The Book of Negroes, Jane Eyre, and Heart of Darkness Literature Circles

Returning from March Break next week, my Grade 12 students will be participating in Literature Circles to focus on servants & slaves, colonialism & empire, and racism. In discussion groups of five, students will use either Lawrence Hill’s The Book of Negroes, Charlotte Brontë’s Jane Eyre, or Joseph Conrad’s Heart of Darkness, to prepare a portfolio of their learning. Individually, students will prepare a narrative essay of the reading experience.

Prejudices, it is well known, are most difficult to eradicate from the heart whose soil has never been loosened or fertilized by education; they grow there, firm as weeds among stones. (Jane Eyre, 362)

Before assigning groups and distributing novels, I hope to show highlights from Amazing Grace (the film about British abolitionist William Wilberforce), read Abraham Lincoln’s Gettysburg Address, watch Martin Luther King, Jr.’s I Have a Dream, and watch Barack Obama’s Inaugural Address: not for in-depth study, but simply to have this prolonged abolitionist timeline as the backdrop to this novel unit.

Reflective Blogging (Reading Notes)
Because students will be living within only one of the above narratives, analysing relationships between characters in order to determine Pre-Victorian and Victorian perceptions and misconceptions of slavery, servitude, and race, students will need to be reminded that the novel itself is a constructed text and critical questions will need to be asked of its own framework, its own source, its own purpose. To assist with this, I think I will require that students post at least four reflective blog entries during this novel unit. Students should comment on surprises, questions, and predictions regarding the text. At the end of the unit, I could have students evaluate their learning using the blogging self-evaluation rubric.

We were lined up in a coffle of captives, attached by the neck in groups of two or three and made to walk. (The Book of Negroes, 31)

Electronic Portfolio
In past semesters, I’ve always enjoyed having students rotate through an almost-daily literature circle role including: Questioner (Discussion Leader), Summarizer, Researcher, Illustrator, Curator, and Connector. These completed roles for each chapter could be posted on the class wiki as groups build their electronic portfolio and learning would then be assessed using self and peer evaluation, as well as the literature circle portfolio rubric.

The maniac bellowed: she parted her shaggy locks from her visage, and gazed wildly at her visitors. I recognized well that purple face – those bloated features. (Jane Eyre, 311)

Reading Narrative Essay
Using their own reading notes (their reflective blog posts), I’m hoping to have students develop a 500-800 word narrative of their reading experience highlighting major themes of the novel and I could adapt the reading narrative essay rubric that I’ve used in the past.

Only the barbarous and superb woman did not so much as flinch, and stretched tragically her bare arms after us over the sombre and glittering river. (Heart of Darkness, 109)

I’ve got a week to put the finishing touches on this unit, but, from the horror and the tragedy of colonial slavery, to the honour and dignity of cultural identity, I’m hoping that this educational experience prevents racist attitudes in this group of graduating high school students.

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King Lear Collaborative Essays

Lear_200x140The Grade 12 students have been busily working on their King Lear collaborative essays and I’m anticipating some good holiday reading once they’re all handed in by Friday.

Throughout the unit, students were asked to publish two blog posts per week on the class blog portal. Students came up with questions that they had about the play, attempted to answer their own questions, and commented on their classmates’ blog posts. These blog posts, comments, and replies, are now the starting point for their collaborative essays.

For the King Lear collaborative essay, I asked the students to first think of the topic that they were most interested in writing about, and to think about their own opinion and ideas regarding that topic. Then, students went to the class blog portal and noted all of the relevant comments from their peers.

Once the students have stated their topic and their own opinion, and they’ve listed their peers’ key ideas and their own key ideas, then students are ready to arrange their essay around their reasons, their defence of those reasons, and rebuttals to their critics.

Some of the topics they’ve come up with include:

  • Who is the hero of “King Lear”?
  • Why did Cordelia refuse to give her father the answer he was looking for?
  • After being banished by Lear, why does Kent return?
  • When does Lear lose his sanity?
  • Did Lear give up his kingdom too early?

I’m excited to read these collaborative essays; they’ve really originated with the students and spring from the dialogue that they’ve been having on the class blog portal. The collaborative essay assignment requires the students to think for themselves and to be themselves; it requires students to put their oar in the water and join the 400-year old conversation that has revolved around the Bard.

