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OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas
CONTENTS Introduction 1
Overview for Scheme of Work 3
Navigator 6
Lesson Plans 11
Pathways 40
Writer’s craft 43
Resources 53
Acknowledgements
This teaching material was written by Hayley Davies-Edwards, 2007 We are grateful for permission to include the following copyright material in this book and/or in the resources and the disclaimer: John Boyne: note for the American edition of the novel, used by permission of the author;
interview with Teenreads.com, copyright © 2006 by Teenreads.com and The Book Report Inc, used by permission of the author and The Book Report Network. All rights reserved. We have tried to trace and contact all copyright holders before publication. If notified the publishers will be pleased to rectify any errors or omissions at the earliest opportunity. Illustrations:
Q2A Media
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas
1
INTRODUCTION
English teachers don’t need to be told the enormous value and pleasure of reading whole
texts as class readers. Little compares with that feeling when a class are truly engaged in
the reading of a really good book. Those moments stay with you forever – indeed, they fuel
the desire to find another such book to repeat the experience, again and again. Fortunately,
contemporary writers of fiction for young adults continue to offer us fresh opportunities to
enjoy literature with our students.
Oxford Rollercoasters is a series that offers teachers the opportunity of studying first-class
novels – recently written for teenagers – as whole-class readers with Year 7, 8 and 9
students. Each set of materials has been written with two possible year groups in mind,
so that teachers can use the materials with some flexibility according to need and student
progress.
Focus on assessment of reading Oxford Rollercoasters includes titles with varied themes, challenging subject matter and
engaging plots – for example, in Rollercoasters 1, we included Carnegie medal winner River
Boy, a Geraldine McCaughrean favourite, The Kite Rider, and Gillian Cross’s tense story
Calling A Dead Man. In Rollercoasters 2, we have broadened our scope to appeal to a wider
school population – Sharon Flake’s The Skin I’m In is set in an American Middle School and
Theresa Breslin’s Divided City weaves football, religion, racial prejudice and illegal
immigration into a compelling narrative. Each novel is accompanied by innovative and
engaging teaching materials, specifically designed to help students access the texts and to
support learning as required by the National Curriculum.
Rollercoasters is firmly based on the reading objectives in the Framework, and draws on
approaches to reading fiction recommended by the English strand of the Secondary National
Strategy. The series is written by practising teachers and consultants, and, while
concentrating on the explicit teaching of reading skills, also draws on approaches to
literature through drama and media. Theories behind both assessment for learning and
thinking skills are embedded in the materials.
Time-saving resources For each Rollercoasters novel there is a set of Lesson Plans, specifying particular
objectives, assessment focuses and learning outcomes. These are accompanied by a
compact Overview (see pages 3–5) which gives the teacher, at a glance, an idea of how
the particular scheme works – identifying learning outcomes, lesson coverage, basic lesson
content and necessary resources.
As well as the Overview, teachers are offered a Navigator (see pages 6–10). There is a
clear plot summary, key page references for characters and details of language techniques,
and a section identifying the stages in the structure of the novel. The Navigator is designed
to help teachers to adapt the pace and detail of work according to the needs of their class.
Unique components In addition, Rollercoasters offers some unique components.
• Each of the novels has its own student Reading Guide, an A4 magazine-style
publication with visual, textual and activity materials that help to engage students
in their study of the novel.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas
2
• The Writer’s Craft materials provide invaluable background material to enhance and
enrich students’ appreciation of the writer’s skills. These often include varied and
interesting resources contributed by the authors of the novels, including original drafts
and commentary direct from the author. Activities to support these pieces are woven
into each scheme. These resources can be found with the teaching materials, which are
designed to enable teachers to cover objectives about writer’s craft in a pertinent way.
Support for lesson planning in the Teacher’s Pack Every Lesson Plan follows the Strategy four-part structure with a range of appropriate
homework tasks. Guideline timings are offered for each part, although teachers may want to
tailor them to the needs of their own class. Within the Lesson Plans there is a wide range of
teaching approaches and styles, and, in many cases, options within the lessons meet the
needs of different ability groups.
• Lesson Plans are accompanied by full, varied and practical Worksheets and OHTs,
and drama activities are common within the teaching schemes. The worksheets and
OHTs are customizable to meet the needs of a particular teacher and class.
• For every novel there are suggested guided reading sessions as well as the opportunity
to develop further specific group teaching. Class, shared and independent reading are
also fully supported in the Lesson Plans.
• Ideas for wider reading and for the extension of independent reading are also provided
in the Pathways section (see pages 39–40).
• The practice of keeping some form of Reading Journal during the study of the novel is
encouraged in most schemes, and there are several attractive models for such record-
keeping across the teaching materials.
• Every set of Lesson Plans ends with its own student Reading Assessment Progress
sheet, which the teacher can then use to identify areas for development for each
student.
• The Rollercoasters website is being substantially updated for Phase 2. This dedicated
website will provide access to the free on-line teacher’s resources and will allow
students to find out the latest information about the series and the authors, read reviews
and post their own review of the novel they are reading.
Oxford Rollercoasters provides first-class teaching resources for first-class contemporary
fiction. The series is designed to engage the widest possible range of students in reading for
pleasure, and we feel confident that it will contribute to those memorable experiences of
reading together in the secondary classroom.
OX
FO
RD
RO
LL
ER
CO
AS
TE
RS
T
he B
oy in t
he S
trip
ed P
yja
mas
Overview
3
OVERVIEW FOR SCHEME OF WORK
Lesson
(Book c
hapte
r)
Learning outcome
Stu
dents
will
be a
ble
to:
Reading AFs and
strategies
Framework
objectives
Activities/outcomes
Rollercoasters
resources
1
Gath
eri
ng e
vid
ence
and
makin
g
pre
dic
tions
(C
ha
pte
rs 1
and
2)
•
Retr
ieve s
pe
cific
info
rmatio
n f
rom
th
e t
ext
to a
nsw
er
questions a
nd
make p
redic
tio
ns
•
Use d
iscussio
n s
kill
s to f
orm
a v
iew
abo
ut cha
racte
rs a
nd t
he
lik
ely
directio
n o
f th
e s
tory
AF2:
Loca
ting
evid
ence
AF3:
Infe
ren
ce a
nd
ded
uction
Askin
g q
uestio
ns
Makin
g p
redic
tions
Yr 7:
R1
, R2
, R
8
Yr 8: R5
, R
7
Starter:
Explo
rin
g t
he b
ook c
ove
r a
nd
blu
rb
Introduction:
Cla
ss r
ea
din
g o
f C
hapte
rs 1
and
2
Development:
Pre
dic
tion
activity:
build
ing a
case
Plenary:
Sha
rin
g th
e e
vid
ence
Homework:
Re
ad
Ch
apte
rs 3
and
4,
thin
kin
g o
f tw
o q
uestions
to a
sk
WS:
1a
WC:
1.1
, 1.2
2
Consid
eri
ng
th
e
write
r’s p
urp
ose a
nd
a c
loser
readin
g o
f la
ng
ua
ge
(C
ha
pte
rs 3
and
4)
•
Unde
rsta
nd th
e u
se o
f th
e te
rm
‘write
r’s p
urp
ose’
•
Dis
ting
uis
h b
etw
een a
write
r’s
vie
wp
oin
t an
d t
hat
of
the
ch
ara
cte
rs
•
Use c
lues f
rom
the
te
xt to
develo
p a
pic
ture
of th
e s
ett
ing
of
the b
ook
AF3:
Infe
ren
ce a
nd
ded
uction
AF5:
Use o
f la
ngu
ag
e
AF6:
Re
ad
er
respo
nse
Readin
g b
etw
een t
he
lin
es a
nd m
akin
g
infe
ren
ces
Yr 7: R9
, R
16
Yr 8: R5
, R
7
Starter:
More
hin
ts a
nd c
lues:
findin
g t
he w
rite
r’s p
urp
ose
Introduction:
Sh
are
d r
eadin
g o
f firs
t d
escri
ptio
n o
f th
e c
am
p
Development:
Dra
win
g a
‘bir
d’s
eye’ m
ap o
f th
e c
am
p
Plenary:
Word
associa
tio
n e
xe
rcis
e: p
yja
mas
Homework:
Colle
ct
word
s a
nd p
hra
ses w
hic
h c
reate
a s
ense o
f dan
ge
r a
nd f
ore
bodin
g in t
he fir
st
two c
hap
ters
OHT:
2a,
2b,
2c
WS:
2d
3
Rese
arc
hin
g th
e
backgro
un
d t
o
Ausch
witz a
nd t
he
H
olo
caust
(C
ha
pte
rs 1
–4)
•
Sele
ct
an
d r
etr
ieve
info
rmation f
rom
a r
ang
e o
f sourc
es a
bout
the
Holo
caust
•
Sele
ct
an
d r
etr
ieve
info
rmation f
rom
a r
ang
e o
f sourc
es a
bout
Ausch
witz
and
th
e f
ate
of th
e J
ew
ish
pop
ula
tion a
t C
raco
w
AF2:
Loca
ting
evid
ence
Rese
arc
h
Skim
min
g a
nd s
can
nin
g
Yr 7: R1
, R
4
Yr 8: R2
, R
3
Starter:
Re
adin
g G
uid
e:
the
backgro
un
d to
th
e H
olo
ca
ust
Introduction:
Re
sea
rch a
ctivity o
n ‘th
e fin
al solu
tio
n’; g
uid
ed
gro
up r
esea
rch
Development:
Rese
arc
h a
ctivity o
n t
he J
ew
ish g
hetto
at
Cra
co
w
Plenary:
Sha
rin
g r
ese
arc
h in
form
ation
Homework:
Com
pare
their
earlie
r sketc
h o
f th
e c
am
p t
o th
e
aeri
al p
hoto
gra
ph o
f A
usch
witz
RG:
pp.
4–
5
4
Narr
ative v
oic
e
(C
ha
pte
rs 1
–4)
•
Inte
rpre
t a r
an
ge
of
textu
al evid
en
ce
and
th
e v
iew
s o
f oth
er
rea
de
rs in
ord
er
to f
orm
a v
iew
poin
t ab
out
the
effect o
f th
e ‘voic
e’ of B
run
o in th
e
sto
ry
•
Dis
ting
uis
h b
etw
een t
he
narr
ative
voic
e o
f th
e s
tory
an
d th
at
of th
e
chara
cte
rs
AF6:
Re
ad
er
respo
nse
Readin
g b
etw
een t
he
lin
es a
nd m
akin
g
infe
ren
ces
Yr 7:
R9
, R16
Yr 8: R7
Starter:
Co
nsid
eri
ng d
iffe
rent
reade
rs’ vie
ws o
n t
he a
uth
enticity
of n
arr
ative v
iew
poin
t in
the n
ovel
Introduction:
Write
r’s C
raft m
ate
rials
on n
arr
ative v
iew
poin
t Development:
Explo
ring a
noth
er
‘child
’s-e
ye
vie
w’: R
eadin
g
Guid
e e
xtr
act fr
om
I a
m D
avid
by A
nne H
olm
Plenary:
Com
pa
rin
g t
he v
iew
poin
ts o
f B
run
o a
nd D
avid
; d
raw
ing
conclu
sio
ns a
bo
ut
na
rra
tive v
oic
e in t
he
novel
Homework:
Re
ad
Ch
apte
r 5;
rea
d t
he F
act
File
on n
arr
ative
voic
e in t
he R
ea
din
g G
uid
e
OHT:
4a
RG:
pp.
6–
7
WC:
4.1
5
Investiga
tin
g th
e
write
r’s u
se o
f
lang
ua
ge a
nd u
sin
g
dra
ma
to e
xplo
re
chara
cte
r
(Cha
pte
rs 5
and
6)
•
Dis
cuss t
he e
ffect
of
repetition
and
str
uctu
ral patt
ern
ing o
n t
he r
eade
r and
on
th
e s
tory
•
Ide
ntify
asp
ects
of B
runo’s
fath
er’s
chara
cte
r th
rou
gh im
agin
ative a
nd
dra
ma
tic e
xplo
ration
AF4:
Te
xt
str
uctu
re
AF5:
Use o
f la
ngu
ag
e
Usin
g d
ram
a
tech
niq
ues t
o e
xplo
re
chara
cte
r
Yr 7:
R6
, R12, R
14
Yr 8: R5
, R
7, R
10
Starter:
Dis
cussio
n o
f fa
ble
s a
nd c
ard
activity o
n s
tructu
ral
patt
ern
ing
Introduction:
Cla
ss r
ea
din
g o
f C
hapte
r 6
Development:
Dra
ma im
pro
vis
atio
n e
xplo
ring B
runo’s
rela
tion
ship
with
Fath
er
Plenary:
Pre
senta
tion o
f im
pro
vis
atio
ns
Homework:
A s
tory
bo
ard
of
Mari
a’s
im
agin
ary
co
nve
rsation
with F
ath
er
WS:
5a, 5
b,
5c
WC:
5.1
6
Clo
thes a
nd
sta
tus
in th
e n
ovel
(C
ha
pte
rs 7
and
8)
•
Expla
in h
ow
th
e w
rite
r uses c
loth
es
to in
dic
ate
the s
tatu
s o
f cha
racte
rs,
and
th
e w
ay th
at
the
y o
fte
n tre
at
oth
ers
accord
ing
to t
heir
outw
ard
app
ea
rance
•
Expla
in h
ow
a c
ha
racte
r’s o
utw
ard
app
ea
rance a
nd b
eh
avio
ur
are
not
alw
ays a
n indic
ation o
f th
e r
eal
pers
on
AF3:
Infe
ren
ce a
nd
ded
uction
AF5:
Use o
f la
ngu
ag
e
Readin
g b
etw
een t
he
lin
es a
nd m
akin
g
infe
ren
ces
Yr 7:
R1
, R
2, R8
Yr 8: R5
, R
7
Starter:
Sha
red r
ea
din
g o
f C
hapte
rs 7
and
8
Introduction:
Dis
cussio
n o
f a
n e
xtr
act
sho
win
g t
he
th
em
e o
f
clo
thes a
s a
sym
bol of
sta
tus
Development:
Jig
sa
w a
ctivity f
ocusin
g o
n c
loth
es a
nd s
tatu
s
Plenary:
Info
rmation s
harin
g t
hro
ug
h t
he jig
sa
w a
ctivity
Homework:
Colle
ct
exam
ple
s o
f peo
ple
wh
ose c
loth
es s
ho
w
their
sta
tus
OHT:
6a
WS:
6b, 6
c
OX
FO
RD
RO
LL
ER
CO
AS
TE
RS
T
he B
oy in t
he S
trip
ed P
yja
mas
Overview
4
Lesson
(Book c
hapte
r)
Learning outcome
Stu
dents
will
be a
ble
to:
Reading AFs and
strategies
Framework
objectives
Activities/outcomes
Rollercoasters
resources
7
‘Perf
orm
ance’
rea
din
g a
nd w
rite
r’s
tech
niq
ue
(C
ha
pte
rs 9
and
10
)
•
Dis
cuss a
nd e
xpla
in t
he u
se
of
the
fence a
s a
sym
bol of
div
isio
n in
th
e
novel
•
Com
ment
on h
ow
mu
sic
and
images c
an
de
velo
p a
narr
ative in
to
a d
ram
atic p
erf
orm
an
ce
•
Explo
re t
he d
iffe
rence b
etw
een t
he
pers
pe
ctives o
f th
e c
hara
cte
rs,
the
rea
de
r a
nd t
he
narr
ato
r of a
sto
ry
AF3:
Infe
ren
ce a
nd
ded
uction
AF5:
Use o
f la
ngu
ag
e
Perf
orm
an
ce r
ea
din
g
Yr 7: R7
, R
11
Yr 8: R5
, R
7, R
9
Starter:
Perf
orm
ance r
ea
din
g o
f op
enin
g o
f C
hap
ter
10, u
sin
g
music
an
d a
n im
age in t
he R
ea
din
g G
uid
e
Introduction:
Stu
de
nt
perf
orm
ance r
ea
din
g o
f C
ha
pte
rs 9
and 1
0
Development:
Readin
g G
uid
e:
explo
ring s
ym
bols
in w
riting
;
‘pla
cin
g’ re
ade
r, w
rite
r, n
arr
ato
r an
d c
hara
cte
rs
Plenary:
Pre
senta
tion o
f ‘p
lacin
gs’
Homework:
Re
ad
Ch
apte
rs 1
1 a
nd 1
2,
noting d
ow
n a
dje
ctives to
describ
e th
e F
ury
RG:
p. 8
8
The th
em
e o
f a
nti-
sem
itis
m
(C
ha
pte
rs 1
1 a
nd
12)
•
Explo
re t
he t
ho
ug
hts
an
d f
eelin
gs o
f chara
cte
rs a
t pa
rtic
ula
r m
om
ents
in
the s
tory
by u
sin
g a
fre
eze
-fra
me
tech
niq
ue
•
Make n
ote
s r
ele
vant
to a
specific
re
adin
g fo
cus b
ased
on a
n e
xtr
act
from
the n
ovel
•
Develo
p t
heir
ann
ota
tion
s into
a
PE
E r
esp
onse t
o a
sp
ecific
re
adin
g
que
stio
n
AF3:
Infe
ren
ce a
nd
ded
uction
AF5:
Use o
f la
ngu
ag
e
Makin
g f
ree
ze
fra
mes
Yr 7:
R6
, R12,
Wr1
1
Yr 8:
R3
, R4
, W
r17
Starter:
Fre
eze
-fra
me a
ctivity:
meeting
the
Fury
an
d t
he b
eautifu
l
blo
nde
Introduction:
Sh
are
d r
eadin
g f
ocused
on t
he t
hem
e o
f a
nti-
sem
itis
m
Development:
Explo
ring t
he
th
em
e t
hro
ug
h t
he f
orc
ed
rem
oval of
the J
ew
s a
t C
raco
w;
de
velo
pin
g a
PE
E r
esp
on
se;
guid
ed r
ea
din
g
sessio
n c
om
pa
ring
de
scri
ptio
ns
Plenary:
Sha
rin
g P
EE
exam
ple
s a
nd d
raw
ing o
ut ke
y lea
rnin
g
Homework:
Com
ple
te th
e t
ask in t
he R
eadin
g G
uid
e b
ased o
n
the s
on
g S
om
eth
ing insid
e s
o s
tron
g
OHT:
8b,
8c,
8d
WS:
8a, 8
e
RG:
p.9
9
The th
em
e o
f fe
ar;
active
re
adin
g
str
ate
gie
s
(C
ha
pte
rs 1
3 a
nd
14)
•
Use r
ea
din
g b
ackw
ard
s a
nd a
skin
g
que
stio
ns t
o tra
ce
th
e w
rite
r’s
develo
pm
ent
of
a th
em
e
•
Read
betw
een t
he lin
es b
y a
skin
g
que
stio
ns a
bo
ut im
plie
d m
eanin
gs
•
Pra
ctise t
heir
infe
rence s
kill
s b
y
specula
ting a
bout
the u
nkno
wn
fate
of a
ch
ara
cte
r
AF3:
Infe
ren
ce a
nd
ded
uction
AF4:
Te
xt
str
uctu
re
AF6:
Re
ad
er
respo
nse
Readin
g b
ackw
ard
s
Askin
g q
uestio
ns
Readin
g b
etw
een t
he
lin
es a
nd m
akin
g
infe
ren
ces
Perf
orm
an
ce r
ea
din
g
Makin
g p
redic
tions
Yr 7:
R6
, R8
Yr 8:
R4
, R7
Starter:
Cla
ss p
erf
orm
ance r
eadin
g o
f C
hap
ters
13 a
nd
14
Introduction:
Explo
ring t
he
th
em
e o
f fe
ar
thro
ugh
active r
eadin
g
str
ate
gie
s
Development:
Askin
g q
uestio
ns a
ctivity e
xplo
ring S
hm
uel’s
fe
ar
of K
otler
Plenary:
Answ
erin
g t
he q
uestio
ns p
osed:
readin
g b
etw
ee
n t
he
lines
Homework:
Pre
dic
tion o
f w
ha
t h
ap
pen
ed t
o S
hm
uel’s
gra
ndfa
ther
OHT:
9a
10 E
xplo
ring
chara
cte
rs’ th
ou
ghts
and
fe
elin
gs th
roug
h
dra
ma
(C
ha
pte
rs 1
5 a
nd
16)
•
Use a
sculp
tin
g t
ech
niq
ue a
nd a
th
ough
t-tr
ackin
g techniq
ue to
e
xplo
re th
e t
hou
ghts
and f
eelin
gs o
f chara
cte
rs
•
Use e
vid
ence
fro
m th
e t
ext to
sug
gest
ho
w a
cha
racte
r m
ight
resp
on
d t
o q
uestion
s a
bo
ut
tho
ugh
ts a
nd
fe
elin
gs
AF3:
Infe
ren
ce a
nd
ded
uction
Explo
ring t
hro
ugh
dra
ma
: sculp
ting
chara
cte
rs a
nd t
ho
ug
ht-
trackin
g
Em
path
y
Yr 7: R12
Yr 8:
R4
, R7
Starter:
Gro
up r
ea
din
g o
f C
hapte
rs 1
5 a
nd
16
Introduction:
Re
adin
g G
uid
e:
sculp
tin
g B
runo
, S
hm
uel a
nd
Kotler
Development:
Usin
g t
ho
ug
ht-
tra
ckin
g t
o e
xplo
re t
he
th
oug
hts
and
fe
elin
gs o
f th
e s
culp
ted c
hara
cte
rs
Plenary:
Sha
rin
g th
ou
ght
tracks
Homework:
Sp
otlig
ht
on S
hm
uel: a
ctivity fro
m th
e R
eadin
g G
uid
e
RG:
pp.
