9.1.3 Unit Overview_7.19.doc.docx

NYS Common Core ELA & Literacy Curriculum D R A F T Grade 9 • Module 1 • Unit 2

File: 9.1.2 Overview Date: 8/31/13 Classroom Use: Starting 9/2013

© 2013 Public Consulting Group. This work is licensed under a

Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License

http://creativecommons.org/licenses/by-nc-sa/3.0/

1

9.1.2 Unit Overview

“A work of art is good if it has arisen out of necessity.”

Text(s) Excerpt from Letters to a Young Poet (Rainer Maria Rilke): Letter One, pp. 3-12; Excerpts from Black Swan Green (David Mitchell): “Hangman,” pp. 24–29, and “Solarium,” pp. 142–156

Number of Lessons in Unit

11

Introduction

In this unit, students will continue to practice and refine routines such as close reading, annotation, identification of evidence, and participation in collaborative discussions. Students will study the authors’ use of language to create meaning and build characters. They will also build vocabulary, write routinely, and, at the end of the unit, develop an essay that synthesizes ideas in the two texts.

Students will read excerpts from two texts (nonfiction and fiction), Rilke’s Letters to a Young Poet and Mitchell’s Black Swan Green. These two texts will be juxtaposed, allowing for a study of key ideas and characters across texts. In the Rilke Letters, students will consider, through nonfiction, how the narrator introduces and develops the central tenets of his advice to the young poet. In Black Swan Green, students will return to some of the broad ideas they investigated in Unit 1 because Jason, the young narrator, is trying to fit in but is dealing with very different challenges. As they read and talk about these texts, students will dive deeply into a study of academic language and examine how both authors use this language to develop or describe their characters and their dilemmas.

For the Mid-Unit Assessment, students will choose three phrases that Rilke uses and describe how they build on and express Rilke’s advice through the use of language (RI.9-10.1, RI.9-10.4, W.9-10.2).

For the End-of-Unit Assessment, students will write an essay describing each of the characters and their current predicament, and then explaining how the advice from one text would apply to the other (RI.9-10.1, RI.9-10.2, W.9-10.9).

Literacy Skills & Habits

Read closely for textual details

Annotate texts to support comprehension and analysis

Engage in productive evidence-based conversations about text

Collect evidence from texts to support analysis

Determine meaning of unknown vocabulary






2

Standards for This Unit

CCS Standards: Reading—Literature

RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

CCS Standards: Reading—Informational Text

RI.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

RI.9-10.2 Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

RI.9-10.3 Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them.

RI.9-10.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language of a court opinion differs from that of a newspaper).

CCS Standards: Writing

W.9-10.9 Draw evidence from literary or informational texts to support analysis, reflection, and research.

a. Apply grades 9–10 Reading standards to literature (e.g., “Analyze how an author draws on and transforms source material in a specific work [e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare]”).

b. Apply grades 9–10 Reading standards to literary nonfiction (e.g., “Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning”).

CCS Standards: Speaking & Listening

SL.9-10.1c Propel conversations by posing and responding to questions that relate the current discussion to broader themes or larger ideas; actively incorporate others into the discussion; and clarify, verify, or challenge ideas and conclusions.

Note: Bold text indicates targeted standards that will be assessed in the unit.






3

Unit Assessments

Ongoing Assessment

Standards Assessed

RL.9-10.1, RL.9-10.2, RL.9-10.3, RI.9-10.1, RI.9-10.2, RI.9-10.3, RI.9-10.4, W.9-10.9

Description of Assessment

Answer text-dependent questions. Write informally in response to text-based prompts.

Mid-Unit Assessment

Standards Assessed

RI.9-10.1, RI.9-10.4


Students will choose three phrases that Rilke uses and describe how they build and express Rilke’s advice through the use of language. Prompt: Select three phrases that represent significant pieces of advice and explain how Rilke’s use of language (i.e., particular words) gives each phrase its specific meaning.

End-of-Unit Assessment

Standards Assessed

RL.9-10.1, RL.9-10.2, W.9-10.9


Compose an essay in response to one of the following prompts: How might Rilke’s counsel also apply to Jason? OR How might Madame Crommelynck’s counsel also apply to the young poet?

