oxford rollercoasters the boy in the...

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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

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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

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OX

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T

he B

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trip

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Navigator

10

Chapter

Plot outline

Key character references

Themes

Language

Structure

Chapter 20

No

thin

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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?

OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 4

19

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).

OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 5

20

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.

OXFORD ROLLERCOASTERS The Boy in the Striped Pyjamas Lesson 7

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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,

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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

36

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

41

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

42

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