art.

Conclusion: Form a conclusion about the meaning of the artwork. Remember the questions you asked when you first examined it: How does the painting evoke or express Transcendentalism? Be prepared to support your conclusion with evidence.

After Reading 4. Based on these two examples, if Hudson River landscape paintings are

considered an artistic genre, what are some genre conventions you would expect other texts of this genre to display? In other words, what are some characteristics they both share that other paintings of this school would also likely share, both in terms of their style and their content?

Writing Prompt: Which painting better reflects the beliefs of the Transcendental movement, Durand’s or Cole’s? Write a paragraph that answers this question, using details from the painting and specific information about the movement. Be sure to:

• Introduceapreciseclaimwithatopicsentencethatclarifiesyourposition.

• Supportyourclaimwithreferencestothegenreconventionsyouhavedefined.

• VividlydescribethepaintingandthedetailsthatreflecttheTranscendentalmovement.

Check Your UnderstandingWhat conventions most closely link the Hudson River painters to Transcendentalism?

another Transcendental View

my Notes


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4 As you project “The Oxbow” and “Kindred Spirits” (either side by side or independently), give students time to think-pair-share observations about each painting, creating their own OPTIC chart for at least one of the two. The notes for each element should guide their thinking.

5 Place students into discussion groups and have them discuss the After Reading questions, identifying common characteristics.

6 Have discussion groups rank the two paintings in terms of which most powerfully expresses Transcendentalist ideas. Each group should identify criteria for evaluating the texts in this way.

7 Jigsaw the groups and have them compare responses. Then have each new group come up with a consensus list of criteria.

8 Allow students time to write responses to the writing prompt and the Check Your Understanding question.

ASSESSReview student responses to the writing prompt and Check Your Understanding question to assess students’ understanding of Transcendentalist values and the characteristics of a certain kind of genre. The OPTIC graphic organizer should be considered prewriting for this writing assignment and could be collected as part of the final draft of the paragraph.

ADAPTModel a think aloud using OPTIC with Cole’s painting before asking students to work with partners to repeat the process with “Kindred Spirits.”


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Learning Targets • Analyzetheelementsofacredoasaliterarygenre.

• Applytheconventionsofthecredogenrewhenwritingapersonalcredo,usingeffective syntax and punctuation.

Before Reading 1. Quickwrite: What are some of the rules you learned in kindergarten? To what

extent are those rules still applicable to life for you today?

2. A precept is a rule, instruction, or principle that guides somebody’s actions and/or moral behavior. In the graphic organizer below, list some of the precepts you have learned over the course of your life that guide your behavior as well as why they are significant to you.

Precepts Rationale, Significance, or

Reflection

1. Don’t cut in front of people—always wait your turn.

1. Timing is everything. If we are not patient and we cut people off because we are in a hurry, we might miss out on a great opportunity that was waiting for us. We will have missed it and the person behind us might benefit from it.

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OPTIC Analysis

Overview: Take a first look at the artwork, noticing the subject. Brainstorm some questions about it.

Parts: Look closely at the artwork, making note of important elements and details. Consider composition, lighting, framing, etc.

Title: Pay attention to the title and any captions.

Interrelationships: Look for connections between and among the title, caption, and the parts of the art.

Conclusion: Form a conclusion about the meaning of the artwork. Remember the questions you asked when you first examined it: How does the painting evoke or express Transcendentalism? Be prepared to support your conclusion with evidence.

After Reading 4. Based on these two examples, if Hudson River landscape paintings are

considered an artistic genre, what are some genre conventions you would expect other texts of this genre to display? In other words, what are some characteristics they both share that other paintings of this school would also likely share, both in terms of their style and their content?

Writing Prompt: Which painting better reflects the beliefs of the Transcendental movement, Durand’s or Cole’s? Write a paragraph that answers this question, using details from the painting and specific information about the movement. Be sure to:

• Introduceapreciseclaimwithatopicsentencethatclarifiesyourposition.

• Supportyourclaimwithreferencestothegenreconventionsyouhavedefined.

• VividlydescribethepaintingandthedetailsthatreflecttheTranscendentalmovement.

Check Your UnderstandingWhat conventions most closely link the Hudson River painters to Transcendentalism?

another Transcendental View

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COMMON CORE STATE STANDARDSFocus Standards:W.11-12.4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

W.11-12.5: Develop and strengthen writing as needed by planning, revising, editing,

rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience.

Additional Standards Addressed: RI.11-12.4; W.11-12.10; L.11-12.6

ACTIVITY 4.6

PLANSuggested Pacing: 1 50-min period

TEACH1 To activate students’ prior knowledge, ask them to do the quickwrite on rules of conduct learned in kindergarten. Another option is to hold a class discussion on this topic, examining the extent to which these rules are still relevant in students’ lives today.

2 Next, define the purpose and function of a credo, (a personal belief statement about life), and ask students to consider why someone would craft a document of this genre. Review the definition of a precept, and invite students to brainstorm a list of precepts on the graphic organizer provided.

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drafting my credo acTIVITy 4.6continued

During Reading 3. In the following excerpt, Robert Fulghum creates a list of precepts in order to

present his credo: his personal statement about life. As you read the credo, consider what the precepts have in common and highlight those that most appeal to you personally.

About the AuthorRobert Fulghum (b. 1937) grew up in Texas. He was a minister for many years before turning to writing, painting, and sculpting. He is the author of several best-selling books that primarily focus on thoughts about how to live a full and happy life. Fulghum has said, “The tragedy of modern man is not that he knows less and less about the meaning of his own life but that it bothers him less and less.”

Nonfiction

by Robert Fulghum

1 Each spring, for many years, I have set myself the task of writing a personal statement of belief: a Credo. When I was younger, the statement ran for many pages, trying to cover every base, with no loose ends. It sounded like a Supreme Court brief, as if words could resolve all conflicts about the meaning of existence.

2 The Credo has grown shorter in recent years—sometimes cynical, sometimes comical, sometimes bland—but I keep working at it. Recently I set out to get the statement of personal belief down to one page in simple terms, fully understanding the naïve idealism that implied. . .

3 I realized then that I already know most of what’s necessary to live a meaningful life—that it isn’t all that complicated. I know it. And have known it for a long, long time. Living it—well, that’s another matter, yes? Here’s my Credo:

4 All I really need to know about how to live and what to do and how to be I learned in kindergarten. Wisdom was not at the top of the graduate-school mountain, but there in the sand pile at Sunday school. These are the things I learned:

Share everything. Play fair. Don’t hit people. Put things back where you found them. Clean up your own mess! Don’t take things that aren’t yours. Say you’re sorry when you hurt somebody. Wash your hands before you eat. Flush.

Word coNNecTIoNS

Roots and AffixesCredo stems from the root cred, meaning “to believe,” which appears in other words such as incredulous, creed, and credence.

my Notes

key IdeaS aNd deTaIlSHow do Fulghum’s diction, syntax, and punctuation help convey his tone and theme?

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Text ComplexityOverall: AccessibleLexile: 910Qualitative: Moderate DifficultyTask: Challenging (Create)

3 Read aloud Fulghum’s credo and ask students to mark the text to identify one or two of Fulghum’s precepts that they believe are key values in a meaningful life. Have students consider Fulghum’s thematic message and think-pair-share their personal responses.

4 Ask students to reread the text to consider and identify the tone. Next, ask students to mark key words or phrases that reveal the tone of the passage.

5 Then ask students to respond to the Key Ideas and Details question. Lead students in a discussion about how diction, syntax, and punctuation are used to create tone and to advance Fulghum’s theme.

Key Ideas and Details Considering the form or genre of a credo, this piece could sound very esoteric and philosophical, but Fulghum is matter-of-fact and practical, using simple diction and details evocative of childhood such as “sand pile,” “warm cookies and cold milk,” “blankies,” and “clean up your own mess.” His syntax consists of straightforward and simple statements, with frequent imperatives. His use of asyndeton and polysyndeton keeps the tempo of the prose moving quickly.


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drafting my credo acTIVITy 4.6continued

During Reading 3. In the following excerpt, Robert Fulghum creates a list of precepts in order to

present his credo: his personal statement about life. As you read the credo, consider what the precepts have in common and highlight those that most appeal to you personally.

About the AuthorRobert Fulghum (b. 1937) grew up in Texas. He was a minister for many years before turning to writing, painting, and sculpting. He is the author of several best-selling books that primarily focus on thoughts about how to live a full and happy life. Fulghum has said, “The tragedy of modern man is not that he knows less and less about the meaning of his own life but that it bothers him less and less.”

Nonfiction

by Robert Fulghum

1 Each spring, for many years, I have set myself the task of writing a personal statement of belief: a Credo. When I was younger, the statement ran for many pages, trying to cover every base, with no loose ends. It sounded like a Supreme Court brief, as if words could resolve all conflicts about the meaning of existence.

2 The Credo has grown shorter in recent years—sometimes cynical, sometimes comical, sometimes bland—but I keep working at it. Recently I set out to get the statement of personal belief down to one page in simple terms, fully understanding the naïve idealism that implied. . .

3 I realized then that I already know most of what’s necessary to live a meaningful life—that it isn’t all that complicated. I know it. And have known it for a long, long time. Living it—well, that’s another matter, yes? Here’s my Credo:

4 All I really need to know about how to live and what to do and how to be I learned in kindergarten. Wisdom was not at the top of the graduate-school mountain, but there in the sand pile at Sunday school. These are the things I learned:

Share everything. Play fair. Don’t hit people. Put things back where you found them. Clean up your own mess! Don’t take things that aren’t yours. Say you’re sorry when you hurt somebody. Wash your hands before you eat. Flush.

Word coNNecTIoNS

Roots and AffixesCredo stems from the root cred, meaning “to believe,” which appears in other words such as incredulous, creed, and credence.

my Notes

key IdeaS aNd deTaIlSHow do Fulghum’s diction, syntax, and punctuation help convey his tone and theme?

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Warm cookies and cold milk are good for you.

Live a balanced life—learn some and think some and draw and paint and sing and dance and play and work every day some.

Take a nap every afternoon.

When you go out into the world, watch out for traffic, hold hands, and stick together.

Be aware of wonder. Remember the little seed in the Styrofoam cup: The roots go down and the plant goes up and nobody really knows how or why, but we are all like that.

Goldfish and hamsters and white mice and even the little seed in the Styrofoam cup—they all die. So do we.

And then remember the Dick-and-Jane books and the first word you learned—the biggest word of all—LOOK.

5 . . .Think what a better world it would be if we all—the whole world—had cookies and milk about three o’clock every afternoon and then lay down with our blankies for a nap. Or if all governments had as a basic policy to always put things back where they found them and to clean up their own mess. And it is still true, no matter how old you are—when you go out into the world, it is best to hold hands and stick together.

After Reading 4. Write responses to the following questions, and then share them with a group

of your peers.

• WhatareyourreactionstoFulghum’scredo?Whatpreceptsseemtomakethe most/least sense to you personally, and why?

• Ifapersonalcredocanbeconsideredaliterarygenre,whataresomeconventions that would characterize this genre (based on Fulghum’s example)?

Writing Prompt: Emulating Fulghum’s structure and conventions, draft a personal credo that asserts your precepts about the basic values that contribute to a meaningful life. The credo might begin with your perception of life, identify where you learned important precepts and what they are, and close with reflective commentary and a related call to action. Be sure to:

• Usethegenreconventionsyoudefinedabove.

• Establishanappropriatetonethroughyoursyntaxanddiction.

• EndwithacalltoactionlikeFulghum’s.

Check Your UnderstandingAnnotate your credo to identify the genre conventions you have conformed to in your text.

Grammar USaGePunctuation The serial comma rule refers to placing a comma before the final “and” in a series.

Example: . . .watch out for traffic, hold hands, and stick together.

When Fulghum writes a series with a conjunction after every term, he is using polysyndeton.

Example: “Goldfish and hamsters and white mice and even the little seed. . .”

When Fulghum writes a series of commas but no “and,” he is using asyndeton.

Example: “. . .sometimes cynical, sometimes comical, sometimes bland. . .”

By breaking away from the conventional serial comma rule in this way, Fulghum creates emphasis and variety.

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Grammar Extension Have students find examples of asyndeton and polysyndeton in Fulghum’s work (including the ones sampled in the Grammar & Usage box) and practice modeling their own sentences on Fulghum’s sentences. Have volunteers share their sentences with the class and explain the effect of the polysyndeton and/or asyndeton.

6 Based on Fulghum’s model, ask students to brainstorm a list of genre conventions that seem to characterize the style, content, and theme(s) of a credo.

Possible genre conventions: an explanation of inspiration; concise simple statements of values and beliefs that deal with expectations of ourselves and how we treat others; a call to action

7 Allow students time to respond to the writing prompt. Students should revisit their initial quickwrite and discussion of genre to emulate Fulghum’s style. You might want students to exchange drafts in order to solicit suggestions for revision. By annotating to identify genre conventions in their own writing, they will better understand when they must incorporate them later.

ASSESSCheck writing prompt responses for precepts about the students’ values, including reflective commentary. Students should try to establish a specific tone, using deliberate diction, detail, and syntax.

ADAPTEmulating Fulghum’s style will poise students for a successful experience writing a credo. You may want to have students make an artistic representation of their credo, suitable for classroom display. Drafting and annotating a personal credo will help prepare students for writing their personal essay for the first Embedded Assessment.


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Writer’s craft: revising my credo

Learning Targets• Developstylisticoptionsbyanalyzingandemulatingawriter’sstyle.

• Developstrategiesforrevisionoffuturewriting.

Language and Writer’s Craft: Review of Syntax“Syntax refers to the way words are arranged within sentences. How writers control and manipulate the sentence is a strong determiner of voice and imparts personality to the writing.” Nancy Dean

Some of the elements of syntax are word order, sentence length, and punctuation. Punctuation can reinforce meaning, create a particular effect, and express the writer’s voice. Look at the purpose of three stylistic techniques that manipulate syntax for effect:

• Simplesentencescancreatedramaticcontrastswithlongersentencesandcanconvey information in tones that vary from blunt to simplistic.

• Thedashmarksasuddenchangeinthoughtortone,setsoffabriefsummary,or sets off a parenthetical part of the sentence. A dash often conveys a casual tone.

• Theellipsisusuallyrepresentswordsomittedfromaquoteorapause.

Before Reading1. Fulghum’s credo is memorable and effective, not just because of the ideas, but

because of his syntax. How does syntax help create memorable writing?

During Reading 2. Reread Fulghum’s text, this time annotating it for stylistic choices—his syntax

and punctuation, in particular—that you find particularly effective. In the My Notes section, explain the effect of the choices.

After Reading3. Now use the graphic organizer that follows to explore how sentence length and

punctuation contribute to Fulghum’s tone or theme. Find specific examples of sentences that contain the element of syntax listed in the first column. For each example, explain its function in the credo and how it advances the tone or theme of the text. In the last column, use the examples to guide a revision of a sentence in the draft of your credo.

refers to the way words are arranged within sentences. How writers refers to the way words are arranged within sentences. How writers control and manipulate the sentence is a strong determiner of voice and imparts control and manipulate the sentence is a strong determiner of voice and imparts

Some of the elements of syntax are word order, sentence length, and punctuation. Some of the elements of syntax are word order, sentence length, and punctuation. Punctuation can reinforce meaning, create a particular effect, and express the Punctuation can reinforce meaning, create a particular effect, and express the writer’s voice. Look at the purpose of three stylistic techniques that manipulate writer’s voice. Look at the purpose of three stylistic techniques that manipulate

longerlongerconvey information in tones that vary from blunt to simplistic.convey information in tones that vary from blunt to simplistic.

offoffor sets off a parenthetical part of the sentence. A dash often conveys a or sets off a parenthetical part of the sentence. A dash often conveys a

quotequote

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ACTIVITY 4.7

PLANMaterials: credo drafts from Activity 4.6Suggested Pacing: 1 50-min period

TEACH1 Allow students time to share and respond to credos with peers in small groups. Ask for a few volunteers to share their texts with the class. Then explain that today they will be working to revise their credos using various stylistic devices.

2 Review the information on syntax, and then ask students to revisit Fulghum’s text, focusing on how he uses syntax and punctuation to advance his tone and theme. Use the first column of the graphic organizer on the next page to explore the function of sentence length and punctuation in the credo.

COMMON CORE STATE STANDARDSFocus Standards:L.11-12.3a: Vary syntax for effect, consulting references (e.g., Tufte’s Artful Sentences) for guidance as needed; apply an understanding of syntax to the study of complex texts when reading.

Additional Standard Addressed: W.11-12.5

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Check Your UnderstandingAnnotate your revised draft to identify revisions you have made and what the intended effect of these changes is for your reader.

Element Examples and Function of Fulghum’s Syntax Revision of Your Sentence

Imperative Sentence

Example: Share everything.

Function: Fulghum’s precepts are all simple, imperative sentences. They seem simplistic, especially since they are in the imperative mood, but that gives them ironic weight.

Compound Sentence with Parallel Structure

Example: The Credo has grown shorter in recent years—sometimes cynical, sometimes comical, sometimes bland—but I keep working at it.

Function: Information contained in between the dashes uses parallel structure.

Dash

Examples: “Living it—well, that’s another matter.”

“Goldfish and . . .cup—they all die.”

Function: Can mark an abrupt shift

Ellipsis

Example: “Recently I set out to get the statement of personal belief down to one page in simple terms, fully understanding the naïve idealism that implied. . .”

Function: Suggests a pause or indicates some words have been omitted

Polysyndeton

Example: “Goldfish and hamsters and white mice and even the little seed. . .”

Function: Adds emphasis to every item—more so than if separated by commas with only a final conjunction.

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Writer’s craft: revising my credo

Learning Targets• Developstylisticoptionsbyanalyzingandemulatingawriter’sstyle.

• Developstrategiesforrevisionoffuturewriting.

Language and Writer’s Craft: Review of Syntax“Syntax refers to the way words are arranged within sentences. How writers control and manipulate the sentence is a strong determiner of voice and imparts personality to the writing.” Nancy Dean

Some of the elements of syntax are word order, sentence length, and punctuation. Punctuation can reinforce meaning, create a particular effect, and express the writer’s voice. Look at the purpose of three stylistic techniques that manipulate syntax for effect:

• Simplesentencescancreatedramaticcontrastswithlongersentencesandcanconvey information in tones that vary from blunt to simplistic.

• Thedashmarksasuddenchangeinthoughtortone,setsoffabriefsummary,or sets off a parenthetical part of the sentence. A dash often conveys a casual tone.

• Theellipsisusuallyrepresentswordsomittedfromaquoteorapause.

Before Reading1. Fulghum’s credo is memorable and effective, not just because of the ideas, but

because of his syntax. How does syntax help create memorable writing?

During Reading 2. Reread Fulghum’s text, this time annotating it for stylistic choices—his syntax

and punctuation, in particular—that you find particularly effective. In the My Notes section, explain the effect of the choices.

After Reading3. Now use the graphic organizer that follows to explore how sentence length and

punctuation contribute to Fulghum’s tone or theme. Find specific examples of sentences that contain the element of syntax listed in the first column. For each example, explain its function in the credo and how it advances the tone or theme of the text. In the last column, use the examples to guide a revision of a sentence in the draft of your credo.

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3 Lead the class through filling out the middle column of the graphic organizer, discussing the effect of the examples cited in each box.

4 Ask students to revise the first draft of their credo, focusing on effective syntax and punctuation and using strategies modeled by Fulghum.

5 If time allows, select one or two other sentences that students identified, and use them as mentor sentences to analyze the author’s craft. Co-construct with students an emulation of the sentences.

6 In response to Check Your Understanding, have students annotate their revised drafts, identifying and explaining stylistic choices they’ve made.

ASSESSCollect the revised drafts to evaluate how well students understand the stylistic techniques used in this activity.

ADAPTYou might consider having students create the credo using drawing and painting tools to make it suitable for posting in the classroom. Activity 4.14 offers the opportunity to revisit these stylistic techniques as needed.


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my Notes

learNING STraTeGIeS:Guided Reading, Close Reading, Marking the Text

Learning Targets• Understandthepurposeandconventionsofanauthor’snotesasagenre.

• Explainhowauthorscanusesentencestructureforeffect.

Before Reading1. The cover of a book serves a crucial purpose: to entice readers to purchase or

check out the book. Examine carefully the cover of Into the Wild. Cite at least three design details you observe, and explain why you think the cover designers made these specific choices. What effect(s) do you think they were going for?

During Reading2. As you read Krakauer’s “Author’s Note,” identify shifts in the point of view (1st

person to 3rd person) and between objective and subjective descriptions. Use the margin to label these different types. Be prepared to discuss what you think the purpose of an author’s note is. How does Krakauer structure the note to explain his purpose in writing the book?

About the AuthorJon Krakauer (b. 1954) started climbing mountains at age 8. He has chron-icled his experiences in two best-selling books, Into Thin Air and Into the Wild. He wrote Into Thin Air after a failed expedition to climb Mt. Everest. The book earned him a nomination as one of the finalists for the Pulitzer Prize.

biography

by Jon Krakauer

AUTHOR’S NOTE 1 In April 1992, a young man from a well-to-do East Coast family hitchhiked to Alaska and walked alone into the wilderness north of Mt. McKinley. Four months later his decomposed body was found by a party of moose hunters.

2 Shortly after the discovery of the corpse, I was asked by the editor of Outside magazine to report on the puzzling circumstances of the boy’s death. His name turned out to be Christopher Johnson McCandless. He’d grown up, I learned, in an affluent suburb of Washington, D.C., where he’d excelled academically and had been an elite athlete.

3 Immediately after graduating, with honors, from Emory University in the summer of 1990, McCandless dropped out of sight. He changed his name, gave the entire balance of a twenty-four thousand-dollar savings account to charity, abandoned his car and most of his possessions, burned all the cash in his wallet. And then he invented a new life for himself, taking up residence at the ragged margin of our society, wandering

acTIVITy

4.8Framing the Subject

literary TermsConnotation refers to the associations and emotional overtones attached to a word beyond its literal definition or denotation. Authors can also create connotation through techniques such as imagery, comparisons, and structure.

key IdeaS aNd deTaIlSHow do Krakauer’s diction, structure, and shifting point of view reflect the tension he felt while trying to remain objective in his biography of his subject, Chris McCandless?

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ACTIVITY 4.8

PLANMaterials: Into the Wild, by Jon KrakauerSuggested Pacing: 1 50-minute class + homework

TEACH1 To preview Jon Krakauer’s Into the Wild, students will do a close reading of the cover design (the cover of the Anchor Books edition), which presents a black-and-white picture of the bus in which McCandless died, along with a summary of McCandless’s story. Ask the students to reflect on the effectiveness of the cover design. You might remind students of OPTIC as a strategy for analyzing visual images.

Text ComplexityOverall: ComplexLexile: 1270Qualitative: Moderate DifficultyTask: Challenging (Evaluate)

2 Use a guided reading to promote inquiry about content and style. Read aloud paragraphs 1 and 2, and ask students to mark the text for key information about Chris’s character (i.e., well-to-do family, excelled academically, elite athlete).

• Ask students to consider Krakauer’s diction as he introduces the reader to Chris. How connotative are these descriptions?

• Ask students what can be inferred about Chris’s character and Krakauer’s initial feelings towards his story. This text objectively introduces his connection to his subject (passive voice: I was asked…).

Key Ideas and Details The first-person point of view gives Krakauer a chance to explain his subject and his attitude. Krakauer structures the Author’s Note by starting out retelling the story objectively, then moving to a more personal, subjective reflection about Chris McCandless’s story and his relationship to the story, saying he was haunted by the “boy’s starvation” and that his interest bordered on “obsession.”

COMMON CORE STATE STANDARDSFocus Standards:RI.11-12.1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.

RI.11-12.5: Analyze and evaluate the effectiveness of the structure an author uses

in his or her exposition or argument, including whether the structure makes points clear, convincing, and engaging.

Additional Standards Addressed: RI.11-12.3; RI.11-12.10; W.11-12.2a; W.11-12.2b; W.11-12.4; W.11-12.5; W.11-12.9b; W.11-12.10; L.11-12.1a; L.11-12.1b; L.11-12.2b; L.11-12.6

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my Notes

learNING STraTeGIeS:Guided Reading, Close Reading, Marking the Text

Learning Targets• Understandthepurposeandconventionsofanauthor’snotesasagenre.

• Explainhowauthorscanusesentencestructureforeffect.

Before Reading1. The cover of a book serves a crucial purpose: to entice readers to purchase or

check out the book. Examine carefully the cover of Into the Wild. Cite at least three design details you observe, and explain why you think the cover designers made these specific choices. What effect(s) do you think they were going for?

During Reading2. As you read Krakauer’s “Author’s Note,” identify shifts in the point of view (1st

person to 3rd person) and between objective and subjective descriptions. Use the margin to label these different types. Be prepared to discuss what you think the purpose of an author’s note is. How does Krakauer structure the note to explain his purpose in writing the book?

About the AuthorJon Krakauer (b. 1954) started climbing mountains at age 8. He has chron-icled his experiences in two best-selling books, Into Thin Air and Into the Wild. He wrote Into Thin Air after a failed expedition to climb Mt. Everest. The book earned him a nomination as one of the finalists for the Pulitzer Prize.

biography

by Jon Krakauer

AUTHOR’S NOTE 1 In April 1992, a young man from a well-to-do East Coast family hitchhiked to Alaska and walked alone into the wilderness north of Mt. McKinley. Four months later his decomposed body was found by a party of moose hunters.

2 Shortly after the discovery of the corpse, I was asked by the editor of Outside magazine to report on the puzzling circumstances of the boy’s death. His name turned out to be Christopher Johnson McCandless. He’d grown up, I learned, in an affluent suburb of Washington, D.C., where he’d excelled academically and had been an elite athlete.

3 Immediately after graduating, with honors, from Emory University in the summer of 1990, McCandless dropped out of sight. He changed his name, gave the entire balance of a twenty-four thousand-dollar savings account to charity, abandoned his car and most of his possessions, burned all the cash in his wallet. And then he invented a new life for himself, taking up residence at the ragged margin of our society, wandering

acTIVITy

4.8Framing the Subject

literary TermsConnotation refers to the associations and emotional overtones attached to a word beyond its literal definition or denotation. Authors can also create connotation through techniques such as imagery, comparisons, and structure.

key IdeaS aNd deTaIlSHow do Krakauer’s diction, structure, and shifting point of view reflect the tension he felt while trying to remain objective in his biography of his subject, Chris McCandless?

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my Notes


Grammar USaGePunctuationNotice how Krakauer used the adverbs indeed and instead as transitional words to open his sentences. As opening adverbs, they are followed by a comma. Here they help Krakauer emphasize his points. They can also be used to join two main clauses, but they must be preceded by a semicolon and followed by a comma.

across North America in search of raw, transcendent experience. His family had no idea where he was or what had become of him until his remains turned up in Alaska.

4 Working on a tight deadline, I wrote a nine-thousand-word-article, which ran in the January 1993 issue of the magazine, but my fascination with McCandless remained long after that issue of Outside was replaced on the newsstands by more current journalistic fare. I was haunted by the particulars of the boy’s starvation and by vague, unsettling parallels between events in his life and those in my own. Unwilling to let McCandless go, I spent more than a year retracing the convoluted path that led to his death in the Alaska taiga, chasing down details of his peregrinations with an interest that bordered on obsession. In trying to understand McCandless, I inevitably came to reflect on other, larger subjects as well: the grip wilderness has on the American imagination, the allure high-risk activities hold for young men of a certain mind, the complicated, highly charged bond that exists between fathers and sons. The result of this meandering inquiry is the book now before you.