In your essay, discuss how the author's word choice and phrasing impact the effectiveness of their counsel.

Your essay must include the following components:

An introduction that o identifies the texts and author, o identifies the mentor (Rilke or Madame Crommelynck), o identifies the mentee (the young poet or Jason), and o makes a claim as to why the counsel that the mentor gives to his/her

original mentee also applies to the mentee in the other text.

An evidence-based description of the young poet’s or Jason’s predicament. For example: If you are applying Madame Crommelynck’s advice to the young poet, describe the situation for which the young poet seeks counsel.

Evidence that supports the claim that appears in the introduction.

A conclusion that points back to both texts.






4

Unit-at-a-Glance Calendar

Lesson Text Learning Outcomes/Goals

1 Rilke’s Letter One, paragraph 1

Students read closely to begin to analyze how Rilke’s ideas are introduced in the passages that they will read.

2 Rilke Letter One, paragraph 2 and beginning of paragraph 3

The students will analyze how ideas unfold in the text. They will determine the choices that the author makes in order to develop his ideas. They will determine meaning of words as they are used in the text.

3 Rilke Letter One, complete paragraph 3

Students will consider how Rilke develops his central piece of advice to the young poet. Students will analyze Rilke’s use of repetition, figurative language, and word choice to determine how these specific details shape and refine the central ideas of this text. Students will prepare for the Mid-Unit Assessment by selecting 3–5 specific details from the entire Letter One that are powerful language choices in helping Rilke advise the young poet.

4 Mid-Unit Assessment Students will demonstrate their understanding of Rilke’s advice to the young poet and the language he uses to impart it.

5 From Black Swan Green: "Hangman" (pp. 24–26: from “So anyway” to “That was five years ago.”)

Students will be introduced to the narrator and main character, Jason, and will become familiar with the style and voice of the narrator.

6 From Black Swan Green: "Hangman" (pp. 2628)

Students will continue to analyze Jason’s character by connecting details about the text, moving to a more central idea/theme about Jason, namely his fear of being humiliated in front of his peers.

7 From Black Swan Green: "Solarium" (pp. 142–145: from beginning of chapter to “’To business.’”)

Students will draw explicit and implicit conclusions about Jason's first impressions of the vicarage and the character of Madame.

8 From Black Swan Green: “Solarium” (pp. 145–148: from "A young man needs” to “The last drops were the thickest.”)

Students will begin to unpack the relationship between Madame and Jason as they explore the advice she gives him. This lesson begins to draw students’ attention to the thematic similarities between the two texts in this unit.

9 From Black Swan Green: “Solarium” (pp. 149–156: “One moment we

Students will continue the analysis of how Mitchell’s ideas develop. The students will continue their examination of Jason’s predicament and will analyze Madame Crommelynck’s advice to






5

were ” to “hang myself.”)

him.

10 Review of texts from unit

Students will understand requirements of End-of-Unit Assessment and prepare by making key choices from the prompt and gathering details from the text.

11 End-of-Unit Assessment Using work from preceding lessons, students revise a text in progress to demonstrate their understanding of the unit's texts through the End-of-Unit Assessment.

Preparation, Materials, and Resources

Preparation

Read closely and annotate the unit texts, Letter One of Rilke and the selections from Black Swan Green.

Materials/Resources

Gather necessary instructional materials such as pens, pencils, self-stick notes, and chart paper.

Full text of Letter One from Letters to a Young Poet by Rainer Maria Rilke.

Full texts of “Hangman” and “Solarium” from Black Swan Green by David Mitchell.

Download and copy Reading Closely Checklist located at http://www.engageny.org/resource/grades-9-10-ela-reading-closely-unit.