10
–1
1
11 D
evelo
pin
g
em
path
y; m
akin
g
pre
dic
tions
(C
ha
pte
rs 1
7 a
nd
18)
•
Write
a le
tte
r in
th
e v
oic
e o
f a
chara
cte
r fr
om
the
bo
ok,
whic
h
reve
als
their
tho
ugh
ts a
nd
fe
elin
gs
•
Use m
akin
g p
redic
tions a
s a
re
adin
g s
trate
gy f
or
rea
din
g m
ore
dee
ply
into
the
unfo
ldin
g e
vents
of
the s
tory
AF3:
Infe
ren
ce a
nd
ded
uction
AF5:
Use o
f la
ngu
ag
e
Makin
g p
redic
tions
Hot-
seating
Em
path
y
Yr 7:
R6
, R15, W
r6
Yr 8: R4
, W
r6
Starter:
Cla
ss r
ea
din
g o
f C
ha
pte
rs 1
7 a
nd
18
, w
ith d
iscussio
n
focused
on
th
e d
evelo
pin
g c
ha
racte
r of
Fath
er
Introduction:
Ho
t-seating t
he
ch
ara
cte
r of
Mo
ther,
to p
rep
are
fo
r
em
path
y w
ritin
g
Development:
Em
pa
thy w
riting:
Mo
the
r’s lett
er
to a
frie
nd in
Berlin
Plenary:
Stu
den
ts r
ea
d e
xtr
acts
fro
m t
heir lett
ers
Homework:
Pre
dic
tion a
ctivity b
ased o
n B
runo
an
d S
hm
uel’s
‘fin
al adventu
re’
WS:
11a,
11
b
OX
FO
RD
RO
LL
ER
CO
AS
TE
RS
T
he B
oy in t
he S
trip
ed P
yja
mas
Overview
5
Lesson
(Book c
hapte
r)
Learning outcome
Stu
dents
will
be a
ble
to:
Reading AFs and
strategies
Framework
objectives
Activities/outcomes
Rollercoasters
resources
12 T
he th
em
e o
f
vio
len
ce a
nd e
vil
(C
ha
pte
rs 1
9 a
nd
20)
•
Explo
re t
hro
ug
h t
he d
evelo
pm
ent
of
a film
sto
ryb
oa
rd h
ow
th
e w
rite
r pre
sen
ts t
he t
hem
e o
f vio
lence a
nd
evil
•
Use t
he P
EE
ap
pro
ach
to
de
velo
p a
w
ritte
n r
espon
se t
o a
question
ab
out
one
of
the c
hara
cte
rs
AF3:
Infe
ren
ce a
nd
ded
uction
AF6:
Re
ad
er
respo
nse
Readin
g b
etw
een t
he
lin
es a
nd m
akin
g
infe
ren
ces
Yr 7:
R8
, R14,
R15, W
r11
Yr 8: R4
, W
r17
Starter:
Cla
ss r
ea
din
g o
f fin
al tw
o c
hap
ters
Introduction:
Usin
g a
sto
ryb
oard
activity to e
xplo
re t
he t
hem
e o
f vio
len
ce
Development:
Stu
de
nts
dra
ft a
PE
E e
xam
ple
, usin
g a
wo
rkshee
t
and
th
e R
eadin
g G
uid
e f
or
su
ppo
rt
Plenary:
Stu
den
ts r
ea
d o
ut P
EE
respo
nses;
dra
win
g o
ut ke
y
learn
ing
Homework:
Fin
d a
nd r
ea
d a
we
b-p
age
revie
w o
f th
e b
ook
WS:
5c, 1
2a
RG:
pp.1
2–13
13 T
akin
g p
art
in
a
deb
ate
(All
ch
apte
rs)
•
Take p
art
in a
deb
ate
in a
nsw
er
to a
specific
question
ab
out
the n
ovel
•
Use f
orm
al, s
tand
ard
Englis
h in a
spe
akin
g a
nd lis
tenin
g a
ctivity
•
Dra
w t
og
eth
er
a r
ange
of
ide
as
rela
ted
to t
he q
uestion
de
ba
ted
an
d
expre
ss a
n o
vera
ll vie
w in a
fe
w
sente
nces
AF2:
Loca
ting
evid
ence
AF5:
Use o
f la
ngu
ag
e
AF6:
Re
ad
er
respo
nse
Ide
ntify
ing t
he m
ain
id
eas a
nd t
hem
es a
nd
ho
w t
he
y a
re
seq
uen
ced
and
develo
ped
Yr 7:
R7
, R
9, S
pL5
Yr 8: R10, R
13
,
Wr1
6, S
pL10
Starter:
The R
ea
din
g G
uid
e: C
ausin
g a
stir!
Introduction:
Pre
para
tion
fo
r a
cla
ss d
eba
te:
Doe
s T
he
Bo
y in
the S
trip
ed P
yja
mas d
eal w
ith th
e s
ensitiv
e s
ubje
ct o
f th
e
Holo
caust
in a
n a
ppro
pri
ate
way?
Development:
Cla
ss d
eb
ate
Plenary:
Sha
red w
riting
of
cla
ss c
onse
nsus
Homework:
Re
-dra
ft th
e c
onsensus s
ente
nce t
o e
xp
ress th
e
opp
osite v
iew
OHT:
13b
WS:
13a
RG:
p.1
4
WC:
5.1
, 13.1
14 W
eb-p
age b
ook
revie
ws
(A
ll ch
apte
rs)
•
Use t
he c
onven
tion
s o
f w
eb-p
ag
e
book r
evie
ws to
write
a r
evie
w
•
Use p
ee
r a
ssessm
ent
to c
larify
succe
ss c
rite
ria a
nd s
ugg
est
impro
vem
ents
to a
part
ne
r’s w
ritin
g
AF4:
Te
xt
str
uctu
re
AF6:
Re
ad
er
respo
nse
Ide
ntify
ing t
he m
ain
id
eas a
nd t
hem
es a
nd
ho
w t
he
y a
re
seq
uen
ced
and
develo
ped
Yr 7: R9
, W
r19
Yr 8: R13, W
r18
Starter:
Cla
ss r
ea
din
g o
f w
eb
-pag
e r
evie
w
Introduction:
Iden
tify
ing t
he c
on
ven
tio
ns o
f th
e t
ext
(success
crite
ria f
or
revie
w w
ritin
g)
an
d m
odelli
ng th
e o
pe
nin
g o
f a r
evie
w
Development:
Stu
de
nts
dra
ft t
he
first th
ree p
ara
gra
phs o
f a
revie
w
Plenary:
Pee
r assessm
ent
based o
n s
uccess c
rite
ria
Homework:
Com
ple
te th
e r
evie
w
WS:
14a
RG:
p.1
5
15 R
ead
extr
acts
fro
m
cla
ss r
evie
ws o
f th
e
book; com
ple
te
indiv
idual R
ea
din
g
Assessm
ent shee
ts
(A
ll ch
apte
rs)
•
Read
extr
acts
fro
m t
heir
book
revie
ws t
o th
e c
lass,
no
ting
are
as
for
imp
rovem
ent
•
Com
ple
te a
Re
adin
g S
trate
gie
s
Sheet
•
Com
ple
te a
Re
adin
g A
ssessm
ent
Pro
gre
ss S
he
et
to iden
tify
re
adin
g
skill
s the
y n
ee
d t
o p
ractise
AF6:
Re
ad
er
respo
nse
Revie
win
g o
wn
active
rea
din
g s
trate
gie
s
Yr 7: R7
, S
pL3
Yr 8: R4
, S
pL2
Starter:
Stu
de
nts
pra
ctise
readin
g e
xtr
acts
of th
eir
revie
ws a
loud
Introduction:
Re
adin
g o
f e
xtr
acts
and f
ee
dba
ck fro
m t
eacher
based o
n s
uccess c
rite
ria
Development:
Activity id
entify
ing w
hic
h r
eadin
g s
trate
gie
s w
ere
use
d d
urin
g t
he r
eadin
g o
f th
e b
ook
Plenary:
Sha
rin
g r
esp
onses o
n r
ea
din
g s
trate
gie
s u
sed
Homework:
Com
ple
te th
e R
ea
din
g A
ssessm
en
t P
rog
ress S
he
et
OHT:
15b
WS:
15a
OX
FO
RD
RO
LL
ER
CO
AS
TE
RS
T
he B
oy in t
he S
trip
ed P
yja
mas
Navigator
6
NAVIGATOR
Chapter
Plot outline
Key character references
Themes
Language
Structure
Chapter 1
Bru
no
re
turn
s h
om
e f
rom
sch
oo
l to
dis
co
ve
r th
at
Ma
ria
th
e m
aid
is
pa
ckin
g h
is t
hin
gs.
He
is s
ho
cked
an
d p
uzzle
d.
He
dis
co
ve
rs th
roug
h
a s
ho
rt c
on
ve
rsa
tio
n w
ith
his
mo
the
r th
at
the
fa
mily a
re lea
vin
g
Be
rlin
. H
is m
oth
er
se
em
s u
nh
ap
py b
ut re
sig
ne
d t
o t
he
mo
ve
. B
run
o
refle
cts
on
ho
w m
uch
he
ha
s lo
ve
d liv
ing
in t
he
ho
use
, be
ca
use
it is
su
ch
a f
un
pla
ce
to
pla
y.
Intr
od
uctio
n t
o B
run
o a
nd h
is f
am
ily:
•
Mo
the
r e
xp
lain
s t
he
re
aso
n f
or
the
mo
ve
(p
p.3
–7)
•
Bru
no
’s r
ea
ction
(pp
.6–
10)
•
Fa
mily
rela
tio
nship
s
•
Ch
an
ge
and
u
ph
ea
val
•
Thir
d-p
ers
on
na
rra
tive
by a
n in
vis
ible
n
arr
ato
r
•
Writt
en
fro
m B
run
o’s
poin
t o
f vie
w
•
Ch
ild-lik
e la
ng
uag
e e
mp
ha
siz
es B
runo
’s
nin
e-y
ear-
old
pe
rsp
ective
•
Use
of
repe
titio
n t
o c
rea
te a
se
nse
of
fab
le
Problem 1:
Bru
no
’s fa
mily is
su
dd
enly
mo
vin
g h
ou
se
Chapter 2
Th
e f
am
ily m
ove
th
eir
thin
gs in
to th
e n
ew
ho
use
, w
hic
h is a
lo
ng
jou
rne
y a
wa
y a
nd
in
a b
lea
k c
ou
ntr
ysid
e lo
ca
tio
n.
Th
e h
ou
se
its
elf is
sm
alle
r a
nd
le
ss in
tere
stin
g to
Bru
no
th
an
the
on
e in
Be
rlin
. H
e fin
ds
his
ne
w e
nvir
on
me
nt
str
an
ge
an
d c
he
erl
ess, in
th
e a
bsen
ce
of a
ll th
e
fam
ilia
r sig
hts
, b
ustle
an
d s
ou
nd
s o
f B
erlin
. B
run
o c
atc
he
s s
igh
t o
f o
ne
of
his
fa
the
r’s s
old
iers
, a
nd
th
e v
iew
fro
m h
is b
ed
roo
m w
ind
ow
.
•
Bru
no
asks M
oth
er
to t
ake
him
ho
me
(p
.14
)
•
Bru
no
’s r
ea
ction
to
his
ne
w h
ou
se
(p
p.1
6–1
7 a
nd p
p.1
9–
20
)
•
Bri
ef in
tro
du
ctio
n t
o K
otler
(p.1
8)
•
Fa
mily
rela
tio
nship
s
•
Ch
an
ge
and
u
ph
ea
val
•
Str
uctu
ral pa
tte
rnin
g b
eco
me
s c
leare
r;
ke
y p
hra
se
s a
nd
sen
ten
ce
s r
ep
eate
d t
o
em
ph
asiz
e t
he
sto
ry a
s f
able
•
Ch
ild-lik
e la
ng
uag
e u
se
d to
sh
ow
B
run
o’s
la
ck o
f un
de
rsta
ndin
g o
f th
e
situ
atio
n
Problem 2:
Bru
no
ha
tes t
he
ne
w h
ou
se
Mini-climax and problem 3:
Myste
ry –
wh
at
is B
run
o
se
ein
g t
hro
ug
h th
e w
ind
ow
?
Th
e b
eg
innin
g o
f a
str
uctu
ral
thre
ad
ru
nnin
g t
hro
ug
h t
he
sto
ry:
Bru
no
’s la
ck o
f u
nd
ers
tan
din
g o
f th
e r
ea
so
n
for
the
ca
mp
Chapter 3
Bru
no
re
fle
cts
up
on
his
rela
tion
ship
with
his
sis
ter,
‘th
e h
op
ele
ss
ca
se
’. S
he
is o
lde
r th
an
Bru
no
and
te
ase
s h
im c
on
sta
ntly,
ofte
n
ma
kin
g h
im f
ee
l ve
ry y
ou
ng
an
d u
nw
an
ted
, p
art
icu
larl
y w
he
n s
he
is
with
he
r fr
ien
ds.
Bru
no
sh
ow
s t
he
vie
w f
rom
his
be
dro
om
win
do
w t
o
his
sis
ter.
•
Intr
od
uctio
n t
o G
rete
l, ‘th
e h
ope
less
ca
se
’ (p
p.2
1–
23)
•
Bru
no
tells
Gre
tel o
f ‘the
oth
er
child
ren
’ (p
p.2
6)
•
Gre
tel’s
fe
ar
an
d u
nce
rtain
ty (
pp
.28
–2
9)
•
Fa
mily
rela
tio
nship
s
•
Ch
an
ge
and
u
ph
ea
val
•
Qu
estio
nin
g
the
un
kn
ow
n
•
Dia
log
ue
use
d to
esta
blis
h r
ela
tion
ship
b
etw
ee
n B
run
o a
nd
Gre
tel
•
Do
lls u
sed
as s
ym
bo
l o
f G
rete
l’s
inn
oce
nce
•
Sim
ple
, ch
ild-lik
e la
ngu
ag
e u
se
d b
y b
oth
ch
ildre
n t
o e
sta
blis
h t
heir
naiv
ety
•
Su
nsh
ine u
se
d a
s iro
nic
ba
ckd
rop t
o t
he
ca
mp
in
th
e la
st
para
gra
ph
Problem 3
co
ntin
ue
s
Resolutions
su
gg
este
d b
ut
foile
d
Chapter 4
Bo
th c
hild
ren
sta
re in
am
aze
me
nt
at
wh
at
ca
n b
e s
ee
n th
rou
gh
B
run
o’s
ne
w b
ed
roo
m w
ind
ow
. T
he
re is a
cam
p o
f so
me
kin
d,
with
h
un
dre
ds o
f p
eo
ple
, all
dre
sse
d in t
he
sa
me
clo
the
s,
gre
y-s
trip
ed
p
yja
ma
s.
Th
e p
eo
ple
are
bein
g o
rdere
d a
rou
nd
by s
old
iers
. T
he
ch
ildre
n r
efle
ct
on
th
e n
atu
re o
f th
is p
lace,
wo
nd
eri
ng
if th
is is w
ha
t th
e ‘co
un
trysid
e’ lo
oks lik
e.
Eve
ntu
ally
, a
fter
dis
cu
ssin
g t
he
vari
ou
s
op
tio
ns f
or
wh
at
the
ca
mp
mig
ht
be
, th
ey h
ave t
o g
ive
up
in
pu
zzle
me
nt.