5 I won’t claim to be an impartial biographer. McCandless’s strange tale struck a personal note that made a dispassionate rendering of the tragedy impossible. Through most of the book, I have tried—and largely succeeded, I think—to minimize my authorial presence. But let the reader be warned: I interrupt McCandless’s story with fragments of a narrative drawn from my own youth. I do so in the hope that my experiences will throw some oblique light on the enigma of Chris McCandless.

6 He was an extremely intense young man and possessed a streak of stubborn idealism that did not mesh readily with modern existence. Long captivated by the writing of Leo Tolstoy, McCandless particularly admired how the great novelist had forsaken a life of wealth and privilege to wander among the destitute. In college McCandless began emulating Tolstoy’s asceticism and moral rigor to a degree that first astonished, and then alarmed, those who were close to him. When the boy headed off into the Alaska bush, he entertained no illusions that he was trekking into a land of milk and honey; peril, adversity, and Tolstoyan renunciation were precisely what he was seeking. And that is what he found, in abundance.

7 For most of the sixteen-week ordeal, nevertheless, McCandless more than held his own. Indeed, were it not for one or two seemingly insignificant blunders, he would have walked out of the woods in August 1992 as anonymously as he had walked into them in April. Instead, his innocent mistakes turned out to be pivotal and irreversible, his name became the stuff of tabloid headlines, and his bewildered family was left clutching the shards of a fierce and painful love.

8 A surprising number of people have been affected by the story of Chris McCandless’s life and death. In the weeks and months following the publication of the article in Outside, it generated more mail than any other article in the magazine’s history. This correspondence, as one might expect, reflected sharply divergent points of view: some readers admired the boy immensely for his courage and noble ideals; others fulminated that he was a reckless idiot, a wacko, a narcissist who perished out of arrogance and stupidity—and was undeserving of the considerable media attention he received. My convictions should be apparent soon enough, but I will leave it to the reader to form his or her own opinion of Chris McCandless.

Jon Krakauer, Seattle

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3 Read aloud paragraph 3, and ask students to mark the text by circling the verbs. The verbs paint a picture of a McCandless as active and strong-willed. Chart students’ findings on the board. Invite students to consider the effect of Krakauer’s use of these verbs to describe his initial discoveries about McCandless’s life. Do they create positive or negative connotations?

4 Ask students to discuss the significance of the shift to a more subjective tone in paragraphs 4 and 7. How do these paragraphs explain Krakauer’s purpose for writing the book? How does the shift in tone foreshadow how he might make a similar shift later in the book (interrupting the flow of the biography in the same manner as he does in this Author’s Note)?

5 In a paired reading of paragraphs 6 and 7, have students circle phrases and descriptions that point to Krakauer’s attitude toward McCandless. His subjectivity becomes evident in his diction, reflecting the conclusions he has reached regarding McCandless.

Differentiating Instruction/ELLYou may want to skim this text and identify words that your students may not know. Support their academic language acquisition by adding these words to the Word Wall and having students define and discuss meaning. Examples of words that may be unknown to students include peregrinations (noun, travels from place to place), pivotal (adjective, of major importance), and fulminate (verb, protest or speak against, especially in anger).

6 Read aloud paragraph 8, and ask students to mark the text to identify contrasting ideas (life and death, admired for courage and considered a reckless idiot). Focus on the last line. Ask students to predict the opinion Krakauer would support and provide textual support from the essay for their claims. Next, ask students to speculate why Krakauer might have concluded the essay this way and what effect it has on the reader.


Grammar Extension Instead and indeed are used as conjunctive adverbs here. The Grammar Handbook includes instruction on the use of conjunctive adverbs. To extend this feature, have students practice using conjunctive adverbs as transitions between independent clauses or sentences.

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After Reading3. Identify some conventions of the Author’s Note.

1st person

Directly addresses the reader

Explains the motivation and/or goals for writing the text

Gives background on the development of the text/the writer’s thinking

Makes the writer’s bias explicit

Language and Writer’s Craft: Informal Spelling and UsageYou may have noticed that some writers use informal spelling and usage. This practice is common in song lyrics. For example, the song “Rocky Mountain High” uses informal spelling.

When he first came to the mountains his life was far awayOn the road and hangin’ by a songBut the string’s already broken and he doesn’t really careKeeps changin’ fast, it don’t last for long

In this example, John Denver uses “it don’t” in place of “it doesn’t.” “It don’t” fits the rhythm and meter of the song better, and it helps create an informal tone. Writers and singers often use informal spelling (here, hangin’, changin’) and usage to make their language sound more colloquial or conversational.

When you are writing for school, you will most often use standard, formal English rather than informal language. (Examples where you might use some informal language include creative writing, dialogue, and the like.)

If you are unsure whether language is informal or what the standard spelling of a word is, you can consult a dictionary or usage guide such as Merriam-Webster’s Dictionary of English Usage or Bryan Garner’s Dictionary of Modern American Usage.

Writing Prompt: Write an analytical text explaining how Krakauer uses structure and style to show his shifting feelings toward his subject, Chris McCandless. Be sure to:

• Beginwithastatementthatpresentsyouranalyticalstatementandusecommentary to link your evidence to your central claim.

• Supportyourclaimwithspecificevidencefromthetext.

• Makeeffectivechoicesformeaningorstyle.

Check Your UnderstandingBased on Krakauer’s example, what are some ways in which writers can manipulate structure for effect?

Language and Writer’s Craft: Informal Spelling and UsageLanguage and Writer’s Craft: Informal Spelling and Usageinformal spelling and usageinformal spelling and usage

practice is common in song lyrics. For example, the song “Rocky Mountain High” practice is common in song lyrics. For example, the song “Rocky Mountain High”

In this example, John Denver uses “it don’t” in place of “it doesn’t.” “It don’t” fits In this example, John Denver uses “it don’t” in place of “it doesn’t.” “It don’t” fits the rhythm and meter of the song better, and it helps create an informal tone. the rhythm and meter of the song better, and it helps create an informal tone.

’, ’, to make their language sound more colloquial or conversational.to make their language sound more colloquial or conversational.

When you are writing for school, you will most often use standard, formal English When you are writing for school, you will most often use standard, formal English rather than informal language. (Examples where you might use some informal rather than informal language. (Examples where you might use some informal

If you are unsure whether language is informal or what the standard spelling If you are unsure whether language is informal or what the standard spelling of a word is, you can consult a dictionary or usage guide such as Merriam-of a word is, you can consult a dictionary or usage guide such as Merriam-

Dictionary of Modern Dictionary of Modern

Framing the Subject acTIVITy 4.8continued

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Differentiating Instruction/ELLTo support learning, pair up students and have each pair track one genre convention as they read:

• first person• directly addressing the reader• explaining the motivation and/or

goals for writing the text• giving background on the

development of the text/the writer’s thinking

• making the writer’s bias explicit

To extend learning, break students into small groups after the initial reading of the text. Assign each group a chunk of the text and have each group analyze and present their chunk, focusing on diction, structure, and style.

7 Ask students to think of situations where we follow formal or informal conventions. For example: Would you wear old jeans to the prom? Would you wear a prom dress or tuxedo to go to a movie? Would you use silverware to eat a candy bar? Discuss how students make choices like this all the time, and how they make similar choices with language. What situations are appropriate for informal language? Formal?

ASSESSHave students respond to the writing prompt and then discuss the Check Your Understanding question in pairs or as a class. Review student writing prompt responses for a complete understanding of structure and style, including textual evidence.

ADAPTChris McCandless’s story has been covered in a wide range of media (articles, news stories, travel essay, book, and film). Select two of these media of particular interest to your students and have students evaluate the objectivity of coverage of the same event by different media.

TEACHER TO TEACHERFor homework, have students read Chapters 1–3.


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4.9meeting christopher mccandless

learNING STraTeGIeS:Read Aloud, Close Reading, Graphic Organizer, Guided Writing, Debate

Learning Targets• Analyzehowawriterusescharacterizationtodevelopaportraitofarealperson.

• Emulateandapplyawriter’stechniquestoone’sownwriting.

Before Reading 1. Now that you have read a few chapters of Into the Wild, you have caught a

glimpse of the puzzling young man at the heart of the story. Although Krakauer is crafting a work of nonfiction, he employs many of the same techniques used in writing fiction. For example, he allows the reader to get to know Chris McCandless in the same ways that fiction authors use characterization methods. Write what you know of Christopher McCandless so far, citing at least one quote for each method. You will add to the chart as you learn more.

His actions

His appearance

His thoughtsWhat he said

Christopher McCandless

What others say about him

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After Reading3. Identify some conventions of the Author’s Note.

1st person

Directly addresses the reader

Explains the motivation and/or goals for writing the text

Gives background on the development of the text/the writer’s thinking

Makes the writer’s bias explicit

Language and Writer’s Craft: Informal Spelling and UsageYou may have noticed that some writers use informal spelling and usage. This practice is common in song lyrics. For example, the song “Rocky Mountain High” uses informal spelling.

When he first came to the mountains his life was far awayOn the road and hangin’ by a songBut the string’s already broken and he doesn’t really careKeeps changin’ fast, it don’t last for long

In this example, John Denver uses “it don’t” in place of “it doesn’t.” “It don’t” fits the rhythm and meter of the song better, and it helps create an informal tone. Writers and singers often use informal spelling (here, hangin’, changin’) and usage to make their language sound more colloquial or conversational.

When you are writing for school, you will most often use standard, formal English rather than informal language. (Examples where you might use some informal language include creative writing, dialogue, and the like.)

If you are unsure whether language is informal or what the standard spelling of a word is, you can consult a dictionary or usage guide such as Merriam-Webster’s Dictionary of English Usage or Bryan Garner’s Dictionary of Modern American Usage.

Writing Prompt: Write an analytical text explaining how Krakauer uses structure and style to show his shifting feelings toward his subject, Chris McCandless. Be sure to:

• Beginwithastatementthatpresentsyouranalyticalstatementandusecommentary to link your evidence to your central claim.

• Supportyourclaimwithspecificevidencefromthetext.

• Makeeffectivechoicesformeaningorstyle.

Check Your UnderstandingBased on Krakauer’s example, what are some ways in which writers can manipulate structure for effect?

Framing the Subject acTIVITy 4.8continued

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RI.11-12.3: Analyze a complex set of ideas or sequence of events and explain how specific individuals, ideas, or events interact and develop over the course of the text.

Additional Standards Addressed:RI.11-12.10; W.11-12.2a; W.11-12.2b; W.11-12.4; W.11-12.5; W.11-12.10; SL.11-12.1a

ACTIVITY 4.9

PLANMaterials: Into the Wild (Chapters 1–3), chart paper with the characterization web, sticky notes Suggested Pacing: 1 50-minute period + homework

TEACH1 The analysis of characterization scaffolds the writing of the personal essay students will write in EA1. Use the activity to assess how much additional review of characterization techniques may be necessary prior to beginning it.

2 Read aloud McCandless’s postcard from Chapter 1, and then ask students to share their initial observations about Chris.

3 Review the types of characterization covered in the web chart, and ask students to identify what technique Krakauer is using when he includes the text of the postcard. Discuss the effect of using this text as the opening lines of the book. Ask students to predict which type of characterization will be the least common (i.e., his thoughts) and why. How could a writer overcome this limitation (e.g., use the other techniques to lead the reader to draw specific inferences)?

4 Divide students into 3 groups (one per chapter) and assign each a chapter. Have students use the graphic organizer to keep track of Krakauer’s use of characterization techniques to reveal character. Ask them to discuss what they can infer about McCandless. Note: Chapter 2 seemingly introduces little about McCandless; guide this group to focus on his actions and his words and/or to skim the other chapters, too. Have each group record quotes and page numbers on sticky notes.

5 Compile the sticky notes on the chart paper characterization web and discuss which pieces are most compelling.

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After Reading 2. Based on the details you gathered in the characterization chart, what

impression does Krakauer create of McCandless in the first three chapters? Brainstorm a list of different adjectives describing McCandless that stem from Krakauer’s descriptions. Try to select adjectives that carry strong connotations. For each adjective, identify at least one piece of characterization that led to that impression.

Central Claim: Chris was courageous because he was nonmaterialistic.

Adjective Characterization Evidence

Nonmaterialistic “If you don’t take it [his money and watch], I’m going to throw it away” (7).

“. . . he would shortly donate all the money in his college fund to OXFAM America, a charity dedicated to fighting hunger” (20).

“During that year in Atlanta, Chris had lived off campus in a monkish room furnished with little more than a thin mattress . . .” (22).

Writing Prompt: Emulate Krakauer’s use of characterization to create an impression of a real person—perhaps someone from school, popular culture, or current events. As a challenge, do not name the person in your text. Be sure to:

• Selectanadjectivethatdescribestheperson,thenchoosediction,details,and a structure that will lead your readers to see the person as you do without explicitly stating who it is.

• Incorporateatleasttwocharacterizationmethodsfromthisactivityinto your text.

• Punctuatedialoguecorrectly.

Check Your UnderstandingExchange drafts with a peer and annotate his or her text, listing the various characterization techniques used. What impression does the writer create of the subject through these techniques?

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6 Refer students back to Krakauer’s “Author’s Note,” where he leaves it to the reader to determine whether McCandless’s actions and behavior are “admirably courageous or reckless.”

7 In small groups, have students brainstorm adjectives and create a central claim. Use the boxes to compile specific characterization elements that support their initial impressions. Be sure students come up with multiple adjectives to describe McCandless’s complex character and then compile the textual evidence to support their descriptions.

8 You might want to conduct a class debate over whether McCandless initially seems to be presented as courageous or reckless. Have students cite the textual evidence they have identified to support their claims.

9 The writing prompt will help students prepare for the kind of creative work they will have to do to construct an effective personal essay that includes narrative elements.

0 The Check Your Understanding can be done in small groups or pairs and should help students be more deliberate in their use of characterization techniques.


ASSESSReview student writing prompt responses for a clear description and incorporation of at least two characterization techniques discussed in this activity. Writing should show understanding of diction, details, and structure.

ADAPTTo extend student understanding of Transcendentalism, you could modify Steps 6–7 to focus on the extent to which McCandless embodied Transcendentalist ideals.


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learNING STraTeGIeS:Graphic Organizer, Note-taking, Think-Pair-Share, Quickwrite, Discussion Groups

acTIVITy

4.10literary connection

Learning Targets• Analyzeanauthor’suseofepigraphs.

• Understandhowwritersintegratemultiplesourcesofinformationtodeveloptheir subjects.

Before Reading 1. In literature, an epigraph may serve as a preface, as a summary, as a

counter-example, or to link the work to a wider literary canon, either to invite comparison or to enlist a conventional context.

2. Krakauer uses epigraphs at the beginning of each chapter. Look at the epigraphs that begin Chapter 3 below. Think about the connections between the epigraphs and the events and themes in Chapter 3. Fill out the graphic organizer with your ideas.

Epigraph Paraphrase the Quote Connection to Chapter Events or Theme

Chapter 3: Carthage

I wanted movement and not a calm course of existence. I wanted excitement and danger and the chance to sacrifice myself for my love. I felt in myself a superabundance of energy which found no outlet in our quiet life.

Leo Tolstoy “Family Happiness”

Passage highlighted in one of the books found with Chris McCandless’s remains

Chapter 3: Carthage

It should not be denied. . .that being footloose has always exhilarated us. It is associated in our minds with escape from history and oppression and law and irksome obligations, with absolute freedom, and the road has always led west.

Wallace Stegner,

The American West Living Space

literary TermsAn epigraph is a phrase, quotation, or poem that is set at the beginning of a document or component.

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After Reading 2. Based on the details you gathered in the characterization chart, what

impression does Krakauer create of McCandless in the first three chapters? Brainstorm a list of different adjectives describing McCandless that stem from Krakauer’s descriptions. Try to select adjectives that carry strong connotations. For each adjective, identify at least one piece of characterization that led to that impression.

Central Claim: Chris was courageous because he was nonmaterialistic.

Adjective Characterization Evidence

Nonmaterialistic “If you don’t take it [his money and watch], I’m going to throw it away” (7).

“. . . he would shortly donate all the money in his college fund to OXFAM America, a charity dedicated to fighting hunger” (20).

“During that year in Atlanta, Chris had lived off campus in a monkish room furnished with little more than a thin mattress . . .” (22).

Writing Prompt: Emulate Krakauer’s use of characterization to create an impression of a real person—perhaps someone from school, popular culture, or current events. As a challenge, do not name the person in your text. Be sure to:

• Selectanadjectivethatdescribestheperson,thenchoosediction,details,and a structure that will lead your readers to see the person as you do without explicitly stating who it is.

• Incorporateatleasttwocharacterizationmethodsfromthisactivityinto your text.

• Punctuatedialoguecorrectly.

Check Your UnderstandingExchange drafts with a peer and annotate his or her text, listing the various characterization techniques used. What impression does the writer create of the subject through these techniques?

meeting christopher mccandless acTIVITy 4.9continued

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COMMON CORE STATE STANDARDSFocus Standards:RI.11-12.1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from

the text, including determining where the text leaves matters uncertain.

Additional Standards Addressed: RI.11-12.2; RI.11-12.10; SL.11-12.1a; SL.11-12.1c; SL.11-12.1d; L.11-12.6

ACTIVITY 4.10

PLANMaterials: Into the Wild (Chapters 4–7)Suggested Pacing: 1 50-minute period + homework

TEACH1 This activity supports understanding of the book’s themes but also scaffolds Embedded Assessment 2 by examining how Krakauer uses multiple genres to support inferences about his subject.

2 Explain that each chapter opens with an epigraph, a quotation at the beginning of a book, chapter, or section of a book usually related to its theme. Krakauer uses epigraphs to allude to the significance of ideas presented in the chapter and to shed light on the course of events. Model this concept by revisiting the opening passage of Chapter 2, an excerpt from Jack London’s White Fang. Use a read aloud to reveal connections between the postcard (epigraph) and the discovery of McCandless’s tragic/ironic death at the hands of the “savage, frozen-hearted Northland Wild.” Ask questions to model what groups will do as they prepare to lead discussions.

3 Reinforce students’ understanding of epigraphs by asking them to revisit the quotes from Chapter 3. Elicit connections between the quotes and the chapter’s events and theme. Ask students to take notes in the graphic organizer. This can be done during class in pairs or independently as homework the night before.

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literary connection

3. Now consider the epigraphs used in chapters 4–7. Your teacher will assign you to a discussion group. Your group will take one of the chapters and analyze the connections between the chapter title, the epigraph, and the chapter’s events.

With your group members, analyze the epigraph(s) for your chapter, connecting it to Transcendentalism and the chapter in the chart below. Fill out the top row of the epigraph before rereading the chapter.

During Reading 4. As you read the chapter, mark the text for quotes, details, and other features

that reveal the tenets of Transcendentalism that appear in the chapter. Record quotes that illuminate this philosophy.


Chapter/Title Epigraph Interpretive Statement/Paraphrase

Connection to the Chapter

Connections to Transcendentalism/Emerging Themes:

After Reading5. With your group members, discuss the effect of Krakauer’s use of epigraphs

from literary works in the various chapters. What is the effect in terms of conveying information and engaging the reader? What is the effect when the epigraph is from McCandless’s own writings?

Check Your UnderstandingExplain different ways writers may use epigraphs for effect in their writing.

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4 Create small discussion groups and assign each group a chapter from 4–7. Ask them to complete the graphic organizer for their chapter.

5 Using their responses, have each group craft several discussion questions for their chapter, focusing on the epigraphs, the time line, and the themes related to their chapter. Then have groups use their questions to lead a class discussion of the reading chapter by chapter.

6 Have students complete the Check Your Understanding individually in a quickwrite, then discuss their responses as a class.


ASSESSReview student quickwrites for clear understanding of the use of epigraphs for effect in writing.

ADAPTConduct a mini-lesson on paraphrasing before working on the first graphic organizer. Explain that to paraphrase is to briefly restate ideas from another source in one’s own words. Model paraphrasing the first Chapter 3 epigraph, and think aloud as you form the connection between the Tolstoy quotation and the chapter events.


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learNING STraTeGIeS:Close Reading, Discussion Groups, Quickwrite, Jigsaw, Role Playing

acTIVITy

4.11Shedding light

Learning Targets• Examinehowawriterweavesthenarrativesofmultiplecharacters.

• Understandhowtodevelopasubjectthroughcomparisons.

Before Reading 1. One way writers develop their subjects is through comparisons, whether

figurative or literal in nature. One such method Krakauer uses to develop his perspective of Christopher McCandless is by telling stories of people who are in some ways foils to McCandless. In Chapters 8 and 9, Krakauer introduces Gene Rosellini, John Mallon Waterman, Carl McCunn, Everett Ruess, and the Irish monks known as papar.

During Reading 2. Krakauer says, “Some insight into the tragedy of Chris McCandless can be

gained by studying predecessors cut from the same exotic cloth” (85). You will become an “expert” on one of these predecessors; your job is to identify what is revealed about McCandless via your particular comparison. As you read your section, record quotes that reveal what Krakauer’s purpose seems to be in including the comparison in these chapters.

Person (page #s) Similarities to Chris Differences from Chris

Gene Rosellini

John Mallon Waterman

Carl McCunn

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my Notes

literary connection

3. Now consider the epigraphs used in chapters 4–7. Your teacher will assign you to a discussion group. Your group will take one of the chapters and analyze the connections between the chapter title, the epigraph, and the chapter’s events.

With your group members, analyze the epigraph(s) for your chapter, connecting it to Transcendentalism and the chapter in the chart below. Fill out the top row of the epigraph before rereading the chapter.

During Reading 4. As you read the chapter, mark the text for quotes, details, and other features

that reveal the tenets of Transcendentalism that appear in the chapter. Record quotes that illuminate this philosophy.


Chapter/Title Epigraph Interpretive Statement/Paraphrase

Connection to the Chapter

Connections to Transcendentalism/Emerging Themes:

After Reading5. With your group members, discuss the effect of Krakauer’s use of epigraphs

from literary works in the various chapters. What is the effect in terms of conveying information and engaging the reader? What is the effect when the epigraph is from McCandless’s own writings?

Check Your UnderstandingExplain different ways writers may use epigraphs for effect in their writing.

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RI.11-12.5: Analyze and evaluate the effectiveness of the structure an author uses in his or her exposition or argument, including whether the structure makes points clear, convincing, and engaging.

Additional Standards Addressed: RI.11-12.3; RI.11-12.10; W.11-12.2a; W.11-12.9b; W.11-12.10; SL.11-12.6

ACTIVITY 4.11

PLANMaterials: Into the Wild (Chapters 8–9)Suggested Pacing: 1 50-minute period + homework

TEACH1 In Chapters 8 and 9, Krakauer goes beyond the traditional methods of characterization by telling stories of others who are, in some ways, similar to Chris McCandless, in hopes that these stories will shed light on McCandless. In essence, these other narratives act as foils to provide insight into McCandless’s character, motivation, and thinking.

2 Arrange students into 5 groups. Assign each group a person. The group will work together to become “experts” on their assigned person by doing a close reading of that story and finding key quotes that help to characterize their person and his beliefs and values. Explain that students will engage in a role-play, speaking as their character in a critical evaluation of McCandless’s values and choices.

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After Reading 3. In the Author’s Note, Krakauer comments, “Some readers admired the boy

immensely for his courage and noble ideals; others fulminated that he was a reckless idiot, a wacko, a narcissist who perished out of ignorance.” Writing in the voice of your assigned person, take a stance on which characterization seems most appropriate. Use details from the person’s experience to develop your claims. Complete a quickwrite in your Reader/Writer Notebook or on separate paper.

4. You will now speak as your assigned person, evaluating McCandless’s values and choices from your person’s point of view.

5. Now that you have examined McCandless through the lens of these other narratives, consider how Krakauer uses them for comparison. Why does he use this strategy for development so extensively? What have you learned about Chris McCandless from these stories? In what ways does he reveal his own biases toward his subject through comparison to his predecessors?

Check Your UnderstandingIn one sentence, explain why a writer might use a comparison to develop his or her subject.

Everett Ruess

Irish monks known as papar

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3 Post the quote from Krakauer’s “Author’s Note,” and have students complete the quickwrite and discuss their responses in preparation for the role-play.

4 Jigsaw the groups so that only one expert from each group is present in the new groups. In the new groups, each student should role-play responses to the quote, using specific information regarding their character to frame and support their opinions.

5 Ask students to step back out of character; lead a class discussion analyzing Krakauer’s use of these parallel narratives to develop his narrative of McCandless. Discuss what impact the loss of any of these voices might have had on the reader.

6 Allow students to respond to the Check Your Understanding as a way to show an understanding of the use of foils.


ASSESSCheck student responses to Check Your Understanding to ensure students understand the use of foils.

ADAPTTo extend learning, students can revisit the additional media coverage of Chris McCandless’s story to look for additional foils to McCandless and share findings with the class.


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learNING STraTeGIeS:Graphic Organizer, Discussion Groups, Rereading

acTIVITy

4.12meaning Through Structure

Learning Targets• Analyzeandevaluateawiter’sstructuralchoices.

• Understandhowauthorssequenceeventstoinfluenceandengagereaders.

Before Reading 1. Most biographies are written in chronological order, but Krakauer has organized

Into the Wild differently. The book begins mere months before McCandless’s death, and over the final four chapters of the book, only one (16) focuses on presenting a third-person narrative of his life. The question is why?

To answer that question, work with your group to chart Krakauer’s structure in the first 13 chapters of the book. Use the template below to format your analysis.

Chapter McCandless’s Event(s) and Date(s)

Other Narratives (including Krakauer’s

own)

Why Krakauer May Have Recorded the Event(s) at

This Point in the Book

1 April 28, 1992

After getting a ride from Jim Gallien, McCandless heads out on the Stampede Trail.

None Engages readers by creating an ambiguous picture of a young man heading into the wilderness

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After Reading 3. In the Author’s Note, Krakauer comments, “Some readers admired the boy

immensely for his courage and noble ideals; others fulminated that he was a reckless idiot, a wacko, a narcissist who perished out of ignorance.” Writing in the voice of your assigned person, take a stance on which characterization seems most appropriate. Use details from the person’s experience to develop your claims. Complete a quickwrite in your Reader/Writer Notebook or on separate paper.

4. You will now speak as your assigned person, evaluating McCandless’s values and choices from your person’s point of view.

5. Now that you have examined McCandless through the lens of these other narratives, consider how Krakauer uses them for comparison. Why does he use this strategy for development so extensively? What have you learned about Chris McCandless from these stories? In what ways does he reveal his own biases toward his subject through comparison to his predecessors?

Check Your UnderstandingIn one sentence, explain why a writer might use a comparison to develop his or her subject.

Everett Ruess

Irish monks known as papar

my Notes

Shedding light acTIVITy 4.11continued

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RI.11-12.5: Analyze and evaluate the effectiveness of the structure an author uses

in his or her exposition or argument, including whether the structure makes points clear, convincing, and engaging.

Additional Standards Addressed: RI.11-12.10; W.11-12.1a; W.11-12.4; W.11-12.5; W.11-12.9b; W.11-12.10

ACTIVITY 4.12

PLANMaterials: Into the Wild (Chapters 10–13), timeline of events covered in the book. There are numerous Internet sites that provide such a time line. Choose one that you think most clearly presents an appropriate amount of information.Suggested Pacing: 1 50-minute period + homework

TEACH1 This activity scaffolds EA1 by asking students to consider how a writer might veer from chronological order in the structuring of a text, and scaffolds both EA1 and EA2 by exploring how writers create coherence when making such organizational choices.