Download and copy the NY Regents Text Analysis Rubric: http://www.engageny.org/sites/default/files/resource/attachments/2013.05.09_-_ela_regents_nti_document_final.pdf on page 23 of 96.

http://www.engageny.org/resource/grades-9-10-ela-reading-closely-unit

http://www.engageny.org/sites/default/files/resource/attachments/2013.05.09_-_ela_regents_nti_document_final.pdf

http://www.engageny.org/sites/default/files/resource/attachments/2013.05.09_-_ela_regents_nti_document_final.pdf

NYS Common Core ELA & Literacy Curriculum D R A F T Grade 9 • Module 1 • Unit 2 • Lesson 1

File: 9.1.2 Lesson 1 Date: 8/31/13 Classroom Use: Starting 9/2013




1

9.1.2 Lesson 1

Introduction

In the first lesson of this unit, students continue to build the close reading skills they began to develop in Unit 1 as they analyze Letter One of Rainer Maria Rilke’s Letters to a Young Poet. In this letter, Rilke responds to a young poet’s search for guidance. In the excerpt, students will close read in this lesson, Rilke challenges the usefulness of criticism and comments on the intangible and inexpressible nature of art. Students will begin to understand the connections Rilke is establishing and developing in this section.

Students will engage with the ideas Rilke presents in this empowering, lyrical text through independent and group work. Students will begin by listening to a teacher Read-Aloud of the text, following along in their own texts as they listen. This provides important fluency support as students gain familiarity with this new genre of informational text. Students will then reread paragraphs one and two independently, work to determine the meaning of academic/Tier 2 vocabulary in context, answer text-dependent questions (TDQs), and participate in class discussion as they build an understanding both of Rilke and of the poet to whom he writes.

Standards

Assessed Standard(s)

RI.9-10.3 Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections drawn between them.

Addressed Standard(s)



Assessment

Assessment(s)

Quick Write: Based on reading and class discussion, briefly respond to the following prompt: What relationship is Rilke establishing between language and art? How does this support his assertions about criticism? What evidence supports your thinking?

Homework due at beginning of Lesson 2: students’ annotated texts






2

High Performance Response(s)

High Performance Responses should indicate a formative understanding that Rilke is questioning whether it is possible to fully express ideas and experiences through language. Rilke asserts that “most experiences are unsayable,” and goes on to pronounce that “more unsayable than all other things are works of art.” Students connect Rilke’s doubt that words can express art to his rejection of “words of criticism,” and the “more or less fortunate misunderstandings” that result.

Annotated Texts: Students annotate (on their text or with sticky notes) for important ideas, thoughts, and unfamiliar vocabulary that relate to the focusing question. Student annotations may include the following:

o Rilke formerly said he would not “discuss your verses” but now offers specific criticism; he’s doing what he just said he wouldn’t do.

o The young poet’s poems currently “have no style of their own.”

o The poet’s work shows “silent and hidden beginnings of something personal.”

Vocabulary

Vocabulary to provide directly (will not include extended instruction)

tangible (adj.) – perceptive by touch

transitory (adj.) – not permanent

Vocabulary to teach (may include direct word work and/or text-dependent questions)

confidence (n.) – full trust, confidential communication

endures (v.) – lasts

Lesson Agenda/Overview

Student-Facing Agenda % of Lesson

Standards: RI.9-10.1, RI.9-10.3, RI.9-10.4

Text: Letter One from Rilke’s Letters to a Young Poet

Introduction of Unit and Lesson Agenda

Homework Accountability

Read-Aloud of Rilke’s Letter One

Close Reading and Evidence-Based Discussion

Text-Dependent Questions (TDQs) and Activities

Quick Write

Closing

10%

5%

20%

25%

25%

10%

5%






3

Materials

Copy of RI.9-10.1, RI.9-10.3, and RI.9-10.4

List of vocabulary words for display.






4

Learning Sequence

Percentage of Lesson

Teacher Actions Student Actions Instructional Notes (extensions, supports, common misunderstandings)

10% Introduction of Unit and Lesson Agenda

Briefly introduce the unit and the texts: Letter One from Rainer Maria Rilke’s Letters to a Young Poet, and “Hangman” and “Solarium,” two chapters from Black Swan Green by David Mitchell.

Share the purpose of this unit: to continue building upon reading standards RI.9-10.1, RI.9-10.3, and RI.9-10.4 and to consider how these standards operate in the context of informational texts.

Students look at the agenda.

Begin by reviewing the agenda and sharing the standards for this lesson: Standards: RI.9-10.1, RI.9-10.3, RI.9-10.4.