I like Mr. B-G’s recent comments on teaching students to write:

How do we teach students to write? We teach them to think. We teach them to develop content. We help them understand ideas like elaboration and explication. We provide them with opportunities to stretch their minds and flex their intellectual muscles. We give them opportunities to pump out words and ideas without fear of judgement. We teach them how to think critically and make sense of their musings and meanderings. We show them how to tailor and edit and rethink and resee and rearrange. We empower them to be creators.

This King Lear collaborative essay assignment is so much more interesting for the class than the 5-paragraph essay format; it is free of the shackles of the 5-paragraph essay format that has been suffocating any potential talent. A collaborative essay assignment is… real.

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Memorizing "Fern Hill"

My students and I are currently working on memorizing the poem “Fern Hill” by Dylan Thomas. In the past, I’ve had students memorize:

  • Hamlet’s first soliloquy, ‘O that this too too sullied flesh would melt…’ (I,ii)
  • Hamlet’s explanation to Rosencrantz and Guildenstern, ‘I have of late, but wherefore I know not, lost all my mirth…’ (II, ii)
  • Hamlet’s second soliloquy, ‘O what a rogue and peasant slave am I…’ (II,ii)
  • Hamlet’s third soliloquy, ‘To be or not to be…’ (III,i)
  • Mark Antony’s lament in Julius Caesar, ‘O pardon me thou bleeding piece of earth…’ (III,i)
  • “I Wandered Lonely as a Cloud” by William Wordsworth
  • “Stopping by Woods on a Snowy Evening” by Robert Frost

I always like to change the passage for the memorization assignment to something that I haven’t committed to memory before. Not only is it much more fun for me to keep the material fresh, but it gives me the added opportunity for demonstrating my own techniques. I like to tell students that they will have to find a routine that works for them. While wikiHow has some great ‘tips for memorizing’ worth sharing with students, here are my own unorthodox techniques:

  • Read the poem aloud a couple of times
  • Find opportunities to add dramatic flair or exaggerate my tone of voice
  • Use a sharp pencil to copy the poem onto a piece of paper, paying careful attention to the way it looks
  • Carry that paper everywhere I go for the duration of this exercise
  • Read a line twice, then repeat while looking away
  • Read the following line twice, then repeat both…
  • … half-stanza by half-stanza, always repeating from the very beginning
  • Have a peer point out my errors.

Additionally, I like to have an electronic copy projected in the classroom, hiding words (usually the nouns first) by changing the font to white. It is always amazing to see how much the students enjoy this practice, with the added benefit of seeing them own a great piece of literature.

Field Trip to the Stratford Shakespeare Festival: Midsummer and J. Caesar

caesar_lgLast week our English Department took a bus load of students to Stratford, Ontario for an afternoon performance of A Midsummer Night’s Dream and an evening performance of Julius Caesar. This was our fourth trip in the last three seasons, previously introducing our students to performances of King Lear, To Kill a Mockingbird, Romeo & Juliet, Hamlet, The Importance of Being Earnest, and Macbeth.

Once again we stayed at a downtown hotel, and once again the trip went wonderfully. This annual field trip is one of the best opportunities for high school students to enjoy a fun, educational experience and has led to a Shakespearean-Renaissance at our school. The drama club is thriving and has been putting on productions of plays based on Shakespeare’s works, and the Shakespeare units are generating the most interest and excitement in our English courses.

What worked well … Superb acting!

While all of the positive things that I mentioned last year continue to ring true (location, price, an optional trip, and relevant texts), this trip really highlighted the excellent acting that we continue to enjoy at Stratford. Some highlights:

  • Ben Carlson: What can I say? Ever since we saw him in Hamlet, our school has been a big fan. This time he made an excellent Brutus; so into his role that, from the audience, we could see the wheels turning as he considered necessary action.
  • Tom Rooney: While the students loved his role as Puck, I was especially impressed with him as Cassius (which in itself highlights his versatility). This was the first time, for me, that Cassius seemed calculating, persuasive, and human, and not simply a lean, hungry, sinister, Alan Rickman-like bad guy.
  • Michael Spencer-Davis: A perfect Casca.
  • Cara Ricketts: A perfect Portia and the best Hippolyta to date. Lots of fire.
  • Yanna McIntosh: Wow! Wow! and Wow! She was the highlight of Macbeth in the Spring, and she was one of the greatest highlights again on this trip. As Titania in the afternoon and as Calpurnia in the evening, she gave such bold, solid performances.
  • Geraint Wyn Davies: Wonderful! Nick Bottom in the afternoon, making me laugh at his every turn, and Julius Caesar in the evening, holding the audience in awe. Finally a Caesar strong enough to be a ruler, strong enough to be stabbed by all of the conspirators before falling, and only succumbing because of the pain of Brutus’ betrayal.