2 Give students access to a copy of the timeline of events following McCandless’s graduation from college. Ask them for their initial observations regarding ways in which Krakauer introduces these events in a different order. Explain that their goal is to examine Krakauer’s choices as a writer and infer the rationale for making them. Students can use the timeline as a reference for including key details of McCandless’s journey in their own charts.

3 Using Chapter 1, model the use of the graphic organizer to analyze Krakauer’s organizational choices. Then allow students to form groups and continue the process up through Chapter 13. Students will need to re-create the chart to accommodate all the chapters.

TEACHER TO TEACHERYou might have students use an Excel spreadsheet or an online graphic organizer tool to construct their charts.

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During Reading 2. With your organizational chart in mind, reread Krakauer’s “Author’s Note.” With

your group, make a list of clues in the Note that suggest Krakauer’s rationale for veering from chronological order in his text.

The first two sentences correspond to the first two chapters of the book.

Paragraph three mirrors the tracking of Alexander Supertramp back to the reality of Chris McCandless that takes place in Chapter 3 (using phrases like “puzzling circumstances,” “turned out,” and “I learned” to suggest Krakauer’s unfolding of the mystery). These phrases mirror Krakauer’s initial unwinding of the mystery surrounding McCandless’s identity.

The end of paragraph 3 matches the end of chapter 3.

Paragraph 4 presents a rationale for Chapters 4–13 using words that link to Krakauer’s gradual discovery of the facts: “my fascination remained . . . I was haunted . . . unsettling parallels between events in his life and those in my own (see chapters 14–15) . . . the convoluted path . . . chasing down details . . . came to reflect on other, larger subjects (see chapters 17–18) . . . The result of this meandering inquiry is the book now before you.”

After Reading3. Based on your notes, revise your chart to add insights regarding Krakauer’s

likely intentions in organizing the book as he did.

Writing Prompt: Evaluate Krakauer’s effectiveness at creating a coherent organizational flow in the book. Be sure to:

• Considerhowthesequencingofchaptersinfluencesunderstanding.

• IncluderelevantexamplesofhowKrakauerintroducessourcesandnewdetails.

• Useatleastonequotesfromthe“Author’sNote”tosupportyourclaim.

Check Your UnderstandingExplain how organization is linked to a coherent presentation of a subject.

meaning Through Structure acTIVITy 4.12continued

my Notes

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4 Once students have completed their organizational charts, have them reread the first four paragraphs of the Author’s Note. Then have them revise their charts to reflect insights they gain from his note.

5 After reading, introduce the concept of coherence to set up the writing prompt, asking students for their initial evaluations of how effectively Krakauer creates coherence, despite the non-chronological order of the book.

6 Have students complete the writing prompt, then discuss the Check Your Reading prompt as a class.


ASSESSCheck student writing prompt responses for an understanding of organizational structure and relevant examples from the text, including one quote from the Author’s Note.

ADAPTWhen writing a personal essay, it is important for students to understand the value of organization and coherence and that a chronological organization is not necessarily the best or most engaging way to create a compelling story. Discuss how a non-chronological order might have the story beginning in the middle (or later) and then using flashbacks to give background.


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learNING STraTeGIeS:Skimming/Scanning, Graphic Organizer, Marking the Test, Close Reading, Brainstorming

acTIVITy

4.13a Personal Perspective

Learning Targets• Identifyandevaluatetheeffectivenessoftheorganizationalelementsofa

personal essay.

• Analyzehowawriterusesdetails,events,andcharacteractionstocraftaneffective narrative.

Before Reading1. In Chapters 14 and 15, Krakauer breaks from his 3rd person account of

McCandless’s biography by inserting a personal narrative essay. Krakauer’s account of climbing Devils Thumb, which presents a significant personal experience in which learns about his own skills and inner strength, offers a professional model of the personal essay you will be writing in Embedded Assessment 1. Most personal essays are structured to include three essential elements:

Event or Incident: The author describes some incident or set of circumstances.

Response: The author describes his or her feelings and thoughts concerning the encounter at the time when it was happening. This is the initial response, without the benefit of reflection.

Reflection: The author reflects on the incident. This reflection usually occurs some time after the event or incident. In the reflection, the author will often transition from describing a situation unique to him or her to a discussion more universal in nature.

my Notes

Response

ReflectionEvent

Personal Essay

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During Reading 2. With your organizational chart in mind, reread Krakauer’s “Author’s Note.” With

your group, make a list of clues in the Note that suggest Krakauer’s rationale for veering from chronological order in his text.

The first two sentences correspond to the first two chapters of the book.

Paragraph three mirrors the tracking of Alexander Supertramp back to the reality of Chris McCandless that takes place in Chapter 3 (using phrases like “puzzling circumstances,” “turned out,” and “I learned” to suggest Krakauer’s unfolding of the mystery). These phrases mirror Krakauer’s initial unwinding of the mystery surrounding McCandless’s identity.

The end of paragraph 3 matches the end of chapter 3.

Paragraph 4 presents a rationale for Chapters 4–13 using words that link to Krakauer’s gradual discovery of the facts: “my fascination remained . . . I was haunted . . . unsettling parallels between events in his life and those in my own (see chapters 14–15) . . . the convoluted path . . . chasing down details . . . came to reflect on other, larger subjects (see chapters 17–18) . . . The result of this meandering inquiry is the book now before you.”

After Reading3. Based on your notes, revise your chart to add insights regarding Krakauer’s

likely intentions in organizing the book as he did.

Writing Prompt: Evaluate Krakauer’s effectiveness at creating a coherent organizational flow in the book. Be sure to:

• Considerhowthesequencingofchaptersinfluencesunderstanding.

• IncluderelevantexamplesofhowKrakauerintroducessourcesandnewdetails.

• Useatleastonequotesfromthe“Author’sNote”tosupportyourclaim.

Check Your UnderstandingExplain how organization is linked to a coherent presentation of a subject.

meaning Through Structure acTIVITy 4.12continued

my Notes

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RI.11-12.5: Analyze and evaluate the effectiveness of the structure an author uses in his or her exposition or argument, including

whether the structure makes points clear, convincing, and engaging.

W.11-12.1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

W.11-12.1a: Introduce precise, knowledgeable claim(s), establish the significance of the claim(s), distinguish the claim(s) from alternate or opposing claims, and create an

ACTIVITY 4.13

PLANMaterials: Into the Wild (Chapters 14–15), highlightersSuggested Pacing: 1 50-minute period

TEACH1 Activities 4.13–4.15 examine both a professional and a student model for the personal reflection essay students will write for EA1. Encourage students to approach both texts as mentor texts as they read them.

2 The final words of Chapter 13 (page 132) are those of Billie, Chris’s mom. Read them to the class and ask students to describe the effect of Krakauer’s using them as a transition into his personal narrative in Chapters 14–15. How do Billie’s words establish a purpose for the shift to first person that follows?

3 Introduce the graphic organizer to review the organizational structure of a reflective essay—event (what happened), response (feelings and thoughts during the event), and reflection (what the author learned from the event).

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my Notes

a Personal Perspective acTIVITy 4.13continued

During Reading 2. As you reread the following excerpt of Krakauer’s climb, highlight the text

with two colors: one for sentences that reveal his responses at the time and a second for those that present reflection on what was learned as a result of the experiences.

About the AuthorJon Krakauer (b. 1954) started climbing mountains at age 8. He has chronicled his experiences in two best-selling books: Into the Wild and Into Thin Air. He wrote Into Thin Air after a failed expedition to climb Mt. Everest. The book earned a nomination as one of the finalists for the Pulitzer Prize.

biography

by John Krakauer

1 My suspicion that McCandless’s death was unplanned, that is was a terrible accident, comes from reading those few documents he left behind and from listening to the men and women who spent time with him over the final year of his life. But my sense of Chris McCandless’s intentions comes, too, from a more personal perspective.

2 A a youth, I am told, I was willful, self-absorbed, intermittently reckless, moody. I disappointed my father in the usual ways. Like McCandless, figures of male authority aroused in me a confusing medley of corked hurt and hunger to please. If something captured my undisciplined imagination, I pursued it with a zeal bordering on obsession, and from the age of seventeen until my late twenties that something was mountain climbing.

3 I devoted most of my waking hours to fantasizing about, and then undertaking, ascents of remote mountains in Alaska and Canada—obscure spires, steep and frightening, that nobody in the world beyond a handful of climbing geeks had ever heard of. Some good actually came of this. By fixing my sights on one summit after another, I managed to keep my bearings through some thick postadolescent fog. Climbing mattered. The danger bathed the world in a halogen glow that caused everything—the sweep of the rock, the orange and yellow lichens, the texture of the clouds—to stand out in a brilliant relief. Life thrummed at a higher pitch. The world was made real.

4 In 1977, while brooding on a Colorado barstool, picking happily at my existential scabs, I got it into my head to climb a mountain called the Devil’s Thumb. An intrusion of diorite scripted by ancient glaciers into a peak of immense and spectacular proportions, the Thumb is especially imposing from the north: Its great north wall, which had never been climbed, rises sheer and clean for six thousand feet from the glacier at its base, twice the height of Yosemite’s El Capitan. I would go to Alaska, ski inland from the sea across thirty miles of glacial ice, and ascend this mighty nordwand. I decided, moreover, to do it alone.

literary TermsCoherence is the quality of unity or logical connection among ideas. It is achieved by the clear and orderly presentation of ideas in a paragraph, text, or presentation.

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4 Next, ask students to close read the excerpt from Chapters 14 and 15, marking the text to identify Krakauer’s responses at the time of the event as well as his reflections on what he learned. You might support students’ work by providing an example of each from the passage:

Reflection: “My reasoning, if one can call it that, was inflamed by the scattershot passions of youth and a literary diet overly rich in the works of Nietzsche, Kerouac.”

Response: “I was dimly aware that I might be getting in over my head.”

Text ComplexityOverall: ComplexLexile: 1270Qualitative: Moderate DifficultyTask: Challenging (Evaluate)


COMMON CORE STATE STANDARDSorganization that logically sequences claim(s), counterclaims, reasons, and evidence.

Additional Standards Addressed:RI.11-12.3; RI.11-12.10; W.11-12.1b; W.11-12.4; W.11-12.5; W.11-12.9b; L.11-12.6

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5 I was twenty-three, a year younger than Chris McCandless when he walked into the Alaska bush. My reasoning, if one can call it that, was inflamed by the scattershot passions of youth and a literary diet overly rich in the works of Nietzsche, Kerouac, and John Menlove Edwards, the latter a deeply troubled writer and psychiatrist who, before putting an end to his life with a cyanide capsule in 1958, had been one of the preeminent British rock climbers of the day. Edwards regarded climbing as a “psycho-neurotic tendency”; he climbed not for sport but to find refuge from the inner torment that framed his existence.

6 As I formulated my plan to climb the Thumb, I was dimly aware that I might be getting in over my head. But that only added to the scheme’s appeal. That it wouldn’t be easy was the whole point.

7 I owned a book in which there was a photograph of the Devils Thumb, a black-and-white image taken by an eminent glaciologist named Maynard Miller. In Miller’s aerial photo the mountain looked particularly sinister: a huge fin of exfoliated stone, dark and smeared with ice. The picture held an almost pornographic fascination for me. How would it feel, I wondered, to be balanced on that bladelike summit ridge, worrying over the storm clouds building in the distance, hunched against the wind and dunning cold, contemplating the drop on either side? Could a person keep a lid on his terror long enough to reach the top and get back down. . . .

8 All that held me to the mountainside, all that held me to the world, were two thin spikes of chrome molybdenum stuck half an inch into a smear of frozen water, yet the higher I climbed, the more comfortable I became. Early on a difficult climb, especially a difficult solo climb, you constantly feel the abyss pulling at your back. To resist takes a tremendous conscious effort; you don’t dare let your guard down for an instant. The siren song of the void puts you on edge; it makes your movements tentative, clumsy, herky-jerky. But as the climb goes on, you grow accustomed to the exposure, you get used to rubbing shoulders with doom, you come to believe in the reliability of your hands and feet and head. You learn to trust your self-control.

9 By and by your attention become so intensely focused that you no longer notice the raw knuckles, the cramping thighs, the strain of maintaining nonstop concentration. A trancelike state settles over your efforts; the climb becomes a clear-eyed dream. Hours slide by like minutes. The accumulated clutter of day-to-day existence—the lapses of conscience, the unpaid bills, the bungled opportunities, the dust under the couch, the inescapable poison of your genes—all of it is temporarily forgotten, crowded from your thoughts by an overpowering clarity of purpose and by the seriousness of the task at hand.

10 At such moments something resembling happiness actually stirs in your chest, but it isn’t the sort of emotion you want to lean on very hard. In solo climbing the whole enterprise is held together with little more than chutzpah, not the most reliable adhesive. Late in the day on the north face of the Thumb, I felt the glue disintegrating with a swing of an ax.

11 I’d gained nearly seven hundred feet of altitude since stepping off the hanging glacier, all of it on crampon front points and the pick of my axes. The ribbon of frozen meltwater had ended three hundred feet up and was followed by a crumbly armor of frost feathers. Though just barely substantial enough to support body weight, the rime was plastered over the rock to a thickness of two or three feet, so I kept plugging upward. The wall, however, had been growing imperceptibly steeper, and as it did so, the frost feathers became thinner. I’d fallen into a slow, hypnotic rhythm—swing, swing; kick, kick; swing, swing; kick, kick—when my left ice ax slammed into a slab of diorite a few inches beneath the rime.

my Notes

key IdeaS aNd deTaIlSKrakauer shifts to 2nd person in paragraph 8. Why does he do so? How does this impact his relationship to his readers?

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my Notes

a Personal Perspective acTIVITy 4.13continued

During Reading 2. As you reread the following excerpt of Krakauer’s climb, highlight the text

with two colors: one for sentences that reveal his responses at the time and a second for those that present reflection on what was learned as a result of the experiences.

About the AuthorJon Krakauer (b. 1954) started climbing mountains at age 8. He has chronicled his experiences in two best-selling books: Into the Wild and Into Thin Air. He wrote Into Thin Air after a failed expedition to climb Mt. Everest. The book earned a nomination as one of the finalists for the Pulitzer Prize.

biography

by John Krakauer

1 My suspicion that McCandless’s death was unplanned, that is was a terrible accident, comes from reading those few documents he left behind and from listening to the men and women who spent time with him over the final year of his life. But my sense of Chris McCandless’s intentions comes, too, from a more personal perspective.

2 A a youth, I am told, I was willful, self-absorbed, intermittently reckless, moody. I disappointed my father in the usual ways. Like McCandless, figures of male authority aroused in me a confusing medley of corked hurt and hunger to please. If something captured my undisciplined imagination, I pursued it with a zeal bordering on obsession, and from the age of seventeen until my late twenties that something was mountain climbing.

3 I devoted most of my waking hours to fantasizing about, and then undertaking, ascents of remote mountains in Alaska and Canada—obscure spires, steep and frightening, that nobody in the world beyond a handful of climbing geeks had ever heard of. Some good actually came of this. By fixing my sights on one summit after another, I managed to keep my bearings through some thick postadolescent fog. Climbing mattered. The danger bathed the world in a halogen glow that caused everything—the sweep of the rock, the orange and yellow lichens, the texture of the clouds—to stand out in a brilliant relief. Life thrummed at a higher pitch. The world was made real.

4 In 1977, while brooding on a Colorado barstool, picking happily at my existential scabs, I got it into my head to climb a mountain called the Devil’s Thumb. An intrusion of diorite scripted by ancient glaciers into a peak of immense and spectacular proportions, the Thumb is especially imposing from the north: Its great north wall, which had never been climbed, rises sheer and clean for six thousand feet from the glacier at its base, twice the height of Yosemite’s El Capitan. I would go to Alaska, ski inland from the sea across thirty miles of glacial ice, and ascend this mighty nordwand. I decided, moreover, to do it alone.

literary TermsCoherence is the quality of unity or logical connection among ideas. It is achieved by the clear and orderly presentation of ideas in a paragraph, text, or presentation.

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Key Ideas and Details Shifting to second person (using “you”) involves the audience more in the narrative. It makes the interior feelings of the narrator immediately available to the reader.


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12 I tried left, then right, but kept striking rock. The frost feathers holding me up, it became apparent, were maybe five inches thick and had the structural integrity of stale corn bread. Below was thirty-seven hundred feet of air, and I was balanced on a house of cards. The sour taste of panic rose in my throat. My eyesight blurred, I began to hyperventilate, my calves started to shake. I shuffled a few feet farther to the right, hoping to find thicker ice, but managed only to bend an ice ax on the rock . . .

13 Awkwardly, stiff with fear, I started working my way back down. The rime gradually thickened. After descending about eighty feet, I got back on reasonably solid ground. I stopped for a long time to let my nerves settle, then leaned back from my tools and stared up at the face above, searching for a hint of solid ice, for some variation in the underlying rock strata, for anything that would allow passage over the frosted slabs. I looked until my neck ached, but nothing appeared. The climb was over. The only place to go was down.

14 Less than a month after sitting on the summit of the Thumb, I was back in Boulder, nailing up siding on the Spruce Street Townhouses, the same condos I’d been framing when I left for Alaska. I got a raise, to four bucks an hour, and at the end of the summer moved out of the job-site trailer to a cheap studio apartment west of the downtown mall.

15 It is easy, when you are young, to believe that what you desire is no less than what you deserve, to assume that if you want something badly enough, it is your God-given right to have it. When I decided to go to Alaska that April, like Chris McCandless, I was a raw youth who mistook passion for insight and acted according to an obscure, gap-riddled logic. I thought climbing the Devils Thumb would fix all that was wrong with my life. In the end, of course, it changed almost nothing. But I came to appreciate that mountains make poor receptacles for dreams. And I lived to tell the tale.

16 As a young man, I was unlike McCandless in many important regards; most notably, I possessed neither his intellect nor his lofty ideals. But I believe we were similarly affected by the skewed relationships we had with our fathers. And I suspect we had a similar intensity, a similar heedlessness, a similar agitation of the soul.

17 The fact that I survived my Alaska adventure and McCandless did not survive his was largely a matter of chance; had I not returned from the Stikine Ice Cap in 1977, people would have been quick to say of me—as they now say of him—that I had a death wish. Eighteen years after the event, I now recognize that I suffered from hubris, perhaps, and an appalling innocence, certainly, but I wasn’t suicidal.

After Reading3. Following style of the personal-essay graphic organizer on page 287, create a

web that shows (a) details of the event, (b) examples of Krakauer’s responses at the time of the climb, and (c) his reflections following the failed attempt.

Writing Prompt: Defend, challenge, or refute the following statement: Krakauer is more of a transcendentalist than McCandless. Be sure to:

• Beginwithaclearcentralclaim.

• SupportyourresponsewithspecifictextualevidencefromKrakauer’saccountof McCandless and/or his personal account in Chapters 14–15.

• ReferencespecifictenetsofTranscendentalismtologicallysupportyourposition.

Check Your UnderstandingHow would creating a web of this type help you to successfully write a personal essay?

a Personal Perspective


my Notes

Word coNNecTIoNS

Roots and AffixesThe word hubris refers to excessive pride or exaggerated self-confidence. The word comes from the Greek word hybris, originally meaning “presumption toward the gods.”

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5 Next, discuss what Krakauer’s reflective commentary reveals about his character and his life-changing experience. Ask students to identify the diction, key words, and phrases that signal reflection in his text. Discuss how those words reflect insight and personal growth.

6 To help create a model for their own essay planning process for EA1, students are asked to create a graphic organizer web for Krakauer’s essay, including details of the event, examples of his responses, and the conclusions that reveal reflection.

7 Have students complete the writing prompt as a way to revisit Transcendentalism before moving into writing their own personal essays linked to Transcendentalist ideas.

8 The Check Your Understanding question asks students to think about how to apply this process as a helpful prewriting step when writing their own essays.

ASSESSCheck graphic organizers for a clear understanding of the event, Krakauer’s responses, and his reflections. Review writing prompt responses for a clear central claim, supporting evidence from the text, and references to specific tenets of Transcendentalism.

ADAPTActivity 4.15 presents another model of a personal essay and offers an opportunity to reteach the elements of the personal essay.


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learNING STraTeGIeS:Graphic Organizer, Drafting

acTIVITy

4.14Writer’s craft: a Personal Perspective on Style

Learning Targets• Analyzeawriter’suseofsyntacticaltechniques.

• Applysyntacticaltechniquesfromexamplestoone’sownwriting.

Before Reading 1. Like Fulghum, Krakauer’s style is memorable and effective, not just because of

the ideas, but because of his syntax.

Some elements of syntax are word order, sentence length, and punctuation. Punctuation can reinforce meaning, create a particular effect, and express the writer’s voice. Look at the purpose of three stylistic techniques that manipulate syntax for effect: relative clauses, asyndeton, and the colon.

Language and Writer’s Craft: Relative Pronouns and ClausesRelative pronouns are that, who, whom, whose, which, where, when, and why. They are used to join clauses to make a complex sentence. Relative pronouns are used at the beginning of the subordinate clause and gives specific information about the main clause.

Example: This is the house that Jack built.

In English, the choice of the relative pronoun depends on the type of clause it is used in. There are two types of clauses: defining (restrictive) relative clauses and non-defining (nonrestrictive) relative clauses. In both types of clauses, the relative pronoun can function as a subject, an object, or a possessive.

Defining clauses open with a relative pronoun and ARE NOT separated by a comma from the main clause.

Example: This is the house that my grandfather built.

Non-defining relative clauses (also known as non-restrictive, or parenthetical, clauses) provide some additional information that is not essential and may be omitted without affecting the contents of the sentence. All relative pronouns EXCEPT “that” can be used in non-defining clauses; however, the pronouns MAY NOT be omitted. Non-defining clauses ARE separated by commas.

Example: The house at the end of the street, which my grandfather built, needs renovating.

During Reading2. Reread Krakauer’s text, this time annotating it for stylistic choices and

punctuation, in particular. In the My Notes section, explain the effect of the choices.

Language and Writer’s Craft: Relative Pronouns and ClausesLanguage and Writer’s Craft: Relative Pronouns and Clauses, ,

They are used to join clauses to make a complex sentence. Relative pronouns are They are used to join clauses to make a complex sentence. Relative pronouns are used at the beginning of the subordinate clause and gives specific information used at the beginning of the subordinate clause and gives specific information

In English, the choice of the relative pronoun depends on the type of clause it is In English, the choice of the relative pronoun depends on the type of clause it is relative clausesrelative clauses

. In both types of clauses, the relative . In both types of clauses, the relative

separated by a comma separated by a comma

(also known as non-restrictive, or parenthetical, (also known as non-restrictive, or parenthetical, clauses) provide some additional information that is not essential and may be clauses) provide some additional information that is not essential and may be omitted without affecting the contents of the sentence. All relative pronouns omitted without affecting the contents of the sentence. All relative pronouns EXCEPT “that” can be used in non-defining clauses; however, the pronouns MAY EXCEPT “that” can be used in non-defining clauses; however, the pronouns MAY NOT be omitted. Non-defining clauses ARE separated by commas.NOT be omitted. Non-defining clauses ARE separated by commas.

my grandfather built, needs my grandfather built, needs

my Notes

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12 I tried left, then right, but kept striking rock. The frost feathers holding me up, it became apparent, were maybe five inches thick and had the structural integrity of stale corn bread. Below was thirty-seven hundred feet of air, and I was balanced on a house of cards. The sour taste of panic rose in my throat. My eyesight blurred, I began to hyperventilate, my calves started to shake. I shuffled a few feet farther to the right, hoping to find thicker ice, but managed only to bend an ice ax on the rock . . .

13 Awkwardly, stiff with fear, I started working my way back down. The rime gradually thickened. After descending about eighty feet, I got back on reasonably solid ground. I stopped for a long time to let my nerves settle, then leaned back from my tools and stared up at the face above, searching for a hint of solid ice, for some variation in the underlying rock strata, for anything that would allow passage over the frosted slabs. I looked until my neck ached, but nothing appeared. The climb was over. The only place to go was down.

14 Less than a month after sitting on the summit of the Thumb, I was back in Boulder, nailing up siding on the Spruce Street Townhouses, the same condos I’d been framing when I left for Alaska. I got a raise, to four bucks an hour, and at the end of the summer moved out of the job-site trailer to a cheap studio apartment west of the downtown mall.

15 It is easy, when you are young, to believe that what you desire is no less than what you deserve, to assume that if you want something badly enough, it is your God-given right to have it. When I decided to go to Alaska that April, like Chris McCandless, I was a raw youth who mistook passion for insight and acted according to an obscure, gap-riddled logic. I thought climbing the Devils Thumb would fix all that was wrong with my life. In the end, of course, it changed almost nothing. But I came to appreciate that mountains make poor receptacles for dreams. And I lived to tell the tale.

16 As a young man, I was unlike McCandless in many important regards; most notably, I possessed neither his intellect nor his lofty ideals. But I believe we were similarly affected by the skewed relationships we had with our fathers. And I suspect we had a similar intensity, a similar heedlessness, a similar agitation of the soul.

17 The fact that I survived my Alaska adventure and McCandless did not survive his was largely a matter of chance; had I not returned from the Stikine Ice Cap in 1977, people would have been quick to say of me—as they now say of him—that I had a death wish. Eighteen years after the event, I now recognize that I suffered from hubris, perhaps, and an appalling innocence, certainly, but I wasn’t suicidal.

After Reading3. Following style of the personal-essay graphic organizer on page 287, create a

web that shows (a) details of the event, (b) examples of Krakauer’s responses at the time of the climb, and (c) his reflections following the failed attempt.

Writing Prompt: Defend, challenge, or refute the following statement: Krakauer is more of a transcendentalist than McCandless. Be sure to:

• Beginwithaclearcentralclaim.

• SupportyourresponsewithspecifictextualevidencefromKrakauer’saccountof McCandless and/or his personal account in Chapters 14–15.

• ReferencespecifictenetsofTranscendentalismtologicallysupportyourposition.

Check Your UnderstandingHow would creating a web of this type help you to successfully write a personal essay?

a Personal Perspective


my Notes

Word coNNecTIoNS

Roots and AffixesThe word hubris refers to excessive pride or exaggerated self-confidence. The word comes from the Greek word hybris, originally meaning “presumption toward the gods.”

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COMMON CORE STATE STANDARDSFocus Standards:L.11-12.3a: Vary syntax for effect, consulting references (e.g., Tufte’s Artful Sentences) for guidance as needed; apply an understanding of syntax to the study of complex texts when reading.

Additional Standards Addressed:RI.11-12.6; W.11-12.10

ACTIVITY 4.14

PLANMaterials: Into the Wild (Chapters 14–15), student work drafted in Activity 4.6, 4.9, or for any other writing promptSuggested Pacing: 1 50-minute class period

TEACH1 Explain that today students will be working to revise their credos to include various stylistic devices.

TEACHER TO TEACHERStudents could also use their character sketch from the writing prompt in Activity 4.9 for this activity.

2 Review the information on syntax (word order, sentence length, punctuation).

3 Explain to students that relative clauses act as adjectives, and ask them to identify which noun the clause modifies in the examples (house, in each case).

4 Ask students to revisit Krakauer’s text, focusing on how he uses syntax and punctuation to advance his tone and theme, marking the text and annotating for examples.

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Writer’s craft: a Personal Perspective on Style


After Reading3. Now use the graphic organizer below to explore how sentence length and

punctuation contribute to tone or theme. Find specific examples of Krakauer’s sentences that contain the element of syntax listed in the first column. Explain its function in the credo and how it advances the tone or theme of the text.

Element Examples and Function of Krakauer’s Syntax Revision of a Sentence from Your Credo

Relative clause (uses that, which, etc.)

“My suspicion that McCandless’s death was unplanned, that it was a terrible accident, comes from reading those few documents he left behind. . .”