Display standards RI.9-10.1, RI.9-10.3, and RI.9-10.4. Read the standards aloud and ask students to follow along as they listen. Pose the following questions for students to discuss in pairs:

1. What do you notice about these standards as opposed to the standards in

Students complete a Turn-and-Talk with a partner.

Student responses may include the following:

1. Standard RL.9-10.1 and RI.9-10.1 both deal with using evidence.

2. Standard RL.9-10.3 focuses on characters, but RI.9-10.3 focuses on evaluation of authors' development/ support of

It may be useful to have these questions written on the board or displayed in some other way before class begins. Note that RL is the abbreviation for the literature strand and RI stands for the informational text.

Having these standards displayed helps students develop ownership of them and makes it easier to refer to






5

Unit 1?

2. How are they different? How are they similar?

Lead a brief recap of pair discussions.

Tell students that they will return to these standards throughout the year.

argument/ideas. Ideas, arguments, and events are under study, rather than plot or themes.

RL.9-10.4 and RI.9-10.4 are almost identical. Both are about learning to determine word meanings from context and consider the impact of that language on the text.

them throughout the unit. Students may need some assistance understanding the difference between RL.9-10.3 and RI.9-10.3. Both focus on how a text develops. Let students know that they will be looking here at how an author lays out and develops a point or an idea, rather than a character.

5% Homework Accountability

Instruct students to talk with a partner about how they can apply their focus standard to their text. Lead a brief (3–5 minute) share out on the previous lesson’s Accountable Independent Reading (AIR) homework assignment. Select several students (or student pairs) to explain how they applied their focus standard to their AIR text.

Students (or student pairs) discuss and share how they applied their focus standard to their AIR text from the previous lesson’s homework.

20% Read-Aloud of Rilke’s Letter One

Distribute copies of Rilke’s Letter One and the page that documents the title and publication date. Ask for volunteers to answer the following question: 1. What can the title reveal about the form of this text?

1. There is a unique format for this text: a letter. This understanding is supported by the title Letters to a Young Poet.

Question Extensions:

Students may observe that letters are not always nonfiction texts. The Color Purple, an example of a novel in epistolary form, is fiction.

Consider telling students that the letters were actually written even earlier than the publication date and discuss the tradition of letter writing






6

that today is almost gone. Students are likely to point to e-mail, texting, Skype, and other technological advances as the reason for the vanishing tradition.

Read Letter One aloud. Have students follow along with their own texts.

Students follow along, reading silently.

The purpose of the teacher Read-Aloud is to model fluency and support struggling readers. Advanced students may not require this; in this case, ask students to read the text independently before proceeding with the lesson.

In Unit One, questions were introduced during the initial Read-Aloud; here, because the letter is relatively short and the language (not the ideas) is less complex than St. Lucy’s, an uninterrupted Read-Aloud is recommended. However, should students need it, it may be useful to pause and allow for reflection time during the Read-Aloud.

25% Close Reading and Evidence-Based Discussion

Ask students to do a close reading of the first paragraph of the letter independently and annotate for unfamiliar vocabulary. Remind students that this type of annotation means to put a box around unfamiliar words and

Students silently read and annotate the first paragraph for unfamiliar vocabulary.

Circulate around the room, assisting students with the annotation activity when necessary.

Because some of Rilke’s syntax is complex, it may be necessary to help






7

phrases. Instruct students to pay particular attention to words that look familiar but may have a slightly different meaning.

students chunk sections of sentences to make meaning. Remind students that if they come to an unfamiliar word, they should look inside the word (structural analysis) for familiar portions, and outside the word (contextual analysis) for clues to its meaning.

Have students go over the annotations with a partner sitting near them. The partners should note which words they can figure out from context, and which ones they may still need help with.

Students discuss vocabulary in pairs. Students will remain in their pairs for the remainder of this lesson.

Ask student pairs to share words they figured out from context and words they are still struggling with. Flag words on the vocabulary list, letting students know that these are words they will learn over the course of the next few lessons.

Students share words. If some students ask about words not on the vocabulary list for this unit, consider asking pairs to discuss some of these words, looking for clues to their meanings in the paragraph.