•
Th
e fir
st sig
ht
fro
m t
he
win
do
w,
‘Th
ey
we
re e
ve
ryo
ne
’ (p
.30
)
•
Th
e c
hild
ren
sp
ecu
late
abo
ut
wh
at
the
y
se
e (
pp
.33
–3
5)
•
De
scri
bin
g t
he
pe
ople
in
th
e c
am
p
(pp
.36
–3
7)
•
Bru
no
no
tice
s fo
r th
e fir
st
tim
e t
he
str
ipe
d p
yja
ma
s (
p.3
8)
•
Fa
mily
rela
tio
nship
s
•
Ch
an
ge
and
u
ph
ea
val
•
Qu
estio
nin
g
the
un
kn
ow
n
•
Sim
ile
of
the
gard
en
as a
ca
nd
le lig
htin
g
a h
ug
e c
astle
(p
.31
)
•
Use
of
iro
ny w
he
n B
run
o f
eels
lik
e t
he
‘k
ing
’ o
f th
e v
iew
fro
m h
is w
ind
ow
(p
.32
)
•
Sim
ple
, ch
ild-lik
e la
ngu
ag
e u
se
d b
y b
oth
ch
ildre
n t
o e
mp
ha
siz
e t
heir
naiv
ety
•
Mu
lti-
cla
use
se
nte
nce in
fin
al p
ara
gra
ph
cre
ate
s a
‘la
ye
red
’ p
ictu
re o
f th
e c
am
p
an
d p
eo
ple
Possible resolution to
problem 3:
This
is t
he
co
un
trysid
e
Resolution foiled:
Th
is is n
ot
the
co
un
trysid
e
Chapter 5
Bru
no
thin
ks b
ack t
o h
is jo
urn
ey to
th
e n
ew
ho
use
. H
e r
em
em
be
rs in
p
art
icula
r th
e s
tart
of
the
tra
in jo
urn
ey,
wh
ere
he
an
d h
is fa
mily w
ere
a
ble
to
fin
d s
ea
ts o
n a
sp
acio
us a
nd
co
mfo
rtab
le tra
in, b
ut
a h
ug
e
gro
up
of
pe
ople
on
a p
latf
orm
ne
arb
y w
ere
all
cro
wd
ed
in
to a
sm
aller
train
, a
pp
are
ntly g
oin
g th
e s
am
e w
ay.
Bru
no
fin
ally
se
es h
is f
ath
er
in t
he
ne
w h
ou
se
an
d im
me
dia
tely
asks
him
to
ta
ke
th
e f
am
ily b
ack t
o B
erlin
. H
is f
ath
er
is v
ery
irr
ita
ted
at
Bru
no
’s r
eq
ue
st,
bu
t tr
ies to
be
pa
tie
nt
with
him
, e
mp
ha
siz
ing
th
e
imp
ort
an
ce
of
the
fa
mily d
oin
g t
he
ir d
uty
. B
runo
un
de
rsta
nd
s little
of
wh
at
this
me
an
s.
•
Mo
the
r’s f
eelin
gs a
bo
ut
the
mo
ve
(p
.40
)
•
Intr
od
uctio
n t
o F
ath
er:
• H
is a
ppe
ara
nce
(p.4
2)
• H
is p
ow
er
(p.4
3)
•
Bru
no
’s r
ela
tion
ship
with
his
Fa
ther
(pp
.45
–5
4);
‘A
cce
pt th
e s
itu
atio
n in
w
hic
h y
ou
fin
d y
ou
rself a
nd
every
thin
g
will
be
so
mu
ch
ea
sie
r.’ (p
.53)
•
Fa
mily
rela
tio
nship
s
•
Ch
an
ge
and
u
ph
ea
val
•
Po
we
r
•
Qu
estio
nin
g
the
un
kn
ow
n
•
Str
uctu
ral pa
tte
rnin
g o
n p
.39
(th
ing
s
hid
de
n a
t th
e b
ack o
f th
e w
ard
rob
e)
•
La
ye
red
su
bo
rdin
ate
cla
use
(p
.40
) to
e
mp
ha
siz
e B
run
o’s
em
otio
n
•
La
ye
red
su
bo
rdin
ate
cla
use
(p
.41
) to
e
mp
ha
siz
e t
he
ch
ao
s a
t th
e t
rain
sta
tio
n
•
Use
of
elli
pse
s t
o h
int
to th
e r
ea
de
r (p
.43
)
•
Str
uctu
ral pa
tte
rnin
g (
Bru
no
’s m
ou
th a
s
an
‘O
’, p
.45)
•
Co
ntr
ast
be
twe
en
Fa
ther’
s f
orm
al
lan
gu
ag
e a
void
ing
ha
rsh
tru
ths a
nd
B
run
o’s
ho
ne
st, c
hild
-lik
e u
nd
ers
tan
din
g
Narrative flashback:
Pre
pa
rin
g fo
r th
e jo
urn
ey o
n
the
tra
in
Mini resolution to problem 1:
Fa
the
r e
xp
lain
s th
at
the
y h
ave
m
ove
d b
eca
use
of
his
jo
b,
an
d
mu
st
sta
y
Chapter 6
Bru
no
ha
tes h
is n
ew
ho
me
. T
hro
ug
h a
con
ve
rsa
tion
with
Ma
ria
, th
e
ma
id,
he
dis
co
ve
rs a
little
ab
out
he
r b
ackg
roun
d.
Bru
no
’s f
ath
er
ha
s
be
en
kin
d to
Ma
ria
, b
ecau
se
her
late
mo
the
r w
as a
th
ea
tric
al d
resse
r fo
r his
mo
the
r. W
he
n M
ari
a’s
mo
the
r die
d,
he
to
ok h
er
in a
s a
n a
ct
of
kin
dne
ss a
nd
ga
ve
her
a jo
b a
s m
aid
to
his
fam
ily.
Ma
ria
is c
on
vin
ce
d
tha
t B
run
o’s
fa
the
r ca
n b
e v
ery
kin
d b
eca
use o
f th
is.
Sh
e b
rie
fly
co
mm
en
ts t
ha
t th
is is w
hy s
he
do
esn
’t u
nd
ers
tan
d h
is in
volv
em
en
t in
•
Le
arn
ing
ab
ou
t M
ari
a (
pp
.58
–6
3);
‘B
eca
use
yo
ur
Fa
ther
is a
go
od
ma
nM
A
ve
ry g
oo
d m
an
. H
e t
ake
s c
are
of all
of
us.’ (
p.5
9);
‘H
e h
as a
lo
t o
f kin
dn
ess in
h
is s
ou
l, t
ruly
he
do
es, w
hic
h m
ake
s m
e
wo
nd
erM
’ (p
.62
)
•
Pe
op
le a
nd
sta
tus
•
Clo
the
s a
nd
sta
tus
•
Qu
estio
nin
g
the
un
kn
ow
n
•
Fe
ar
•
Dia
log
ue
use
d to
de
velo
p r
ela
tio
nship
b
etw
ee
n B
run
o a
nd
Ma
ria
•
Na
rra
tive
fo
cu
se
s o
n B
run
o’s
tho
ug
hts
, to
su
pp
ort
re
ad
er
em
pa
thy
•
Use
of
elli
pse
s t
o h
int
at
the
tru
th o
f th
eir
n
ew
life
Further development of
problem 3:
Ma
ria is e
va
siv
e
ab
ou
t w
hy t
he
y a
re r
eally
th
ere
Complication:
Ma
ria
sa
ys
Fa
the
r h
as g
oo
dn
ess in h
im
OX
FO
RD
RO
LL
ER
CO
AS
TE
RS
T
he B
oy in t
he S
trip
ed P
yja
mas
Navigator
7
Chapter
Plot outline
Key character references
Themes
Language
Structure
the
cu
rre
nt
situ
atio
n,
but
Bru
no
is u
ncle
ar
wh
at
Ma
ria
me
an
s b
y t
his
.
Chapter 7
Se
ve
ral w
ee
ks la
ter,
in
the
ab
se
nce
of
his
pa
ren
ts,
Bru
no
de
cid
es t
o
bu
ild a
sw
ing
. A
s h
e n
ee
ds a
n o
ld t
yre
, h
e r
elu
cta
ntly a
sks f
or
the
h
elp
of
Ko
tle
r, a
yo
ung
lie
ute
na
nt
wh
o w
ork
s f
or
his
fa
the
r. B
run
o h
as
take
n a
hug
e d
islik
e t
o t
he
arr
oga
nt
and
bo
astfu
l K
otler.
K
otle
r co
mm
an
ds P
ave
l, a
n o
lde
r m
an
fro
m t
he
‘ca
mp
’, w
ho
co
me
s
ea
ch
da
y t
o p
eel veg
eta
ble
s a
nd
wa
it o
n t
he
fa
mily’s
ta
ble
, to
ge
t a
ty
re f
or
Bru
no
’s s
win
g.
Aft
er
pla
yin
g f
or
a s
ho
rt w
hile
, B
run
o f
alls
fro
m h
is s
win
g a
nd
cuts
his
le
g.
Pa
ve
l q
uic
kly
co
me
s o
ut
an
d h
elp
s h
im;
ca
rryin
g h
im b
ack t
o t
he
kitch
en
an
d d
ressin
g h
is w
ou
nd
. D
uri
ng
th
eir
co
nve
rsa
tio
n,
Bru
no
le
arn
s t
hat
Pa
vel u
se
d to
be
a d
octo
r. W
he
n B
run
o’s
mo
the
r re
turn
s
ho
me
, sh
e d
ecid
es n
ot
to tell
Fa
the
r th
at
Pa
vel h
elp
ed
Bru
no
wh
en
h
e f
ell.
Bru
no
is p
uzzle
d b
y t
his
se
cre
tive
be
ha
vio
ur.
•
Mo
the
r e
xp
lain
s G
erm
an
re
se
ntm
en
t o
ve
r th
e G
rea
t W
ar
(p.6
8)
•
De
scri
ptio
n o
f K
otler
(pp
.71
–72
)
•
Ko
tle
r’s a
nti-s
em
itis
m (
pp
.75
–7
6)
•
Pa
ve
l’s k
ind
ne
ss (
pp.7
9–
81)
•
Pa
ve
l’s b
ackgro
und
(p
p.8
2–
84):
‘I
ce
rtain
ly a
m a
do
cto
r. J
ust b
eca
use a
m
an
gla
nce
s u
p a
t th
e s
ky a
t nig
ht
do
es
no
t m
ake
him
an
astr
on
om
er,
yo
u k
no
w.’
(p.8
2)
•
De
scri
ptio
n o
f P
avel (p
.83)
•
Mo
the
r th
an
ks P
avel bu
t hid
es h
is
kin
dne
ss (
p.8
5)
•
Pe
op
le a
nd
sta
tus
•
Hu
ma
n
kin
dne
ss
•
Hu
ma
n c
ruelty
•
Pre
jud
ice
•
Use
of
sim
ile in
de
scri
bin
g K
otler’
s h
air
(p
.71
)
•
Flir
tatio
us a
nd
mo
re g
row
n-u
p la
ngu
ag
e
use
d b
y G
rete
l e
mp
ha
siz
es h
er
mo
ve
me
nt
em
otio
nally
aw
ay f
rom
B
run
o’s
naiv
ety
•
Pa
ve
l’s g
uard
ed la
ng
uag
e r
eve
als
his
w
isd
om
in
co
ntr
ast
to B
run
o’s
m
isu
nd
ers
tan
din
gs
•
Pa
ve
l u
se
s t
he
me
tap
ho
r o
f th
e
‘astr
on
om
er’
(p
.82
)
•
No
un
ph
rase
s u
se
d to
de
scri
be
Pa
vel
(p.8
3)
Deliberation:
Bru
no
de
cid
es
to m
ake
a s
win
g
Problem 4:
Ko
tle
r Further development of
problem 3:
Ko
tle
r’s
ine
xp
licably
cru
el tr
ea
tme
nt
of
Pa
ve
l Complication:
Gre
tel’s
flir
tatio
n w
ith
Ko
tler
Mini climax:
Bru
no
’s f
all
Revelation:
Pa
ve
l w
as a
do
cto
r Revelation:
Mo
the
r hid
es
Pa
ve
l’s k
ind
ne
ss
Chapter 8
Th
e n
arr
ative m
ove
s b
ack in
tim
e t
o B
run
o’s
life
in B
erlin
. H
e t
hin
ks
ab
ou
t his
gra
nd
pa
ren
ts,
wh
om
he
is m
issin
g v
ery
mu
ch
. H
e lo
ve
s h
is
gra
nd
mo
the
r in
part
icula
r, b
eca
use
of
the
fu
n th
ey w
ou
ld h
ave
sin
gin
g a
nd
dre
ssin
g u
p a
nd p
erf
orm
ing
pla
ys. B
run
o r
em
em
be
rs o
ne
e
ve
nin
g w
he
n h
is g
ran
dm
oth
er
sto
rme
d o
ut
fro
m h
er
so
n t
he
C
om
ma
nd
an
t’s C
hri
stm
as p
art
y.
Sh
e is c
learly u
nh
ap
py a
bo
ut
the
d
ire
ctio
n o
f h
er
so
n’s
ca
ree
r, a
nd
thin
ks h
is s
ma
rt u
nifo
rm is m
ere
ly
‘dre
ssin
g u
p’. S
he
cle
arl
y d
oe
s n
ot a
pp
rove
of th
e F
ury
. E
ve
ntu
ally
, a
fte
r a
sh
ort
arg
um
en
t, in
wh
ich
oth
er
me
mb
ers
of
the
fa
mily t
ry t
o
pla
cate
her,
an
d a
fte
r th
e c
hild
ren
are
se
nt h
urr
iedly
to
be
d,
gra
nd
mo
the
r sto
rms o
ut.
Ba
ck a
t th
e n
ew
ho
use
, B
run
o d
ecid
es t
o
wri
te h
er
a le
tter.
•
De
scri
ptio
n o
f G
ran
dfa
ther
(pp
.86
–8
7)
•
De
scri
ptio
n o
f G
ran
dm
oth
er
(pp
.87
–88
)
•
Fa
the
r’s n
ew
un
iform
an
d s
tatu
s (
p.9
0)
•
Gra
nd
mo
the
r’s s
co
rn fo
r F
ath
er’
s n
ew
u
nifo
rm a
nd
sta
tus (
p.9
0)
•
Th
e q
ua
rrel (p
.91–
93
): ‘D
ressin
g u
p a
nd
d
oin
g t
he
te
rrib
le,
terr
ible
thin
gs y
ou
do
. It
ma
ke
s m
e a
sh
am
ed
.’ (
p.9
2);
‘T
he
p
eo
ple
yo
u h
ave
to d
inn
er
in t
his
hou
se
. W
hy, it m
ake
s m
e s
ick.
An
d t
o s
ee
yo
u
in t
ha
t u
niform
ma
ke
s m
e w
an
t to
te
ar
the
eye
s fro
m m
y h
ea
d!’ (
p.9
3)
•
Bru
no
po
urs
ou
t his
fe
elin
gs to
his
g
ran
dm
oth
er
in a
le
tte
r (p
.94
)
•
Fa
mily
rela
tio
nship
s
•
Pre
jud
ice
•
Aff
ectio
na
te a
nd
de
scrip
tive
la
ng
ua
ge
u
se
d t
o r
eve
al B
runo
’s f
eelin
gs fo
r his
g
ran
dm
oth
er
•
Gra
nd
mo
the
r u
se
s t
he s
imile
of
‘a
pu
pp
et
on
a s
trin
g’ in
rela
tio
n t
o h
er
son
(p
.90
)
•
Pa
ce
y d
ialo
gu
e d
rive
s t
he
qu
arr
el sce
ne
a
nd
co
ntr
ibu
tes t
o t
he
de
velo
pm
en
t o
f te
nsio
n;
excla
ma
tio
n m
ark
s e
mp
ha
siz
e
em
otio
n
Narrative flashback
to
C
hri
stm
as s
ce
ne
in
Be
rlin
Problem 4:
The
qu
arr
el w
ith
Gra
nd
mo
the
r h
as c
au
se
d a
rift
in t
he
fa
mily
Mini climax:
Gra
nd
mo
the
r w
alk
s o
ut
Deliberation:
Bru
no
wri
tes t
o
Gra
nd
mo
the
r
Chapter 9
Bru
no
se
ttle
s in
to life
at
the
ne
w h
ou
se
, an
d is g
iven
a t
uto
r, H
err
L
iszt,
wh
o e
mp
ha
siz
es t
o h
im t
he
im
po
rta
nce
of
lea
rnin
g a
bo
ut his
co
un
try’s
his
tory
. H
err
Lis
zt
see
ms v
ery
an
gry
ab
ou
t his
tori
cal e
ve
nts
in
Germ
an
y.
Bru
no
dis
like
s h
is t
ea
che
r, p
refe
rrin
g t
o le
arn
re
adin
g
an
d a
rt.
Bru
no
is s
till
ve
ry c
uri
ou
s a
bo
ut
the
pe
ople
wh
o w
ea
r p
yja
ma
s in
th
e
ca
mp
ne
xt
to t
he
ho
use
, so
he
de
cid
es t
hat it is t
ime
to
exp
lore
th
e
are
a.
He
dis
co
ve
rs th
e p
laq
ue
on
th
e b
en
ch
ou
tsid
e t
he
ho
use
. T
he
n
ag
ain
st
his
pare
nts
’ str
icte
st
ord
ers
, h
e s
ets
off w
alk
ing a
lon
g th
e
lon
g f
en
ce
wh
ich
su
rro
un
ds th
e c
am
p.
•
Intr
od
uctio
n t
o H
err
Lis
zt (p
p.9
6–
98)
•
Bru
no
re
fle
cts
on
the
sig
nific
an
ce o
f clo
the
s (
p.1
00
)
•
Pre
jud
ice
•
Ind
octr
inatio
n
•
Exp
lora
tio
n
•
Co
-ord
inate
d s
ente
nce
s e
mp
ha
siz
e
activity in
th
e h
ou
se
and
pa
ssa
ge
of
tim
e
(p.9
6)
•
Dia
log
ue
use
d to
de
velo
p r
ela
tio
nship
b
etw
ee
n B
run
o a
nd
Herr
Lis
zt
•
Fu
rth
er
str
uctu
ral p
att
ern
ing
used
to
e
ch
o B
run
o’s
th
ou
gh
ts a
bo
ut his
old
h
om
e (
p.9
9)
•
In s
ha
rin
g B
run
o’s
tho
ug
hts
, th
e
na
rra
tive a
sks t
he
qu
estio
ns h
e p
ose
s
Partial resolution to
problem 2:
Bru
no
is g
ettin
g
use
d t
o t
he
ho
use
Problem 3 continues:
Bru
no
still
do
esn
’t u
nde
rsta
nd
th
e
rea
so
n fo
r th
e c
am
p
Mini climax:
Bru
no
se
ts o
ff o
n
his
ad
ve
ntu
re
Chapter 10
Aft
er
wa
lkin
g f
or
wh
at
se
em
s lik
e m
ile
s, B
run
o s
ee
s a
sm
all s
pe
ck in
th
e d
ista
nce
, w
hic
h e
ve
ntu
ally
tu
rns o
ut
to b
e a
sm
all b
oy.