Introduces a clarifying element and sentence variety. Compare this to “I suspected his death was unplanned, a suspicion based on reading documents he left behind.” How does this differ?

Asyndeton “The siren song of the void puts you on edge; it makes your movements tentative, clumsy, herky-jerky. But as the climb goes on, you grow accustomed to the exposure, you get used to rubbing shoulders with doom, you come to believe in the reliability of your hands and feet and head.”

The first example links together words and the second, clauses—both without the conventional conjunction after the next to last in the series. This gives a sense of dramatic weight to the sentences.

Colon Can introduce an independent clause (which is capitalized), in this case one that supports a claim

“An intrusion of diorite scripted by ancient glaciers into a peak of immense and spectacular proportions, the Thumb is especially imposing from the north: Its great north wall, which had never been climbed, rises sheer and clean for six thousand feet from the glacier at its base, twice the height of Yosemite’s El Capitan.”

Colon “In Miller’s aerial photo the mountain looked particularly sinister: a huge fin of exfoliated stone, dark and smeared with ice.” Here he uses a colon to introduce a phrase, but for the same purpose—to support the preceding claim. What follows is in lowercase.

Check Your UnderstandingIn the last column, use the examples to guide a revision of a sentence in the draft of your credo.

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5 Lead the class through filling out the left-hand column of the graphic organizer, discussing the effect of the examples cited in each box.

6 Allow students time to share their credos (or another piece of student writing) in pairs. Ask for a few volunteers to share their texts with the class.

7 Ask students to revise their writing, using strategies modeled in Krakauer’s essay.

8 To help students prepare for Embedded Assessment 1, ask them to brainstorm a list of ten events or personal experiences from their past. These incidents should be significant in some way. The list can be in the form of brief comments. Students will revisit this list in Activity 4.16.

TEACHER TO TEACHERFor homework, ask students to bring a photograph that evokes strong sensory memories of one of the events in their lives. In particular, choose an event that links to the pursuit of happiness, especially in a way consistent with Transcendentalist ideals.

ASSESSCollect the revised drafts to evaluate how well students understand the stylistic techniques used in this activity. Activity 4.15 offers an opportunity to revisit these techniques as needed, using another model.

ADAPTTo support students as they brainstorm a list of significant events, you might model the process by brainstorming your own list of incidents that you could write about in a personal essay. You might also provide a list of starters (e.g., a time when you were lost or scared; a time when you experienced wonder) or have the class brainstorm such a list.


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learNING STraTeGIeS:Free Writing, Marking the Text, Close Reading, Adding

acTIVITy

4.15reflecting on life experiences

Learning Targets• Analyzeawriter’suseofdescriptivetechniques.

• Applyavarietyoftechniquestodescribeeventsinnarratives.

Before Reading1. Quickwrite: Using the photograph you brought, or one provided by your

teacher, describe (or craft) a memorable event in your life.

During Reading2. Personal essays are reflective in nature, which means that the author looks back

on an experience that is significant in his or her life, describes the experience and how he or she felt at the time, and then reflects on the importance of that experience. “A View from Mount Ritter” is an example of a reflective personal essay written by a high school student.

3. Use two different colors of highligher to mark examples where the author tells how he felt (response) and what he learned (reflection). Then draw a line to indicate where the author shifts from description of the experience to a reflection on its significance and the lessons he learned from it.

essay

Two weeks in the Sierras changed my attitude toward life and what it takes to succeed.

by Joseph T. O’Connor

1 “I hate this,” I thought. We were on our way to the top of Mount Ritter in northeastern California. You would think everyone, near one of the tallest ridges in the Sierra Nevadas, would be in high spirits. But on this particular day the rain fell in torrents. Quarter-size hailstones pelted our protective helmets as thunder echoed through the canyons.

2 It was the second week of my mountain expedition in California. The first week there had not been a cloud in the sky, but on Tuesday of week two, a dark cover crept in from the west, painting the sunlit, blue sky black. The storm came in so fast we didn’t even notice it until our shadows suddenly disappeared.

3 “Here it comes,” our guide warned. As if God himself had given the order, the heavens opened, just a crack. Huge drops began falling but abruptly stopped, as if to say, “You know what’s coming, here’s a taste.” As we began searching for shelter, a bolt of lightning ripped open the blackish clouds overhead and in unison thunder cracked, leaving everyone’s ears ringing. We were in the midst of a huge July thunderstorm. Ethan, our guide, had said that during the summer in the high Sierras it might rain twice, but when it does, it’s best not to be there. Suddenly lightning struck a tree not 20 feet from where I was standing.

my Notes

Word coNNecTIoNS

Foreign WordsJoseph O’Connor’s essay begins in medias res, a Latin term meaning “in the middle of things,” rather than at the beginning of the story (see paragraphs 2 and 8 for background). What are the advantages and disadvantages of starting a narrative this way?

cc

A View From

Mount RitterMount Ritter

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Writer’s craft: a Personal Perspective on Style


After Reading3. Now use the graphic organizer below to explore how sentence length and

punctuation contribute to tone or theme. Find specific examples of Krakauer’s sentences that contain the element of syntax listed in the first column. Explain its function in the credo and how it advances the tone or theme of the text.

Element Examples and Function of Krakauer’s Syntax Revision of a Sentence from Your Credo

Relative clause (uses that, which, etc.)

“My suspicion that McCandless’s death was unplanned, that it was a terrible accident, comes from reading those few documents he left behind. . .”

Introduces a clarifying element and sentence variety. Compare this to “I suspected his death was unplanned, a suspicion based on reading documents he left behind.” How does this differ?

Asyndeton “The siren song of the void puts you on edge; it makes your movements tentative, clumsy, herky-jerky. But as the climb goes on, you grow accustomed to the exposure, you get used to rubbing shoulders with doom, you come to believe in the reliability of your hands and feet and head.”

The first example links together words and the second, clauses—both without the conventional conjunction after the next to last in the series. This gives a sense of dramatic weight to the sentences.

Colon Can introduce an independent clause (which is capitalized), in this case one that supports a claim

“An intrusion of diorite scripted by ancient glaciers into a peak of immense and spectacular proportions, the Thumb is especially imposing from the north: Its great north wall, which had never been climbed, rises sheer and clean for six thousand feet from the glacier at its base, twice the height of Yosemite’s El Capitan.”

Colon “In Miller’s aerial photo the mountain looked particularly sinister: a huge fin of exfoliated stone, dark and smeared with ice.” Here he uses a colon to introduce a phrase, but for the same purpose—to support the preceding claim. What follows is in lowercase.

Check Your UnderstandingIn the last column, use the examples to guide a revision of a sentence in the draft of your credo.

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rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. (Editing for conventions should demonstrate command of Language standards 1–3 up to and including grades 11–12.)

Additional Standards Addressed:RI.11-12.3; RI.11-12.5; RI.11-12.10; W.11-12.3a; W.11-12.4; W.11-12.10; L.11-12.3a; L.11-12.6

ACTIVITY 4.15

PLANMaterials: highlighters, photos related to memorable life events or scenes (may be assigned for students to bring in)Suggested Pacing: 1 50-minute period plus homework

TEACH1 To set up revision work in this activity, have students do a quickwrite on the photos they brought to class today or on one that you provide. Tell them to focus on capturing descriptive details from their photo.

Text ComplexityOverall: AccessibleLexile: 980Qualitative: Moderate DifficultyTask: Moderate (Analyze)

2 “A View from Mount Ritter” offers a clear model of the three parts of a reflective essay. Ask students to read independently and mark the text, highlighting the following:

• the diction used to convey the writer’s emotional responses and thoughts at the time

• the thoughtful reflection that conveys learning

3 The in medias res (see the Word Connections) device not only hooks the reader’s attention immediately but also forces the reader to jump in without an introduction of any sort.

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Grammar USaGeSubordinating Conjunctions

Writers use subordinating conjunctions (e.g., when, although, because, since, while, as, until, etc.) to create relationships between clauses in a sentence and to create sentence variety.

Example: The storm came in so fast we didn’t even notice it until our shadows suddenly disappeared.

Example: As we began searching for shelter, a bolt of lightning ripped open the blackish clouds. . .

Combine the following:

1. Mount Ritter seemed like a huge challenge. I was in high spirits.

2. We shivered in our sleeping bags. The rain poured down outside our tent.


reflecting on life experiences

4 “Lightning positions!” Ethan yelled frantically. A little too frantically for my taste. I thought he was used to this kind of thing. As scared as I was, squatting in a giant puddle of water and hailstones, with forks of lightning bouncing off the canyon walls around me, I couldn’t help chuckling to myself at the sight of Ethan’s dinner-plate-sized eyeballs as he panicked like an amateur. Soon after the lightning died down some, we hiked to the shelter of nearby redwoods and put on rain gear. While we prayed for the rain to subside, I watched the stream we stood beside grow into a raging, white-water river. Another expeditioner, Mike, and I were under a full redwood donning our not-so-waterproof equipment when I realized we were standing on a small island.

5 “Mike! Let’s go!” I yelled, my exclamation nearly drowned out by the roar of water surrounding us and another roll of thunder.

6 “I’m way ahead o’ ya!” he screamed in his thick New York accent, and his goofy smile broke through the torrents. “Ya ready?”

7 “Yeah!” I yelled back, and jumped from our island into the knee-deep water. He followed as we slopped through the storm, losing our footing every few feet.

8 The unforgiving downpour lasted all day and into the night as we stumbled down the rocky cliffs seeking the driest place to set up camp. It was dusk before we found a small clearing in a pine forest, and began what was to be the worst night of my life. We constructed our tents in the dark, fumbling with the ropes with our frozen hands and finishing just as a stiffness like rigor mortis set in. We lay all night, shivering in our wet sleeping bags while rain poured down and a small stream made its way through our tent.

9 It’s funny how these memories keep coming back to me as if it was just yesterday. All this happened last summer, after my junior year in high school. I had decided to attend a mountaineering program in the Sierras. Two weeks in the back country with no sign of civilization. It sounded exciting and slightly dangerous, and I’ve always been up for a good adventure. I found out on that trip that nature is underestimated. The experience was the most invigorating, fulfilling, stimulating two weeks of my life. For the first time since I could remember, my head was crystal clear. I felt born again, only 2 weeks old. On top of Mount Ritter, 13,000 feet above sea level, I was entranced at the sight of the orange-red sun as it peeked over the glistening peaks far off in the east. Cumulus clouds appeared transparent as they glowed bright red in the morning glory.

10 The wonder of all I’d experienced made me think seriously about what comes next. “Life after high school,” I said to myself. “Uh-oh.” What had I been doing for the last three years? I was so caught up in defying the advice of my parents and teachers to study and play by the rules that I hadn’t considered the effects my actions would have on me.

11 “Youth is wholly experimental,” Robert Louis Stevenson wrote. Sure, there will be mistakes, but there will also be successes. I was a confused kid. Everyone—my parents, teacher and coaches—offered suggestions, but I chose to ignore them. I had “potential,” they told me. As a typical teen, I thought I could make it on my own.

12 I didn’t want any help, and the more people tried to give it the more distant I grew.

13 I was the kid who thought he could be perfect at anything without any preparation.

14 I was lost in the daydream that I didn’t need to study; I was going to play professional soccer. My game was good and I thought that practice, or getting good grades, for that matter, was unnecessary. Stubbornness and rebellion can be terrible things if they get out of control.

Word coNNecTIoNS

Roots and AffixesRebellion comes from the Latin root bellum meaning “war.” Rebel, antebellum, and rebellious have the same root.

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Grammar Extension Subordinating conjunctions introduce adverb clauses: dependent clauses that modify an adjective, verb, or other adverb. They usually tell where, when, why, or how. Ask students what the adverb clauses in the example sentences tell. (In both cases, they tell when: In the first example, the adverb clause modifies did [not] notice. In the second example, the clause modifies ripped.)


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15 “To get back one’s youth one has merely to repeat one’s follies.” A day before my awakening on that fateful July sunrise, I would have disagreed with this quotation from Oscar Wilde. But after recognizing the results of my own follies for the first time, I thoroughly agree.

16 This year, my final year in high school, I’ve at last cleared my head and buckled down. Judging by the past semester, I’m on the right track. My D average has U-turned into this report card’s three B’s and one A, landing me on my first Honor Roll. I intend to be on the Principal’s List after this semester; then I hope to graduate and attend a community college in northern California, near the mountains, before transferring to a four-year school.

17 Thanks to that morning’s conversion, I am a new person. Now, I know I’ll have to work hard. The sun streaming over the eastern Sierras wiped out the dark clouds that blurred my vision. Jonathan Harker in Bram Stoker’s “Dracula” must have felt exactly the same way when he wrote in his journal: “No man knows ’till he has suffered from the night how sweet and how dear to his heart and eye the morning can be.”

After Reading 4. Similarly to how writers use a variety of techniques to create characterization,

there are four common techniques that writers use to recreate their subjective reaction and feelings when describing experiences.

• Sensorydescriptionsandspecificdetails

Example: . . . . squatting in a giant puddle of water and hailstones, with forks of lightning bouncing off the canyon walls around me.

• Usingcomparisonsandfigurativelanguage(e.g.,metaphors,similes,analogies, hyperbole, etc.) to give a sense of what something looked like.

Example: I couldn’t help chuckling to myself at the sight of Ethan’s dinner- plate-sized eyeballs as he panicked like an amateur.

• DescribingwhatisNOTthere;drawingattentiontowhatisnothappening,not present, etc., usually externally, but not necessarily.

Example: I didn’t want any help, and the more people tried to give it the more distant I grew.

• Notingchangesinformorcondition,especiallyintermsofapositiveornegative transformation.

Example: . . .we didn’t even notice it until our shadows suddenly disappeared.

In the chart on the next page, find at least one example of each technique. Then write a sentence of your own using each technique.

my Notes

key IdeaS aNd deTaIlSO’Connor uses three quotes from literature in this passage to support the reflections he presents. How does this differ from Krakauer’s use of epigraphs? Which is more effective?

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Grammar USaGeSubordinating Conjunctions

Writers use subordinating conjunctions (e.g., when, although, because, since, while, as, until, etc.) to create relationships between clauses in a sentence and to create sentence variety.

Example: The storm came in so fast we didn’t even notice it until our shadows suddenly disappeared.

Example: As we began searching for shelter, a bolt of lightning ripped open the blackish clouds. . .

Combine the following:

1. Mount Ritter seemed like a huge challenge. I was in high spirits.

2. We shivered in our sleeping bags. The rain poured down outside our tent.



4 “Lightning positions!” Ethan yelled frantically. A little too frantically for my taste. I thought he was used to this kind of thing. As scared as I was, squatting in a giant puddle of water and hailstones, with forks of lightning bouncing off the canyon walls around me, I couldn’t help chuckling to myself at the sight of Ethan’s dinner-plate-sized eyeballs as he panicked like an amateur. Soon after the lightning died down some, we hiked to the shelter of nearby redwoods and put on rain gear. While we prayed for the rain to subside, I watched the stream we stood beside grow into a raging, white-water river. Another expeditioner, Mike, and I were under a full redwood donning our not-so-waterproof equipment when I realized we were standing on a small island.

5 “Mike! Let’s go!” I yelled, my exclamation nearly drowned out by the roar of water surrounding us and another roll of thunder.

6 “I’m way ahead o’ ya!” he screamed in his thick New York accent, and his goofy smile broke through the torrents. “Ya ready?”

7 “Yeah!” I yelled back, and jumped from our island into the knee-deep water. He followed as we slopped through the storm, losing our footing every few feet.

8 The unforgiving downpour lasted all day and into the night as we stumbled down the rocky cliffs seeking the driest place to set up camp. It was dusk before we found a small clearing in a pine forest, and began what was to be the worst night of my life. We constructed our tents in the dark, fumbling with the ropes with our frozen hands and finishing just as a stiffness like rigor mortis set in. We lay all night, shivering in our wet sleeping bags while rain poured down and a small stream made its way through our tent.

9 It’s funny how these memories keep coming back to me as if it was just yesterday. All this happened last summer, after my junior year in high school. I had decided to attend a mountaineering program in the Sierras. Two weeks in the back country with no sign of civilization. It sounded exciting and slightly dangerous, and I’ve always been up for a good adventure. I found out on that trip that nature is underestimated. The experience was the most invigorating, fulfilling, stimulating two weeks of my life. For the first time since I could remember, my head was crystal clear. I felt born again, only 2 weeks old. On top of Mount Ritter, 13,000 feet above sea level, I was entranced at the sight of the orange-red sun as it peeked over the glistening peaks far off in the east. Cumulus clouds appeared transparent as they glowed bright red in the morning glory.

10 The wonder of all I’d experienced made me think seriously about what comes next. “Life after high school,” I said to myself. “Uh-oh.” What had I been doing for the last three years? I was so caught up in defying the advice of my parents and teachers to study and play by the rules that I hadn’t considered the effects my actions would have on me.

11 “Youth is wholly experimental,” Robert Louis Stevenson wrote. Sure, there will be mistakes, but there will also be successes. I was a confused kid. Everyone—my parents, teacher and coaches—offered suggestions, but I chose to ignore them. I had “potential,” they told me. As a typical teen, I thought I could make it on my own.

12 I didn’t want any help, and the more people tried to give it the more distant I grew.

13 I was the kid who thought he could be perfect at anything without any preparation.

14 I was lost in the daydream that I didn’t need to study; I was going to play professional soccer. My game was good and I thought that practice, or getting good grades, for that matter, was unnecessary. Stubbornness and rebellion can be terrible things if they get out of control.

Word coNNecTIoNS

Roots and AffixesRebellion comes from the Latin root bellum meaning “war.” Rebel, antebellum, and rebellious have the same root.

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Key Ideas and Details Although O’Connor’s use of literary allusion adds a layer of sophistication to his reflection, Krakauer’s use of epigraphs makes more sophisticated connections between the specific story and the larger literary context to reflect on the meaning of an individual life.

4 Ask students to draw a line to indicate where the author shifts from description of the event to reflection on the significance of the event. Discuss how explicit his shift is compared to Krakauer’s. Which structural approach seems more effective and why?

5 Review the various descriptive techniques, and then have students use the chart on the next page to identify examples of each technique in O’Connor’s text.


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Descriptive Techniques

O’Connor’s Descriptive Techniques

Krakauer’s Descriptive Techniques

Modify the Examples

by Using the Technique

Imagery: Sensory and Specific Details

. . .orange-red sun as it peeked over the glistening peaks far off in the east. Cumulous clouds appeared transparent as they glowed bright red in the morning glory. . .

. . .squatting in a giant puddle of water and hailstones, with forks of lightning bouncing off the canyon walls around me

The sour taste of panic rose in my throat.

. . .mountain looked particularly sinister: a huge fin of exfoliated stone, dark and smeared with ice.

The room was dark.

Comparisons and Figurative Language

. . .Ethan’s dinner-plate-sized eyeballs as he panicked like an amateur.

Quarter-size hailstones pelted our protective helmets as thunder echoed through the canyons.

. . .stiffness like rigor mortis set in.

. . .and I was balanced on a house of cards.

The ribbon of frozen meltwater had ended three hundred feet up and was followed by a crumbly armor of frost feathers.

The mountain was big.

What Is Not There

Two weeks in the back country with no sign of civilization

Our shadows suddenly disappeared.

I looked until my neck ached, but nothing appeared.

The forest was quiet.

Change in Time or Condition

I watched the stream we stood beside grow into a raging, white-water river.

. . .wall, however, had been growing imperceptibly steeper, and as it did so, the frost feathers became thinner.

There was no wind.

Check Your UnderstandingExchange drafts of the free writes you wrote at the beginning of this activity. Underline sentences in your peer’s draft that could benefit from revision and rewrite at least two sentences, using different techniques to transform them. Revise your own paragraph, using feedback from your peers. Annotate places where you use the various descriptive techniques.


my Notes

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Differentiating InstructionTo support learning, review with students the concepts of imagery, comparisons, and figurative language so they are better able to identify examples in the text. Allow students to work in pairs.

To extend learning, divide the class and have some students do the same with Chapters 14–15 of Krakauer’s essay or the first half of Thoreau’s essay. Then have a whole-class discussion about the effective examples of each technique.

6 Have students exchange their quickwrites to identify techniques and revise descriptions. Have them share their pictures, too, to help with the incorporation of descriptive details in their revision.

ASSESSCollect the revised quickwrites to determine how well students understand the descriptive techniques necessary to writing an effective essay.

ADAPTAlong with the characterization activity, this activity directly scaffolds the descriptive techniques writers use to create vivid, engaging pictures for their readers. These techniques scaffold both EA1 and EA2.

At this point, it might be a good idea to create a class-generated Writer’s Checklist of the stylistic devices and techniques students have practiced, so they can consciously try to include them in the personal essay they will be writing for Embedded Assessment 1.

You may need to provide students with photos if they haven’t brought anything to class. These photos could be evocative action scenes that would spark an imaginative story.


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learNING STraTeGIeS:Self-Editing/Peer Editing, Summarizing, Sharing and Responding

acTIVITy

4.16making your choice

Learning Targets• Collaborativelyselectanexperiencethatwillbeengagingtoreaders.

• Evaluatehowwritersusestructureforeffectinapersonalnarrative.

Before Reading 1. Krakauer’s Chapters 14–15 and O’Connor’s text both offer examples of personal

essays. Create a Venn diagram in your Reader/Writer Notebook to compare the two texts. Consider content, but focus on organization and style in your compare and contrast. In what ways are they similar and different?

2. Now review the Scoring Guide for Embedded Assessment 1. What grade would you give each author, based on the criteria and descriptors? Be prepared to share your answer with the class.

Choosing a Topic for a Personal EssayNow that you have examined models of personal essays, it is time for you to make a decision about the subject of your own personal essay.

Revisit the list of experiences you generated in Activity 4.14 (you may want to add to or revise your list now), as well as the text you generated in the free write for Activity 4.15. In particular, think of experiences that led to a lesson of some kind, since reflection is a crucial element of the essay.

Think carefully about the experiences you have listed. To produce the kind of reflection that is characteristic of a personal essay, you will probably need to avoid selecting an experience that happened in the recent past. It is difficult to reflect on an experience at first; usually, people need some distance from the event to see it clearly.

Second, it is important that you choose an experience that is significant—an experience that changed you in some way, an experience that taught you something important, or an experience that reveals something about your character.

3. Review your list and choose an experience that is significant to you and write briefly about it.

Summarize the experience. How did you feel at the time of the experience?

Summarize your reflection on the experience.

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Descriptive Techniques

O’Connor’s Descriptive Techniques

Krakauer’s Descriptive Techniques

Modify the Examples

by Using the Technique

Imagery: Sensory and Specific Details

. . .orange-red sun as it peeked over the glistening peaks far off in the east. Cumulous clouds appeared transparent as they glowed bright red in the morning glory. . .

. . .squatting in a giant puddle of water and hailstones, with forks of lightning bouncing off the canyon walls around me

The sour taste of panic rose in my throat.

. . .mountain looked particularly sinister: a huge fin of exfoliated stone, dark and smeared with ice.

The room was dark.

Comparisons and Figurative Language

. . .Ethan’s dinner-plate-sized eyeballs as he panicked like an amateur.

Quarter-size hailstones pelted our protective helmets as thunder echoed through the canyons.

. . .stiffness like rigor mortis set in.

. . .and I was balanced on a house of cards.

The ribbon of frozen meltwater had ended three hundred feet up and was followed by a crumbly armor of frost feathers.

The mountain was big.

What Is Not There

Two weeks in the back country with no sign of civilization

Our shadows suddenly disappeared.

I looked until my neck ached, but nothing appeared.

The forest was quiet.

Change in Time or Condition

I watched the stream we stood beside grow into a raging, white-water river.

. . .wall, however, had been growing imperceptibly steeper, and as it did so, the frost feathers became thinner.

There was no wind.

Check Your UnderstandingExchange drafts of the free writes you wrote at the beginning of this activity. Underline sentences in your peer’s draft that could benefit from revision and rewrite at least two sentences, using different techniques to transform them. Revise your own paragraph, using feedback from your peers. Annotate places where you use the various descriptive techniques.


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COMMON CORE STATE STANDARDSFocus Standards:RI.11-12.5: Analyze and evaluate the effectiveness of the structure an author uses in his or her exposition or argument, including whether the structure makes points clear, convincing, and engaging.


rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. (Editing for conventions should demonstrate command of Language standards 1–3 up to and including grades 11–12.)

Additional Standard Addressed:RI.11-12.5

ACTIVITY 4.16

PLANSuggested Pacing: 1 50-minute class period

TEACH1 Students may complete work in this activity that will begin their actual work on EA1. However, others may start fresh following the completion of this activity.

TEACHER TO TEACHERIt will be important for students to keep two criteria in mind when they select a subject for writing: (1) The experience needs to have occurred in the past, distant enough that students can write reflectively about it. (2) The experience should be significant to them, having changed them in some way, taught them something important, or revealed something about their character. This personal essay should present the kind of reflection that makes a strong college entrance essay; you might choose to make this suggestion to students.

2 Ask students to evaluate the strengths and weakness of the two models they have examined in this unit. Review the Scoring Guide criteria for Embedded Assessment 1, and evaluate the student model against it. Ask students to discuss and critique the effective elements of the essay as it is measured against the scoring criteria. When students are in between drafts of their personal essay, they can use the scoring criteria as a guide to move the writing forward.

3 Students should be ready to select a significant experience in their own lives as the subject of their personal essays. Students may want to revise the list of experiences they created in Activity 4.14. This list and perhaps the quickwrite from Activity 4.15 will help them choose a topic.

4 Have students summarize the experience, their response at the time, and their reflection in the graphic organizer.

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making your choice

4. If you find that you cannot fully complete any of the columns in the chart, consider choosing a different experience about which to write or try telling your experience to a partner, who will take notes on the details and descriptions in your story.

5. Share your initial thinking with a partner. As you do so, ask each other additional questions (Who? What? Where? Why? When?) to provoke each other to expand on the specific details of the event. After sharing with a partner, add details to the first column.

6. With a topic in mind, consider how you might organize your piece. To do so, compare and contrast how Krakauer and O’Connor organized their pieces.

7. Talk with your partner about these different options: Which approach did you like better? Which would be easier? Which would be more sophisticated?

Check Your UnderstandingGo back through your draft and annotate at least one example of a response and one of a reflection in your text.

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5 Next, ask students to pair-share their prewriting and solicit feedback to revise by adding in ideas and/or deleting unnecessary details that have the potential to distract the reader.

6 Have students discuss, evaluate, and select an organizational approach they think will work in their essay based on their evaluations of the models.

7 Allow students time to annotate their drafts.

TEACHER TO TEACHERIt would be best if students can walk out the door with prewriting or a rough draft of ideas for their personal essay so that as homework students can begin drafting the essay or finalize their topic choice.

ASSESSCheck student drafts as needed to ensure students have properly annotated examples of responses and reflection.

ADAPTTo support students in writing the personal essay, have the class brainstorm ideas and lead a guided writing, or go to Writing Workshop 4, Narrative Writing, for more specific scaffolding.


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AssignmentYour assignment is to write a multi-paragraph reflective essay about a significant personal experience that involves the pursuit of happiness and/or transcendental ideals, being sure to describe the experience and your immediate response to it, as well as to reflect on the significance of the experience.

Planning and Prewriting: Brainstorm an event, select the best choice, and plan your structure.• Howwillyoubrainstormandselectanexperiencethatinvolvesthepursuit

of happiness and/or transcendental ideals (list several and evaluate, discuss possible experiences with a peer, etc.)?