What needs work

  • If you read my blog post about Macbeth in the Spring, you know that I’ve been disappointed with some of the ‘bells, gongs, and buzzers’… more cameras and TV screens?! more helicopter sounds?! costuming that spans 2000 years?! Please, please, please… just give us some classic Shakespeare for a change. If William Shakespeare really is timeless, if he really is for all ages, then we don’t need these extra gimmicks.

Field Trip to the Stratford Shakespeare Festival

Though our English department had considerable debate this year about what the second show should be for the annual trip to the Stratford Shakespeare Festival, we were unanimously excited about seeing Colm Feore in Macbeth and figured that it would best ‘sell’ the trip to the students. Perhaps it was our anticipation that led to our great disappointment.

The 3-hour drive to Stratford allowed us just enough time to check into the hotel and grab a quick bite before taking in our first show at the Avon Theatre, The Importance of Being Earnest, starring Brian Bedford. He has a consistently great presence on stage and, having enjoyed him as Lear two years ago, I expected him to be the highlight of the performance. However, it was easily Ben Carlson and Sara Topham that stole our attention. All told, this year’s Earnest is an excellent play all of us enjoyed it immensely. Oscar Wilde was a perfect way to spend an afternoon in Stratford … and we still had Macbeth to look forward to.

Little did we know that the Macbeth script had been inserted into a bad production of ‘Apocalypse Now-meets-The Ring’ and that the Weird Sisters had been replaced by a few intense granola-girl, humanitarian reactionaries!

Okay, William Shakespeare’s stories are timeless and universal. But, perhaps the multi-cultural, period-pieces are being a little overdone. The students often enjoy the Clare Danes/DiCaprio film in Grade 10, but by twelfth grade they’re complaining about Ethan Hawkes’ Hamlet effort and are begging for classic theatre.

Having said that, the mid-twentieth century, African setting is not my complaint about Stratford’s Macbeth production. Believe it or not, in the hands of another director, I think I’d like to give the African setting another opportunity. However, I would only sit through it if they got rid of at least half of the lighting, half of the bangs, buzzers and other noises, and all of the TV screens. With the amount of media used in this production, I might as well have stayed home and watched a webcast, or spent my money on a large rock concert. The words of Shakespeare were drowned amidst all of the noise and light, and the character of Macbeth wasn’t noticed at all.

Of course, it didn’t help that Colm Feore — this great actor from Trudeau, from Slings & Arrows, and perhaps the greatest Mercutio ever on a Stratford stage — was unfortunately completely wooden. Was he distracted? Or even angry at someone? Other than the ‘dagger’ speech, he didn’t seem human and used no inflection at all.

Lady Macbeth, on the other hand, was really good. After finding her stride, she gave perhaps the best performance of the night. The students wondered if the Michelle Obama resemblance was intentional. I like to think so.

All-in-all, this year’s Macbeth is a production with an identity crisis. On the bright side, perhaps it is such a bad production it will become infamous; years from now, people will say, “Oh! You saw the 2009 Macbeth! Wasn’t that something…?!”

Hamlet: Collaborative Essay Topics

It is Spring time again, when my thoughts bend toward crocuses, robins, sunshine, detox diets, and the beginning of another Hamlet unit. I know that I’ve blogged many times about Hamlet, but I love to explore this play and I doubt that I’ll ever get to the bottom of it.