Bru
no
d
isco
vers
th
at
the
bo
y is c
alle
d S
hm
ue
l, a
nd
th
at
the
y w
ere
born
on
th
e s
am
e d
ay in
the
sa
me
ye
ar.
Sh
mu
el is
thin
an
d s
ickly
lo
okin
g a
nd
te
lls B
run
o h
ow
ho
rrib
le life
is a
t th
e c
am
p.
Bru
no
, still
pu
zzle
d b
y t
he
re
aso
n fo
r th
e c
am
p,
trie
s t
o c
om
pa
re it
to h
is h
ou
se
at
Be
rlin
. T
hro
ug
h t
alk
ing
to
Sh
mu
el, B
run
o d
isco
ve
rs th
at
he
is in
Pola
nd
. B
run
o a
sks S
hm
ue
l w
ha
t a
ll th
e p
eo
ple
are
doin
g in t
he
ca
mp
.
•
Bru
no
me
ets
Sh
mu
el (p
.10
6)
•
Th
e b
oys d
isco
ve
r th
ey w
ere
bo
rn o
n t
he
sa
me
da
y (
p.1
09
)
•
Th
e b
oys d
iscu
ss g
eog
rap
hy (
pp
.11
2–
11
3)
•
Bru
no
asks S
hm
ue
l w
ha
t e
ve
ryo
ne
is
do
ing
on
th
e o
the
r sid
e o
f th
e fe
nce
(p
.11
5)
•
Fri
en
dship
•
Qu
estio
nin
g
the
un
kn
ow
n
•
Use
of
str
uctu
ral p
att
ern
ing
in
th
e title
, ‘M
th
at
be
ca
me
M t
ha
t b
eca
me
M’
(p.1
04)
•
Sin
gle
, sho
rt s
en
ten
ce
use
d f
or
imp
act
(p.1
05)
•
Ch
ildre
n’s
la
ng
ua
ge
used
to
dra
w
sym
pa
thy o
f re
ade
r
•
Qu
estio
ns u
sed
to
em
ph
asiz
e B
run
o’s
la
ck o
f u
nd
ers
tan
din
g in
th
e la
st lin
e
Mini climax:
Bru
no
me
ets
Sh
mu
el
Problem 3 continues:
Bru
no
is n
o w
iser
ab
ou
t th
e r
ea
son
fo
r th
e c
am
p
Chapter 11
Th
e n
arr
ative g
oe
s b
ack in
tim
e t
o B
erl
in,
with B
run
o’s
me
mo
ry o
f th
e
eve
nin
g w
he
n t
he
Fu
ry a
nd
th
e b
ea
utifu
l blo
nd
e c
am
e t
o d
inn
er.
F
ath
er
is e
xcite
d a
nd
nerv
ou
s a
t th
e v
isit,
ho
pin
g t
ha
t it w
ill m
ea
n
pro
mo
tio
n f
or
him
. H
e u
rge
s t
he
child
ren
to
be o
n t
heir
be
st
be
ha
vio
ur.
Whe
n t
he
gu
ests
arr
ive,
Bru
no
fin
ds t
he
wo
ma
n k
ind
and
b
ea
utifu
l, b
ut
the
ma
n a
rro
ga
nt
and
do
min
ee
rin
g.
At
the
end
of
the
e
ve
nin
g,
Bru
no
ove
rhe
ars
his
pa
ren
ts d
iscu
ssin
g t
heir
fa
the
r’s n
ew
jo
b,
wh
ich
Mo
the
r see
ms v
ery
un
ha
pp
y a
bo
ut, a
s it w
ill a
ffe
ct
her
ch
ildre
n.
Ag
ain
, B
run
o is u
ncle
ar
as to
wh
at
this
me
an
s.
•
Fa
the
r e
xp
lain
s th
e im
po
rta
nce
of
the
Fu
ry’s
vis
it (
pp
.11
9–
12
0)
•
Intr
od
uctio
n t
o th
e F
ury
an
d t
he
be
au
tifu
l b
lond
e (
p.1
21)
•
Th
e d
om
ine
erin
g a
rro
gan
ce
of
the
Fury
(p
p.1
21–
12
3):
‘W
ha
t a
ho
rrib
le m
an
, th
ou
gh
t B
run
o.’ (
p.1
24)
•
Pe
op
le a
nd
sta
tus
•
Fe
ar
•
Pre
jud
ice
•
Fa
mily
rela
tio
nship
s
•
Use
of
title
‘th
e F
ury
’ sh
ow
s B
run
o’s
ch
ildis
h u
nd
ers
tan
din
g
•
Dia
log
ue
esta
blis
he
s c
ha
racte
rs o
f th
e
Fu
ry a
nd
th
e b
ea
utifu
l blo
nd
e
•
Hu
mo
url
ess lau
gh
ter
sh
ow
s t
he
po
ten
tial
da
ng
er
of
the
Fu
ry’s
pe
rson
alit
y
•
Elli
psis
use
d in
dia
log
ue
be
twe
en
Fa
the
r a
nd
Mo
the
r e
mp
ha
siz
es B
run
o’s
in
co
mp
lete
kno
wle
dg
e o
f th
eir
situ
atio
n
•
Str
uctu
ral pa
tte
rnin
g in
the
fin
al lin
e to
Narrative flashback:
Th
e v
isit
of
the
Fu
ry a
nd
The
be
autifu
l b
lond
e
OX
FO
RD
RO
LL
ER
CO
AS
TE
RS
T
he B
oy in t
he S
trip
ed P
yja
mas
Navigator
8
Chapter
Plot outline
Key character references
Themes
Language
Structure
rem
ind
th
e r
ea
de
r w
he
re th
e s
tory
be
gan
Chapter
Plot outline
Key character references
Themes
Language
Structure
Chapter 12
Th
e n
arr
ative r
esu
me
s a
t th
e fir
st
me
eting
of B
run
o a
nd
Sh
mu
el, w
ho
tr
ies t
o a
nsw
er
Bru
no
’s q
ue
stio
n a
bo
ut th
e c
am
p.
He
exp
lain
s h
ow
he
a
nd
his
fa
mily w
ere
ha
ppily
liv
ing
in
Cra
co
w,
wh
en
life
ch
ang
ed
. F
irst,
th
ey w
ere
exp
ecte
d t
o w
ea
r sp
ecia
l sym
bo
ls o
n t
heir
clo
the
s t
o m
ark
th
em
ou
t fr
om
oth
ers
. T
he
n t
he
y w
ere
fo
rce
d to
lea
ve
th
eir
ho
me
an
d
live
in
a s
pe
cia
l g
he
tto
, a
wa
y f
rom
th
e o
the
r citiz
en
s. T
hen
th
ey w
ere
e
ve
ntu
ally
forc
ed
by s
old
iers
to c
om
e a
nd
liv
e a
t O
ut-
With
. B
run
o s
till
do
es n
ot
un
de
rsta
nd
the
re
aso
n f
or
the
ca
mp
, a
nd
in
vite
s S
hm
ue
l to
d
inne
r w
ith
his
fa
mily.
Sh
mu
el is
no
t sure
tha
t th
is w
ou
ld b
e a
go
od
id
ea.
Bru
no
su
gg
ests
th
ey m
ee
t a
ga
in in
th
e s
am
e p
lace
an
d d
ecid
es
to k
ee
p h
is n
ew
fri
end
a s
ecre
t.
•
Sh
mu
el e
xp
lain
s h
ow
he
go
t to
Ou
t-W
ith
(p
p.1
26–
13
0):
‘S
hm
ue
l lo
oke
d v
ery
sa
d
wh
en
he
to
ld t
his
sto
ry a
nd
Bru
no
did
n’t
kn
ow
wh
yM
’ (p
.13
0)
•
Th
e h
un
ge
r o
f S
hm
ue
l (p
.131
)
•
Bru
no
de
cid
es to
ke
ep h
is n
ew
fri
en
d a
se
cre
t (p
.13
3)
•
Clo
the
s a
nd
sta
tus
•
Pre
jud
ice
an
d
an
ti-s
em
itis
m
•
Fe
ar
•
Se
cre
ts
•
Qu
estio
nin
g
the
un
kn
ow
n
•
Dia
log
ue
use
d to
de
velo
p t
he
re
latio
nship
be
twe
en
Bru
no
and
Sh
mu
el
•
Sym
bo
ls (
Sta
r o
f D
avid
an
d S
wa
stika)
use
d a
s t
he c
hild
ren c
om
pa
re t
heir
b
ackg
rou
nd
s
Revelation:
Sh
mu
el te
lls o
f fo
rce
d r
em
ova
l to
Ou
t-W
ith
Deliberation:
Th
e b
oys d
ecid
e
to b
e f
rien
ds
Problem 5:
The
y c
an
no
t m
ee
t a
s n
orm
al fr
ien
ds
Resolution foiled:
Bru
no
su
gg
ests
th
at
Sh
mu
el co
me
s
to d
inn
er,
bu
t S
hm
ue
l re
fuse
s
Mini resolution:
Th
e b
oys
de
cid
e t
o m
ee
t a
gain
in
the
sa
me
pla
ce
Chapter 13
Bru
no
is s
till
pu
zzlin
g o
ve
r th
e c
am
p,
an
d a
sks M
ari
a h
ow
Pa
ve
l th
e
wa
ite
r co
uld
als
o h
ave
be
en
a d
octo
r. M
ari
a a
dm
its t
ha
t h
e w
as a
d
octo
r ‘in
an
oth
er
life
’, b
ut is
no
w a
wa
ite
r. S
he
te
lls B
run
o a
little
a
bo
ut
Pa
vel’s
ba
ckgro
und
, b
ut
this
is n
ot
dis
clo
se
d t
o t
he
re
ad
er.
B
run
o t
he
n a
sks S
hm
ue
l a
bo
ut
Pa
vel, b
ut
Shm
ue
l d
oe
sn
’t s
ee
m t
o
kn
ow
him
. W
he
n th
e b
oys b
rie
fly a
lso
dis
cu
ss K
otle
r, S
hm
ue
l se
em
s
ve
ry a
fraid
.
La
ter
the
sa
me
eve
nin
g,
Ko
tle
r jo
ins th
e f
am
ily f
or
din
ne
r. A
sh
ort
co
nve
rsa
tio
n a
bo
ut K
otle
r’s f
ath
er
reve
als
tha
t th
e y
ou
ng m
an
is
afr
aid
tha
t th
e C
om
ma
nd
an
t w
ill fin
d o
ut
that
his
fa
the
r did
no
t su
pp
ort
th
e F
ury
and
ha
s le
ft G
erm
an
y.
La
ter
in t
he
me
al, t
he
in
cre
asin
gly
we
ak P
ave
l spill
s w
ine
on
Ko
tler.
It
is im
plie
d t
ha
t K
otle
r’s r
ea
ctio
n t
o t
he a
ccid
en
t is
extr
em
ely
vio
len
t.
•
Bru
no
le
arn
s m
ore
ab
ou
t P
avel fr
om
M
ari
a (
pp
.13
5–
13
7)
•
Sh
mu
el tr
ies to
exp
lain
a little
of lif
e in
the
ca
mp
: ‘I d
on
’t t
hin
k y
ou
re
aliz
e ju
st
ho
w m
an
y p
eo
ple
liv
e o
n t
his
sid
e o
f th
e
fen
ce
M T
he
re a
re t
ho
usa
nd
s o
f u
s.’
(p.1
38)
•
Th
e b
oys d
iscu
ss B
run
o’s
fa
the
r (p
p.1
39–
14
0)
•
Sh
mu
el sh
ow
s h
is f
ea
r o
f K
otler
(p.1
41)
•
Pa
ve
l gro
ws in
cre
asin
gly
sic
k (
p.1
42
)
•
Ko
tle
r tr
ies t
o h
ide
the
tru
th a
bou
t his
fa
the
r (p
p.1
44
–1
48)
•
Ko
tle
r’s c
ruelty t
o P
avel (p
p.1
48
–14
9)
•
Qu
estio
nin
g
the
un
kn
ow
n
•
Pre
jud
ice
an
d
an
ti-s
em
itis
m
•
Fe
ar
•
Se
cre
ts
•
Vio
len
ce
•
Dia
log
ue
use
d to
de
velo
p t
he
re
latio
nship
be
twe
en
Bru
no
and
Ma
ria
•
Ga
p in
th
e n
arr
ative
used
to
cre
ate
m
yste
ry a
rou
nd M
ari
a’s
in
form
atio
n
ab
ou
t P
avel
•
Mu
ch
of
the
narr
ative
de
als
with
Bru
no
’s
tho
ug
hts
, a
nd
le
ave
s m
uch
sco
pe
fo
r in
fere
nce
an
d d
ed
uctio
n:
‘He
wo
nd
ere
dM
’, ’H
e n
otice
dM
’, ‘H
e
tho
ug
htM
’
•
Dia
log
ue
at
din
ne
r dri
ve
s t
he
de
ve
lop
me
nt
of
ten
sio
n a
nd
th
e th
em
e o
f fe
ar
•
Un
de
rsta
tem
en
t u
se
d f
or
Ko
tle
r’s
vio
len
ce
to
wa
rds P
avel
Problem 3 continues:
Bru
no
still
do
esn
’t u
nde
rsta
nd
th
e
rea
so
n fo
r th
e c
am
p
Problem 4 continues:
Sh
mu
el’s
fe
ar
of
Ko
tle
r an
d
Ko
tle
r’s c
ruel tr
ea
tme
nt
of
Pa
ve
l Revelation:
Ko
tle
r’s f
ath
er
is
no
t lo
yal to
th
e g
overn
me
nt
Climax:
Th
e v
iole
nt
sce
ne
w
ith
Ko
tler
an
d P
avel
Chapter 14
Bru
no
co
ntin
ue
s t
o s
ee
his
fri
en
d S
hm
ue
l, a
nd o
ne
da
y a
sks h
im w
hy
eve
ryo
ne
on
his
sid
e o
f th
e fe
nce
we
ars
th
e s
trip
ed
pyja
ma
s.
Sh
mu
el
exp
lain
s t
ha
t th
ey h
ave
no
ch
oic
e.
Bru
no
is s
ecre
tly je
alo
us o
f S
hm
ue
l’s p
yja
ma
s,
as t
he
y s
ee
m m
ore
co
mfo
rta
ble
tha
n h
is m
ore
fo
rma
l clo
the
s.
Bru
no
aw
ake
s t
o d
isco
ve
r th
at
floo
ds o
f ra
in d
uri
ng
th
e n
igh
t m
ea
n
tha
t h
e c
an
no
t vis
it h
is fri
en
d S
hm
ue
l. H
e th
en a
ccid
en
tally
re
ve
als
in
a
co
nve
rsatio
n w
ith
Gre
tel th
at
he
ha
s a
se
cre
t fr
ien
d.
He m
an
ag
es,
ho
we
ve
r, t
o c
on
vin
ce
he
r th
at
his
fri
en
d is im
ag
inary
. H
e w
orr
ies t
ha
t S
hm
ue
l w
ill th
ink h
e is n
o lo
ng
er
his
frie
nd
beca
use
he
ha
s n
ot
vis
ite
d h
im o
n t
ha
t d
ay.
He
re
me
mb
ers
th
at
Sh
mu
el to
ld h
im t
ha
t his
g
ran
dfa
the
r h
as d
isa
ppe
are
d in
sid
e t
he
ca
mp
.
•
Bru
no
an
d S
hm
ue
l dis
cu
ss th
e w
ea
rin
g
of
the
str
ipe
d p
yja
ma
s (
p.1
51
): ‘T
he
y
too
k a
wa
y o
ur
oth
er
clo
the
s.’ (
p.1
51
)
•
Bru
no
tells
his
sis
ter
of
his
‘im
ag
ina
ry’
frie
nd
(p
p.1
55–
15
8)
•
Fe
ar
•
Pre
jud
ice
•
An
ti-s
em
itis
m
•
Se
cre
ts
•
Qu
estio
nin
g
the
un
kn
ow
n
•
Dia
log
ue
use
d to
de
velo
p t
he
re
latio
nship
be
twe
en
Bru
no
and
Sh
mu
el
•
Infe
ren
ce
use
d to
su
gg
est
vio
len
ce
in t
he
ca
mp
•
Iro
ny u
sed
on
pp.1
51
–1
52
in
rela
tio
n to
B
run
o’s
je
alo
usy a
t S
hm
ue
l’s p
yja
ma
s
•
Str
uctu
ral pa
tte
rnin
g a
nd r
ep
etitio
n u
se
d
on
p.1
56
to
em
ph
asiz
e t
he
se
nse
of
fab
le
•
La
ng
ua
ge
of
horr
or
use
d o
n p
.15
8 f
or
the
dis
ap
pea
ran
ce
of
Sh
mu
el’s
g
ran
dfa
the
r
Problem 3 continues:
Bru
no
still
do
esn
’t u
nde
rsta
nd
th
e
rea
so
n fo
r th
e c
am
p
Crisis:
Sh
mu
el’s
gra
nd
fath
er
ha
s d
isa
pp
ea
red
Problem 5 continues:
Th
ey
ca
nn
ot
me
et
as n
orm
al fr
ien
ds
Complication:
The
rain
m
ake
s p
rob
lem
5 w
ors
e
Mini-climax:
Bru
no
tells
G
rete
l o
f h
is im
ag
inary
fri
en
d
Chapter 15
Th
e r
ain
co
ntin
ue
s t
o a
ffe
ct
Bru
no
’s a
bili
ty t
o v
isit S
hm
ue
l. O
ne
da
y
ho
we
ve
r, B
run
o is s
urp
rise
d to
wa
lk in
to th
e k
itch
en
to
fin
d S
hm
ue
l th
ere
po
lishin
g g
lasse
s. B
run
o n
otice
s t
ha
t S
hm
ue
l is
eve
n p
ale
r a
nd
th
inn
er
tha
n e
ver.
He
offe
rs h
im s
om
e c
hic
ke
n,
wh
ich
th
e b
oy
fea
rfully
ta
ke
s,
bu
t th
e c
hild
ren
are
ca
ug
ht
by K
otle
r, w
ho
qu
estio
ns
Bru
no
ab
out
his
kin
dn
ess t
o t
he o
ther
bo
y.
Bru
no
, in
fe
ar,
den
ies t
ha
t h
e e
ve
n k
no
ws S
hm
ue
l, w
ho
is t
old
by K
otler
tha
t h
e w
ill b
e p
unis
he
d
for
ste
alin
g.
Bru
no
spe
nd
s a
guilt
y f
ew
da
ys w
orr
yin
g a
bo
ut
the
in
cid
en
t.