• Howwillyouorganizetheelementsofyourexperiencesothereisaclearprogression from event to response to reflection?

• Whatcanyou“borrow”fromexamplesthatyou’vereadinthisunittohelpyou plan your writing?

Drafting: Determine how to include the elements of a successful essay. • Howcanyouprovidedescriptivedetailsthatcapturetheeventandyour

feelings during that time?

• Whattechniquesfromthisunitcanyouuse,suchasintroductoryepigraphs,dialogue, and action?

• Doesyourreflectivecommentaryrevealthatyougainedsomeinsightfromthe experience?

Evaluating and Revising Your Draft: Review and improve your work.• Howwillyoureviewyourpre-writingtoensurethatyourdraft’sstructure

follows your plan?

• Howclearlydoesyourexperienceconnecttothepursuitofhappinessand/ortranscendental ideals?

• Whatkindoffeedbackfromothers,suchaspeers,willhelpyoutoknowwhat needs to be added, removed, or changed?

Checking and Editing for Publication: Confirm that your final draft is ready.• Howwillyoucheckforgrammaticalandtechnicalaccuracy?

• HowcanyouusetheScoringGuidetoconfirmthatyouarereadytopublishthe essay?

ReflectionAfter completing this Embedded Assessment, think about how you went about accomplishing this assignment, and respond to the following:

• Whatsortofcreativestepsdidyoutaketoshapeyourexperiencetothestructure of a narrative essay? (Experience, Response, Reflection)

• Howdidconnectingyourownexperiencetoalargerthemelikethepursuitofhappiness help you to see it in a new way?

my Notes

Writing a Personal essay embedded aSSeSSmeNT 1

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making your choice

4. If you find that you cannot fully complete any of the columns in the chart, consider choosing a different experience about which to write or try telling your experience to a partner, who will take notes on the details and descriptions in your story.

5. Share your initial thinking with a partner. As you do so, ask each other additional questions (Who? What? Where? Why? When?) to provoke each other to expand on the specific details of the event. After sharing with a partner, add details to the first column.

6. With a topic in mind, consider how you might organize your piece. To do so, compare and contrast how Krakauer and O’Connor organized their pieces.

7. Talk with your partner about these different options: Which approach did you like better? Which would be easier? Which would be more sophisticated?

Check Your UnderstandingGo back through your draft and annotate at least one example of a response and one of a reflection in your text.

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Materials: student drafts from Activity 4.16, access to computers for word-processing (optional)Suggested Pacing: 2 50-minute class periods

1 Planning and Prewriting: Students already did some planning and prewriting and reviewed the Scoring Guide criteria for this assessment in Activity 4.16, but you may want to remind them to scan it again for reminders about the expectations for their work.

2 Drafting: Be sure to remind students that their essay should connect in some way to the “pursuit of happiness” or Transcendentalist ideals.

3 If you have created a Writer’s Checklist for the stylistic devices students have analyzed and practiced in this unit, this would be a good time to review. In addition, students can independently review the activities that included revision suggestions for syntactical and stylistic devices, so they can be incorporated into their drafts of the personal essay.

4 Evaluating and Revising: Working in writing groups or with revision partners will be important in providing feedback on possible opportunities for revision.

5 Checking and Editing for Publication: Beyond revising, this is where students need to show their concern for and command of the conventions of language and spelling, as well as the professional formatting that comes from using a computer writing program.

Reflection Ask students to respond to the reflection questions. Decide whether you will collect and review their reflections on how they accomplished this assessment

EMBEDDED ASSESSMENT 1

COMMON CORE STATE STANDARDSFocus Standards:W.11-12.3: Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

W.11-12.4: Produce clear and coherent writing in which the development, organization, and

style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1–3 above.)

Additional Standards Addressed:W.11-12.3a; W.11-12.3b; W.11-12.3c: W.11-12.3d; W.11-12.3e; W.11-12.5; W.11-12.10; L.11-12.2b

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SCORING GUIDE

Scoring Criteria Exemplary Proficient Emerging Incomplete

Ideas The essay•detailsasignificant

personal experience about the pursuit of happiness and/or transcendental ideals

•presentsanexplicitdescription of how the author felt at the time, using carefully chosen words to convey those emotions

•showsamatureand insightful understanding of the significance of the experience to the author.

The essay•includesan

experience that involves the pursuit of happiness and/or transcendental ideals

•describesclearlyhow the author felt at the time of the experience

•revealsthesignificance of the experience to the author.


experience, but the connection to the pursuit of happiness and/or transcendental ideals may be unclear

•maydescribehowtheauthor felt at the time of the experience, but the description may be on the surface level

•attemptstoconveythe significance of the experience to the author.


experience, but there is no connection to the pursuit of happiness and/or transcendental ideals

•doesnotdescribehow the author felt at the time of the experience

•strugglestoconveythe significance of the experience to the author.

Structure The essay•flowsinalogical

fashion; the reader can easily identify the experience, the author’s reaction, and the reflection

•isunifiedeffectivelyand provides a feeling of satisfaction in the end.

The essay•isorganizedin

such a way that the reader can identify the description of the experience, the author’s reaction, and the reflection

•connectsallelementsinto a cohesive whole and a clear ending.

The essay•isconfusingsothat

the reader may not be able to identify the significant experience, the author’s reaction, and the reflection

•strugglestotieallthepieces together, and may end abruptly.

The essay•lacksorganization,

description of a significant experience, the author’s reaction, or the reflection

•doesnottieallthepieces together or provide an ending.

Use of Language

The essay•usesdiction,

syntax, and other stylistic devices that are notable and appropriate for the subject, purpose, and audience

•containsfewerrorsin standard writing conventions.

The essay•usesdiction,syntax,

and other stylistic devices that are appropriate for the subject, purpose, and audience

•containserrorsinstandard writing conventions that are minor and do not interfere with meaning.


syntax, and other stylistic devices less effectively for the subject, purpose, and audience

•containserrorsinstandard writing conventions that interfere with meaning.

The essay•usediction,syntax,

and other stylistic devices simplistically for the subject, purpose, and audience

•containserrorsinstandard writing conventions that seriously interfere with meaning.

embedded aSSeSSmeNT 1

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Portfolio Be sure students address the Reflection question as a separate part of the Embedded Assessment assignment so they can include it separately. At this point you may want to ask students to go to their portfolios and find previous unit reflection questions, so that they might get a sense of their growth as academic thinkers and producers.

All notes for and drafts of the reflective essay should be collected and presented together to show the process students completed in successfully accomplishing the task.

SCORING GUIDEWhen you score this Embedded Assessment, you may wish to download and print copies of the Scoring Guide from SpringBoard Digital. In this way, you can have a copy to mark for each student’s work.

EMBEDDED ASSESSMENT 1 continued

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my Notes

learNING STraTeGIeS:Quickwrite, Think-Pair-Share, Skimming/Scanning, Graphic Organizer, Drafting, Oral Reading

Previewing embedded assessment 2 and Style

acTIVITy

4.17

Learning Targets• Reflectonkeyconceptsandvocabulary.

• IdentifyandanalyzetheskillsandknowledgenecessaryforsuccessontheEmbedded Assessment.

• Examinehowwritersmanipulatepointofviewandstyleforeffect.

Making Connections As you have learned through Christopher McCandless’s story, Transcendentalism still bears a strong influence on American thinking. But as we have become a more urbanized society, have we lost touch with nature—or merely redefined our relationship with it? As you complete your encounter with McCandless, consider the central role nature plays in his pursuit of happiness. In contrast, what role does it play in your own life? How do you view the natural world?

A multi-genre research project positions the writer to showcase a range of writing styles, craft, and genre conventions to convey a clear and knowledgeable perspective on an issue or topic of interest to the writer. Consider your study of Krakauer’s Into the Wild as a multi-genre text. Krakauer’s commitment to cull the right information in order to convey his point of view and to help the reader discover the truth about his subject, Chris McCandless, is apparent in the presentation of ideas and research in his text. And consider all the different types of texts Krakauer blends together within the book. How does he generate cohesion between the different genres and voices he introduces?

Essential QuestionsBased on your study of the first part of the unit, review your answers to the Essential Questions. Would you change them? If so, how?



Developing VocabularyReview your vocabulary notes from the first part of the unit. Which terms need further study?

Unpacking Embedded Assessment 2Closely read the assignment for Embedded Assessment 2: Creating a Multi-Genre Research Project.

Your assignment is to create a mutli-genre research project that expresses your research and perspective on a person, event, or movement that emodies the American ideal of the pursuit of happiness.

With your class, create a graphic organizer to list the skills and knowledge you will need to complete this Embedded Assessment successfully.

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SCORING GUIDE


Ideas The essay•detailsasignificant

personal experience about the pursuit of happiness and/or transcendental ideals

•presentsanexplicitdescription of how the author felt at the time, using carefully chosen words to convey those emotions

•showsamatureand insightful understanding of the significance of the experience to the author.


experience that involves the pursuit of happiness and/or transcendental ideals

•describesclearlyhow the author felt at the time of the experience

•revealsthesignificance of the experience to the author.


experience, but the connection to the pursuit of happiness and/or transcendental ideals may be unclear

•maydescribehowtheauthor felt at the time of the experience, but the description may be on the surface level

•attemptstoconveythe significance of the experience to the author.


experience, but there is no connection to the pursuit of happiness and/or transcendental ideals

•doesnotdescribehow the author felt at the time of the experience

•strugglestoconveythe significance of the experience to the author.

Structure The essay•flowsinalogical

fashion; the reader can easily identify the experience, the author’s reaction, and the reflection

•isunifiedeffectivelyand provides a feeling of satisfaction in the end.

The essay•isorganizedin

such a way that the reader can identify the description of the experience, the author’s reaction, and the reflection

•connectsallelementsinto a cohesive whole and a clear ending.

The essay•isconfusingsothat

the reader may not be able to identify the significant experience, the author’s reaction, and the reflection

•strugglestotieallthepieces together, and may end abruptly.

The essay•lacksorganization,

description of a significant experience, the author’s reaction, or the reflection

•doesnottieallthepieces together or provide an ending.

Use of Language


syntax, and other stylistic devices that are notable and appropriate for the subject, purpose, and audience

•containsfewerrorsin standard writing conventions.

The essay•usesdiction,syntax,

and other stylistic devices that are appropriate for the subject, purpose, and audience

•containserrorsinstandard writing conventions that are minor and do not interfere with meaning.


syntax, and other stylistic devices less effectively for the subject, purpose, and audience

•containserrorsinstandard writing conventions that interfere with meaning.

The essay•usediction,syntax,

and other stylistic devices simplistically for the subject, purpose, and audience

•containserrorsinstandard writing conventions that seriously interfere with meaning.


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COMMON CORE STATE STANDARDSFocus Standards:L.11-12.6: Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate

independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Additional Standards Addressed:W.11-12.5; W.11-12.10

ACTIVITY 4.17

PLANMaterials: Into the Wild (Chapters 16–17)Suggested Pacing: 1 50-minute class period + homework

TEACH1 Connect the Making Connections text and the Essential Questions to the task of Embedded Assessment 2.

2 Unpack the skills and knowledge necessary for Embedded Assessment 2, create a graphic of the assignment, and discuss as a class. Consider this assignment very open-ended; students will have a wide range of possibilities as far as topic and variety of genres. It will be important to guide students to review the many different genres Krakauer includes and his attempt to attach Chris’s story to the landscape of American thought.

TEACHER TO TEACHERThis activity establishes the connection between Krakauer’s biography and the multi-genre research project that drives the instruction of the second half of the unit. Krakauer’s extensive research, his use of multiple genres to tell the story, and the connection of Chris McCandless’s story to a larger historical and literary context all create a rich experience for the reader.

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Before Reading3. Quickwrite: What stylistic contrasts did you notice between Chapter 14–15,

16, and 17? Identify several changes (e.g., in point of view, in verb tense, etc.) and explain why Krakauer may have made such dramatic shifts in narrative approach.

4. In Chapters 16–17, Krakauer reveals that Christopher McCandless’s relationship with nature—and its connection to the pursuit of happiness—appears to have changed over time. Use the graphic organizer below to track the changes in his definition.

How might Chris have viewed nature? The pursuit of happiness?

April 1992 July 1992

Nature as adventure, odyssey, catalyst for growth. Necessary for escaping the superficial clutter of modern life, for finding true happiness

Inherently valuable, but too isolating. Deadly. Potentially separates him from the company of others, which is necessary to finding true happiness

Evidence from the Text

“went into the wilderness not primarily to ponder nature or the world at large, but, rather, to explore the inner country of his own soul” (183)

“no longer to be poisoned by civilization he flees, and walks alone upon the land to be lost in the wild” (163)

“tried to live entirely off the country” (182)

“be a mistake, however, to conclude thereby that [he] failed to appreciate the beauty” (183)

“wish I had never shot the moose. One of the greatest tragedies of my life” (167)

“the only certain happiness in life is to live for others” from Tolstoy (169)

“Disaster. . . Rained in. River looks impossible. Lonely, scared” (170)



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3 After the quickwrite, discuss what students noticed about the stylistic differences between these two chapters and Chapters 14–15. Krakauer reverts to third person in Chapter 16, but then shifts to a present-tense, first-person approach in Chapter 17. Why? Point out that in Chapter 17, he directly addresses Billie’s question from Chapter 13. Chapter 17 also presents a conversation between Krakauer and two other men drawing conclusions regarding McCandless. Why? To model the attempt to make sense of his life and death?

4 Have students scan Chapters 16–17 for quotes revealing how McCandless’s perspective on nature appears to have changed from May 1992 to July 1992. Allow students to discuss the poignancy of Chris’s decision to return to civilization, only to find that he could not cross the river.

TEACHER TO TEACHERFor homework, have students read Chapter 18 and the Epilogue.

ASSESSReview student charts or ask students to write a brief comparison of McCandless’s attitudes at the beginning and end to check their understanding.

ADAPTAs students work through the activities of the second half of the unit, they may need to be reminded of the need to choose a topic for research. They will also need to choose a variety of genres with which to present their research. To support learning, you can narrow potential subjects (to a literary movement, an author, an event in history, etc.). In the next unit, students will be researching the literary and cultural movement known as the Harlem Renaissance.


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acTIVITy

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learNING STraTeGIeS:Close Reading, Marking the Text, Skimming/Scanning, Socratic Seminar

Searching for the author

Learning Targets• Analyzeawriter’suseofconnotationsandinferences.

• Understandhowwriterscanconveysubjectivityinnonfictiontexts.

Before Reading 1. Reread the last paragraph of Chapter 18, this time using a highlighter to mark

the text. First, highlight the most descriptive or vivid words Krakauer uses. In the margin, write down any connotations that you associate with these words. Make notes about the effects of these carefully chosen words—what do you think Krakauer wants his reader to think or feel?

One of his last acts was to take a picture of himself, standing near the bus under the high Alaska sky, one hand holding his final note toward the camera lens, the other raised in a brave, beatific farewell. His face is horribly emaciated, almost skeletal. But if he pitied himself in those last difficult hours—because he was so young, because his body had betrayed him and his will had let him down—it’s not apparent from the photograph. He is smiling in the picture, and there is no mistaking the look in his eyes: Chris McCandless was at peace, serene as a monk gone to God.

2. What would have been the reader’s last impression if Krakauer had ended Into the Wild with Chapter 18?

The last image gives an impression of misguided satisfaction with his fate.

3. Now skim the Epilogue. What is its lasting impression? How is it different from the last paragraph of Chapter 18?

After Reading4. In preparation for a Socratic Seminar discussion, scan the book for instances

where Krakauer’s attitude toward Christopher McCandless is clear to you. Put a sticky note on those pages.

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Before Reading3. Quickwrite: What stylistic contrasts did you notice between Chapter 14–15,

16, and 17? Identify several changes (e.g., in point of view, in verb tense, etc.) and explain why Krakauer may have made such dramatic shifts in narrative approach.

4. In Chapters 16–17, Krakauer reveals that Christopher McCandless’s relationship with nature—and its connection to the pursuit of happiness—appears to have changed over time. Use the graphic organizer below to track the changes in his definition.

How might Chris have viewed nature? The pursuit of happiness?

April 1992 July 1992

Nature as adventure, odyssey, catalyst for growth. Necessary for escaping the superficial clutter of modern life, for finding true happiness

Inherently valuable, but too isolating. Deadly. Potentially separates him from the company of others, which is necessary to finding true happiness

Evidence from the Text

“went into the wilderness not primarily to ponder nature or the world at large, but, rather, to explore the inner country of his own soul” (183)

“no longer to be poisoned by civilization he flees, and walks alone upon the land to be lost in the wild” (163)

“tried to live entirely off the country” (182)

“be a mistake, however, to conclude thereby that [he] failed to appreciate the beauty” (183)

“wish I had never shot the moose. One of the greatest tragedies of my life” (167)

“the only certain happiness in life is to live for others” from Tolstoy (169)

“Disaster. . . Rained in. River looks impossible. Lonely, scared” (170)



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RI.11-12.4: Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze how an author uses and refines the meaning of a key term or terms over

the course of a text (e.g., how Madison defines faction in Federalist No. 10).

RI.11-12.5: Analyze and evaluate the effectiveness of the structure an author uses in his or her exposition or argument, including whether the structure makes points clear, convincing, and engaging.

Additional Standards Addressed:W.11-12.1a; W.11-12.4; W.11-12.5; W.11-12.9b; W.11-12.10; SL.11-12.1a;SL.11-12.1b; SL.11-12.1c; SL.11-12.1d

ACTIVITY 4.18

PLANMaterials: Into the Wild (Chapter 18 and Epilogue) Suggested Pacing: 1 50-minute class

TEACH1 Once students have finished reading Into the Wild, they should attempt to determine Krakauer’s “convictions,” which he says (in the Author’s Note) “should be apparent enough.” The last paragraph of Chapter 18 offers students an opportunity to analyze Krakauer’s tone. Ask several students to read aloud the last paragraph of Chapter 18, so that students hear it multiple times. As they listen and read along, they should use a highlighter to mark the text for the most descriptive or vivid words Krakauer uses and note connotations that they associate with these words.

2 Point out that Krakauer compares McCandless to “a monk gone to God.” Students should determine the effect of Krakauer’s diction and the tone of this paragraph. Ask students to consider how the lasting impression of this paragraph differs from the lasting impression of the Epilogue.

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Pre-Seminar Questions:• What,then,doesJonKrakauerthinkaboutChristopherJ.McCandless?

• Writeoneofyourownopen-endedquestionsbasedonthetext.

Check Your UnderstandingWriting Prompt: What, then, does Jon Krakauer think about Christopher J. McCandless? With careful consideration of all the factors listed and mentioned in the Socratic Seminar, write a thoughtful response that reveals his ultimate bias toward his subject. Be sure to:

• Presentaclearcentralclaim.

• Citeexamplesofstructure,content,andstyletosupportyouranswer.

• Integratequotesfluently.


my Notes

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3 Be sure students come prepared with their books and notes for the Socratic Seminar.

TEACHER TO TEACHERThis seminar can be conducted as a fishbowl with an inner and outer circle. If so, the seminar itself should not last longer than 10 or 15 minutes so both groups get to speak and all participate.

4 Conduct a Socratic Seminar, beginning with the two quotes used as epigraphs for the Epilogue. After reading these, ask the students what the final two chapters suggest about McCandless’s death. Was it tragic? Was it foolish? Was it both? If Krakauer’s ultimate perspective remains ambiguous, why is this the case? Were students satisfied by this ambiguity? Why or why not?

5 Allow students time to respond to and discuss the writing prompt.

ASSESSCheck student writing prompt responses for a clear central claim; supporting examples of structure, content, and style; and fluent integration of quotes.

ADAPTThe writing prompt responses can be as informal as you like. It is designed to give students an opportunity to synthesize their thinking about the connection between Krakauer and McCandless.


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learNING STraTeGIeS:Skimming/Scanning, Think-Pair-Share, Graphic Organizer, Quickwrite, Drafting

acTIVITy

4.19many Ways of Showing

Learning Targets• Explorehowgenrescanexploresimilarthemesthroughdifferentforms.

• Selectmultiplegenrestoconveyanidea.

Multiple GenresYou have probably noticed that Krakauer uses many genres, or kinds of writing, to help him convey who Christopher McCandless was and how his life and death affected the people he encountered. For example, in Chapter 1, Krakauer uses a map, a postcard, an interview with Jim Gallien, and re-created dialogue based on that interview.

Before Reading1. Quickwrite: Identify at least three genres used by Krakauer in Chapter 18.

Which is most effectively used to support the tone and theme of the chapter? Explain.

During Reading2. Review your assigned chapter and make a list of all the genres Krakauer uses.

Chapter Genres Used Conventions and Purpose of One Genre

1 A map, a postcard, an interview with Jim Gallien, and re-created dialogue

2 Graffitto; map of Stampede Trail; last note written by McCandless

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Pre-Seminar Questions:• What,then,doesJonKrakauerthinkaboutChristopherJ.McCandless?

• Writeoneofyourownopen-endedquestionsbasedonthetext.

Check Your UnderstandingWriting Prompt: What, then, does Jon Krakauer think about Christopher J. McCandless? With careful consideration of all the factors listed and mentioned in the Socratic Seminar, write a thoughtful response that reveals his ultimate bias toward his subject. Be sure to:

• Presentaclearcentralclaim.

• Citeexamplesofstructure,content,andstyletosupportyouranswer.

• Integratequotesfluently.


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ACTIVITY 4.19

PLANMaterials: Into the Wild Suggested Pacing: 1 50-minute class period

TEACH1 This activity serves to review student knowledge of genre conventions and to open up the possibilities for types of genres that could be used in their work for EA2.

2 Have students complete the quickwrite, explaining why Krakauer might have used a particular genre in Chapter 18, and describing its effectiveness. Discuss their responses. Use this as an opportunity to explore the point of view, tone, and purpose of this chapter.

4 Break students into groups of 4–6 and have them complete the genre graphic organizer. Model this process if necessary. This kind of review will be helpful in giving students genre ideas as they get ready to create their own multi-genre research project.


W.11-12.4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and

audience. (Grade-specific expectations for writing types are defined in standards 1–3.)

W.11-12.9: Draw evidence from literary or informational texts to support analysis, reflection, and research.

W.11-12.9b. Apply grades 11–12 Reading standards to literary nonfiction (e.g., “Delineate and evaluate the reasoning in seminal U.S. texts, including the application of constitutional

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many Ways of Showing acTIVITy 4.19continued

After ReadingWriting Prompt: Think about other material that Krakauer could have included in his book. Then choose two different genres and craft a piece of writing for each genre that could be included in Into the Wild. Identify where in the book each would fit. For example, you might write a poem from the point of view of Chris’s yellow Datsun that would fit in Chapter 4, when the reader learns that McCandless abandoned his beloved car. You might also write a dialogue showing McCandless interacting with his co-workers and customers at McDonalds that would tie in with Chapter 4. Be sure to:

• Conformtotheappropriateconventionsofyourgenres.

• Linkyourpiecestospecificscenesinthebook.

• Includearangeofdescriptiveandstylistictechniquesinyourpieces.

Check Your Understanding After discussing how Krakauer’s text, Into the Wild, meets the criteria of a multi- genre research project, refine your response to the unit’s essential question: How does a writer represent research through multiple texts?

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5 Next, have students think-pair-share a list of additional genres. Some of these might include travel brochure, character sketch, play, menu, warning sign, business card, movie poster, eulogy, comic book, haiku, short story, map, news article, Web page, advertisement, epitaph, speech, monologue, editorial, dialogue, poem, business letter, manual, encyclopedia article.

6 After students have a substantial list (you may want to add to their list), ask them to respond to the writing prompt and discuss the Check Your Understanding question.

ASSESSThis writing prompt gives students an opportunity to create an original text relating to Into the Wild. This could be used as a final assessment of your students’ understanding of the major themes of the novel and Krakauer’s distinctive biographical style.

ADAPTThis assignment could be collected and compiled into a final class portfolio or booklet of original work showing the students’ connections to their reading. To extend learning, consider asking students to create work based on certain chapters of the book.


COMMON CORE STATE STANDARDSprinciples and use of legal reasoning [e.g., in U.S. Supreme Court Case majority opinions and dissents] and the premises, purposes, and arguments in works of public advocacy [e.g., The Federalist, presidential addresses]”).


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Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

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acTIVITy

4.20The Nuts and bolts of the multi-Genre research Project

Learning Targets• Definecriteriaforconstructinganeffectivemulti-genreresearchproject.

• Evaluatedifferentorganizationaloptionstoplanaproject.

Before Reading 1. In your group, preview the sample multi-genre research project, and then create

a working definition of the project.

A multi-genre research project is a collection of work written and assembled by a writer reflecting research on a topic answering a particular question. Instead of writing a traditional research paper, summing up and synthesizing a writer’s findings, students reveal the learning gleaned from the research by creating a series of genres that navigate the reader through information to discover the writer’s perception on the topic.

During Reading 2. Read the sample multi-genre research project (MGR) from the perspective of a

writer—what do you notice about the style and craft of the MGR? As you read, follow your teacher’s instructions to annotate the text with your insights and observations.

Think about how this graphic organizer could help you analyze and organize a multi-genre research paper such as the one you are about to read and create.

my Notes

learNING STraTeGIeS:Note-taking, Guided Reading, Discussion Groups

After Reading3. After you have read and studied the sample multi-genre research project, think

about how seeing a project sample contributes to your understanding of using this approach to study a subject of interest to you.

Transition Transition

Transition Transition

TransitionTransition

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many Ways of Showing acTIVITy 4.19continued

After ReadingWriting Prompt: Think about other material that Krakauer could have included in his book. Then choose two different genres and craft a piece of writing for each genre that could be included in Into the Wild. Identify where in the book each would fit. For example, you might write a poem from the point of view of Chris’s yellow Datsun that would fit in Chapter 4, when the reader learns that McCandless abandoned his beloved car. You might also write a dialogue showing McCandless interacting with his co-workers and customers at McDonalds that would tie in with Chapter 4. Be sure to:

• Conformtotheappropriateconventionsofyourgenres.

• Linkyourpiecestospecificscenesinthebook.

• Includearangeofdescriptiveandstylistictechniquesinyourpieces.

Check Your Understanding After discussing how Krakauer’s text, Into the Wild, meets the criteria of a multi- genre research project, refine your response to the unit’s essential question: How does a writer represent research through multiple texts?

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ACTIVITY 4.20

PLANSuggested Pacing: 2 50-minute class periods

TEACHER TO TEACHERThis activity begins the scaffolding leading up to a successful multi-genre project. You can either do the next five activities together as a class, and then assign the EA at the end, or require your students to begin the process of choosing, planning, researching, and organizing their own individual multi-genre research project as the process is being modeled in class.

TEACH1 After they have skimmed and scanned the student sample on the next page, ask students to work collaboratively to generate an initial working definition of a multi-genre research (MGR) project. Share and compare student responses, allowing opportunities for revision.

2 The graphic organizer is included to give a visual of the relationship among research, genre, and transitional links in the MGR project. Be sure students understand that the transitional link provides coherence and an interpretive connection. As students examine the MGR sample, they should identify and analyze the connections the student uses.

3 Conduct a guided reading of the MGR sample. The goal of the guided reading is to get students to think like a writer, examining the choices the writer made. Review the conventions of the various genres represented.

• Genre and Conventions • Links (via motifs, theme, tone, etc.)• Descriptive techniques used• Stylistic techniques used• Rationale for organizational

structure

4 After the guided reading of the MGR project, have small groups respond to the After Reading prompt. Share and discuss as a class.


RI.11-12.5: Analyze and evaluate the effectiveness of the structure an author uses in his or her exposition or argument, including

whether the structure makes points clear, convincing, and engaging.