Though my current class will see some of my earlier focus — having students play the role of film director by making such decisions as how they would stage the ghost and who they would cast in each role, etc. — the focus this time is on the text. Because the culminating activity will be a collaborative essay (through the use of their individual blogs and comments) we’re spending a little more time than usual debating some questions, including:

  • Is it important to the story whether or not Hamlet believes in heaven?
  • Is Gertrude a sinister accomplice of Claudius? (Consider the deaths of King Hamlet and of Ophelia.)
  • Could the ghost be a figment of Hamlet’s imagination?
  • Is Hamlet mad?
  • Is Hamlet really a tragic hero, or is he a villain?
  • Does Hamlet really love Ophelia?
  • Do Rosencrantz and Guildenstern get what they deserve?
  • Does Hamlet have an Oedipus complex?
  • Does Hamlet’s behaviour suggest that he’s closer to 16 than to 30 years of age?

I especially like the collaborative essay for this class, because I’ve got a group that is particularly fond of debate. Their first blog posts are up and their first comments are due by the end of the week, responding to at least two others that have approached an issue from an opposing angle. By the end of next week, partners should have surfaced for a virtual debate via their blogs, and by the end of the following week their collaborative essays, in a “They say, I say” format, will be typed.

I think that the current group that I’ve got will be able to pull this off and have fun with it. Time will tell.

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The Benefits of Having Students Choose Their FCA Novels Early

The Final Culminating Activity for my Grade 12 course will be a multi-genre project and presentation providing students with the opportunity to synthesize their learning from the semester and demonstrate their learning achievements in the areas of reading, writing, oral communication, and media studies.

A few weeks ago, I had the students each select a relatively recent novel from a list I’d created based on identities, the theme that has loosely tied the semester together. We’ve been considering identities that we create on our own, those shaped by our biggest influences, and those scripted by society.

Though we are still three weeks away from the Letter of Intent that each student must write for me, and another month from the first draft of the assignment, the requirement that they both select their novel and post a related reading reflection on their student blog has encouraged students to get a copy in hand and, in most cases, delve into it. I’m glad to see them starting well in advance, because I know that’s going to translate into more considered, interesting projects.

As an aside, I tried to emphasize relatively contemporary novels in the list from which students could choose. I had a couple of reasons for doing so. First, I wanted students to exit high school with at least a passing familiarity with modern, and possibly Canadian, fiction. Second, and perhaps more importantly, I surmised that the material available online for students to pillage and plagiarize would be much smaller, and therefore much less tempting, for more recent and sometimes obscure novels. We shall see.

For those of you who are interested, here’s the list that we’re working from this year. Next time around I hope to remove all of the older works and include more current (mostly Canadian) novels.

  1. Mercy Among the Children — David Adams Richards
  2. The Lost Highway — David Adams Richards
  3. The Friends of Meager Fortune — David Adams Richards
  4. Alias Grace — Margaret Atwood
  5. The Handmaid’s Tale — Margaret Atwood
  6. The Blind Assassin — Margaret Atwood
  7. The Penelopiad — Margaret Atwood (read with Homer’s Odyssey)
  8. Possession — A. S. Byatt
  9. The True History of the Kelly Gang — Peter Carey
  10. The Amazing Adventures of Kavalier and Clay — Michael Chabon
  11. The Jade Peony – Wayson Choy
  12. The River Thieves — Michael Crummey
  13. J-Pod — Douglas Coupland
  14. Fifth Business — Robertson Davies
  15. The Piano Man’s Daughter — Timothy Findley
  16. The Curious Incident of the Dog in the Nighttime — Mark Haddon
  17. A Thousand Splendid Suns — Khaleid Hossein
  18. Never Let Me Go — Kazuo Ishigiro
  19. The Colony of Unrequited Dreams — Wayne Johnston
  20. The Poisonwood Bible — Barbara Kingsolver
  21. The Stone Angel — Margaret Laurence
  22. The Way the Crow Flies — Ann-Marie MacDonald
  23. Two Solitudes — Hugh Maclennan
  24. No Great Mischief — Alistair MacLeod
  25. Life of Pi — Yann Martel
  26. Such a Long Journey — Rohinton Mistry
  27. Anil’s Ghost – Michael Ondaatje
  28. The Apprenticeship of Duddy Kravitz — Mordecai Richler
  29. A Complicated Kindness — Miriam Toews
  30. The Stone Carvers — Jane Urquhart
  31. The Englishman’s Boy — Guy Vanderhaeghe
  32. The In-Between World of Vikram Lall — M. G. Vassanji
  33. I Am Charlotte Simmons — Tom Wolfe
  34. English Passengers — Matthew Kneale

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Lesson Debrief: The Importance of Being… out of their desks!