Whe
n h
e s
ee
s S
hm
ue
l a
ga
in,
the
bo
y h
as a
bru
ise
d f
ace.
Bru
no
m
ake
s a
he
art
felt a
polo
gy,
wh
ich
Sh
mu
el kin
dly
accep
ts.
Fo
r th
e fir
st
tim
e,
the
bo
ys t
ou
ch
by h
old
ing
ha
nd
s t
hro
ug
h t
he
fe
nce
.
•
Ko
tle
r b
eco
me
s c
lose
r to
Mo
the
r (p
p.1
62–
16
3)
•
Bru
no
re
aliz
es h
ow
th
in h
is f
rie
nd h
as
be
co
me
(p
.16
7)
•
Bru
no
re
fle
cts
ag
ain
on
th
e n
on
se
nsic
al
situ
atio
n o
f th
e p
eople
in
th
e s
trip
ed
p
yja
ma
s (
p.1
68
)
•
Ko
tle
r ca
tch
es th
e b
oys talk
ing
an
d
qu
estio
ns t
he
m (
pp
.17
0–
17
3)
•
Bru
no
de
nie
s k
no
win
g S
hm
ue
l (p
.17
2)
•
Bru
no
fe
els
gu
ilty (
p.1
74
)
•
Bru
no
ap
olo
giz
es a
nd
th
e b
oys to
uch
h
an
ds (
p.1
75
)
•
Fri
en
dship
•
Fe
ar
•
An
ti-s
em
itis
m
•
Vio
len
ce
•
Fo
rgiv
ene
ss
•
Infe
ren
ce
use
d o
n p
p.1
61
and
16
7 to
co
mm
un
ica
te S
hm
ue
l’s f
aili
ng
he
alth
•
Infe
ren
ce
use
d o
n p
p.1
62
–1
66
to
co
mm
un
ica
te M
oth
er’
s r
ela
tio
nship
with
K
otle
r
•
De
scri
ptive
la
ng
ua
ge
use
d f
or
Sh
mu
el’s
h
an
d,
p.1
67
•
La
ng
ua
ge
of
fea
r u
sed
exte
nsiv
ely
, p
art
icula
rly w
he
n K
otle
r ca
tch
es t
he
bo
ys
(p.1
73)
•
Sim
ple
inn
oce
nce
in fin
al lin
e o
f ch
ap
ter
(p.1
75);
sh
ort
se
nte
nce
pla
ced
in
a
pa
rag
rap
h a
lon
e f
or
eff
ect
Problem 3 continues:
Bru
no
still
do
esn
’t u
nde
rsta
nd
th
e
rea
so
n fo
r th
e c
am
p
Problem 5 continues:
Th
ey
ca
nn
ot
me
et
as n
orm
al fr
ien
ds
Complication:
Sh
mu
el is
b
eco
min
g t
hin
ne
r a
nd
sic
ker
Problem 4 continues:
Ko
tle
r d
isco
vers
th
e b
oys t
alk
ing a
nd
in
ten
ds t
o p
unis
h S
hm
ue
l Problem 6 and mini climax:
Bru
no
de
nie
s th
at
Sh
mu
el is
h
is fri
en
d
Problem 6 resolved:
Sh
mu
el
forg
ive
s B
runo
OX
FO
RD
RO
LL
ER
CO
AS
TE
RS
T
he B
oy in t
he S
trip
ed P
yja
mas
Navigator
9
Chapter
Plot outline
Key character references
Themes
Language
Structure
Chapter 16
Bru
no
’s g
rand
mo
the
r d
ies,
an
d th
e f
am
ily r
etu
rn b
rie
fly to
Be
rlin
for
the
fu
nera
l. B
run
o n
otice
s th
at
the h
ou
se
do
esn
’t s
ee
m t
he
sa
me
, a
nd
is a
lmo
st
gla
d t
o r
etu
rn t
o O
ut-
With
, e
sp
ecia
lly a
s K
otler
ha
s
be
en
tra
nsfe
rre
d e
lse
wh
ere
. B
run
o a
nd
Sh
mu
el w
ish
th
at
the
y c
ould
p
lay p
rop
erl
y t
oge
the
r.
Bru
no
asks G
rete
l a
bou
t th
e r
ea
son
fo
r th
e f
en
ce
, a
nd
she
exp
lain
s
tha
t th
e J
ew
s m
ust
be
ke
pt
se
pa
rate
fro
m t
he
‘O
pp
osite
.’ W
he
n
Bru
no
asks w
hy,
sh
e s
ays t
ha
t th
e O
pp
osite
do
no
t lik
e t
he J
ew
s.
It is
dis
co
vere
d a
lso
th
at
the
child
ren
ha
ve
lic
e in
th
eir
hair
, a
nd
Bru
no
h
as t
o h
ave h
is h
ead
sh
ave
d. H
e a
nd
Sh
mu
el la
ter
agre
e t
ha
t th
is
ma
ke
s t
he
m lo
ok m
ore
alik
e.
•
Fa
the
r is
sa
d a
t n
ot
resolv
ing
the
qu
arr
el
with
Gra
nd
mo
the
r b
efo
re h
er
de
ath
(p
.17
7)
•
Bru
no
is s
till
cu
rio
us a
bo
ut th
e
un
exp
lain
ed
re
ason
fo
r th
e f
en
ce
(p
.17
9)
•
Gre
tel sh
ow
s inte
rest in
th
e p
rog
ress o
f th
e w
ar
(p.1
80)
•
Gre
tel e
xp
lain
s t
he
fen
ce
to
Bru
no
(p
p.1
81–
18
3):
‘“W
ell,
wh
y d
on
’t w
e lik
e
the
m?
” h
e a
ske
d.
“Be
ca
use
th
ey’re
Je
ws”
sa
id G
rete
l.’ (p
.18
3)
•
Bru
no
an
d S
hm
ue
l a
gre
e t
ha
t n
ow
B
run
o’s
he
ad
is s
ha
ve
d, th
ey lo
ok a
like
(p
.18
5)
•
Fa
mily
rela
tio
nship
s
•
An
ti-s
em
itis
m
•
Qu
estio
nin
g
the
un
kn
ow
n
•
Infe
ren
ce
use
d c
on
ce
rnin
g K
otle
r on
p
.17
8
•
La
ng
ua
ge
of
Gre
tel w
he
n s
he
is
exp
lain
ing
ab
ou
t th
e J
ew
s a
nd
th
e
Op
po
site
re
ve
als
her
mo
re e
mo
tio
nally
m
atu
re p
ers
pe
ctive
(p.1
81
)
Problem 2 resolved:
Bru
no
n
ow
pre
fers
th
e h
ou
se
at
Ou
t-W
ith
Problem 4 resolved:
Ko
tle
r is
tra
nsfe
rre
d e
lse
wh
ere
Problem 3 partially resolved:
Gre
tel e
xp
lain
s t
he
re
aso
n fo
r th
e c
am
p
Problem 5 continues:
Th
ey
ca
nn
ot
me
et
as n
orm
al fr
ien
ds
Mini climax:
Bru
no
ha
s h
is
he
ad
sh
aved
Chapter 17
Follo
win
g a
n a
rgu
me
nt
with
Mo
the
r, F
ath
er
spe
aks t
o t
he
child
ren
a
bo
ut
their
life
at O
ut-
With
. H
e s
ee
ms t
o c
on
sid
er
for
the
fir
st
tim
e
tha
t th
e p
lace
is h
avin
g a
ne
ga
tive
im
pa
ct
on
th
em
. W
he
n B
run
o
exp
resse
s a
n in
tere
st in
the
child
ren h
e h
as s
ee
n t
hro
ug
h h
is
be
dro
om
win
do
w,
Fa
the
r m
ake
s u
p h
is m
ind
th
at
the
y a
nd
th
eir
m
oth
er
mu
st
retu
rn t
o B
erlin
. B
run
o d
rea
ds telli
ng
Sh
mu
el.
•
Fa
the
r a
nd
Mo
ther
qu
arr
el o
ve
r th
e life
at
Ou
t-W
ith
(p
.18
7)
•
Fa
the
r q
ue
stion
s t
he
child
ren
ab
ou
t th
eir
lif
e a
t O
ut-
With
(p
p.1
89
–1
91
): ‘W
ha
t d
o
yo
u m
ea
n t
he
re a
re h
un
dre
ds o
f child
ren
o
ve
r th
ere
?M
Wh
at d
o y
ou k
no
w o
f w
ha
t g
oe
s o
n o
ve
r th
ere
?’ (p
.19
1)
•
Bru
no
dre
ad
s t
elli
ng
Sh
mu
el th
at
he
is
lea
vin
g (
p.1
92
)
•
Fri
en
dship
•
Fa
mily
rela
tio
nship
s
•
Fe
ar
•
Dia
log
ue
be
twe
en
Fath
er,
Bru
no
an
d
Gre
tel u
sed
to
dri
ve
th
e n
arr
ative
wh
ich
b
rin
gs F
ath
er
to h
is d
ecis
ion
ab
ou
t th
e
retu
rn to
Be
rlin
Revelation:
Mo
the
r, B
run
o
an
d G
rete
l a
re to
retu
rn to
B
erl
in
Problem 7:
Bru
no
dre
ad
s
telli
ng
Sh
mu
el
Chapter 18
Sh
mu
el d
oe
s n
ot
me
et
his
fri
en
d f
or
so
me
da
ys,
an
d w
he
n h
e d
oe
s
eve
ntu
ally
co
me
, h
e is v
ery
wo
rrie
d a
nd
up
set b
eca
use
Pa
pa
ha
s
dis
app
ea
red
. B
runo
tells
Sh
mu
el th
at
he is s
oo
n r
etu
rnin
g to
Be
rlin
a
nd
th
ey d
ecid
e t
ha
t th
ey m
ust
pla
y to
ge
the
r o
nce
be
fore
he
go
es.
Th
ey a
gre
e t
ha
t th
ey w
ill h
ave
an
ad
ve
ntu
re, w
ith
Bru
no
sq
uee
zin
g
un
de
r th
e g
ap
in
th
e fe
nce
and
sp
en
din
g t
he
da
y w
ith
Sh
mu
el,
he
lpin
g h
im t
o f
ind
Pa
pa.
Sh
mu
el a
gre
es to
bri
ng
a p
air
of
the
p
yja
ma
s f
or
Bru
no
to
we
ar
on
th
eir
‘fin
al a
dven
ture
’.
•
Sh
mu
el is
te
rrifie
d b
ecau
se
Pa
pa
ha
s
dis
app
ea
red
(pp
.19
4–1
95
)
•
Sh
mu
el fin
ds it
ha
rd t
o b
elie
ve
th
at
Bru
no
is t
he
son
of
the
Co
mm
an
da
nt
(p.1
96)
•
Th
e b
oys a
gre
e o
n t
heir
‘fin
al ad
ve
ntu
re’
(pp
.19
7–
19
9):
‘A
ll in
all,
it
se
em
ed
lik
e a
ve
ry s
en
sib
le p
lan
an
d a
go
od
wa
y t
o
sa
y g
oo
db
ye.’ (
p.1
99
)
•
Fri
en
dship
•
Fe
ar
•
An
ti-s
em
itis
m
•
Exp
lora
tio
n
•
Str
uctu
ral pa
tte
rnin
g o
n p
.19
3 a
gain
e
mp
ha
siz
es t
he
sto
ry a
s f
able
•
Pa
tho
s u
se
d in
rela
tio
n to
Pa
pa
’s
dis
app
ea
ran
ce
: ‘I d
on
’t k
no
w w
ha
t w
e’r
e
su
pp
ose
d to
do
with
ou
t him
.’ (
p.1
95
)
•
Str
uctu
ral pa
tte
rnin
g (
p.1
97
) u
se
d a
gain
to
re
min
d r
ead
er
of
the
Bru
no
-siz
ed h
ole
in
the
fe
nce
•
Se
nse
of
fore
bo
din
g a
nd
in
evita
ble
tr
ag
ed
y c
rea
ted
with
re
fere
nce
to
the
‘fin
al ad
ve
ntu
re.’ (
p.1
98)
Revelation, mini climax and
problem 8:
Pap
a h
as
dis
app
ea
red
Resolution to problem 7:
Bru
no
tells
Sh
mu
el
Possible resolution to
problem 5:
Th
e b
oys d
ecid
e
to h
ave
an a
dve
ntu
re to
ge
ther
Chapter 19
Bru
no
alm
ost
do
esn
’t g
o t
o m
ee
t S
hm
ue
l b
eca
use
of
hea
vy r
ain
. O
n
arr
ivin
g h
e p
uts
on
th
e p
yja
ma
s a
nd
sq
ue
eze
s u
nd
er
the
fe
nce
. O
n
se
ein
g B
run
o in
th
e p
yja
ma
s,
Sh
mu
el re
fle
cts
th
at
eve
ryo
ne
is t
he
sa
me
re
ally. T
he
bo
ys s
pen
d a
fe
w h
ou
rs lo
okin
g fo
r P
ap
a a
nd
Bru
no
re
aliz
es t
ha
t his
id
ea
of
the
ca
mp
wa
s c
om
ple
tely
wro
ng
. T
he
re a
re
no
co
sy h
uts
with f
am
ilie
s s
pe
ndin
g tim
e t
og
eth
er,
ju
st
mis
ery
an
d
bo
red
om
.
On
faili
ng
to
fin
d P
ap
a,
Bru
no
de
cid
es t
o g
o h
om
e.
At
this
po
int
ho
we
ve
r, t
he
bo
ys a
re g
rou
ped
to
geth
er
with o
the
rs a
nd
fo
rce
d in
to
wh
at
Sh
mu
el ca
lls a
‘m
arc
h.’ T
he
y q
uic
kly
fin
d t
he
mse
lve
s in a
wa
rm
roo
m.
Th
e b
oys s
ee
m t
o s
en
se
th
e d
an
ger
how
eve
r, a
nd
hu
ddle
to
ge
ther
hold
ing
ha
nd
s. W
he
n t
he d
oo
r is
sla
mm
ed
lo
udly
, th
ey
co
ntin
ue
to
clin
g t
o e
ach
oth
er
as th
e r
oo
m g
oe
s in
to d
ark
ne
ss.
•
Bru
no
pu
ts o
n t
he
str
ipe
d p
yja
ma
s
(pp
.20
3–
20
4)
•
Th
e b
oys c
on
sid
er
the
effe
ct
of
Bru
no
’s
ch
an
ge
of
clo
the
s (
pp
.204
–2
05):
‘It
wa
s
alm
ost
(Sh
mu
el th
oug
ht)
as if
the
y w
ere
a
ll e
xa
ctly t
he
sa
me
re
ally.’ (
p.2
04
)
•
Bru
no
re
acts
to
his
fir
st
sig
ht
of
the
in
sid
e o
f th
e c
am
p (
p.2
07
)
•
Bru
no
se
es t
he
cru
elty o
f th
e s
old
iers
(p
.20
8)
•
Bru
no
fails
to
un
de
rsta
nd
wh
at is
h
ap
pe
nin
g o
n t
he ‘m
arc
h’ (p
.21
0)
•
Th
e b
oys’ fr
ien
dship
is s
eale
d w
ith t
he
h
old
ing
of
ha
nd
s a
s th
e d
ark
ne
ss c
lose
s
aro
un
d th
em
(p
.21
2–
21
3)
•
Fri
en
dship
•
Clo
the
s a
nd
sta
tus
•
Exp
lora
tio
n
•
An
ti-s
em
itis
m
•
Vio
len
ce
•
De
ath
•
Use
of
me
tap
ho
r (p
.200
) to
sh
ow
th
e
ine
vitable
ou
tco
me
of
the
da
y:
‘th
e c
lock
wa
s t
ickin
g’
•
Use
of
me
tap
ho
r (p
.201
) to
sh
ow
th
e
terr
ible
da
ng
er
Bru
no
is in:
‘With
eve
ry
ste
p h
e s
ee
me
d t
o f
ace
th
e d
ang
er
of
top
plin
g o
ver
an
d falli
ng
do
wn
M’
•
Se
nse
of in
evita
ble
tra
ge
dy c
rea
ted
w
he
n B
run
o a
lmo
st
do
esn
’t g
o o
n t
he
ad
ve
ntu
re (
p.2
02
)
•
Use
of
italic
s t
o f
urt
her
rein
forc
e th
e
the
me
of
clo
the
s a
s a
sym
bo
l o
f sta
tus
(p.2
05)
•
Co
mp
ari
so
n b
etw
ee
n B
run
o’s
im
ag
ine
d
pic
ture
of th
e c
am
p (
p.2
07
) a
nd
th
e
realit
y (
p.2
08
)
•
Use
of
pa
thetic f
alla
cy t
o r
ein
forc
e t
he
in
evitable
do
om
(p
.21
1):
‘M
the
sky
se
em
ed
to
gro
w e
ve
n d
ark
erM
’
•
Pa
tho
s u
se
d w
ith
ha
nd
-hold
ing
on
pp
. 2
12
–2
13
Deliberation:
Bru
no
alm
ost
do
esn
’t g
o o
n t
he
ad
ve
ntu
re
Mini climax:
Bru
no
we
ars
th
e
str
ipe
d p
yja
ma
s
Resolution to problem 5:
Th
e b
oys fin
ally
me
et
pro
pe
rly
on
th
e s
am
e s
ide
of
the
fe
nce
Partial resolution to problem
3:
Bru
no
se
es t
he
in
sid
e o
f th
e
ca
mp
alth
ou
gh
he s
till
do
esn
’t
un
de
rsta
nd
th
e r
ea
son
fo
r its
exis
ten
ce
Resolution to problem 8
foiled:
Pa
pa
ca
nn
ot b
e f
oun
d
Climax:
Th
e b
oys a
re d
riven
in
to th
e g
as c
ha
mb
er
with
th
e
oth
er
Je
ws a
nd
exte
rmin
ate
d
Problem 3 remains
unresolved:
Bru
no
ne
ve
r
un
de
rsto
od
th
e r
ea
son
fo
r th
e
ca
mp
OX
FO
RD
RO
LL
ER
CO
AS
TE
RS
T
he B
oy in t
he S
trip
ed P
yja
mas
Navigator
10
Chapter
Plot outline
Key character references
Themes
Language
Structure
Chapter 20
No
thin
g m
ore
is h
ea
rd o
f B
run
o.
He c
an
be
fou
nd
no
wh
ere
. In
d
istr
ess,
Mo
the
r re
turn
s t
o B
erlin
in
ho
pe
of
find
ing h
im t
he
re.
Gre
tel
retu
rns w
ith
he
r m
oth
er,
he
art
bro
ke
n a
t th
e d
isa
pp
ea
ran
ce
of h
er
bro
ther.