W.11-12.5: Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. (Editing for conventions should demonstrate command of Language standards 1–3 up to and including grades 11–12.)

Additional Standard Addressed: L.11-12.6

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Dear Reader,

When first introduced to the multi-genre research assignment, without hesitation, I selected the most prominent American musician ever to take the stage—Louis Armstrong. Armstrong’s commitment to accomplishing his dreams is unsurpassed as he epitomizes what can happen when talent is given an opportunity to obtain success. So I thought, no problem—I get to talk about a cultural icon, his relevance to the music industry, and his rise to fame despite adversity—this is going to be easy as counting from one to three. Then, Mrs. Spencer walked us through the “steps of the assignment,” and let me tell you, there were far more than three simple steps.

The journey to create a multi-genre research project is no small undertaking. It begins with inquiry about a topic of personal interest. Upon discussion with peers, I realized that what I know and need to know to accomplish this task will “actually require” a significant amount of research. Thus leads to the next step, a personal favorite, not—research! Research leads to more questions—great. Once you have the information—how do you present it with a creative edge that shares passion, insight, and wonder? Seems easy, but it was quite the challenge. No great work of art was ever pulled off without a plan, right? Writing the collection of genres presented a labyrinth of challenges and discoveries that led to the ultimate moment of this project—a metaphorical link between genres that would blend my collection of work.

Initially, I attempted to link the genres with significant events from Armstong’s life—too easy and predictable. The next attempt was to string genres together by popular song lyrics—too hard to get the ideas to flow. Frustrated with how to get my point across, I decided it was time to consult “the boss,” Mrs. Spencer. After an enlightening conference, I figured out how to connect the genres—create original song lyrics to make a connection between two musicians, Louis and me. The major similarity between Louis Armstrong and me is our passion for music and entertainment. Now, the really hard part—finding a way to thread ideas from research on Louis and myself into a musical composition.

Louis Armstrong did not start off rich and famous; he began at the bottom and worked his way up as I plan to do. This is the crux of the American Dream—success through hard work and determination. Talent can go a long way, but unwavering ambition makes dreams come true. As a result, I came up with a nineteen-verse song to reflect our love for music as well as depict the arduous pathway to the limelight. I had to pick a widely recognized melody so that readers could sing my song lyrics as they transitioned from one genre to the next. Hence, I selected the rap from Will Smith’s “Parents Just Don’t Understand.” The hardest part of the whole piece was writing to a certain beat and rhyme. If one word did not fit into the correct place, then the whole line and even verse would be off. Also, I had to incorporate the idea and purpose of why I was writing the paper. As for my genre pieces, I made sure that they acted as “breaks” within the rap itself by doing things such as placing a diary entry with complete sentences and paragraphs after a couple of verses, or adding a picture to the middle of the paper to ease the eyes. I also included a mock schedule that not only illustrated Armstrong’s rise in popularity, but also served as a rest point from the rap. I hope that the lyrics to my song not only educate you about Armstrong’s American dream, but provide insight into my dream as well.

Sincerely, Jhoanne Mecija

The Nuts and bolts of the multi-Genre research Project


Student Sample, Multi-Genre Research Project

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TEACHER TO TEACHERThe MGR sample project provided is the work of an actual student. As such, it is not a perfect or even exemplary model. It is proficient. For additional information on multi-genre work, you may want to consult a book such as Blending Genre, Altering Style: Writing Multigenre Papers, by Tom Romano.

Chunk 1: Cover PageA cover page has not been included with this sample. After reading through the sample MGR, discuss ideas for a cover page, including a title and design. You may want students to design a cover page for this sample and for their own project.

Chunk 2: IntroductionEvery research project should have an introduction. It could be written in the form of a letter, as this one is, or it could be done as an “Author’s Note,” as in Into the Wild. This introduction is distinguished by its informal, personal style, more appropriate for a letter, but perhaps less appropriate for a more academic project.

Ask students to identify the topic, the thesis, and the transitional connection or link that establishes the writer’s connection to the subject of the MGR.


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Contents

Dear Diary 4

And So It Begins 5

Louis Armstrong Ad 6

The Blues Newspaper 8

Letter to Fan 9

Schedule 10

Interview 11

Reflective Endnotes 13–14

Annotated Bibliography 15–16


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Dear Reader,

When first introduced to the multi-genre research assignment, without hesitation, I selected the most prominent American musician ever to take the stage—Louis Armstrong. Armstrong’s commitment to accomplishing his dreams is unsurpassed as he epitomizes what can happen when talent is given an opportunity to obtain success. So I thought, no problem—I get to talk about a cultural icon, his relevance to the music industry, and his rise to fame despite adversity—this is going to be easy as counting from one to three. Then, Mrs. Spencer walked us through the “steps of the assignment,” and let me tell you, there were far more than three simple steps.

The journey to create a multi-genre research project is no small undertaking. It begins with inquiry about a topic of personal interest. Upon discussion with peers, I realized that what I know and need to know to accomplish this task will “actually require” a significant amount of research. Thus leads to the next step, a personal favorite, not—research! Research leads to more questions—great. Once you have the information—how do you present it with a creative edge that shares passion, insight, and wonder? Seems easy, but it was quite the challenge. No great work of art was ever pulled off without a plan, right? Writing the collection of genres presented a labyrinth of challenges and discoveries that led to the ultimate moment of this project—a metaphorical link between genres that would blend my collection of work.

Initially, I attempted to link the genres with significant events from Armstong’s life—too easy and predictable. The next attempt was to string genres together by popular song lyrics—too hard to get the ideas to flow. Frustrated with how to get my point across, I decided it was time to consult “the boss,” Mrs. Spencer. After an enlightening conference, I figured out how to connect the genres—create original song lyrics to make a connection between two musicians, Louis and me. The major similarity between Louis Armstrong and me is our passion for music and entertainment. Now, the really hard part—finding a way to thread ideas from research on Louis and myself into a musical composition.

Louis Armstrong did not start off rich and famous; he began at the bottom and worked his way up as I plan to do. This is the crux of the American Dream—success through hard work and determination. Talent can go a long way, but unwavering ambition makes dreams come true. As a result, I came up with a nineteen-verse song to reflect our love for music as well as depict the arduous pathway to the limelight. I had to pick a widely recognized melody so that readers could sing my song lyrics as they transitioned from one genre to the next. Hence, I selected the rap from Will Smith’s “Parents Just Don’t Understand.” The hardest part of the whole piece was writing to a certain beat and rhyme. If one word did not fit into the correct place, then the whole line and even verse would be off. Also, I had to incorporate the idea and purpose of why I was writing the paper. As for my genre pieces, I made sure that they acted as “breaks” within the rap itself by doing things such as placing a diary entry with complete sentences and paragraphs after a couple of verses, or adding a picture to the middle of the paper to ease the eyes. I also included a mock schedule that not only illustrated Armstrong’s rise in popularity, but also served as a rest point from the rap. I hope that the lyrics to my song not only educate you about Armstrong’s American dream, but provide insight into my dream as well.

Sincerely, Jhoanne Mecija



Student Sample, Multi-Genre Research Project

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Chunk 3: Table of Contents The Table of Contents shows the number and types of genres that are included in this project. Guide students in applying the following considerations as they read through the contents:

• Identify each genre. • What research facts might be

revealed by the chosen genres? • How did the writer connect one

genre to the next in order to create cohesion?

• How does the information presented support the thesis?

• Choose the genre that stands out to you and explain why it is effective.


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The Fresh Prince of Jazz and Myself

The generation of American folk music dates back to as long as one can remember, and since then, has developed and grown into countless different types of music. Throughout the years, there have been hundreds of individuals who have greatly influenced the way music is looked upon; one of those includes the amazing and all time favorite jazz musician, Louis Armstrong. He never lost his passion for music as he looked up to his idol Joe “King” Oliver. Louis Armstrong worked from the very bottom and worked to the top to fulfill his American Dream, making him one of the greatest influences in music and role models to young musicians like myself. As for my journey in fulfilling my American Dream in the meantime, I continue to walk, and during it, I break into song. . .

(To the tune of Fresh Prince of Bel-Air Introduction) Now this is a story all about howMy life’s compared to the Armstrong in renownAnd I’d like to take a minute, yeah that’ll doTo tell you how Louis achieved his dream and how I will too.

From Louisiana, born and raisedOn the edge is where he spent most of his daysSellin’ stuff, runnin’, workin’ all hardPlayin’ his first cornet in the yard.

When I was that age, I was up to some goodStarted playing piano in my neighborhoodI got in one little lesson and my mom felt proudShe said, “You’re going to keep playing it and be singing aloud.”

I whistled a few tunes, the ones I would hear,While piano books said “Beginner” to practice for a year.If anything I could’ve said, “I quit; no more!”But I thought, “No, forget it, this—I can’t ignore.”

While cleaning out my room, tired and astrayI found a diary entry written on some random dayFindin’ out, discoverin’, coverin’, all cool,Wonderin’ if this thing actually came from school, it said:



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Chunk 4: The Fresh Prince of Jazz and MyselfHere the writer establishes the connection between herself and her subject, Louis Armstrong, and begins the narrative song in rhyming stanzas that will connect all the genres.


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Dear Diary,

Today was such a tiring day! I woke up to the sharp bites of the cold and absolutely did not want to get out of bed. I prepared for the upcoming day and the new assignments, the quizzes, and new challenges that needed to be taken on.

In first period, choir, my classmates and I listened to the lectures of our teacher, Mr. Hoshi. He ranted on about how he has been doing his job for the upcoming choir show and that we need to do ours, which is actually totally true, but apparently the message just doesn’t seem to get out to all the choir students. Some of the songs that Advanced Girls learned for the holiday show included “Polar Express,” “O Holy Night,” “I Love Christmas,” and “The Prayer.” Being of those people who enjoy music, singing these songs and learning the different styles, beats, and rhythms of them really expanded my music library. Yes, Hoshi might fuss about how some of us don’t know the words to the songs or the choreography to them, but what he says is true. As singers of this program, we should come prepared and learn our parts and words. Even though I have been turned down two times for this show’s solo auditions, I continue to learn. I can be bitter, but I choose not to and to just accept it. I learn from these attempts and they only help me become stronger, especially with the guidance of a teacher like Mr. Hoshi. I can for sure say that I have never had a teacher like him before.

Anyway, the day went on, and I can’t quite say it got better. I had an APUSH quiz, then after school I had to run 20 suicides on the basketball courts for conditioning because my coach is determined to win and make it to playoffs, which I think is possible. At practice, I had major pain from my calves down. All of this conditioning and running has not been good for them lately. After the hard practice, the drive home was soothing and partly relaxing as I listened to one of my CDs play songs that I sing along to. When I arrived home, dinner was the first thing on my mind because after that, I knew I had a pile of homework waiting for me.

As of right now, I’m just taking my homework one at a time. I’ve got some music on to cool me down, to help me relax and take my stress away. Sometimes it’s like a factor in escaping the troubles of life. I’ve heard it said that while doing a task that the left side of the brain takes control of, such as homework, the right side of the brain could be enriched at the same time with music in the background. I don’t know if this is true, but I like to think it is just so it gives the mindset that it helps both sides of the brain. Although at times, I have to face turning off my music because I get so caught up with music that it serves as a distraction. Hopefully it won’t be a long night tonight.

Your one and only,

Jhoanne Mecija


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The Fresh Prince of Jazz and Myself

The generation of American folk music dates back to as long as one can remember, and since then, has developed and grown into countless different types of music. Throughout the years, there have been hundreds of individuals who have greatly influenced the way music is looked upon; one of those includes the amazing and all time favorite jazz musician, Louis Armstrong. He never lost his passion for music as he looked up to his idol Joe “King” Oliver. Louis Armstrong worked from the very bottom and worked to the top to fulfill his American Dream, making him one of the greatest influences in music and role models to young musicians like myself. As for my journey in fulfilling my American Dream in the meantime, I continue to walk, and during it, I break into song. . .

(To the tune of Fresh Prince of Bel-Air Introduction) Now this is a story all about howMy life’s compared to the Armstrong in renownAnd I’d like to take a minute, yeah that’ll doTo tell you how Louis achieved his dream and how I will too.

From Louisiana, born and raisedOn the edge is where he spent most of his daysSellin’ stuff, runnin’, workin’ all hardPlayin’ his first cornet in the yard.

When I was that age, I was up to some goodStarted playing piano in my neighborhoodI got in one little lesson and my mom felt proudShe said, “You’re going to keep playing it and be singing aloud.”

I whistled a few tunes, the ones I would hear,While piano books said “Beginner” to practice for a year.If anything I could’ve said, “I quit; no more!”But I thought, “No, forget it, this—I can’t ignore.”

While cleaning out my room, tired and astrayI found a diary entry written on some random dayFindin’ out, discoverin’, coverin’, all cool,Wonderin’ if this thing actually came from school, it said:



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Chunk 5: Dear Diary The writer continues to connect her musical life to that of Louis Armstrong by presenting the beginnings of both their careers.


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When the journey began, it started off real well,

Started making progress and began to excel,

But no—I can’t forget how I started it all

With the touch of a piano and then it’s easy to recall:

And so it Begins

The touch of a piano and sound of a note,Started it all

As its results weren’t remote.

Days that were spent watching and waitingNo longer existed,

Instead spent learning and contemplating.

A burst of sound fills the air,Wishing, wondering, willing,

Sending smiles of joy and happiness everywhere.

The sound of music and its enticement,So luring and yet so comforting,

Serves as an outlet to calm excitement.

Singing came alongAs the journey continued,

And with it came the words to a song.

And so it began,A legend, this star waiting to shine,

Caving her way for a better life plan.

So it remained to beThat her goal in life

Was to live where music held life’s key.



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Chunk 6: PoetryIn addition to a diary entry, the writer includes a poem detailing her personal journey toward musical fulfillment and connects it to Louis Armstrong.


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For the King of Trumpets, named and crowned,Becoming famous wasn’t always sweet and soundStressin’ out, messin’, depressin’ at timesTensin’ some muscles over some crimes

In a couple of days, all returns to goodHard work and determination as it shouldLouis got a lot of money and had more to growHe said, “I never tried to prove nothing, just wanted to give a good show.” (Louis Armstrong)

He longed for a debut and when he found oneThe papers said “Starring” and his name was bright as the sunIf anything he could say that this ad was rareBut he thought, “No, I like it. It’s time to prepare!”


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When the journey began, it started off real well,

Started making progress and began to excel,

But no—I can’t forget how I started it all

With the touch of a piano and then it’s easy to recall:

And so it Begins

The touch of a piano and sound of a note,Started it all

As its results weren’t remote.

Days that were spent watching and waitingNo longer existed,

Instead spent learning and contemplating.

A burst of sound fills the air,Wishing, wondering, willing,

Sending smiles of joy and happiness everywhere.

The sound of music and its enticement,So luring and yet so comforting,

Serves as an outlet to calm excitement.

Singing came alongAs the journey continued,

And with it came the words to a song.

And so it began,A legend, this star waiting to shine,

Caving her way for a better life plan.

So it remained to beThat her goal in life

Was to live where music held life’s key.



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Teacher Notes


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Chunk 7: Billboard Advertisement This picture represents a billboard advertisement for Louis Armstrong’s debut performance at a jazz club.


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As Louis Armstrong’s dream grew and gainedPopularity expanded—he entertained.Growin’ up, showin’, playin’ it coolHittin’ some notes outside of school

When a couple of guys, come up with ideasStarted making articles about this playerHe got in one good paper and the crowd was pleasedHe said, “I have never felt so honored and joyful at ease.”


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Chunk 8: Additional PoetryThe student continues her narrative poem that connects the pieces of the essay.


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The Blues Newspaper

A Great American Figure

IT WAS ON AUGUST 4, 1901 when a great musician had been born into this world. Louis Armstrong, Satchmo, the king of jazz folk music, has left his mark in the American history of music. He serves as an influence to all and inspiration to musicians across the country.

Armstrong was not merely a trumpet player, but took on other roles such as a singer, cornet player, and bandleader. This multitalented man became one of America’s favorite people because of his popular music and style. Mostly known for his style of swing, he then developed this into the form of R&B, rhythm-and-blues. His passion and hard work has come a long way.

As a child growing up, Armstrong was not privileged like most other kids. He had to deal with racism, a lack of education, and living with poverty. Along with other jazz musicians that came from New Orleans, Louisiana, Louis Armstrong had to work to become as successful as he came to be. He was sent to a reform school at the age of twelve, where he began his musical journey as he learned to play the cornet. Along with that, he sold papers and coal and unloaded boats for money. Joe “King” Oliver, Louis Armstrong’s role model, provided him his first real instrument, the cornet, which began his whole career.

Over time, Armstrong became more popular, joining bands from Chicago and making new hits. His famous groups included the Hot Five and Hot Seven. Individually, he created the famous songs “What a Wonderful World,” “Hello Dolly,” and “Mack the Knife.” Producer Joe Glaser has even had his bands play for movies including Pennies from Heaven¸ a 1936 classic film. During his lifetime, Armstrong was published twice in his two biographies, Satchmo: A Musical Autobiography and Swing That Music.

In his last few years on earth, he suffered from heart trouble. He is proof to show that hard work, passion, and dedication pay off. Armstrong, a great musician and heart warming person, passed on July 6, 1971 in New York, New York. Even after his death, his music still lives on in every jazz lover’s heart.

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Chunk 9: Newspaper The writer chose to write in the genre of a newspaper article to convey some of her researched information.

Have students consider what kind of information a newspaper article would be especially good at conveying.

This almost reads like an obituary (a notice, especially in a newspaper, of someone’s death, typically including a brief biography). Have students consider whether an obituary would be an appropriate genre for this MGR project.


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He received a fan mail and when it came here,

The envelope read “For Louis and his Wonderful Year”

If anything he could say he just didn’t have enough time

But he thought, “No, forget it. This doesn’t cost a dime!”

Hi Wonderful Fan,

Glad to hear from ya! I love it when I hear that I have made someone’s day or taken their troubles off of their minds. Let me tell you that. Now how could I not reply to such a sweet letter like yours? I am very flattered! And don’t you worry about taking my time away because every spare minute I have I take out my laptop and type away. Brotha, I have one thing to say and it’s that I, Louis Armstrong, am a sucker when it comes to writing!

I really appreciate your support man! That show at the Blue Jazz Club was one of my favorite shows and I’m glad you enjoyed my music. I’ll be on tour for who knows how long, and would sure love to keep in touch! If you’d like, you could come to another concert of mine and see me and Armstrong’s Hot Five! The next show will be at Waldorf Astoria’s Empire Room at the big ol’ apple itself—New York.

Have you read any of my books? You should, they would be a great opportunity for you to learn a little more about me. On my part, I would like to learn more about you by reading what you have to say about your self. I am a man of my word, born and raised in Louisiana and you’re darn right I’m going to reply with all my might and love to ya! My manager Joe Glaser does so much for me. He says he sends his love and gratitude too. Speak to you soon, buddy. It’s time for me to perform!

Anxiously waiting for your reply,

Louis Armstrong

In a couple of days—fans just couldn’t wait

So he started making plans on occupied dates

He squeezed in one little plan but he needed more in between

So he said, “I need a little schedule to help me keep clean”

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The Blues Newspaper

A Great American Figure

IT WAS ON AUGUST 4, 1901 when a great musician had been born into this world. Louis Armstrong, Satchmo, the king of jazz folk music, has left his mark in the American history of music. He serves as an influence to all and inspiration to musicians across the country.

Armstrong was not merely a trumpet player, but took on other roles such as a singer, cornet player, and bandleader. This multitalented man became one of America’s favorite people because of his popular music and style. Mostly known for his style of swing, he then developed this into the form of R&B, rhythm-and-blues. His passion and hard work has come a long way.

As a child growing up, Armstrong was not privileged like most other kids. He had to deal with racism, a lack of education, and living with poverty. Along with other jazz musicians that came from New Orleans, Louisiana, Louis Armstrong had to work to become as successful as he came to be. He was sent to a reform school at the age of twelve, where he began his musical journey as he learned to play the cornet. Along with that, he sold papers and coal and unloaded boats for money. Joe “King” Oliver, Louis Armstrong’s role model, provided him his first real instrument, the cornet, which began his whole career.

Over time, Armstrong became more popular, joining bands from Chicago and making new hits. His famous groups included the Hot Five and Hot Seven. Individually, he created the famous songs “What a Wonderful World,” “Hello Dolly,” and “Mack the Knife.” Producer Joe Glaser has even had his bands play for movies including Pennies from Heaven¸ a 1936 classic film. During his lifetime, Armstrong was published twice in his two biographies, Satchmo: A Musical Autobiography and Swing That Music.

In his last few years on earth, he suffered from heart trouble. He is proof to show that hard work, passion, and dedication pay off. Armstrong, a great musician and heart warming person, passed on July 6, 1971 in New York, New York. Even after his death, his music still lives on in every jazz lover’s heart.

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Chunk 10: Letter and Poem Note the kind of information included in this genre.

The writer also continues the poem, linking all her narrative genres together.


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Date Time Activity or Event

December 14, 1936 6:30 PM – 8:30 PM Performance at the Blue Jazz Club

December 15, 19368:00 AM – 10:00 AM,

11:00 AM – 1:30 PMFilming of “Pennies from Heaven”

December 17, 1936 6:00 PM Flight to Chicago, then back home

December 18, 193610:00 AM – 12:45 PM,

2:00 PM – 4:30 PMFilming of “Pennies from Heaven”

December 20, 1936 6:00 PM – 8:00 PM Performance at Pixy Star Club

December 23, 1936 9:00 AM – 9:45 AM Radio Recording

December 24, 1936 8:00 PM – 10:00 PM Concert at Northern Pole Hotel

December 27, 19369:00 AM – 11:45 PM,


January 1, 1937 2:00 PM Flight to Miami and back

When the time was near, the crowd began to cheerThe performance was over, no need to shed a tearIf anything people were amazed to see him play,Especially before he turned old and hair turned grey.

People wanted to know his personalityHis style and his life, and his mentalityLook to his right and there’s a person there!Standing with a mic. and questions in the air.



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Chunk 11: Calendar The writer has a creative way to give a sense of Armstrong’s typical day. She continues her narrative poem, as well.


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Interviewer: It is a great pleasure to be speaking to the king of jazz himself—Louis Armstrong. How are you tonight?

Armstrong: Well I am doing mighty fine; let me tell you that, Mama.

Interviewer: Now, Mr. Armstrong, we the public has seen so much of you and has heard your music all across the streets of New York, Chicago, and Louisiana. How do you feel when you know that you have accomplished all of this?

Armstrong: It’s fantastic! To know that I can share my talents and ambitions to everyone in the world just puts a huge smile on my face.

Interviewer: How did you get this far in your career? Was growing up just a piece of cake?

Armstrong: Oh, no. Growing up was hard. I had to work my way up here. I lived in poverty and had to work countless jobs for money. That is until my idol found me.

Interviewer: Oh? And who was your idol as a child?

Armstrong: The one and only Joe “King” Oliver. The best trumpet player out there, let me tell you. He took his time to mentor me, a fine favor that I feel like I could never pay back with actions. As he moved to bigger dreams, I took his spot on the Kid Ory’s band—where my passion and devotion developed strongly.

Interviewer: Now, growing up your fame gradually increased. How did you feel about touring places and leaving home?

Armstrong: Well, you know leaving home isn’t always as dandy as it sounds. Touring, I must say, kept me awake, kept me alive. These different places only add to my experiences as a musician, but I always went on back home; never forgot my roots.

Interviewer: What do you hope to achieve within the next few years?

Armstrong: It’s always nice to become even bigger from where I am today. I’d like to reach number one on those song charts. I’d like to even be played often on every radio station, but only God knows when all white men will come to their senses and end this racial feud that we face. The sound of my music on the radio lifts me to a place where I have never been before; it is like a Heaven for all musicians. I am just as proud as my momma would be when I hear my songs for the public.

Interviewer: You are just heart warming. Aside from all your business work and music accomplishments, how is your personal life going? Any “special someone” in your life?

Armstrong: To tell you the truth, there has been one special gal in my life, but she’s gone away. The name was Lil, my previous piano player. As time went on, I don’t know what happened really, but it just didn’t work out in the end.

Interviewer: I’m sorry, sir.

Armstrong: Oh, please. Don’t give me your sympathy.


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Date Time Activity or Event

December 14, 1936 6:30 PM – 8:30 PM Performance at the Blue Jazz Club

December 15, 19368:00 AM – 10:00 AM,

11:00 AM – 1:30 PMFilming of “Pennies from Heaven”

December 17, 1936 6:00 PM Flight to Chicago, then back home

December 18, 193610:00 AM – 12:45 PM,


December 20, 1936 6:00 PM – 8:00 PM Performance at Pixy Star Club

December 23, 1936 9:00 AM – 9:45 AM Radio Recording

December 24, 1936 8:00 PM – 10:00 PM Concert at Northern Pole Hotel

December 27, 19369:00 AM – 11:45 PM,


January 1, 1937 2:00 PM Flight to Miami and back

When the time was near, the crowd began to cheerThe performance was over, no need to shed a tearIf anything people were amazed to see him play,Especially before he turned old and hair turned grey.

People wanted to know his personalityHis style and his life, and his mentalityLook to his right and there’s a person there!Standing with a mic. and questions in the air.



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Chunk 12: Interview This genre allows the writer to reveal a more personal, individualized portrait of her subject.


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Interviewer: What other areas do you excel in?

Armstrong: If by excel you mean shine and lead, then other than that golden instrument that I rule, I also lead bands, sing, film stars, and sometimes even crack a joke here and there.

Interviewer: My, my. We have a legendary man standing right in front of me! Mr. Armstrong, I would like to thank you with all my will for your time! You are a wonderful, talented, and gifted man. Don’t let anyone take that away from you!

Armstrong: Why thank you. I enjoy doing what I do and it is for people like you. My pleasure.

Louis Armstrong, the king and I, Both have our music and dreams up high.Though we have our own ways to executeThey will always be there to reach and shoot.

Cypress, California, born and raisedOn the playground is where I spent most of my daysChillin out, maxin’, relaxin’, all coolShootin’ some B-ball out side of school

When a couple of songs, they were on my fav.’s listStarted playing loudly amongst the midstI sang in one part of the song and I didn’t careBecause people can look, judge, or do anything else especially stare

I walk up to the piano ‘round seven or eightThen I yelled to the fans “Hey, how you doin’?”Look at my kingdom I was finally thereTo sit on my throne as the Queen millionaire.

Louis Armstrong sought to entertain, enlighten, and bring enjoyment to those who loved music as much as he did. Armstrong accomplished his dreams through hard work and perseverance fueled by his desire to entertain others. His life’s work defines the essence of the American Dream, a dream rooted in desire that can only come to pass when it is met with dedication to an art and an attentive commitment to excellence.

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9781457302237_TCB_SE_L6_U4 320 3/5/14 3:29 PM

Chunk 13: ConclusionNote that the conclusion to the poem as the transitional device has a different purpose and effect, and yet it leads into the reflective conclusion for the whole project.


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Reflective Endnotes

Genre #1: My Diary Entry

The reason for this genre is to show how music plays a part in my life, how I view and use it in everyday life. I write about a few influences and advice that have stuck with me or have stuck out to me throughout my life. I think that this is important in mentioning so that the audience can see my view in music and how I would interpret listening to music and being involved with it. With this shown and given, the audience can then make the connection that the paper’s central topic is about music and how Louis Armstrong and I have our similarities and differences. I started this as the first genre to allow readers to get a feel of how I think.