I’ve mentioned before that I needed a break from Arthur Miller, and I took advantage of the opportunity to include Oscar Wilde’s The Importance of Being Earnest in my Grade 12 University level English class. Following on the heels of our novel unit, students were anxious to be out of their desks, reading from a dramatic script, and quickly transforming readings into performances. The trivial banter of this play was cathartic for the students after the objectivism of Ayn Rand, simply art-for-art’s sake through farcical comedy.

The students are now thoroughly excited about seeing this play performed at the Stratford Shakespeare Festival at the end of May. The length of the unit (12 days) allowed for an understanding of the play without tiring the students of Oscar Wilde’s words.

What Worked Well

  • They play divided nicely into five group presentations: two groups for Act 1, another 2 groups for the second act, and just one group for the final act.
  • Asked to bring in at least one item as a prop or as part of a costume to represent their own character, most students entered into the spirit of aesthetic theatre and adorned themselves in costume from head-to-toe.
  • With the drama room available, we enjoyed ourselves for a week on stage.

What Needs Work

  • I must ensure that the rubric allows for a knowledge of lines without necessarily requiring memorization (because of time constraints), and separately grading the delivery of the lines.

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Literature Circles and The Fountainhead

Last year I tried using virtual literature circles with some success; this year, with my Grade 12 University level students, I’m returning to face-to-face versions of the same as the foundation for our study of Ayn Rand’s The Fountainhead.

I wondered before we started if this might be a bit… ordinary for the students, but so far we’ve all been enjoying and learning from the format. I’ve assigned student groups and asked them to organize their schedule so that each person performs each of the literature circle roles twice over the few weeks of our novel study. For each day’s reading, roles include:

  • Facilitator – keep the discussion on track and bring three discussion questions
  • Storyteller – summarize the plot
  • Investigator – look up background information
  • Illustrator – create an image representing a passage or theme
  • Connector – make connections between the reading and other parts of the text, other texts, personal experience, and the world.
  • Curator – find three significant quotes

Over the first week, discussions have been interesting, lively, and are spilling into our online discussions on the class blog. However, doubting that this format could be sustained for the duration of a novel as dense as The Fountainhead, I’ve been bringing ‘surprises’ to the room every few days including observations, debates, readings, and blogging days in the lab. These surprises keep the literature circles fresh… so far.

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Lesson Debrief: Scripted Dialogue with Duddy Kravtiz

My Grade 12 English class is two weeks into a unit that uses Mordecai Richler’s The Apprenticeship of Duddy Kravitz as its main text, and “What is important in life?” as its guiding question. At the end of this unit, I am expecting students to submit essays that reflect their learning and thinking processes.

Rather than starting with the five-paragraph essay form and shoehorning their ideas into that, however, students are going to test their ideas in a form that is both exploratory and fun: one option for them will be the scripted dialogue. So, we practiced.

To begin, students were asked to imagine a conversation between Duddy and his dead mother, Minnie, and to express it in dramatic script form. (Since we had recently studied An Ideal Husband and Hamlet, students were familiar with the form.)

I offered students some prompts to get them started in their dialogues:

  • Mom, guess what I’ve done? You should see me now! You’d be so proud.
  • Mom, I’m sorry. I’ve made a few mistakes.
  • Mom, tell me about _________. I was too young / I never knew ….

They were then given 50 minutes to create dramatic scripts with opening, stage, and character directions. I explained that it was not a test to see how much they knew about the novel, although I did want to recognize Duddy. Mostly, I wanted them to have fun.

The results were promising.

What Worked Well

  • Simple instructions were easily and quickly followed, allowing students to spend their time creating rather than figuring out what I wanted from them.
  • Everyone wrote busily and happily for 50 minutes, suggesting that this was a topic and/or form that has a lot of potential for this group.
  • Students genuinely explored Duddy’s personality in vulnerable moments, something I doubt I would have seen had I expected them to create a thesis and muster three supporting arguments for it.
  • Students are proud of their products and are eager to share their scripts with their classmates. (This is unusual.)

What Needs Work

  • The rubric that I’m working with needs to be adjusted to take the focus off of textual knowledge. A few students were too anxious to prove textual knowledge and were sidetracked looking for quotes and minute details.

All told, this was a great exercise in which possible essay topics rose naturally to the surface.