Fath
er
sta
ys a
t th
e c
am
p f
or
an
oth
er
ye
ar,
and
eve
ntu
ally
follo
ws h
is s
on
’s jo
urn
ey a
long
th
e fe
nce
, an
d s
ee
ing
th
e g
ap
the
re,
wo
rks o
ut
wh
at
mu
st
ha
ve
ha
pp
en
ed
to
his
son
. A
fe
w m
on
ths la
ter,
F
ath
er,
he
art
bro
ke
n a
nd
un
cari
ng
ab
ou
t his
jo
b,
is r
em
ove
d f
rom
th
e
lea
de
rship
of
the
ca
mp
.
•
Mo
the
r’s r
ea
ctio
n t
o B
runo
’s
dis
app
ea
ran
ce
(p
.21
4)
•
Gre
tel’s
rea
ctio
n (
p.2
15)
•
Fa
the
r’s r
ea
ction
as h
e r
ealiz
es th
e t
ruth
(p
.21
5–2
16
)
•
Fe
ar
•
Gu
ilt
•
De
ath
•
In t
he
ab
se
nce
of
Bru
no
, th
e n
arr
ative
fu
rth
er
mo
ve
s a
wa
y f
rom
th
e c
ha
racte
rs,
vie
win
g th
em
mo
re o
bje
ctive
ly
•
Str
uctu
ral pa
tte
rnin
g u
se
d w
he
n F
ath
er
fin
ds th
e b
oy-s
ize
d h
ole
in
th
e f
en
ce
; th
is
acts
as a
n e
ch
o o
f B
run
o’s
life
and
fa
te
•
Iro
ny u
sed
wh
en
Fa
ther
sits d
ow
n in
th
e
sa
me
pla
ce
as B
run
o s
at
•
Sh
ort
se
nte
nce
use
d fo
r im
pa
ct
as t
he
fin
al se
nte
nce h
am
me
rs o
ut
the
mo
ral
me
ssa
ge
Revelation:
Mo
the
r’s a
nd
G
rete
l’s r
ea
ctio
ns
Revelation:
Fa
the
r’s r
ea
ctio
n
Problem 3 continues:
Bru
no
’s la
ck o
f un
de
rsta
ndin
g
imp
acts
em
otio
nally
upo
n t
he
re
ad
er
an
d th
e c
hara
cte
rs.
Th
e
en
din
g s
ugg
ests
th
at
Bru
no
w
as r
igh
t: t
he
exis
ten
ce o
f th
e
ca
mp
do
es n
ot
ma
ke
se
nse
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 1
11
LESSON 1
Lesson objectives Yr 7: R1, R2, R8 Yr 8: R5, R7
AF2, AF3 AF2, AF3
Focus: Gathering evidence and making predictions
Learning outcomes
Students will be able to:
1 Retrieve specific information from the text to answer questions and make predictions
2 Use discussion skills to form a view about characters and the likely direction of the story
Starter (15 minutes) Explain to students that the cover of a book is not only crucial in helping us to decide
whether we want to read it. It can also say much about the story and themes. Publishers
spend a lot of time deciding which colour, design, illustration or photograph will give the
right impression.
Show the three different book covers in Writer’s Craft 1.1. Invite comments from students
on the impression given by each. You could draw out the fact that the covers invite the
curious reader to ask the following questions.
Cover 1 (folded pyjamas)
• To whom do the pyjamas belong?
• The dirty smudges on the pyjamas: why are they there?
• Who would neatly fold a pair of dirty pyjamas?
• What is the importance of the number on the pyjamas?
• What does the barbed wire in the background suggest?
Cover 2 (striped pyjama pattern for book cover)
• Do we associate the stripes with the word pyjamas in the title?
• Are the stripes on the cover anything to do with the ‘boy’ in the title?
• Are they his pyjamas?
• The colour seems old-fashioned: is this because the story is from the past?
• The stripes seem a little faded: what does this mean?
• Why do the stripes seem a little dirty?
Cover 3 (two boys standing side by side)
• Who are these children?
• Which boy does the title refer to?
• We cannot see their facial expressions. Are they happy or sad?
• Where are they?
• Why do they have numbers pinned to their ‘pyjamas’?
• Is one boy older than the other? Are they brothers or friends?
• Is this a posed photograph?
Draw out students’ speculation about concentration camps. If this does not occur readily,
leave the information until later.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 1
12
Look at the blurb on the book’s cover, and as a class speculate on the impact of the phrase:
‘This isn’t a book for nine-year-olds’. How does this further draw in the potential reader?
Some points to draw out:
• it would certainly attract older readers
• it hints that the theme of the book is quite adult
• it suggests that the book might be unsuitable for children.
To complete the discussion, as a class read the alternative blurbs provided in Writer’s
Craft 1.2, and discuss John Boyne’s comments about them – drawing particular attention
to his use of the word ‘horror’.
Introduction (20 minutes) As a class, read Chapters 1 and 2.
Development (15 minutes) Lead a whole-class response to the reading, focusing on our initial impression of Bruno and
his situation, using the following prompts:
• When and where is the book set?
• How old is Bruno?
• Where does he live and with whom?
• What impression do we get of his character?
Explain that asking questions such as these is an important active reading strategy and
that they will be practising a number of these strategies as they read the book. Using
Worksheet 1a, ask students to complete a paired activity based on the opening of the book:
‘Building a case’.
To support less able students, you may want to help them to find the first big clue with the
use of the word ‘commandants’ on page 19.
Answers to the questions could include:
Why have Bruno’s family suddenly moved house?
• To live where Father’s new job is located (pages 5, 7 and 10).
• More able students might find the reference to danger in Berlin on page 8 and link this
with air raids.
Who are the Fury and the beautiful blonde woman?
• Speculation based on page 3: He is someone angry and powerful, because of the
name. The woman might be his wife or girlfriend. The inference is that Bruno likes her
because she behaves in a friendly way by waving at him and she is beautiful.
What does Father’s new job appear to be?
• References to soldiers suggest that he is in the army. The main clue is the use of the
word ‘commandants’ on page 19 and the reference to the young soldier on page 18.
There are hints that he has an important role, such as, ‘MOne of your father’s soldiers,
I suppose,’ on page 18.
Plenary (5 minutes) Ask pairs to ‘make their case’ to other pairs. Write on the board the sentence stem, So far,
we have built the case that Bruno and his family suddenly moved house because0 Explain
that through the activity they have also been making predictions, which is another
important active reading strategy.
Homework (5 minutes) Ask students to read Chapters 3 and 4, and think of two questions which they would now like
to ask about the characters and the story.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 2
13
LESSON 2
Lesson objectives Yr 7: R9, R16 Yr 8: R5, R7
AF3, AF5, AF6 AF3, AF5, AF6
Focus: Considering the writer’s purpose and a closer reading of language
Learning outcomes
Students will be able to:
1 Understand the use of the term ‘writer’s purpose’
2 Distinguish between a writer’s viewpoint and that of the characters
3 Use clues from the text to develop a picture of the setting of the book
Starter (10 minutes) Check that students have read the homework chapters by asking for plot synopses before
moving on. Check and clarify any misunderstandings. Allow students also to share a
selection of the questions they thought of. Invite the class to answer any that can be
addressed immediately, and explain that the answers to the others may emerge as they
read on.
Use OHT 2a to lead students into a discussion activity around the question: What is the
writer trying to achieve? Reveal each example in turn, drawing out that writers put particular
words into a character’s mouth to show both their own viewpoint and the viewpoint of the
character, which can be different. In taking responses, model for students how to think and
talk about a writer’s purpose, e.g. John Boyne does this because he wants to make the
reader see Bruno in a certain way.
Introduction (20 minutes) Tell students that they are going to use another important active reading strategy: reading
between the lines or making inferences. Explain that this involves investigating the things
a writer hints at, without saying them in an outright way.
Using OHT 2b, do a shared read of page 36. This is the first description of the camp.
(OHT 2c shows the same passage annotated.) The focus should be on identifying which
words and phrases hint at danger and how they do this. Note also the following features:
• the effect of the layered subordinate clauses: these build layers of detail and create
a sense of ‘snapshot’ images of the camp, almost like photographs cutting from one
to another
• the impact of the final sentence and how it hints at danger, e.g. the phrase ‘they could
no longer be seen’ hints at danger by inviting the reader to imagine what happened
next.
Ask students to complete a paired read of page 37, following the instructions at the top of
Worksheet 2d. To support less able students, you could ask them to find the action words
or verbs in the passage first and to suggest what impression these words give. For example:
• Huddled suggests the children squeezing closely together to avoid hurt or danger
• Shouted suggests noise; the dominance of the soldiers and that they are in control
• Lunged suggests a sudden movement towards the children, threatening danger or
violence
• Laugh suggests that the soldiers are enjoying themselves, finding the fear of the
children amusing
• Applaud suggests that the soldiers are making fun of the children’s fear and also
enjoying it.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 2
14
Development (20 minutes) Ask students, in groups of four, to produce a ‘bird’s eye’ map of the house and camp.
Encourage then to use the information from the first few chapters to build up a picture of how
the camp would look. Allow only 10 minutes for this, making the point that the quality of the
drawing is not as important as sketching out their ideas of what the camp looks like and
where things are located. Allow a further 10 minutes for groups to display their work to the
rest of the class, pointing out the features of the camp as suggested in the book. Pick up any
details which are not included in the book, such as car parks or shops. Tell students that
they will later have an opportunity to compare their idea of the camp with a picture of what it
really looked like.
Plenary (5 minutes) The first reference to ‘striped pyjamas’ comes at the end of Chapter 4. Write the word
‘pyjamas’ in a circle in the centre of the board and carry out a word association exercise: ask
for words or phrases that occur to students when they hear the word ‘pyjamas’. If you are
familiar with ‘de Bono hats’, you could use these to draw out all sides of the associations we
have with pyjamas. Some associations would be:
• childhood
• innocence
• bedtime
• comfort
• warmth
• stories.
Ask students whether we have any negative associations with pyjamas, such as:
• not wanting to wear them as they are not comfortable to sleep in
• being made to go to bed early as a child
• having nightmares as a child
• being afraid of the dark.
Homework (5 minutes) Ask students to record words and phrases that create a sense of danger and foreboding in
these chapters (pages 28, 29, 31, 32).
Higher-achieving students could find examples of the use of irony in these two chapters
(remind them of the meaning of ‘irony’ if necessary). They could choose, for example,
Gretel’s comment that this is ‘the countryside’, or point out the fact of the neat garden full of
flowers outside Bruno’s window.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 3
15
LESSON 3
Lesson objectives Yr 7: R1, R4 Yr 8: R2, R3
AF2 AF2
Focus: Researching the background to Auschwitz and the Holocaust
Learning outcome
Students will be able to:
1 Select and retrieve information from a range of sources about the Holocaust
2 Select and retrieve information from a range of sources about Auschwitz and the fate of
the Jewish population at Cracow
Starter (10 minutes) Ask students to read a selection of their ‘danger’ words from the homework task. Allow them
to suggest what atmosphere these words have created in the story. Also ask students who
completed the extension activity to share the examples of irony they found. Ensure that they
explain to the class why the example they found was ironic.
As a class, read page 4 in the Reading Guide: ‘The Final Solution’. Give students an
opportunity to discuss in pairs their thoughts and feelings about the information.
Introduction (20 minutes) Refer to page 5 of the Reading Guide. Read as a class the first research task box about ‘the
final solution’ and Auschwitz. Allow students to carry out library research, making a note of
the information they find in answer to the questions. Emphasize to students that they will
need to make their responses to the questions in their own words: print-outs will not do! The
suggested websites in ‘Top search tips’ contain answers to all of the questions.
For lower ability pupils, you may wish to use the following Guided Group Research Plan
and work with a small group to model the research process, enabling them to practise their
information retrieval, skimming, scanning and note-making skills.
Guided Group Research Plan
Task: Completing a research task using the Internet
Introduction to task:
Researching together:
Reading together:
Objective
To practise information retrieval skills and find an answer to
the question What was ‘the final solution?
Reading and writing strategy
• Skimming and scanning to find key words
• Using note-making skills to write down key information.
Using a website such as Wikipedia, model for pupils how to
enter the key words ‘final solution’ and click on the search
button. When the search shows the initial result, show pupils
how to skim the information to find the key words again in the
most useful contexts. Explain the use of hyperlinks the jump to
another place.
When the results page appears, remind pupils of the difference
between skimming and scanning:
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 3
16
Writing together:
Plenary – re-visit
objectives and the
strategies used
Skimming means reading only key words quickly, to get an
overview of a text. Model for pupils how to run down the centre
of the text to pick up its main points, pointing out the key ‘gist’
words.
Scanning means looking quickly over each word of a text
looking for a specific word or phrase, e.g. final solution.
Explain to pupils that on paper, it is easier to use a highlighter
pen or pencil when doing this (though not on library books!).
Show pupils how to scan for the key phrase and then once
located, to read the sentences around it, as these should
explain it and give further detail. Pick out about three sentences
as being the most useful in answering the question. You will
also need to explain terms such as ‘genocide’ and remind
pupils to use a dictionary when researching alone.
Model for pupils how to write a sentence in answer to the
research question using the information you have found, such
as: The final solution refers to the Nazis’ mass killing of Jews.
In pairs, ask pupils to use the information to draft a second
sentence which adds to the answer. Allow pairs to share their
sentences, pointing out where they have used their own words.
Ask two pupils to explain the difference between skimming and
scanning to the rest of the group. Ask the others to think of
some rules to remember when carrying out Internet research,
such as:
• Key words may trigger information you do not need, so
you may need to skim to look for other words related to
your search, e.g. Nazis.
• Coloured and underlined words on the screen are usually
hyperlinked to another website.
• There’s no need to read all the text on the screen – use
skimming and scanning skills.
Evaluation: Complete in the next session.
Development (15 minutes) Ask students to continue their library research with the second research task box on page 5
of the Reading Guide, about the Jewish people who lived at Cracow. You may like to point
out the two spellings of Cracow (which is how John Boyne spells it) or Krakow, to support
students in their research.
Note: If you feel that time may be a constraint, or access to the Internet or to books is
limited, split the class into two and ask half to work on the first research task and the other
half on the second.
Plenary (10 minutes) Remind students of the questions in the research task boxes and allow them to present their
findings. Ask the class the judge whether they have successfully researched the answers to
the questions, or whether they will need to continue to look for information.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 3
17
Homework (5 minutes) Ask students to remind themselves of the sketch they completed in groups in Lesson 2 , and
to complete the activity at the bottom of page 5 of the Reading Guide for homework. They
should write a short paragraph comparing their sketch of Out-With to the aerial photograph
of Auschwitz.
Students who so wish may use the sentence stem: In our sketch, we placed the huts/fence
near the0 but in the actual picture, the huts fence were0
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 4
18
LESSON 4
Lesson objectives Yr 7: R9, R16 Yr 8: R7
AF6 AF6
Focus: Narrative voice
Learning outcomes
Students will be able to:
1 Interpret a range of textual evidence and the views of other readers in order to form a
viewpoint about the effect of the ‘voice’ of Bruno in the story
2 Distinguish between the narrative voice of the story and that of the characters
Starter (10 minutes) Allow students to share responses to the homework. Draw out any common misconceptions
in their view of Out-With compared to the aerial photograph of Auschwitz-Birkenau, such as
the fact that the scale of their drawings probably didn’t reflect the size of the actual camp;
there is a larger number of huts; they didn’t account for the existence of crematoria.
Refer to ‘Through the eyes of a child’ on page 6 of the Reading Guide. Ask students to look
at the reader’s view expressed there. Display OHT 4a, giving two additional readers’ views,
to stimulate discussion. Allow students to discuss the views in groups of four for 3 minutes.
Take feedback in the form of brief thoughts and ideas. Encourage students to give evidence
for their ideas, stressing that opinions are of little value without evidence.
Introduction (20 minutes) Ask students to read John Boyne’s comment on the narrative viewpoint on page 6 of the
Reading Guide. Widen the discussion to the whole class and elicit the following information:
• many of the German people did not know of the events in the concentration camps
during the Second World War
• it is unlikely that Bruno would have understood things of which even adults did not
know.
Ask students whether John Boyne is justified in his views.
Ask them to complete the activity ‘And what do you say?’, which follows John Boyne’s
comments.
To further the discussion, you could also show students the author’s note which appears in
the American edition of the book, provided in Writer’s Craft 4.1.
Development (15 minutes) As a class, read page of 7 of the Reading Guide. Draw out the following through discussion.
• David seems quite a secretive character if he doesn’t feel he can approach the other
children.
• He is obviously curious about the children, as he decides to watch them.
• Does David’s decision to watch suggest that he wants to learn about them?
• David assumes that the children are dangerous to him, because they are unknown
to him.
• What does David’s assumption suggest about his past experiences?
• What does David’s lack of knowledge of play imply about his background?
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Ask students to complete the discussion activity by drawing the thought bubbles.
Plenary (10 minutes) Allow students to share the ideas in their thought bubbles. Draw out the obvious similarities
between David and Bruno:
• both come to conclusions about the world around them which are inaccurate
• both experience some confusion about the world and this makes them afraid.
Remind pupils that they began the lesson by thinking about the ‘voice’ of the story, and how
it uses the viewpoint of Bruno to explain the events. In pairs, ask pupils to decide upon a
spoken answer to the following question:
Considering all of the evidence from the lesson, why do you think that John Boyne chooses
to use the viewpoint of a nine-year-old-boy to tell his story?
Ask pairs to share their answer to this question.
Homework (5 minutes) Ask students to read the ‘Fact File’ at the bottom of page 7 of the Reading Guide. They
should note down any questions they might have from reading the information. Ask students
to also read Chapter 5 and note down any words or phrases that refer to Bruno’s feelings
about the house move, such as ‘He felt sad’ (page 44); ‘He could feel tears welling upM’
(page 48).
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LESSON 5
Lesson objectives Yr 7: R6, R12, R14 Yr 8: R5, R7, R10
AF4, AF5 AF4, AF5
Focus: Investigating the writer’s use of language and using drama to explore character
Learning outcomes
Students will be able to:
1 Discuss the effect of repetition and structural patterning on the reader and on the story
2 Identify aspects of Bruno’s father’s character through imaginative and dramatic exploration
Starter (15 minutes) Deal firstly with any questions that arose from the reading homework. Allow students to
share a selection of their ‘feelings’ words and phrases, explaining that the writer uses these
to create empathy for his character.
Write on the board:
Structural patterning – when a writer repeats phrases or sentences frequently enough for the
reader to recognize them and hear their echo in the story.
Fable – a fictional story conveying a moral.
Before the lesson, cut out the sentence cards from Worksheet 5a.