Genre #2: Poem

This genre is supposed to be a poem about how I discovered my first interests for the piano and singing. It marks the beginning of my journey to my American Dream. This poem is about the irresistible spark of interest that I had when I was a child, and how soon those interests became my talents. I was influenced by my brother, who I would listen to play the piano after a lesson, and by my dad, who would sing songs on the karaoke machine and dedicate them to my mother. It is important for readers to know where my roots came from.

Genre #3: Louis Armstrong Ad

This genre is an ad for Louis Armstrong to promote a concert or performance by him. It is supposed to give off a message to the public that Louis is becoming more famous and is in popular demand. The grey-scale coloring enhances the ad to makes it look more authentic and more appropriate for that time. Plain and simple is a way to get a message across, and this ad was definitely plain and simple. The “King of Jazz” will now be known to the public.

Genre #4: Newspaper Article

The Newspaper Article provides a brief history of Louis Armstrong, his development and achievements during his lifetime. This goes to show that Armstrong is in fact a great influence to music and society. This genre gives plenty of information to understand that he was an important role model and one of the greatest influences in today’s music. I created this genre as a sort of tribute to Armstrong, not only to show the growth of his achievements, but to share the wealth of my knowledge of Armstrong and his success.


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Interviewer: What other areas do you excel in?

Armstrong: If by excel you mean shine and lead, then other than that golden instrument that I rule, I also lead bands, sing, film stars, and sometimes even crack a joke here and there.

Interviewer: My, my. We have a legendary man standing right in front of me! Mr. Armstrong, I would like to thank you with all my will for your time! You are a wonderful, talented, and gifted man. Don’t let anyone take that away from you!

Armstrong: Why thank you. I enjoy doing what I do and it is for people like you. My pleasure.

Louis Armstrong, the king and I, Both have our music and dreams up high.Though we have our own ways to executeThey will always be there to reach and shoot.

Cypress, California, born and raisedOn the playground is where I spent most of my daysChillin out, maxin’, relaxin’, all coolShootin’ some B-ball out side of school

When a couple of songs, they were on my fav.’s listStarted playing loudly amongst the midstI sang in one part of the song and I didn’t careBecause people can look, judge, or do anything else especially stare

I walk up to the piano ‘round seven or eightThen I yelled to the fans “Hey, how you doin’?”Look at my kingdom I was finally thereTo sit on my throne as the Queen millionaire.

Louis Armstrong sought to entertain, enlighten, and bring enjoyment to those who loved music as much as he did. Armstrong accomplished his dreams through hard work and perseverance fueled by his desire to entertain others. His life’s work defines the essence of the American Dream, a dream rooted in desire that can only come to pass when it is met with dedication to an art and an attentive commitment to excellence.

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9781457302237_TCB_SE_L6_U4 320 3/5/14 3:29 PM

Chunk 14: Reflective Endnotes Review the reflective endnotes, which provide the rationale for each of the genres. Ask students how this section provides closure for the reader.


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Genre #5: Reply to a fan letter

I think that this piece of genre is important because it displays the way Louis Armstrong handled business. I used an example that I found online; it was a letter of acceptance to a publisher for his book. The letter that Armstrong wrote showed exactly how his personality was—funny, joyful, and happy to do business. I tried myself to capture this tone of voice in my Armstrong letter to a fan. It is important to see how Armstrong handled the business part of his job, and it is amazing that he still handled it with such a bright attitude and a thankful tone.

Genre #6: Schedule

This charted schedule lists the places that Armstrong had to go to in order to complete some of his tasks. Its main idea is to display how busy Armstrong was beginning to get. Day after day he had work to do and places to fly out to. With such a busy schedule, it is shown just how popular Armstrong was and his growth as a musician. The chart was meant to be easy to read and attain information from so that it would be easy to understand his popular demand by the people.

Genre #7: Interview

The interview is one of the more important genres. This piece tells Armstrong’s own opinion, history, and life stories given by him. Not only does it display his personality and jolly attitude, but also his hard work to get where he was at that day. I saved it for last to tie everything together. It was quite interesting, and at the same time somewhat challenging, to pretend like I was Armstrong through the information that I researched. I did not want to lower his image, so I tried to make him seem as bright as possible with all the accurate facts that I have retrieved. This interview is important because it gives so much detail in a way that suits Armstrong when he speaks and tells his life story.



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9781457302237_TCB_SE_L6_U4 322 3/5/14 3:29 PM

Now that students have a fuller experience of a multi-genre research project, have them revisit their working definition and refine it to elaborate on their understanding of its components.


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Annotated Bibliography

“Armstrong, Louis.” Collier’s Encyclopedia. 1989 ed.

In the encyclopedia was a short article on Louis Armstrong. I used this as a reference for more information, and just looked back at it when comparing information and also gaining information. Because the article was fairly short, this source was not one of the more important ones compared to the others.

Biographies–Louis Armstrong. 2000. Jazz at Lincoln Center. 8 Dec. 2005. <http://www. pbs.org/jazz/biography/artist_id_armstrong_louis.htm>.

This website provided Louis Armstrong’s life story—from his birth, successes, and death. The page focuses on jazz influences and leaders, so it is like their “specialty” to be writing about a man like Louis Armstrong. There are also links that you can click on to listen to some of his songs that were recorded in the 1920’s. I used some of the valuable information given on this site in some of my genres.

Jon Krakauer. Into Thin Air. United States: Villard Books, 1997.

This book was used as an example for my own multi-genre paper. Jon Krakauer writes about his amazing, once in a lifetime experience on the one and only Mount Everest using different pieces of work, or genres, to help support his text and knowledge. After reading and understanding how he incorporated each genre piece into the writing itself, I learned to grasp the concept of adding my own genres into another piece of my work. This book sets as a perfect example for the multi-genre paper.

Louis Armstrong. 6 Dec. 2005. <http://www.redhotjazz.com/louie.html>.

This website that I found helped with the information that I needed. This website, unlike some of the others, provides a long history of Louis’ upcoming stardom and road to becoming famous. It also provided links to other key words if I didn’t know what that word was. This was a valuable website and came in quite handy. It also lists the groups that Armstrong was in and which movies he was filmed in.

Louis Armstrong – Acceptance Letter. DIALOGUS. 4 Dec. 2005. <http://www.dialogus2.org/enARMS/enARMS-acceptance.html>.

This was a great example to my genre “Letter to the Fan.” It’s an actual letter that Louis Armstrong wrote to a publisher accepting her proposal. This shows how he handled business. It was quite entertaining to see how he wrote in letters. I tried using the same jolly and joking tone when writing the letter to a fan.


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Genre #5: Reply to a fan letter

I think that this piece of genre is important because it displays the way Louis Armstrong handled business. I used an example that I found online; it was a letter of acceptance to a publisher for his book. The letter that Armstrong wrote showed exactly how his personality was—funny, joyful, and happy to do business. I tried myself to capture this tone of voice in my Armstrong letter to a fan. It is important to see how Armstrong handled the business part of his job, and it is amazing that he still handled it with such a bright attitude and a thankful tone.

Genre #6: Schedule

This charted schedule lists the places that Armstrong had to go to in order to complete some of his tasks. Its main idea is to display how busy Armstrong was beginning to get. Day after day he had work to do and places to fly out to. With such a busy schedule, it is shown just how popular Armstrong was and his growth as a musician. The chart was meant to be easy to read and attain information from so that it would be easy to understand his popular demand by the people.

Genre #7: Interview

The interview is one of the more important genres. This piece tells Armstrong’s own opinion, history, and life stories given by him. Not only does it display his personality and jolly attitude, but also his hard work to get where he was at that day. I saved it for last to tie everything together. It was quite interesting, and at the same time somewhat challenging, to pretend like I was Armstrong through the information that I researched. I did not want to lower his image, so I tried to make him seem as bright as possible with all the accurate facts that I have retrieved. This interview is important because it gives so much detail in a way that suits Armstrong when he speaks and tells his life story.



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9781457302237_TCB_SE_L6_U4 322 3/5/14 3:29 PM

Chunk 15: Annotated Bibliography An annotated bibliography combines a typical bibliography with a writer’s notes on the validity, credibility, and usefulness of sources discovered and used. It typically includes the following:

• a brief description/summary of the work cited

• comments about the work’s usefulness or quality

• comments about any special features of the work, if necessary or relevant (graphs, charts, appendices, etc.)

TEACHER TO TEACHERYou will need to note that Embedded Assessment 2 does not require an annotated bibliography, only a Works Cited page (see outline of organization on page 337). Students will, however, need to create an annotated bibliography for their research presentation in Unit 5.


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Louis Armstrong Quotes. FortuneCity. 8 Dec. 2005. <http://tinpan.fortunecity.com /riff/11/quotes.html>.

This website contained quotes from musicians all over the world. All of these quotes were Louis Armstrong’s. I used the one that said “I never tried to prove nothing, just wanted to give a good show.” I thought that this quote just showed who Armstrong was, what kind of person he was. He was not only being humble and modest, but enjoying what he does. It fit perfectly into one of the song’s beats, so I just had to add it in with my paper.

Louis Armstrong – Wikipedia, the free encyclopedia. 8 Jan. 2006, Wikimedia. 4 Dec. 2005. <http://en.wikipedia.org/wiki/Louis_Armstrong#Personality>.

Wikimedia’s website about Louis Armstrong offers numerous subjects about him, such as his early life, early career, music, and his legacy. I was most attracted to the section about his personality. This allowed me to really get to know who Louis was as an individual and what he thought about society and his interests. This was important and useful for me to gain that one-on-one connection in my writing. In my “Letter to the Fan” genre, I copied Louis Armstrong’s real signature from this website to make the letter seem more authentic and real.

The Official Site of the Louis Armstrong House & Archives. 2002. Louis Armstrong House & Archives. 29 Nov. 2005. <http://www.satchmo.net/bio/>.

This was another website that provided short information about Louis Armstrong and his achievements during his life. There are bullets that mark his achievements and a short paragraph about his past. This website became useful and important for quick and straight forward, needed information.

Portfolio in Black & White. Nuts and Bults Interactive. 1 Dec. 2005. <http://discosantigos.com/Portfolio/1959_LouisArmstrong.html>.

I used the picture from this website for the ad genre that I made. I thought that it was a great picture that portrayed his happiness and love for his instrument. This photo makes Louis look like the happiest man on earth, and I chose this picture to use because it gave off a good feeling towards the ad that I made.



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5 Be sure to return to revising the definition of a multi-genre research paper and to the After Reading prompt on page 307.

ASSESSYou may wish students to summarize in writing their responses to the After Reading prompt for you to review to ensure that they understand the key concepts of thematically linking a topic across multiple genres.

ADAPTAsk students to begin the process of choosing a subject for their project. To support learning, have students think-pair-share ideas for topics and genres.


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exploring, recording, and Imagining research

Learning Targets• Evaluategenresandplanamulti-genreresearchproject.

• Identifyinformationrelevanttoaspecificresearchquestion.

Before Reading 1. To begin a multi-genre research project you must first decide on a topic—a

person, event, movement, etc.—of interest to you, compose relevant research questions, and then do research. For the purpose of modeling, suppose you chose the cartoonist Charles Schulz, and that his personal and professional journey toward the American ideal of the “pursuit of happiness” is your central focus.

Develop a research question that can direct and focus your research on Charles Schulz.

How did Charles Schulz overcome obstacles to follow his “pursuit of happiness”?

During Reading:2. Read closely and mark the text to identify textual evidence that supports the

research question.

biographical Sketch

Sparkyby Earl Nightingale

1 For Sparky, school was all but impossible. He failed every subject in the eighth grade. He flunked physics in high school, getting a grade of zero. Sparky also flunked Latin, algebra, and English. He didn’t do much better in sports. Although he did manage to make the school’s golf team, he promptly lost the only important match of the season. There was a consolation match; he lost that, too.

2 Throughout his youth Sparky was awkward socially. He was not actually disliked by the other students; no one cared that much. He was astonished if a classmate ever said hello to him outside of school hours. There’s no way to tell how he might have done at dating. Sparky never once asked a girl to go out in high school. He was too afraid of being turned down.

3 Sparky was a loser. He, his classmates. . .everyone knew it. So he rolled with it. Sparky had made up his mind early in life that if things were meant to work out, they would. Otherwise he would content himself with what appeared to be his inevitable mediocrity.

4 However, one thing was important to Sparky—drawing. He was proud of his artwork. Of course, no one else appreciated it. In his senior year of high school, he submitted some cartoons to the editors of the yearbook. The cartoons were turned down. Despite the particular rejection, Sparky was so convinced of his ability that he decided to become a professional artist.

acTIVITy

4.21

my Notes

learNING STraTeGIeS:KWHL, Close Reading, Marking the Text, Graphic Organizer, Discussion Groups

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Louis Armstrong Quotes. FortuneCity. 8 Dec. 2005. <http://tinpan.fortunecity.com /riff/11/quotes.html>.

This website contained quotes from musicians all over the world. All of these quotes were Louis Armstrong’s. I used the one that said “I never tried to prove nothing, just wanted to give a good show.” I thought that this quote just showed who Armstrong was, what kind of person he was. He was not only being humble and modest, but enjoying what he does. It fit perfectly into one of the song’s beats, so I just had to add it in with my paper.

Louis Armstrong – Wikipedia, the free encyclopedia. 8 Jan. 2006, Wikimedia. 4 Dec. 2005. <http://en.wikipedia.org/wiki/Louis_Armstrong#Personality>.

Wikimedia’s website about Louis Armstrong offers numerous subjects about him, such as his early life, early career, music, and his legacy. I was most attracted to the section about his personality. This allowed me to really get to know who Louis was as an individual and what he thought about society and his interests. This was important and useful for me to gain that one-on-one connection in my writing. In my “Letter to the Fan” genre, I copied Louis Armstrong’s real signature from this website to make the letter seem more authentic and real.

The Official Site of the Louis Armstrong House & Archives. 2002. Louis Armstrong House & Archives. 29 Nov. 2005. <http://www.satchmo.net/bio/>.

This was another website that provided short information about Louis Armstrong and his achievements during his life. There are bullets that mark his achievements and a short paragraph about his past. This website became useful and important for quick and straight forward, needed information.

Portfolio in Black & White. Nuts and Bults Interactive. 1 Dec. 2005. <http://discosantigos.com/Portfolio/1959_LouisArmstrong.html>.

I used the picture from this website for the ad genre that I made. I thought that it was a great picture that portrayed his happiness and love for his instrument. This photo makes Louis look like the happiest man on earth, and I chose this picture to use because it gave off a good feeling towards the ad that I made.



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ACTIVITY 4.21

PLANMaterials: sample Peanuts cartoon strip, by Charles Schulz; sentence stripsSuggested Pacing: 1 50-minute class period

TEACH1 In order to model the process of creating a multi-genre research paper, students will work through the process of researching a topic and planning a group multi-genre text to convey information about the cartoonist Charles Schulz and how he obtained his American Dream despite obstacles.

2 To activate prior knowledge, display a Peanuts cartoon strip. Next, use a KWHL chart for students to explore Charlie Brown and Charles Schulz. In order to focus students on the research process, they will need a working research question based on this initial exploration (KWHL chart).

3 Use guided writing to model the construction of a quality research question (e.g., How did Charles Schulz overcome obstacles to achieve his American Dream?) that will promote sufficient research and yield a strong thesis. Quality research questions are Level 2 or Level 3 in nature, requiring analytical or global responses.

Text ComplexityOverall: AccessibleLexile: 710Qualitative: Moderate DifficultyTask: Moderate (Analyze)

4 Students should conduct a close reading of the biographical sketch on Charles Schulz, “Sparky,” and mark the text to identify textual evidence that helps support the research question. Lead students in a discussion to review the facts identified in conjunction with the guiding research question.

COMMON CORE STATE STANDARDSFocus Standards:W.11-12.5: Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. (Editing for conventions should demonstrate command of Language standards 1–3 up to and including grades 11–12.)

W.11-12.7: Conduct short as well as more sustained research projects to answer a

question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.

W.11-12.8: Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the strengths and limitations of each source in terms of the task, purpose, and audience; ©

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5 After completing high school, he wrote a letter to Walt Disney Studios. He was told to send some samples of his artwork, and the subject for a cartoon was suggested. Sparky drew the proposed cartoon. He spent a great deal of time on it and on all the other drawings he submitted.

6 Finally, the reply came from Disney Studios. He had been rejected once again. Another loss for the loser.

7 So Sparky decided to write his own autobiography in cartoons. He described his childhood self—a little boy loser and chronic underachiever. The cartoon character would soon become famous worldwide. For Sparky, the boy who had such lack of success in school and whose work was rejected again and again was Charles Schulz. He created the “Peanuts” comic strip and the little cartoon character whose kite would never fly and who never succeeded in kicking a football, Charlie Brown.

After Reading 3. Write your initial thesis statement that responds to the research question

below.

4. A multi-genre research project consists of creative pieces—poetry, artwork, letters, diary entries, interviews, conversations, newspaper articles, scripts, speeches, email, obituaries, etc.—imaginative writing based on fact. The multi-genre research project begins with interest in the subject. Coherence is developed along the way as the writer collects information, interprets it, and considers appropriate genres to creatively represent ideas. Use the graphic organizer that follows to record information as you conduct research.

exploring, recording, and Imagining research


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5 Ask students to work in small discussion groups to draft a working thesis that provides a clear response to the research question. Ask each group to write the thesis on sentence strips or an overhead transparency and use guided writing to revise the working thesis to include a complex sentence asserting how the topic reflects an aspect of the American Dream or the pursuit of happiness. Remind students that this thesis will probably be revised again in response to further research.


COMMON CORE STATE STANDARDSintegrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and overreliance on any one source and following a standard format for citation.

Additional Standards Addressed:SL.11-12.1a; L.11-12.6

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my Notes

Topic: Charles M. Schulz

MLA Entry for a Works Cited Page: “Sparky” by Earl Nightingale

Nightingale, Earl. Nightingale’s Greatest Discovery: “The Strangest

Secret – Revisited.” The PMA Book Series. New York:

Dodd, Mead, 1987.


Melding Fact, Interpretation, and Imagination

Research Question:

How did Charles Schulz overcome obstacles to achieve his pursuit of happiness?

Research Facts: Reflection: Variety of Genres: Purpose/Rationale:

Record pertinent information from the source and include page numbers. Be sure to use quotation marks if it is a direct quote.

Question and comment on the facts presented. Imagine the people, the situation, the events surrounding the research facts.

Consider possible genres to convey the facts and a creative response to the question posed or comment posed. What is the best format for this information?

Note ideas for content to contain within the genre.

Sparky “failed every subject in 8th grade” and flunked other major subjects in high school “English, Algebra and Physics” (p. 1).

How did he feel about school?

Report card and accompanying commentary on the report card

Show a full range of his interest in drawing and golf as opposed to academics.

“Sparky was a loser. He, his classmates. . . everyone knew it.”

How did he fit in? Dialogue with school guidance counselor discussing his grades and social adjustment

Explore his social awkwardness.

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6 A multi-genre research paper blends facts with imagination to yield a creative product. In order to be successful, students will need a graphic organizer to explore, record, and interpret research. Guide students through the process of completing an example on the graphic organizer by

• reviewing the MLA format and how to cite a source

• charting the facts with page numbers

• generating reflective questions to clarify meaning

• considering an appropriate genre to represent the information

• considering what information to include in the genre

7 Review the H category of the KWHL chart students created, and ask them to brainstorm possible sources, conduct research, and bring resources about Charles M. Schulz to class.

ASSESSReview student graphic organizers for clear comprehension of the task.

ADAPTYou may want to send students to the website for the Charles M. Schulz Museum for a detailed timeline:

schulzmuseum.org/timeline

Tell students that they will be working in small groups to complete a group multi-genre research investigation on Charles M. Schulz and will share these sources with one another in the next activity.


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Learning Targets • Analyzemultipleresearchresourcestoextractsignificantinformation.

• Citesourcescorrectly.

• Explore,record,andinterpretinformationandrepresentideasincreativegenres.

Before Reading1. You have read information and taken notes from one secondary source and

considered possible genres to transform the information creatively.

During Reading 2. While reading another secondary source, repeat the process of close reading,

recording significant information in answer to the research questions and determining possible creative genres that will show Charles Schulz’s journey. Record your thinking in the graphic organizer below.


MLA Entry:

“Charles M. Schulz Biography.” Encyclopedia of World Biography. Advameg, Inc. 20 November 2008. http://www.notablebiographies.com/Ro-Sc/Schulz-Charles-M.html

melding Facts, Interpretation, and Imagination

acTIVITy

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my Notes

learNING STraTeGIeS:Graphic Organizer, Marking the Text, Discussion Groups


Research Question:

How did Charles Schulz overcome obstacles to achieve his pursuit of happiness?






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PLANMaterials: research sources on Charles Schulz brought in by studentsSuggested Pacing: 1 50-minute class period

TEACH1 Students should bring to class copies of research sources they have found on Charles Schulz.

2 Essential to the MGR process is the analysis of multiple research sources that present various perspectives on a topic. Working within the same small discussion groups, have students continue to work with the graphic organizer to record information on the topic of Charles Schulz and explore how they will use it to generate multiple genres.

3 Before reading “Charles M. Schulz: Biography,” ask students to review their research question and working thesis. Encourage students to mark the text to identify supporting facts that would help refine or advance the working thesis. Invite groups to revise their thesis, if necessary

4 Students can work in collaborative groups to read the text and complete the graphic organizer. Students will have to copy the organizer onto their own paper so they can take sufficient notes. Note: Remind students that they cannot use a genre more than once.

ACTIVITY 4.22


W.11-12.8: Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the strengths and limitations of each source in terms

of the task, purpose, and audience; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and overreliance on any one source and following a standard format for citation.

W.11-12.10: Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

Additional Standards Addressed: RI.11-12.5; W.11-12.5

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article

CHARLES M. SCHULZ

from Notable Biographies

born: November 26, 1922 minneapolis, minnesota died: February 12, 2000 Santa rosa, californiaAmerican Cartoonist

Cartoonist and creator of Peanuts, Charles M. Schulz was the winner of two Reuben, two Peabody, and five Emmy awards and a member of the Cartoonist Hall of Fame.

Early life

1 Charles Monroe Schulz was born in Minneapolis, Minnesota, on November 26, 1922, the son of Carl and Dena Halverson Schulz. His father was a barber. Charles loved to read the comics section of the newspaper with his father and was given the nickname “Sparky” after Sparkplug, the horse in the Barney Google comic strip. He began to draw pictures of his favorite cartoon characters at age six. At school in St. Paul, Minnesota, he was bright and allowed to skip two grades, which made him often the smallest in his class. Noting his interest in drawing, his mother encouraged him to take a correspondence course (in which lessons and exercises are mailed to students and then returned when completed) from Art Instruction, Inc., in Minneapolis after he graduated from high school.

2 During World War II (1939–45; a war fought between the Axis: Italy, Japan, and Germany—and the Allies: France, England, the Soviet Union, and the United States), Schulz was drafted into the army and sent to Europe, rising to the rank of sergeant. After the war he returned to Minnesota as a young man with strong Christian beliefs. For a while he worked part-time for a Catholic magazine and taught for Art Instruction, Inc. Some of his work appeared in the Saturday Evening Post, and eventually he created a cartoon entitled Li’l Folks for the St. Paul Pioneer Press.

Creates “Peanuts”

3 In 1950 the United Feature Syndicate of New York decided to publish Schulz’s new comic strip, which he had wanted to call Li’l Folks but which was named Peanuts by the company. In 1950 the cartoon began appearing in seven newspapers with the characters Charlie Brown, Shermy, Patty, and Snoopy. Within a year the strip appeared in thirty-five papers, and by 1956 it was in over a hundred. The Peanuts cartoons were centered on the simple and touching figures of a boy, Charlie Brown, and his dog, Snoopy, and their family and school friends. Adults were never seen, only hinted at, and the action involved ordinary, everyday happenings.


Grammar USaGeVaried BeginningsOne way writers vary sentence beginnings is with the use of verbal phrases. Notice how the writer uses the participial phrase “noting his interest in drawing” to describe Schulz’s mother. Be sure an introductory verbal phrase is followed by the noun it modifies; otherwise, it becomes a dangling modifier.

my Notes

Biography

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Text ComplexityOverall: ComplexLexile: 1140Qualitative: Moderate DifficultyTask: Moderate (Analyze)

Grammar Extension Review verbals with students. (Infinitives begin with to and can act as nouns, adjectives, or adverbs. Participles are verb forms that act as adjectives. Gerunds are –ing forms that act as nouns.)

Then, have students use the following sentences as models for their own sentences that begin with verbal phrases:

Infinitive phrase: To further his interest in drawing, his mother encouraged him to take a correspondence course.

Participial phrase: Noting his interest in drawing, his mother encouraged him to take a correspondence course.

Gerund phrase: Encouraging his interest in drawing was his mother’s goal.


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4 Charlie Brown had a round head with half-circles for ears and nose, dots for eyes, and a line for a mouth. Things always seemed to go wrong for him, and he was often puzzled by the problems that life and his peers dealt out to him: the crabbiness of Lucy; the unanswerable questions of Linus, a young intellectual with a security blanket; the self-absorption of Schroeder the musician; the teasing of his schoolmates; and the behavior of Snoopy, the floppy-eared dog with the wild imagination, who sees himself as a fighter pilot trying to shoot down the Red Baron (based on a famous German pilot during World War I) when he is not running a “Beagle Scout” troop consisting of the bird, Woodstock, and his friends.

5 Charlie Brown’s inability to cope with the constant disappointments in life, the failure and renewal of trust (such as Lucy’s tricking him every time he tries to kick the football), and his touching efforts to accept what happens as deserved were traits shared to a lesser degree by the other characters. Even crabby Lucy cannot interest Schroeder or understand baseball; Linus is puzzled by life’s mysteries and the refusal of the “Great Pumpkin” to show up on Halloween. The odd elements and defects of humanity in general were reflected by Schulz’s gentle humor, which made the cartoon appealing to the public.

6 Schulz insisted that he was not trying to send any moral and religious messages in Peanuts. However, even to the casual reader Peanuts offered lessons to be learned. Schulz employed everyday humor to make a point, but usually it was the intellectual comment that carries the charge, even if it was only “Good Grief!” Grief was the human condition, but it was good when it taught us something about ourselves and was lightened by laughter.

Huge success

7 As the strip became more popular, new characters were added, including Sally, Charlie Brown’s sister; Rerun, Lucy’s brother; Peppermint Patty; Marcie; Franklin; José Peterson; Pigpen; Snoopy’s brother, Spike; and the bird, Woodstock. Schulz received the Reuben award from the National Cartoonists Society in 1955 and 1964.

8 By this time Schulz was famous across the world. Peanuts appeared in over twenty-three hundred newspapers. The cartoon branched out into television, and in 1965 the classic special A Charlie Brown Christmas won Peabody and Emmy awards. Many more television specials and Emmys were to follow. An off-Broadway stage production, You’re a Good Man, Charlie Brown, was created in 1967 and ran for four years (it was also revived in 1999). Many volumes of Schulz’s work were published in at least nineteen languages, and the success of Peanuts inspired clothes, stationery, toys, games, and other merchandise. Schulz also wrote a book, Why, Charlie Brown, Why? (which became a CBS television special) to help children understand the subject of cancer (his mother had died of cancer in 1943).

9 Besides the previously mentioned awards, Schulz received the Yale Humor Award, 1956; School Bell Award, National Education Association, 1960; and honorary degrees from Anderson College, 1963, and St. Mary’s College of California, 1969. A “Charles M. Schulz Award” honoring comic artists was created by the United Feature Syndicate in 1980.



