We have an introductory PowerPoint lesson on the poetry of Walt Whitman available in our Teachers Pay Teachers store. Please check it out!
We have a series of Hamlet assessments available in our Teachers Pay Teachers store.
We have a test on Act I of Shakespeare’s Hamlet available in our Teachers Pay Teachers store. Please check it out!
We have a new PowerPoint lesson available in our Teachers Pay Teachers Store. It is titled “Hamlet: The Concept of Performance.”
The lesson focuses on the significance of performance in the play “Hamlet”.
The mousetrap is just one example of performance. A close-read of the text allows the reader to see that any number of characters could be acting. This brings up metaphysical questions as to why we MUST perform in society, and how our performance dictates how we will be treated.
We have a PowerPoint lecture on Shakespeare’s Hamlet available in our Teachers Pay Teachers store. Please check it out!
We have a new PowerPoint lesson available in our Teachers Pay Teachers Store. It is a close literary analysis of the first meeting of the title characters in Shakespeare’s Romeo and Juliet.
We have a new PowerPoint lesson available in our Teachers Pay Teachers Store. It is titled “Romeo and Juliet: The Importance of Foils.”
The lesson is an examination of Shakespeare’s use of character foils in the play.
We have a new PowerPoint lesson available in our Teachers Pay Teachers Store. It is focused on Act III of Romeo and Juliet. Please check it out!
We have a new PowerPoint lesson available in our Teachers Pay Teachers Store. It is titled “Romeo and Juliet: The Tragedy of Growing Up.”
Focusing on the more universal tragedies within the text, this lesson examines growing beyond your friends and family–a more accessible aspect of the tragedy within the play.
A few weeks ago, Liz and I flew down to San Diego for our second CATE (California Association of Teachers of English) Conference.
Last year, the conference was in Santa Clara (a not-too-long drive for us), and we gave a presentation based on a chapter of our book, Method to the Madness. The presentation was titled, Creating Critical Thinkers through the Study of Literature (which is also our book’s subtitle).
This year, our presentation was based on another chapter of the book and was titled, Contemporary Short Fiction: the Key to Unlocking Potential and Leveling the Playing Field for Students of All Ability Levels (long title). We had given a longer version of the presentation to Tracy Unified School District in January.
The presentation began with the rationale for building curriculum centered on quality literature (fiction, poetry, drama, creative nonfiction). There was (still is?) a misperception that Common Core equals less literature in the English classroom and more “informational” reading. This, of course, is a misunderstanding that the framers of the standards have addressed: “Said plainly, stories, drama, poetry, and other literature account for the majority of reading that students will do in the high school ELA classroom. […]The Standards could not be clearer: ELA classrooms must focus on literature — that is not negotiable, but a requirement of high school ELA.” (David Coleman & Susan Pimental)
Next, Liz gave her pitch for using contemporary short stories in the English classroom, particularly as an opening unit, such stories being accessible to a variety of students (including those with attendance issues). These high-quality stories can be taught in a single class period (or two), and they offer students the opportunity to engage with a wide variety of voices while allowing the teacher the opportunity to establish (or remediate) essential skills.
We had prepared to use three short stories—Sticks by George Saunders, The Flowers by Amy Walker, and How to Talk to Your Mother (Notes) by Lorrie Moore—but we only got through the first two.
Each of those stories (Sticks and The Flowers) fits onto a single page, but each story is very meaty. We asked our participants to read and annotate each story, and, despite (as mentioned) each story being only one page, they each led to a wide-ranging academic discussion of the significant choices being made by the author.
(Note: all of the above was great, great, great, and a lot of fun, because our participants were so great, and also because Liz is so great at this.)
We ended with a discussion of narrative structure (the traditional plot curve, which is sometimes incorrectly perceived as a restraint to creativity and voice [a view I once embarrassingly held] but that instead allows for infinite variation).
We were getting short of our time, there were several slides to go, and I was sort of floundering, describing the plots of Pixar movies. Liz would later say that when I gave a third such example, she knew I was in trouble.
But a participant saved me by asking if, when learning about this narrative structure, which is so obvious in Pixar movies, students can apply the elements (ground situation, inciting incident, conflict, complications, climax, resolution) to something like The Flowers, which is so short and describes a single event.
This was exactly where, despite all floundering, we were supposed to be headed, and, as a group, we tried it. It turns out, despite being only one page and describing only one incident, The Flowers “fits” the narrative structure perfectly (infinite variation).
So, we modeled lessons on two one-page short stories (Sticks, by the way, Liz describes as the only “magic bullet” for English teachers: a two-paragraph story that students always like and always have so much to say about). Each story is accessible to a variety of students, and each story provides the opportunity for critical reading, critical thinking, analytical writing, and academic discussion.
Several people came up at the end to buy books (which was very nice), and a few told us that it was the best presentation they had been to all weekend (but maybe they say that to all the presenters).