25% Text-Dependent Questions (TDQs) and Activities

Display the following chunks of text with associated TDQs for students to discuss in their pairs. Students should record their responses and be prepared to share in class discussion.

Students work together, answering questions and capturing responses in their notes.

Consider asking students for a reminder of some guidelines for reading closely and answering TDQs.


Answering TDQs requires using evidence from the text.






8

Read like a detective.

Read multiple times.

It’s difficult, and that’s okay.

This step will be particularly helpful for less experienced students, or if there has been a gap between the end of Unit 1 and the beginning of Unit 2.

“Your letter arrived just a few days ago. I want to thank you for the great confidence you have placed in me.”

1. What might Rilke’s use of the word confidence reveal about the contents of the young poet’s initial letter?


1. Rilke is thanking the young poet for putting great trust in him and for being so open and honest with him about private and personal matters.

Ask students to volunteer a definition of the word confidence. Students will probably be familiar with confidence as an adjective to describe self-assuredness. Guide students towards an understanding that confidence also means both “full trust” and “confidential communication.”

“I cannot discuss your verses; for any attempt at criticism would be foreign to me.”

2. What might Rilke’s use of the word foreign reveal about the relationship he perceives between art and criticism?

3. What can you infer about the purpose of the young poet’s letter from Rilke’s refusal?

2. Foreign means "somebody from another country than your own," so by using this word Rilke is implying that, in his opinion, art and criticism are from two different places; they are not related to one another.

3. The writer of the letter wants Rilke’s opinion about the poetry and advice about how the young poet can improve his work. Student responses may include:

The poet asked Rilke if his

Criticism as advice or skillful judgment may be a new idea. If students struggle, it may be helpful to share the similarity to the term critic and ask students to think about what a good movie or music critic does.






9

poetry was good.

He asked Rilke to offer him advice.

“Nothing touches a work of art so little as words of criticism: they always result in more or less fortunate misunderstandings.”

4. According to Rilke, what results from criticism?

5. What is Rilke saying about the power of criticism to influence art? Use evidence from the text to support your response.

4. Criticism typically doesn’t work and usually results in someone “misunderstanding” a text.

5. Student responses may include the following:

Rilke thinks criticism is useless or pointless. Criticism is not a good way to think about art.

Rilke tells the poet “things aren't all so tangible and sayable.”

Events take place “in a space that no word has ever entered.”

Many things are “unsayable,” but especially art because it lasts forever.

The answer here should be complex since there are several layers to Rilke’s response.

Note the complexity of this sentence; it has two parts. Take more time discussing the students’ responses. Reading aloud and rephrasing his words may help the students analyze Rilke’s ideas.

Additional scaffolding questions:

What is a “more fortunate misunderstanding”?

What might be a “less fortunate misunderstanding”?

How does this relate to the effect of criticism?

What is the best possible outcome, and what is the worst possible outcome?

The syntax of the first part of the sentence is unusual; consider asking the students to rephrase it.






10

“Things aren't all so tangible and sayable as people would usually have us believe; most experiences are unsayable, they happen in a space that no word has ever entered, and more unsayable than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life.”

6. What words repeat in this passage? What belief does Rilke challenge through these repetitions?

7. What “life” does Rilke attribute to works of art? How does the life of art compare to human life? It may be necessary to offer students a definition of the word transitory as meaning "something that doesn’t last very long."

Lead a brief class discussion of student responses to questions 1–7. Continue to remind students to use explicit textual evidence to support their answers.

6. There is repetition of the word sayable in the word unsayable. Rilke challenges the belief that “things” can be expressed through words, or even understood at all.

7. Art has a life that is “mysterious” and that “endures” beyond Rilke’s (or any human’s) “transitory” life. Art has a life that lasts forever.

Extension:

Ask students to define the word endure. Student responses may include the following:

Endure means "to last." He says the art will endure beyond the artist

In other contexts, endure could mean to “bear or tolerate,” as in “to endure pain.”

10% Quick Write

Display the following prompt for students to respond to independently:

Based on reading and class discussion, briefly respond to the following prompt:

Students respond in writing to the Quick Write prompt. See High Performance Response at the beginning of this lesson.