Explain to students that they are going to do a sentence-level starter game to investigate
why the writer uses structural patterning and how it contributes to the idea of the story as a
fable. Ask students to think of any fables they know – for example, they may know the story
of the boy who cried ‘wolf’. Explain that one of the features of fables is that they often repeat
a phrase or sentence to underline the moral meaning of the story. When these phrases are
close enough to one another to echo, this is known as structural patterning.
Give out the cards to pairs of students (differentiate according to ability) and ask them to
discuss:
• why the writer uses structural patterning
• what the effect of the repetition is on the reader
• what the effect of the repetition is on the story.
Encourage students to tap out the rhythm and pay attention to the punctuation, to enable
them to see the poetic features of this type of writing.
You may wish to further pursue the idea of the story as a fable. John Boyne gave a useful
interview to Teenreads.com, where he explained his use of the fable genre in the book; see
Writer’s Craft 5.1.
If students readily understand the concept, you may add the point that the use of repetition
like this in fables also reminds us of ballads, which are another genre where a story with a
moral is told, this time in the form of a poem or song. These often use choruses to repeat the
main message. Point out that this is usually the case with songs written as ballads, such as
Robbie Williams’s Angels.
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Introduction (15 minutes) As a class read Chapter 6. Speculate on the clue in the narrative: ‘Wonder what heM how
he can...’ (page 62). Try to elicit from students what is being referred to by Maria here. Ask
the question: How he can what? Some students will be able to speculate that she is referring
to Father’s involvement in the incarceration and death of the Jews.
Development (15 minutes) Before the lesson, cut out the drama cards from Worksheet 5b and use them to introduce a
drama activity focused on the relationship between Bruno and his father. Using drama to
explore texts is another crucial active reading strategy. Pairs should develop an
improvisation showing a scene with Father and Bruno in his office at Out-With.
Explain that students are to develop the conversation further between Bruno and his father
based on these extracts from the text. Set a time limit for the conversation of 3 minutes, in
order to keep the activity focused on the extract. Students may then rehearse their
improvisation a few more times, in preparation for presenting it to another pair.
Plenary (10 minutes) Ask pairs to present their improvisations to other pairs. Each pair is to pinpoint one new thing
they learned about Bruno’s relationship with his father from doing the drama activity.
Homework (5 minutes) Ask students to use Worksheet 5c to storyboard Father’s conversation with Maria on the
day he asked her to come and work as the family’s maid. They should show, through their
choice of shots, the other side of Father’s character as presented by Maria, such as a close-
up of the kindness in Father’s eyes as he remembers her mother.
For less able students, you will need to make a judgement about whether they can complete
the worksheet, which includes some quite demanding thinking about the use of dialogue,
lighting, sound and shot-type. For students who would struggle with this, you may like to
customize the worksheet by, for example, removing the references to sound and lighting.
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LESSON 6
Lesson objectives Yr 7: R1, R2, R8 Yr 8: R5, R7
AF3, AF5 AF3, AF5
Focus: Clothes and status in the novel
Learning outcomes
Students will be able to:
1 Explain how the writer uses clothes to indicate the status of characters, and the way that
they often treat others according to their outward appearance
2 Explain how a character’s outward appearance and behaviour are not always an indication
of the real person
Starter (20 minutes) Take 5 minutes to share a selection of students’ storyboard ideas from the homework. You
might manage this by allowing students to choose their favourite shot and explain why they
felt this was an effective way of presenting the characters and their relationship.
As a class, read Chapters 7 and 8.
Introduction (5 minutes) Use OHT 6a to introduce the theme of clothes in the novel. Give pairs a minute to consider
an answer to the question: How does the writer suggest through his words here that Bruno’s
father is just ‘playing’ at being a Commandant?
Elicit the following responses from students:
• use of the word ‘applauded’
• use of the word ‘performances’
• use of the words ‘dressing up’.
Draw out that all of these are words we associate with theatrical performances. Elicit also
that this suggests that Father in his uniform is an actor, rather than the real person
underneath to whom Grandmother is talking.
Point out also the use of the phrase ‘like a puppet on a string’. Give pairs 1 minute to
discuss: What does this suggest about Bruno’s father? Elicit the response that puppets are
controlled by others and have to do their bidding.
Development (15 minutes) Explain to students that they will now do some group work built around the idea that the
clothes a person wears can change the way he or she behaves and the way that others see
him or her. We can call this theme ‘Clothes as a symbol of status’. Clarify the meaning of
‘status’, where necessary. Students will explore this through a jigsaw activity in five groups
working on different characters.
Number students 1–5. Organize students into areas of the room according to number and
then give out the character sheets 1–5 from Worksheet 6b. Ask each group (all working on
the same number) to complete Worksheet 6c using the sheets. Allow 15 minutes for the
discussion and note-taking.
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Ensure that less able students are able to write notes into the last section (What does the
writer suggest about the person or people underneath the appearance? How does he do
this?) by benefiting from the ideas of more able students in the same group. You could give
one student in each group the responsibility for ensuring that all in the group make notes
under each heading, particularly the last, more difficult one.
Allow students who are looking at the character of Father to use also the evidence gathered
in the Introduction to the lesson.
Plenary (15 minutes) Move students into groups which include all of the numbers 1–5 and allow them to share the
information on their worksheets. Draw the class back together and ask them to frame a few
sentences expressing how John Boyne uses clothes as a symbol of status in the book. You
may wish to use the following as an example:
John Boyne cleverly uses clothes as a symbol of status in the novel by ensuring that
uniforms in particular show the characters’ place in society. In this way, the snugly fitting,
bright, smart uniforms of the Commandant and the other soldiers show how powerful they
are. Similarly, the dull, dirty, loose-fitting pyjamas show that the prisoners have a very low
status.
Homework (5 minutes) Ask students to think of two other examples of people whose clothes show their status: one
with low and one with high status in society. Ask them to describe how these people dress
and how this relates to their status.
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LESSON 7
Lesson objectives Yr 7: R7, R11 Yr 8: R5, R7, R9
AF3, AF5 AF3, AF5
Focus: ‘Performance’ reading and writer’s technique
Learning outcomes
Students will be able to:
1 Discuss and explain the use of the fence as a symbol of division in the novel
2 Comment on how music and images can develop a narrative into a dramatic performance
3 Explore the difference between the perspectives of the characters, the reader and the
narrator of a story
Starter (15 minutes) Allow students to share their homework responses, giving a few examples each of how
clothes can reflect status. Try to draw out the fact that more formal clothing often reflects a
higher position in society; for example, politicians and professionals tend to wear formal
business suits, which reflects the status of their jobs. The uniforms of army and police
personnel have the effect of enforcing obedience from ordinary members of the public.
Using page 8 of the Reading Guide, ‘Prejudice: Barbed Wire in the Mind’, look together at
the illustration of the fence stretching into the distance. Ask students to complete the
vocabulary activity, in which they have to respond to the image.
When students have shared their adjectives, model for students a dramatic reading of the
title and opening of Chapter 10, ‘The Dot that Became M’ up to the end of the first
paragraph: ‘Mnothing but open space.’ During your performance reading, play a suitable
piece of music – such as the opening to Mike Oldfield’s soundtrack album for The Killing
Fields, ‘Pran’s Theme’ – quietly in the background. Gradually fade the music down when you
come to the end of the extract. Allow students to respond to the impact of juxtaposing the
image, the reading and the music, by completing the sentence stem:
When I heard the reading while listening to the music and looking at the image, I thought of/
I felt0
Make the point to students that performance reading is an important active reading
strategy, as it allows us to focus more on the meaning of the words and phrases and their
impact on the reader. In discussion, draw out from students the fact that as we think about
our pace and intonation and add colour to our reading, we are able to think about what the
writer was trying to achieve; and that by adding music and images to words, we can change
the emphasis and meaning.
Explain also to students that another active reading strategy we have just used is reading
forwards, which can often cast light on future events (without giving too much away) and
cause the reader to speculate about the future direction of the story.
Introduction (20 minutes) Ask students to do a small-group performance reading of Chapters 9 and 10. If students
responded well to the music in the earlier reading, allow the music to play during their
performance reading. Higher ability students may like to suggest suitable music that would
enhance these performances, and explain why.
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Development (10–15 minutes) Read together ‘How do writers use symbols?’ on page 8 of the Reading Guide.
Ask students to work in groups of four, to physically ‘place’ the reader, Bruno, Shmuel and
the narrator at the moment where the boys meet. You may need to work with three students
first to model how to do this. For example, Bruno and Shmuel could face each other, one
standing and one sitting, and you could then place the reader in the scene, indicating his or
her perspective at this point (such as standing behind Bruno looking over his shoulder). The
narrator could be standing on a chair looking down at the action, or behind Shmuel, for
example. Discuss the impact of the choices; the narrator standing on a higher level looking
down could suggest that he or she is controlling events. Students should be able to do the
placings quite quickly, and then spend longer discussing the impact of where they have
decided to place each person.
Plenary (5–10 minutes) Ask two groups to present their ‘placings’ and allow the whole class to discuss the effect of
the different positions of the characters.
Homework (5 minutes) Ask students to read Chapters 11 and 12, and think of as many adjectives as possible to
describe the character of the Fury.
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LESSON 8
Lesson objectives Yr 7: R6, R12, Wr11 Yr 8: R3, R4, Wr17
AF3, AF5 AF3, AF5
Focus: The theme of anti-semitism
Learning outcomes
Students will be able to:
1 Explore the thoughts and feelings of characters at particular moments in the story by using
a freeze-frame technique
2 Make notes relevant to a specific reading focus based on an extract from the novel
3 Develop their annotations into a PEE response to a specific reading question
Starter (15 minutes) Review students’ homework reading of Chapters 11 and 12 by drawing out through
discussion a synopsis of the storyline in these two chapters. Allow students to share their
‘Fury’ adjectives, which could include:
• arrogant
• selfish
• rude
• proud
• racist
• frightening
• powerful.
Before the lesson, cut out cards from Worksheet 8a. Explain to students that they will now
use another drama technique as an active reading strategy: making freeze frames. Ask
students to use the cards in six groups to complete freeze frames based on events from
Chapter 11, where the reader meets the Fury and ‘the beautiful blonde’. Explain that the
cards are quotations capturing ‘moments’ from the scene. Advise students to freeze the
scene in a way that reveals the thoughts and feelings of the characters about the situation
they are in. They should consider:
• the angle of the body and the placing of arms and legs
• facial expression
• direction of eyes
• use of props such as chairs and tables
• whether the character should appear relaxed or tense
• the use of height to show status.
After 3–5 minutes, students should be ready to present their freeze frames. Give each group
an opportunity to explain their freeze choices and what they suggest about the thoughts and
feelings of the characters. Ask them to comment specifically on the points above.
Introduction (15 minutes) Explain to students that you will now explore the theme of anti-semitism in the book. Use
OHT 8b to complete a shared read from Chapter 12. Base your annotations on the question:
Why do you think the writer includes details of the forced removal of the Jewish citizens of
Cracow? (See OHT 8c for sample annotations.)
Next, model a PEE statement to prepare students for the Development (see OHT 8d).
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Development (15–20 minutes) Ask students to work in pairs to draft a short one-paragraph PEE answer to the question:
What do we learn about the conditions for the people in the Cracow ghetto? Some students
can work on acetate for display and explanation in the Plenary.
Guided Group Reading Plan
Text: The Boy in the Striped Pyjamas – Chapter 12
Introduction to text:
Independent reading
and related task:
Review:
Tell students that their objectives are to:
• gather evidence from the text which allows us to compare
Bruno and Shmuel’s journeys to Out-With
• write one comparative sentence using some evidence we
have found.
Using Worksheet 8e, ask students to highlight all the
descriptive words and adjectives in the two extracts. Explain
that this will allow us to find the differences between Shmuel’s
journey and Bruno’s. Students should highlight:
Shmuel’s adjectives: horrible (train), many (people), awful
(smell), no air
Bruno’s adjectives: comfortable (train), few (people), empty
(seats), fresh (air).
Ask students to work with a partner to write down the feeling
and atmosphere created by each of these descriptions.
Support students with the following notes.
Awful smell: Sickening; dirty; the worst it could be; sweaty and
frightened people.
Horrible train: Association of horrible with horror; nothing good
or pleasant about it; it’s a painful memory which is still vivid for
Shmuel.
No air: Suffocation; smell; panic; claustrophobia; physical
discomfort.
Comfortable train: Safety; space; privilege; wealth; superiority.
Fresh air: Health; space; physical comfort; pleasant smells.
Empty seats: Space; comfort; waste; wealth.
Model for students how to write a comparative sentence about
the extracts. Give them three connectives which they can use
for contrast and comparison:
whereas, however, on the other hand
Ask students to write a comparative sentence of their own
using the sentence stem:
Shmuel describes the train as 0000 whereas Bruno
describes the train as 0000 This shows that 0000
Evaluation: Complete in the next session.
Plenary (5–10 minutes) Display the PEE example of the students who worked on acetate. Draw out and clarify again
the features of PEE. Pay particular attention to the analytical and explanatory aspects of the
final ‘E’ by elaborating on students’ explanations, modelling how to frame them, such as This
suggests that0, these words imply0, the effect of this word/phrase is0
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Allow students in the guided group to share their comparative sentences with the rest of the
class.
Homework (5 minutes) Ask students to read page 9 of the Reading Guide and to complete the task at the bottom
based on the song Something inside, so strong. Ensure that students understand that they
do not need to write the whole speech, as the aim is to echo the effect of the song.
If necessary, give students the following opening, to enable them to understand the pattern:
The taller you build your fence of steel,
The stronger I become,
The more you victimize my race,
The prouder I will be0
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 9
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LESSON 9
Lesson objectives Yr 7: R6, R8 Yr 8: R4, R7
AF3, AF4, AF6 AF3, AF4, AF6
Focus: The theme of fear; active reading strategies
Learning outcomes
Students will be able to:
1 Use reading backwards and asking questions to trace the writer’s development of a theme
2 Read between the lines by asking questions about implied meanings
3 Practise their inference skills by speculating about the unknown fate of a character
Starter (20 minutes) Collect in students’ written responses to the homework task. As a class, read Chapters 13
and 14, taking parts – allocate dialogue parts to some students, to add colour to the reading.
Remind students that this is another example of performance reading, an active reading
strategy you used in a previous lesson. Remind them also about adding appropriate pace
and intonation to their performance of the dialogue.
Introduction (20 minutes) Explain to students that they are going to look at how the writer develops the theme of fear.
Say that they will use two more important active reading strategies in the lesson: reading
backwards and asking questions. They will also practise again reading between the
lines. Write these strategies on the board for reference throughout the Introduction.
Reading backwards
Explain to students that this is a useful strategy when reading non-fiction, as it enables us
to go back to an earlier point and check details and information. As we are reading fiction,
however, it provides an opportunity to learn more about the writer’s technique. Here we
can use it to see how the writer has gradually developed the theme of fear in the book.
By referring back to what Maria says in Chapter 6 on pages 64–65, ‘Even if you doM
unsettled him’, we can cast light on what we are currently reading, and how the writer is
developing the theme of fear.
As a class, read the Chapter 6 extract again and ask students to think about Maria’s
behaviour (movement, voice, language). We can see clearly that John Boyne has used her
behaviour and attitude here to develop a sense of fear and foreboding in the story. He also
uses Bruno’s reaction to this fear very cleverly. Bruno is not at all afraid at this point, and
doesn’t understand the reason for Maria’s fear. Ask students what light this extract casts on
Chapter 13 in particular. Remind them that both Kotler (on pages 144–147) and Pavel (on
pages 142–143 and 148–149) are used to develop the theme of fear in this chapter. Elicit
from students:
• the writer uses their behaviour (movement, voice and language) to show this
• the writer uses Bruno cleverly on this occasion too – he is now very afraid of what he
sees when Kotler is cruel to Pavel, and as his fear increases, so does the theme of fear
in the book.
Asking questions
Explain to students that asking questions about a story can help us to understand it better. It
is particularly useful for enabling us to read between the lines and make inferences. This is
another important active reading strategy. As a class, read the extract from Chapter 13,
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 9
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page 141, in which we see Shmuel’s fear of Kotler (‘Bruno hadn’t been looking at
ShmuelMThe evenings are getting chillier’). At this point, model for students how to pose
a question that helps to reveal implied meanings, such as Why does Bruno assume that
Shmuel is cold in this extract?
Development (10 minutes) Ask students to work in pairs to carry out an ‘asking questions’ activity based on the same
extract. Organize the task as a kinaesthetic activity, in which students write their questions
on sticky notes and fix them to the large outline of Shmuel provided on OHT 9a. Write Who?
What? When? Where? Why? on the board as a stimulus. As students work, support them
with the following ideas:
• Why is Shmuel more pale than usual when talking about Kotler?
• What does Shmuel’s shiver suggest about Kotler’s treatment of him?
• What has Kotler done to Shmuel to cause him to react in this way?
Plenary (5 minutes) Ask pairs share their ‘best’ question and allow others to attempt answers.
Explain that the answers to their questions have to be inferred, as the writer may not make
some of his meanings obvious, but may prefer to hint or suggest things to the reader. This
is the reason that asking questions can help us to read between the lines.
Homework (5 minutes) Ask students to write a short answer to question: What do you think has happened to
Shmuel’s grandfather? Find one sentence from Chapter 14 that makes you draw this
conclusion.
If necessary, give students the sentence stem: I think that Shmuel’s grandfather has
disappeared because0 I know this because the book says0
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LESSON 10
Lesson objectives Yr 7: R12 Yr 8: R4, R7
AF3 AF3
Focus: Exploring characters’ thoughts and feelings through drama
Learning outcomes
Students will be able to:
1 Use a sculpting technique and a thought-tracking technique to explore the thoughts and
feelings of characters
2 Use evidence from the text to suggest how a character might respond to questions about
thoughts and feelings
Starter (20 minutes) Listen to a selection of the homework responses to allow students to share their ideas about
what happened to Shmuel’s grandfather. Where possible, ask students to say why they
came to the conclusion they did. This will enable you to challenge any misconceptions; for
example, Shmuel’s grandfather is unlikely to have escaped or been released.
Split the class into groups of five for a group reading of Chapters 15 and 16.
Introduction (20 minutes) Read page 10 in the Reading Guide as a class and clarify the sculpting activity. Explain to
students that they will use another drama technique as an active reading strategy: sculpting
characters. This involves placing characters in the physical positions we think they should
be in at a certain point in the story. This can enable us to reflect on their thoughts, feelings
and attitudes at that moment. It is another useful way of enabling us to read between
the lines.