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Teacher Notes


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Later years

10 The year 1990 marked the fortieth anniversary of Peanuts. An exhibit at the Louvre, in Paris, France, called “Snoopy in Fashion,” featured three hundred Snoopy dolls dressed in fashions created by more than fifteen world-famous designers. It later traveled to the United States. Also in 1990, the Smithsonian Institution featured an exhibit titled, “This Is Your Childhood, Charlie Brown . . . Children in American Culture, 1945–1970.” By the late 1990s Peanuts ran in over two thousand newspapers throughout the world every day.

11 Schulz was diagnosed with cancer in November 1999 after the disease was discovered during an unrelated operation. He announced in December 1999 that he would retire in the year 2000, the day after the final Peanuts strip. Schulz died on February 12, 2000, one day before his farewell strip was to be in newspapers. Schulz was twice married, to Joyce Halverson in 1949 (divorced 1972) and to Jean Clyde in 1973. He had five children by his first marriage.

12 In March 2000 the Board of Supervisors of Sonoma County, California, passed a resolution to rename Sonoma County Airport after Schulz. In June 2000 plans were announced for bronze sculptures of eleven Peanuts characters to be placed on the St. Paul riverfront. That same month President Bill Clinton (1946–) signed a bill giving Schulz the Congressional Gold Medal. In 2002 an exhibition entitled “Speak Softly and Carry a Beagle: The Art of Charles Schulz” was held at the Norman Rockwell Museum in Stockbridge, Massachusetts. Also in 2002, it was announced that the proposed Charles M. Schulz Museum and Research Center in Santa Rosa, California, would be completed in August 2003.

After Reading3. Using one of the research sources you have found, record notes and plans on an

organizer like the one below for the third piece of research.


MLA Entry for Works Cited Page:



Research Question: How did Charles Schulz overcome obstacles to achieve his American Dream?

Working Thesis:






Word coNNecTIoNS

Roots and AffixesDiagnose contains the Latin root gno, meaning “know.” This root is also the basis for cognitive, recognize, and agnostic.

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4 Charlie Brown had a round head with half-circles for ears and nose, dots for eyes, and a line for a mouth. Things always seemed to go wrong for him, and he was often puzzled by the problems that life and his peers dealt out to him: the crabbiness of Lucy; the unanswerable questions of Linus, a young intellectual with a security blanket; the self-absorption of Schroeder the musician; the teasing of his schoolmates; and the behavior of Snoopy, the floppy-eared dog with the wild imagination, who sees himself as a fighter pilot trying to shoot down the Red Baron (based on a famous German pilot during World War I) when he is not running a “Beagle Scout” troop consisting of the bird, Woodstock, and his friends.

5 Charlie Brown’s inability to cope with the constant disappointments in life, the failure and renewal of trust (such as Lucy’s tricking him every time he tries to kick the football), and his touching efforts to accept what happens as deserved were traits shared to a lesser degree by the other characters. Even crabby Lucy cannot interest Schroeder or understand baseball; Linus is puzzled by life’s mysteries and the refusal of the “Great Pumpkin” to show up on Halloween. The odd elements and defects of humanity in general were reflected by Schulz’s gentle humor, which made the cartoon appealing to the public.

6 Schulz insisted that he was not trying to send any moral and religious messages in Peanuts. However, even to the casual reader Peanuts offered lessons to be learned. Schulz employed everyday humor to make a point, but usually it was the intellectual comment that carries the charge, even if it was only “Good Grief!” Grief was the human condition, but it was good when it taught us something about ourselves and was lightened by laughter.

Huge success

7 As the strip became more popular, new characters were added, including Sally, Charlie Brown’s sister; Rerun, Lucy’s brother; Peppermint Patty; Marcie; Franklin; José Peterson; Pigpen; Snoopy’s brother, Spike; and the bird, Woodstock. Schulz received the Reuben award from the National Cartoonists Society in 1955 and 1964.

8 By this time Schulz was famous across the world. Peanuts appeared in over twenty-three hundred newspapers. The cartoon branched out into television, and in 1965 the classic special A Charlie Brown Christmas won Peabody and Emmy awards. Many more television specials and Emmys were to follow. An off-Broadway stage production, You’re a Good Man, Charlie Brown, was created in 1967 and ran for four years (it was also revived in 1999). Many volumes of Schulz’s work were published in at least nineteen languages, and the success of Peanuts inspired clothes, stationery, toys, games, and other merchandise. Schulz also wrote a book, Why, Charlie Brown, Why? (which became a CBS television special) to help children understand the subject of cancer (his mother had died of cancer in 1943).

9 Besides the previously mentioned awards, Schulz received the Yale Humor Award, 1956; School Bell Award, National Education Association, 1960; and honorary degrees from Anderson College, 1963, and St. Mary’s College of California, 1969. A “Charles M. Schulz Award” honoring comic artists was created by the United Feature Syndicate in 1980.



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5 Ask students to discuss the information presented in the biographical sketch “Sparky” in contrast to the biographical article “Charles M. Schulz: Biography.” Ask students to review the genres they brainstormed on their graphic organizer, and discuss whether or not the new article had an impact on their genre selection.

6 Before responding to the After Reading task, each student should share in small groups the sources he or she has found. After sharing, ask students to select one with an interesting perspective that reinforces or advances ideas previously studied and read it aloud.

7 Direct students to complete a graphic organizer for their third piece of research, and share it in small groups, this time without teacher support. Students should revise their working thesis as necessary, and they should come up with at least six different genres they could use based on the research notes they have taken.


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Check Your Understanding Use a resource that explains how to document sources using the MLA format and record an example properly citing each of the genres listed below for a Works Cited page.

Book:

Journal:

Internet:

Interview:

Magazine:

Video:

Others:



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8 Review the purpose of a Works Cited page, and tell students they are going to co-construct one for practice.

Students should record a sample entry for each of the genres listed on the student page. Provide MLA citation guidelines or allow students to look them up online.

As they explore and generate their own bibliography for the resources they are planning to use, students should practice creating annotated bibliographic entries if you want them to do this for the final project.

ASSESSReview all three student graphic organizers to ensure students have grasped the task sufficiently. Check student citations for correct format.

ADAPTGraphic organizers in this activity support learning by providing a template for students to extract information from their research sources and plan the genres they will create for their individual MGR for Embedded Assessment 2.

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4.23

Learning Targets • Examinegenreconventionsandgeneratedraftsthatadheretothem.

• Creategenresthatblendfactandimaginationtosupportthethesis.

Drafting a Thesis1. Based on your research, collaborate to revise your working thesis about the life

and work of Charles Schulz to create focus for the process of composing the body of genres that will make up your group multi-genre research project.

Planning the Project2. Take notes, share prewriting strategies, and consult additional resources as you

consider these guiding questions in planning what information to include and how the genre will best convey the information:

• Representideas:Whatisimportantaboutthisinformationinrelationto the thesis focus?

• Genreconventions:Whataretheessentialfeaturesandformatsspecificto this genre?

• Purposeandaudience:Whatisthepurposeofthetextandwhoisthetarget audience?

• Useoflanguage:Whatstylistictechniquesaddressthepurposeandaudience?

Drafting the Genre3. Each group member will select one of the six different genres from your group

brainstorm and individually generate a draft incorporating your planning.

my Notes

learNING STraTeGIeS:Note-taking, Drafting, Sharing and Responding, Revising

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Check Your Understanding Use a resource that explains how to document sources using the MLA format and record an example properly citing each of the genres listed below for a Works Cited page.

Book:

Journal:

Internet:

Interview:

Magazine:

Video:

Others:



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ACTIVITY 4.23

PLANMaterials: class-generated thesis, copies of graphic organizer used in Activity 4.22 Suggested Pacing: 1 50-minute class period

TEACH1 Direct students to work in pairs to revise and finalize their working thesis.

2 Student pairs should work together to answer the guiding questions.

3 Distribute students into groups of six, and assign one genre derived from the previous activity to each student.

4 Review the conventions of the genres, and ask students individually to generate content that supports the thesis and represents the facts from research. Be sure students understand and can explain how the discourse of each genre is influenced by diction, purpose, and audience. Have each student present his or her draft to the small group for additional ideas.



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Revising the Draft 4. To guide revision, use this peer-response form to respond to the genres shared

by your group members.

Peer Conference

Writer: Peer Responders:

Focus Area Requested by the Writer:

What Works Well (e.g., ideas, genre

conventions, stylistic technique, etc.)

Questioning: I am confused/want to

know more about. . . As a reader, I’m getting lost. . .

Suggestions: Here’s what I think might

help. . . Have you tried this strategy. . .

Based on the suggestions provided, I will focus my revision on. . .

In order to move this section forward, what resources/support will I need?


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5 Have students break back into pairs for final sharing and revising. Conduct peer conferences, asking students to complete the graphic organizer to share feedback with their partners.

6 Revisit the unit’s Essential Questions to be sure students understand the relationship between research and creativity in the MGR project.

ASSESSAt this point you may want to collect student drafts to assess their level of success and to monitor the effectiveness of student peer groups’ revision suggestions.

ADAPTIf students have already chosen a topic and done some research, this activity supports learning by providing opportunities to work on students’ own individual multi-genre projects. Remember that this process is a model for the process that students will follow to create their own multi-genre research project.


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my Notes

learNING STraTeGIeS:Brainstorming, Think-Pair-Share, Graphic Organizer, Manipulatives

Thematic Threads to create Flow acTIVITy

4.24

Learning Targets• Analyzehowasampleprojectcreatesthematiccoherenceamong

different genres.

• Clarifythethematicconnectionswithinone’sowntexts.

Connecting the Pieces1. Review the definition of coherence and then make a prediction about the role of

coherence in a multi-genre research project.

2. Review the student example of the multi-genre research project. How did the author link one genre to the next and sequence the ideas presented?

3. With the class, brainstorm a list of possible pathways to link genres in a multi-genre research project.

Seasons, important dates, text messages, blogs, instant message, timeline, pictures, graphics, comic strip, TV show with commercials, song lyrics, scenes, stages of life, rites of passage, program for a show, recipes, signature phrase, famous quotes, musical notes, acts in a play, etc.

4. In groups, review the list of brainstormed pathways you created, and circle three that could work for your multi-genre research project on Charles M. Schulz. Now, discuss how each of the three would create a thematic or symbolic connection as well as how to thread it throughout the paper as a motif to clarify and unify meaning for the reader.

5. As you discuss your three options in your group, use the following focus questions as talking points for planning to use each symbolic link.

• Howdoestheoptionworktoadvanceourthesis?

• Howdoestheoptionconveymeaningtothereaderaboutthetopic/theme?

• Howdoestheoptionconnecttheresearchandideastooneofthefollowing:topic, event, person, place, etc.?

• Howdoestheoptionsequenceourideastomakeourassertionandresearchclear to our readers?

Word coNNecTIoNS

Word MeaningsA motif is a repeated pattern or design. In music, it is a short, melodic passage that is repeated. In literature, a motif may be a them, an image, or a character type that is repeated. The repetition serves to unify the whole.

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Revising the Draft 4. To guide revision, use this peer-response form to respond to the genres shared

by your group members.

Peer Conference

Writer: Peer Responders:

Focus Area Requested by the Writer:

What Works Well (e.g., ideas, genre

conventions, stylistic technique, etc.)

Questioning: I am confused/want to

know more about. . . As a reader, I’m getting lost. . .

Suggestions: Here’s what I think might

help. . . Have you tried this strategy. . .

Based on the suggestions provided, I will focus my revision on. . .

In order to move this section forward, what resources/support will I need?


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ACTIVITY 4.24

PLANMaterials: sample MGR project from Activity 4.20, index cards, sticky notes

Suggested Pacing: 1 50-minute class period

TEACH1 The next step in the MGR process is creating coherence among the multiple genres by threading a motif that advances and unifies the thematic concept.

2 Define coherence for students (“orderly, logical, and aesthetically consistent connection between parts”) and discuss why it is important to any text.

3 Review and discuss the student MGR project sample. Be sure students clearly understand how the genres are linked by a narrative poem in a traditional four-line stanza called a quatrain and ideas are sequenced in the sample.

4 Conduct a whole-class brainstorm to generate a list of potential ways to link the genres, using the topic of Charles Schulz that students have been researching in earlier activities.

5 After brainstorming, students should work in the same small groups to select three effective and creative ways to link the genres they have created via a metaphor or motif that can be threaded throughout the research project. Students should conduct a group discussion of their selections, using the focus questions on the student page.


SL.11-12.1b: Work with peers to promote civil, democratic discussions and decision making, set clear goals and deadlines, and establish individual roles as needed.

Additional Standards Addressed:W.11-12.10; SL.11-12.1a; SL.11-12.1c; SL.11-12.1d; L.11-12.6

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6. Use the Creating Cohesion chart below to organize your discussion points about how one genre connects to the next. Plot your ideas in your Reader/Writer Notebook. Evaluate the effectiveness of your metaphor and revise accordingly.


Thematic Threads to create Flow

7. Discuss possibilities for a visual representation of the thematic strand and sketch initial ideas. After considering all options, create a symbolic visual that conveys meaning to potential readers for your thematic strand and collection of genres.

my Notes

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Topic

Transitional Motif Transitional Motif


Transitional MotifTransitional Motif

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6 Next, so that groups consider multiple options for organizing and linking genres, direct students to create manipulatives to explore sequencing. Use the graphic organizer to guide their thinking. Each student will need a set of three index cards, one for each genre. On the note cards, ask students to write their genre and key words or phrases that capture the essence of its ideas. On sticky notes, note the different options for organizing. Have students physically manipulate the cards through each option, noting the sequence and connecting them through the metaphor.

7 During the manipulatives exercise, students should discuss and ask questions and revise the order to lead to a coherent sequence to guide the reader through the multi-genre research project.

8 Students should rank the three options from most to least effective and choose one and explain why it would be most effective.

9 This work could serve as a formative assessment of students’ understanding of the importance of a transitional device.

0 Next, ask students to discuss how they can visually represent the thematic strand. Ask students to sketch ideas and create a symbolic visual that conveys meaning.

a For homework, have students work on individual research and genre pieces.

ASSESSReview student visuals to ensure that students have clearly expressed an understanding of the thematic strand of their MGR project.

ADAPTTo support learning, the last stage of finalizing and organizing the research project for presentation could be introduced during this activity. You may have already had students decide on a topic and begin their research before they get to the Embedded Assessment. If so, they can be working on their own planning and creating of genre pieces.


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learNING STraTeGIeS:Discussion Groups, Sharing and Responding, Sketching

acTIVITy

4.25organizing the multi-Genre research Project

Learning Target• Understandandapplytheelementsofaneffectiveorganizationtothemulti-

genre research project.

1. Use the table below to organize your presentation of your multi-genre research project. You may also use this chart as a planning guide.

Section of MGR

Criteria Ideas for Development

Cover Page •OriginalTitle

•SymbolicVisuals

•Heading(Name,Date,Period)

Table of Contents

In order of appearance, the table of contents provides an overview of sections in the paper. Be sure to include the following in your table of contents: introduction, genre collection, conclusion, reflective end notes, and works cited page.

Dear Reader Letter: (Introduction)

This opening letter provides background information about your topic to your audience. It also introduces your thesis and how you threaded the collection of genres so the reader knows how to navigate through your paper.

Collection of Genres

The body consists of a collection of genres created to help your reader understand your subject and thesis. This is where the multi-genre aspect of the paper is displayed via a minimum of six different genres threaded together with a metaphor or motif.

Conclusion What have I learned about the topic from this research project?

What did you learn about the process from working on this project?

Reflective End Notes

What genres did you include in your writing and why?

Assemble your Reflective End Notes so that the genres appear in sequential order and contain the following information:

•Genre#,Title,andGenreIdentified

•Rationale:Explainwhythisparticulargenrewasselected.

•Reflection:Howarethefactspresentedinthecreativeinterpretation?

Works Cited Page

Provide your list of sources for the research conducted. Consult the MLA Handbook or style manual preferred by your teacher or an online writing lab for instructions on format.

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6. Use the Creating Cohesion chart below to organize your discussion points about how one genre connects to the next. Plot your ideas in your Reader/Writer Notebook. Evaluate the effectiveness of your metaphor and revise accordingly.


Thematic Threads to create Flow

7. Discuss possibilities for a visual representation of the thematic strand and sketch initial ideas. After considering all options, create a symbolic visual that conveys meaning to potential readers for your thematic strand and collection of genres.

my Notes

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Genre and Research

Facts

Topic



Transitional MotifTransitional Motif

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ACTIVITY 4.25

PLANSuggested Pacing: 1 50-minute class period with homework

TEACH1 The graphic organizer that opens this activity should be used as a planning guide for assembling the MGR project. If the class has created enough material, use the table to model organizing the MGR project on Charles Schulz.

2 Students may now move to preparing their own multi-genre research project. If you have not already done so, take this time to generate a class brainstorm of potential topics. Next, ask students to review the list and sort the topics into categories (e.g., person, event, era, concept, movement, etc.).

3 Ask students to choose one topic from each category and think-pair-share why this topic is of interest to them. After discussion, ask students to select one topic for further inquiry.

4 Students should next review the planning charts and strategies they have practiced in the group creation, and select the strategies they will use as they plan their individual MGR project.

5 Next, use a KWHL chart for students to activate prior knowledge and set priorities for research.

TEACHER TO TEACHERYou might make a copy of the planning guide table and ask students to use it as a checklist of their progress.

COMMON CORE STATE STANDARDSFocus Standards:W.11-12.2: Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

W.11-12.2a: Introduce a topic; organize complex ideas, concepts, and information so that each new element builds on that which precedes it to create a unified whole; include

formatting (e.g., headings), graphics (e.g., figures, tables), and multimedia when useful to aiding comprehension.

W.11-12.2b: Develop the topic thoroughly by selecting the most significant and relevant facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience’s knowledge of the topic.

W.11-12.2c: Use appropriate and varied transitions and syntax to link the major

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Elements of Effective OrganizationWriting to Inform—Introduction • Informative:Explaintherelationshipbetweenyourtopicandthesis.Giveyour

reader a context for your topic that addresses the American Dream of “pursuing happiness.”

• Organized:Identifythemetaphorthatthreadsthegenrestogether.Discusshowthe paper is organized and provide a pathway for the reader to navigate through your text with ease.

• Engaging:Demonstrateyourstyleasawriterasyoucraftyourintroduction.

Writing to Reflect—Conclusion• Say:WhathaveIsaidaboutthetopic?

• Mean:Whatdoesthismeaninrelationtothethematicfocusofthemulti-genreresearch project?

• Matter:Whatisthelargersignificanceofthetopicandmeaningtolifein general?

Check Your UnderstandingWhat did you learn from the research process from this group project?

How will you use that information to be successful when you create a multi-genre research project individually?

organizing the multi-Genre research Project


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6 As a model for what students will need to do for their project, review the criteria for an effective introduction, and revisit the MGR student sample and Krakauer’s “Author’s Note.”

7 You may want students to work collaboratively to draft an informative and engaging introduction for the Charles Schulz project based on the guiding comments. Share a few of these.

8 Next, review the guiding questions for a reflective conclusion and model the process of creating a conclusion for a multi-genre research project. Students should begin by reading their introduction and the collection of genres. Then they should summarize, in a sentence or two, what the paper is about—literally what they have revealed about Charles Schulz. Invite students to pair share their responses.

9 Allow students time to answer the Check Your Understanding questions and share their responses.

ASSESSReview student organization tables and responses to the Check Your Understanding questions to ensure their ideas for development are on the right track.

ADAPTWhile students complete the steps of this activity in groups or individually, you might consider having mini-conferences. Use this time to check in with each student to determine where he or she is in his or her progress toward completing the project and to clear up any questions or concerns about doing the MGR project.


COMMON CORE STATE STANDARDSsections of the text, create cohesion, and clarify the relationships among complex ideas and concepts.

Additional Standards Addressed: W.11-12.2d; W.11-12.2e; W.11-12.2f; W.11-12.4; W.11-12.5; W.11-12.8; W.11-12.10

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AssignmentYour assignment is to create a mutli-genre research project that expresses your research and perspective on a person, event, or movement that emodies the American ideal of the pursuit of happiness.

Planning: Take time to plan ideas and structure.• Howwillyouusetheresearchprocesstobesureyouconductrelevantand

sufficient research on your chosen topic?

• Whatprewritingstrategywillhelpyouprovideaunifyingfocusforyourexploration of a topic related to the ideal of pursuing happiness?

• Whatsortofcreativewayscouldyouconnectyourdifferentgenreswitha metaphor or motif (a place, event, person, movement, season, etc.)?

• Whichareasofyourtopicdoyoufeelreadytoaddress,andwhichrequire further insight and perhaps additional research using primary or secondary sources?

Drafting: Combine elements to present your ideas. • Howwillyousequenceyourdifferentpiecesintoacoherentorderthathelps

to express your ideas?

• Howcanyoumakesurethatallyourelementsconnecttoyourthesis?

• Howwillyourreflectionshowhowallyourtextshelptoconveyyourpointof view?

• Howcanacreativetitleandavisualthatsymbolicallyrepresentsyourideashelp to create interest from your audience?

Evaluating and Revising: Make your work the best it can be.• Howcanyouandyourpeerssupporteachothers’workandprovidevaluable

feedback? How well does your metaphor or motif transition from one element to the next?

• HowcanyouusetheScoringGuidetohelpguideyourrevision?

Checking and Editing: Make sure your work is ready for your audience.• Howcanyoumakesurethatyourprojectconveysafullmessage,includinga

clear position with supporting evidence?

• Howwillyoucheckforgrammaticalandtechnicalaccuracythroughoutyour work?

ReflectionAfter completing this Embedded Assessment, think about how you went about accomplishing this assignment, and respond to the following:

• Howdidtakingthetimetoaddresstheessentialquestioninsomanywayshelp to further develop your own ideas about the pursuit of happiness in contemporary American life?

my Notes

creating a multi-Genre research Project


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Elements of Effective OrganizationWriting to Inform—Introduction • Informative:Explaintherelationshipbetweenyourtopicandthesis.Giveyour

reader a context for your topic that addresses the American Dream of “pursuing happiness.”

• Organized:Identifythemetaphorthatthreadsthegenrestogether.Discusshowthe paper is organized and provide a pathway for the reader to navigate through your text with ease.

• Engaging:Demonstrateyourstyleasawriterasyoucraftyourintroduction.

Writing to Reflect—Conclusion• Say:WhathaveIsaidaboutthetopic?

• Mean:Whatdoesthismeaninrelationtothethematicfocusofthemulti-genreresearch project?

• Matter:Whatisthelargersignificanceofthetopicandmeaningtolifein general?

Check Your UnderstandingWhat did you learn from the research process from this group project?

How will you use that information to be successful when you create a multi-genre research project individually?

organizing the multi-Genre research Project


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Materials: completed graphic organizers and drafts from Activities 4.22–4.25, access to computers for word processing (optional)

Suggested Pacing: 2 50-minute class periods

1 Planning: Decide on a minimum number of sources for students to use as resources for their research. The annotated bibliography will help you monitor how the sources were used.

2 Be sure students return to their graphic organizers as resources.

3 Drafting: Students need to be sure to maintain a connection to a thematic thread. It is not enough to present information. The information needs to connect to a thesis idea, such as Charles Schulz overcoming obstacles to find his happiness or Chris McCandless’s vision of living a life free of—and independent from—society.

4 Evaluating and Revising: Sharing and responding in writing groups is an effective way for students to give and get feedback on the effectiveness of the genres in presenting a cohesive body of information in an engaging way.

5 Checking and Editing: Remind students to review the Scoring Guide criteria for this assignment.

6 Consider using a Carousel Wheel to present, review, and critique the MGR projects. Create numbered presentation stations around the room, one for each MGR project. Use a signal to rotate students through all of the stations. Have sticky notes at each station, and ask students to review the MGR project, using the sticky notes to comment on areas of strength and confusion in the paper and to offer suggestions for refinement.

7 After completing all rotations, students should respond to the Carousel Wheel Reflection and discuss ideas in their small groups.

EMBEDDED ASSESSMENT 2

COMMON CORE STATE STANDARDSFocus Standards:W.11-12.2: Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.)

W.11-12.2a: Introduce a topic; organize complex ideas, concepts, and information so that each new element builds on that which

precedes it to create a unified whole; include formatting (e.g., headings), graphics (e.g., figures, tables), and multimedia when useful to aiding comprehension.

W.11-12.2b: Develop the topic thoroughly by selecting the most significant and relevant facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience’s knowledge of the topic.

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SCORING GUIDE


Ideas The project•providesan

extensive, well-researched project focused on an appropriate topic

•includessubstantialinformation about the subject

•skillfullyusescomplex genres that seamlessly integrate in-depth research and ideas to support the thesis.

The project•providesawell-

researched project on an appropriate topic.

•providesadequateinformation about the subject

•usesdifferentgenresthat incorporate research and ideas in support of the thesis.

The project•attemptstorespond

to the project requirements, but with a weak or uneven focus

•provideslimitedinformation about the subject

•usesfewerthansix different genres and/or does not incorporate research and ideas in support of the thesis.

The project•doesnotthoroughly

address the task•providesinadequate

information about the subject

•usesfewerthantwodifferent genres and/or does not incorporate research and ideas in support of the thesis.

Structure The project•employsacreative

title and symbolic visual that enhance the topic

•engagesthereaderby introducing the subject and using a sophisticated variety of genres presenting information in creative ways

•usesasophisticatedmetaphor or motif as a transition to move the reader with ease from one genre to the next

•providesin-depthreflection that brings closure to the work.

The project•includesan

appropriate title with a relevant visual

•introducesthetopicand provides a variety of genres to present information

•usesatransitiontomove the reader from one genre to the next

•providesasufficientreflection and brings closure to the work.

The project•includesageneric

title or visual that does not connect to the ideas presented

•introducesthetopicand presents some genres

•doesnotadequatelymove the reader from one genre to the next

•attemptstoprovidea reflection and bring closure to the work.

The project•doesnotincludea

title or visual•doesnot

appropriately introduce the topic and/or does not include a sufficient variety of genres

•doesnotattempttomove the reader from one genre to the next

•doesnotprovidesufficient reflection and/or bring closure to the paper.

Use of Language

The project•craftslanguage

that is varied and appropriate, depending on each genre

•demonstratessolid command of grammar, punctuation, and conventions.

The project•employslanguage

that is appropriate for each genre

•demonstratesappropriate use of conventions with some minor errors.

The project•strugglestoadapt

language to meet the different expectations of each genre

•containssomeerrorsin use of conventions that interfere with meaning.

The project•failstoadapt

language to meet the different expectations of each genre

•isdifficulttofollowdue to extensive errors in grammar, punctuation, and conventions.


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Reflection Have students respond to the reflection question after completing the assignment.

Portfolio Be sure students address the Reflection question as a separate part of the Embedded Assessment assignment so they can include it separately. At this point you may want to ask students to go to their portfolios and find previous unit reflection questions, so that they might get a sense of their growth as academic thinkers and producers.

All notes for and drafts of the multi-genre research project should be collected and presented together to show the process students completed in successfully accomplishing the task.

SCORING GUIDEWhen you score this Embedded Assessment, you may wish to download and print copies of the Scoring Guide from SpringBoard Digital. In this way, you can have a copy to mark for each student’s work.

EMBEDDED ASSESSMENT 2 continued

COMMON CORE STATE STANDARDSW.11-12.2c: Use appropriate and varied transitions and syntax to link the major sections of the text, create cohesion, and clarify the relationships among complex ideas and concepts.

Additional Standards Addressed:W.11-12.2d; W.11-12.2e; W.11-12.2f; W.11-12.4; W.11-12.5; W.11-12.7; W.11-12.8; W.11-12.10; L.11-12.2b

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