For example, they may choose to have Kotler stand quite menacingly over Bruno at this
point, and to have Bruno cower slightly, to show his feelings of intimidation. Similarly, their
choice about the position of Shmuel will be important. Should he be looking down or at
Kotler? Give students 5 minutes to complete the activity and 5 minutes to agree any
adjustments to their sculpture. It might be useful to students to remind them again of the
importance of the following:
• the angle of the body and the placing of arms and legs
• facial expression
• direction of eyes
• use of props such as chairs and tables
• whether the character should appear relaxed or tense
• the use of height to show status.
Stop the class after 10 minutes and allow them to view one another’s sculptures, discussing
the impact of changes to the positions of characters.
Development (10 minutes) Explain to students that they will now complete a thought-tracking exercise using Shmuel
and Bruno’s conversation on page 175 (‘Well, I am sorryM It was the first time they had ever
touched’). Here they simply freeze the boys at different moments during the conversation
and track what they are thinking, but not saying, at that moment. They do this by speaking
their character’s thoughts out loud when you lay your hand on the top of their head. Make
the point that this is a useful technique for reading between the lines about characters’
thoughts and feelings.
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Emphasize also that we need to be careful to keep the thoughts in line with what characters
do and say in the story. For example, Shmuel would never contemplate saying anything rude
to Kotler, as he is too terrified of him. Indeed, if we use our inference skills from other
evidence in the book (such as Shmuel’s bruises) we may conclude that Shmuel’s thoughts
would run to hoping that he will not be beaten by Kotler again.
Plenary (5 minutes) Allow students to watch a selection of each other’s thought tracks, challenging any thoughts
that do not seem appropriate to the characters.
Homework (5 minutes) Refer students to page 11 of the Reading Guide. Ask them to decide on their answers to the
‘Spotlight on Shmuel’ questions. Emphasize the importance of using evidence from the text
in their choices.
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LESSON 11
Lesson objectives Yr 7: R6, R15, Wr6 Yr 8: R4, Wr6
AF3, AF5 AF3, AF5
Focus: Developing empathy; making predictions
Learning outcomes
Students will be able to:
1 Write a letter in the voice of a character from the book, which reveals their thoughts and
feelings
2 Use making predictions as a reading strategy for reading more deeply into the unfolding
events of the story
Starter (15 minutes) Ask students to share their responses to the Shmuel questions. Their answers may have been:
Question 1: happy or curious
Question 2: not convinced it was a good idea
Question 3: confused that the two could even be related.
As a class, read Chapters 17 and 18. Pause at the end of Chapter 17 and discuss the
question: What do we learn about Father’s thoughts and feelings here? Elicit the following
responses:
• his gradual realization of the impact of Out-With on his children
• his lack of understanding of their needs
• his selfishness up to this point
• his ego in assuming that his family should automatically follow him to such an awful
place
• his stupidity or naivety in believing that the children could live at Out-With and see
nothing
• his assumption that his children would not be curious about the camp
• his love for his children.
Introduction (15 minutes) Explain to students that they are going to use a hot-seating technique to further explore
Mother’s character and prepare for writing a letter as her character.
Choose a student who is willing and able to articulate Mother’s thoughts and feelings, or if
necessary be in the hot-seat yourself. Give students 3 minutes to think of a question they
would like to ask Mother.
Give students Worksheet 11a and ask them to make notes during the activity. This will
generate ideas for their writing later. During the hot-seating, ensure that the following areas
are covered in preparation for the writing.
• What are her views on the effect of the place on her children?
• Is she concerned about the impact upon Gretel in particular (remember the map on
Gretel’s wall)?
• How does she feel about the prospect of returning to Berlin?
• What does she plan to do when she returns home?
• How has she felt while living at Out-With?
• How aware is she of the children’s perceptions of the place?
• How does she feel about the transfer of Kotler?
• Is she completely unaware of what Bruno does in the daytime?
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 11
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Development (15 minutes) Give students quiet time to write a letter from Mother to a friend in Berlin, telling them of her
relief that she will soon be returning home. Students who require further support may use
Worksheet 11b as a scaffold for the letter. You may want to work with a couple of
individuals to model the writing of some of the sentences, explaining your language choices
and how they show the character of Mother. For the purposes of the letter, tell students to
give Mother the name of Marta, but make the point that she is not named at all in the book.
Plenary (10 minutes) Ask students to read extracts from their letters. Comment on any features of Mother’s
character that came out in the earlier hot-seating activity.
Homework (5 minutes) Refer students to the passage on page 198, ‘It would be a great adventure. Our final
adventure’ and ‘All in all, it seemed like a very sensible plan and a good way to say goodbye’
from page 199. Ask students to write a short prediction of what will happen in Bruno and
Shmuel’s adventure. Remind students that making predictions is another of our active
reading strategies. Are they able to gather any evidence from this chapter of how the story
will end?
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 12
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LESSON 12
Lesson objectives Yr 7: R8, R14, R15, Wr11 Yr 8: R4, Wr17
AF3, AF6 AF3, AF6
Focus: The theme of violence and evil
Learning outcomes
Students will be able to:
1 Explore through the development of a film storyboard how the writer presents the theme of
violence and evil
2 Use the PEE approach to develop a written response to a question about one of the
characters
Starter (15 minutes) Tell students that they will have an opportunity to review their homework predictions after
they have read the end of the novel. As a class, read the final two chapters. Allow students
time to react through discussion to the shock of the end of the book.
Take a few minutes to refer back to Chapter 18, page 198, when the boys called Bruno’s
proposed visit to the camp their ‘final adventure’. Ask students to think back to their
homework. When they made their predictions, had they picked up the hint from the writer
that the boys’ ‘final adventure’ would mean their deaths at the end of the story? Draw out the
fact that writers often drop hints such as this to readers, if they want to prepare them for the
ends of stories. Also point out that, in some cases, writers deliberately disguise the direction
of plot lines, in order to increase the shock and impact of unexpected endings. You may
want students to suggest why John Boyne chose the former technique. Some points which
students could make would include:
• He has already called the story a fable, so he may want to make the moral of the story
very obvious by suggesting to the reader well in advance that the tragic end is part of
the message of the story.
• The writer may have wanted to build an inevitable sense of tragedy in the closing
chapters, as though the sad ending could not be avoided. This would suggest that when
events get out of control, tragedy is inevitable.
Introduction (20 minutes) Explain that you are going to explore the theme of violence and evil. Students will once
again use the active reading strategy reading between the lines or making inferences.
Refer students to ‘The problem of violence: a writer’s dilemma’ on page 12 of the Reading
Guide. After reading the writer’s comment on his approach to violence in this children’s book,
ask students to complete the storyboarding activity. (You could provide customized copies of
Worksheet 5c for this activity, retaining the information on shot types and the storyboard
boxes for students to fill in.) The activity should allow them to explore the violence that is
implied by John Boyne in a subtle way in the text. Ask them to remember the phrase ‘M
none of them could watch’ on pages 148–149 and how this creates a sinister atmosphere in
the scene. You may want to differentiate the storyboard worksheet for less able students.
Allow 15 minutes for the activity. Once students have completed the storyboard, ask them to
read again John Boyne’s comment on his presentation of violence:
As a writer, one must approach the subject with respect and sensitivity but there's also a
responsibility to tell an emotionally honest story that should, ideally, resonate with children
and adults alike0
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 12
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Less able students will need an explanation of the word resonate, which in this context
means to echo or strike a chord in the reader in a way which they can really understand and
appreciate.
Ask students what would have been the impact if John Boyne had included in the narrative
the kind of detail given in their storyboards. Elicit that he might not have achieved the
‘sensitivity’ he wanted. Allow students to decide whether the deliberate underplaying of the
violence is more effective, as it forces the reader to imagine what might be happening.
Development (15 minutes) As a class read the extract on page 13 of the Reading Guide, ‘Close-up on camp life’, and
the student’s annotations and PEE response. Using Worksheet 12a, ask students to draft a
PEE answer to the following question:
Using evidence from pages 215–216, describe how Bruno’s father reacts when he realizes
what really happened to his son.
Remind students to use the annotations and the model in the Reading Guide to help them.
Plenary (5 minutes) Share a selection of the PEEs, drawing out the analytical elements in the final ‘E’, such as
references to Father’s legs not ‘working right’: a powerful device by the writer to show how
the awful truth of Bruno’s fate makes him feel faint and weak.
Homework (5 minutes) Ask students to find a web review of the book and read it for homework. Ask them to note
down three features they would expect to find in a web review.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 13
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LESSON 13
Lesson objectives Yr 7: R7, R9, SpL5 Yr 8: R10, R13, Wr16, SpL10
AF2, AF5, AF6 AF2, AF5, AF6
Focus: Taking part in a debate
Learning outcomes
Students will be able to:
1 Take part in a debate in answer to a specific question about the novel
2 Use formal, standard English in a speaking and listening activity
3 Draw together a range of ideas related to the question debated and express an overall
view in a few sentences
Starter (10 minutes) Ask students to share the features of a web review which they discovered from their
homework. Make the point that they will now have the opportunity to apply these features to
a web review of The Boy in the Striped Pyjamas.
As a class, read the first part of ‘Causing a Stir!’ on page 14 of the Reading Guide. Allow
students to express which of the comments most reflect their own view of the book.
Introduction (20 minutes) Give students 15 minutes in groups of four to prepare for the short debate described on
page 14 of the Reading Guide. Allow students to use Worksheet 13a to prepare for the
debate.
You may also like to use parts of the interview with John Boyne in Writer’s Craft 5.1, and
the editorial notes on the novel provided in Writer’s Craft 13.1, to inform the debate. You
could provide the students with key quotations from these resources to support their
discussions.
Development (20 minutes) During the class debate, show OHT 13b, which includes tips for expressing an opinion in the
debate. Correct any use of slang or informality, as this is a speaking activity which requires
the use of formal English. As you draw the debate to a close, try to elicit a class consensus
in answering the debate question, in preparation for the plenary activity.
Make the point also that students used more formal and standard English than they normally
would, and that this is one of the features of spoken debating English, as it is a way for
speakers to ensure that their views sound well-thought-through and are taken seriously.
Plenary (5 minutes) Lead the shared writing of a single sentence which sums up the view of the class in answer
to the debating question, for example:
It is our view that The Boy in the Striped Pyjamas does deal with the sensitive subject of the
Holocaust appropriately because through Bruno’s naïve innocence and trust, and his terribly
shocking end, the awful lesson of history is learned again.
Homework (5 minutes) Ask students to re-draft the class sentence to express the opposite view.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 14
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LESSON 14
Lesson objectives Yr 7: R9, Wr19 Yr 8: R13, Wr18
AF4, AF6 AF4, AF6
Focus: Web-page book reviews
Learning outcomes
Students will be able to:
1 Use the conventions of web-page book reviews to write a review
2 Use peer assessment to clarify success criteria and suggest improvements to a partner’s
writing
Starter (10 minutes) Listen to a selection of students’ re-drafted homework sentences, commenting on how
accurately they reflect the opposite view to the one arrived at through the class debate.
Look as a class at page 15 in the Reading Guide, and do a shared reading of the web-page
review of The Boy in the Striped Pyjamas by Jim Carrington. Identify the conventions of web-
page book review writing together as a class, using the annotations in the Reading Guide.
Introduction (10 minutes) Ask students to read the ‘Special assignment’ at the bottom of page 15 of the Reading Guide
to prepare them for the task of writing a review. Model the opening to a review of the book,
using the following notes:
Having just finished reading the incredible Boy in the Striped Pyjamas, I must share my
ideas with potential readers. This shocking story, which deals with the difficult subject of the
Holocaust, traces what happens to Bruno, the 9-year-old central character0
Development (25 minutes) Ask students to complete the first three paragraphs of the review. Provide Worksheet 14a
as a scaffold for students who need it.
Plenary (10 minutes) Ask students in pairs to read their partner’s paragraph, checking that they have included the
features (the success criteria) outlined in the Reading Guide example. Ask each student to
suggest two improvements to their partner’s writing in the light of this.
Homework (5 minutes) Ask students to complete their reviews, reminding them of the features in the Reading Guide
and Worksheet 14a.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 15
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LESSON 15
Lesson objectives Yr 7: R7, SpL3 Yr 8: R4, SpL2
AF6 AF6
Focus: Read extracts from class reviews of the book; complete individual Reading
Assessment sheets
Learning outcomes
Students will be able to:
1 Read extracts from their book reviews to the class, noting areas for improvement
2 Complete a Reading Strategies Sheet
3 Complete a Reading Assessment Progress Sheet to identify reading skills they need to
practise
Starter (10 minutes) Ask students to choose their favourite paragraph from their review and give them 5 minutes
to practise reading it aloud.
Introduction (25 minutes) Allow all students to have the opportunity to read paragraphs from their reviews to the class.
Following each reading, draw out the features of the writing which you thought were effective
and those which could be developed. You might find it helpful to comment on:
• the appropriateness of the language for the Reading Connects website
• the use of cohesion devices such as topic sentences, synonyms, determiners and
repetition
• the use of cause/effect or contrasting connectives such as because, therefore, however
• the use of adjectives and adverbs which are appropriate to the themes of the book, e.g.
shocking, moving, incredible, thought-provoking
• how closely they followed the recommended structure and contents of the scaffold
• whether the review successfully provides the potential reader with enough information
to decide whether to read the book.
Development (15 minutes) Give each student a copy of Worksheet 15a, Reading Strategies. Ask them to tick which
strategies they used during the reading of The Boy in the Striped Pyjamas and to explain
how and when in the right-hand column.
Plenary (5 minutes) Allow a selection of students to share the information on their Reading Strategies Sheet,
clarifying again the use of each and correcting any misconceptions.
Homework (5 minutes) Using OHT 15b, show students how to fill in a Reading Assessment Progress Sheet. Print
out copies of the sheet and given to students to complete for homework.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Pathways
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PATHWAYS
Ways of exploring the themes of the novel • Further research on concentration camps
• Further research on the novel as a fable, supported by comments from John Boyne on
his official website: www.johnboyne.com
• A study of the morality tale as a literary tradition
• Further empathy work on Father, Mother and Gretel following the end of the narrative
• Class discussion of the likely fate of Kotler and Pavel
• Further research into songs as a means of political protest
• Write to the author to open a further dialogue about the more controversial aspects of
the novel’s reception, e.g. narrative viewpoint and the portrayal of violence
• Work on producing a screenplay for a film of the novel
• Further work on narrative structure, in particular the use of flashbacks and juxtaposition
Generically linked texts
Children and war
I am David by Anne Holm
ISBN 0-74-970136-6
The story of the gradual awakening to knowledge and freedom of a boy who escapes
from a concentration camp.
The Endless Steppe by Esther Hautzig
ISBN 978-006-447027-8
The moving and true story of how a family of Jewish Poles who are sent to Siberia during the
Second World War learn to cope in their harsh new environment.
The Silver Sword by Ian Serraillier
ISBN 0-14-030146-1
The story of how the Balicki family are torn by the Germans from their home in Warsaw,
Poland, in 1940, and how they succeed in reuniting in Switzerland at the end of the war.
Friedrich by Edite Kroll and Hans Peter Richter
ISBN 0-14-032205-1
While growing up in the same apartment block and attending the same school, two boys, a
German and a Jew, become friends. The story goes on to depict the experiences of the
young Jewish boy, and the brutal hardships he and his family endure during the Holocaust.
Rose Blanche by Ian McEwan and Roberto Innocenti
ISBN 0-09-943950-6
A controversial and prize-winning picture book about a young German girl's experience of
the Second World War and the Holocaust. Rose Blanche was the name of a group of young
German citizens who, at their peril, protested against the war.
Goodnight Mister Tom by Michelle Magorian
ISBN 0-14-130144-9
The story of a displaced and abused evacuee boy who escapes family trauma and London’s
blitz to find a new life and home in the countryside with Mr Tom.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Pathways
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Once by Morris Gleitzman
ISBN 0-14-132063-X
Although intended for a lower age group, this is a very poignant portrayal of another Jewish
boy’s wartime experiences, written from his own naïve perspective.
Racial prejudice
Noughts and Crosses by Malorie Blackman
ISBN 978-055-254632-4
A ‘Romeo and Juliet’ tale of Callum (a nought) and Sephy (a cross) from different sides of
the racial fence. The author describes the book’s treatment of racial prejudice: ‘Racial
superiority is a mere pigment of the imagination.’
The book has three sequels:
An Eye for An Eye ISBN 978-055-254925-7
Knife Edge ISBN 978-038-560527-4
Checkmate ISBN 0-38-560773-3
Owing to the nature of their content, these books are more suitable for Year 9 readers.
The Skin I’m In by Sharon G. Flake
ISBN 978-019-832675-5
The story of a clever and unique black teenage girl, and her struggle to make sense of both
her own hopes and fears and the complex society in which she lives.
Roll of Thunder, Hear My Cry by Mildred Taylor
ISBN 0-14-037174-5
A child’s eye view of an American South in which racist sentiments have tangible effects in
the form of segregation, lynch mobs, and the unfair distribution of resources.
As it contains some violent scenes, this book is more suitable for Year 9 readers.
To Kill A Mockingbird by Harper Lee
ISBN 978-006-112008-4
A child’s eye view of the world of racial prejudice in America’s South in the 1930s.
Owing to the sometimes adult nature of the subject matter, this book is more suitable for
Year 9 readers.
Complementary non-fiction
A History of the Holocaust by Yehuda Bauer and Nili Keren
ISBN 0-53-115576-5
A useful research tool which allows the teacher to select appropriate material for use
in class.
The Auschwitz Album: The Story of a Transport edited by Israel Gutman and Bella
Gutterman
ISBN 9-65-308149-7
The album documents, in almost 200 photos, the arrival, selection, confiscation of property,
and preparation for physical liquidation of a Jewish ‘transport’ to Auschwitz-Birkenau.
Owing to the harrowing nature of some of the photographs, this book is more suitable for
Year 9 readers. Teachers may, however, find it useful to select some images for drama or
research activities.
OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Pathways
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The Diary of Anne Frank by Anne Frank
ISBN 014-131518-0
The story of a young Jewish girl and her family who are forced into hiding by the Nazis
during the Second World War.
I Have Lived a Thousand Years: Growing Up in the Holocaust by Livia Bitton-Jackson
ISBN 0-74-340875-6
The true story of a young Jewish Hungarian girl, whose family is gradually deprived of liberty
and eventually forced to live in a ghetto. There is only one way out of the ghetto, and that is
into a labour camp. The story is told in the form of the memoir of Elli Friedmann, who was 13
years old in March 1944 when the Nazis invaded her homeland, Hungary.
Film and television
To Kill A Mockingbird (1962) on DVD
The dramatization of Harper Lee’s book
Anne Frank: The Whole Story (2001) on DVD
The dramatization of Anne Frank’s diary
Goodnight Mister Tom (1999) on DVD
The dramatization of Michelle Magorian’s book