11

What relationship is Rilke establishing between language and art? How does this support his assertions about the usefulness of criticism? What evidence supports your thinking?

Collect written responses as students leave.

5% Closing

For homework, instruct students to independently reread the second paragraph and annotate, focusing their annotation of the text with the following question: How does Rilke’s approach in the second paragraph compare to his “preface”?

They should be prepared to discuss their annotations in the following lesson.

Remind students that the annotation codes they should use include the following:

Boxing unfamiliar words

Starring important ideas

Writing thoughts, reactions, or connections

Instruct students to be prepared to discuss their annotations in pairs.

Student read, annotate, and prepare for discussion.






12

Homework

Students independently reread the second paragraph and focus their annotation of the text with the following question: How does Rilke’s approach in the second paragraph compare to his “preface”? They should be prepared to discuss their annotations in the next lesson (Lesson 2).

Note: Remind students that the annotation codes they should use include the following:

Boxing unfamiliar words

Starring important ideas

Writing thoughts, reactions, or connections

Instruct students to be prepared to discuss their annotations in pairs.






1

9.1.2 Lesson 2

Introduction

In this lesson, students will continue to analyze Rilke’s Letter One, building on the understanding they have developed of the purpose and context for Rilke’s letter. They will dive deeply into the text as they continue to uncover the choices Rilke makes to develop his critique of, and advice to, the young poet.

Students will begin by reviewing paragraph two in pairs, focusing on Rilke’s critique of the young poet. Students will then work in groups as they continue to close read the letter and analyze how Rilke introduces and develops his advice. This process will prepare students for more complex work with textual details later on in this unit. Students will call upon their group analysis in a final Quick Write. For homework, students will read the next lesson’s text excerpt and respond to a guiding prompt.

Standards






Assessment

Assessment(s)

Quick Write: According to Rilke, what is the purpose of the artistic life? How does Rilke introduce and develop this idea? Use evidence from the text to support your response.


• Rilke uses a nature metaphor to develop the idea that an artist’s entire life should be completely devoted to the artistic urge. Rilke describes the urge to write as a tree which “spread[s] its roots into the very depths of your heart,” and the job of the artist to “dig into yourself for a deep answer.” If the poet finds that the answer is “a strong, simple 'I must,'” Rilke advises him to, “build your life ... your whole life” in devotion to the artistic “impulse” that resides within him.






2

Vocabulary


• facile (adj.) – easily done, superficial

Vocabulary to teach (may include direct word work and/or Text-Dependent Questions)

• indifferent (adj.) – unconcerned



• Standards: RI.9-10.1, RI.9-10.3, RI.9-10.4

• Text: Letter One from Rainer Maria Rilke’s Letters to a Young Poet

• Introduction of Lesson Agenda

• Homework Accountability

• Text Analysis in Groups: TDQ Tool

• Quick Write

• Closing

5%

5%

60%

25%

5%

Materials

• Text-Dependent Questions Organizer—Rilke Tool






3

Learning Sequence



5% Introduction of Lesson Agenda

Begin by reviewing the agenda and sharing the standards for this lesson: RI.9-10.1, RI.9-10.3, RI.9-10.4.

Students look at the agenda. To build student ownership of the standards and understanding of their own learning, it may be helpful to have the standards for this unit posted in the room.


Ask students to open up their annotated Rilke text (Lesson 1 homework) and follow along as you read paragraph two aloud.


Instruct students to share the annotations they made for homework in pairs. (Annotation-focusing question: How does Rilke’s approach in the second paragraph compare to his “prefatory remarks”?)

After students have had time to discuss in their pairs, lead a brief full-class discussion and ask student pairs to share their observations.

Student pairs discuss their annotations. Encourage students to pair up with a different partner.

Move around the room checking for vocabulary that emerges and for key ideas the students have starred. Make sure students identify connections between this paragraph and the first. There is a contradiction established by Rilke’s second paragraph: he says in his prefatory remarks that he will not offer criticism of the young poet’s works, but then goes on to do just






4

that in the second paragraph.

60% Text Analysis in Groups: TDQ Tool

Explain to students that in the next activity they will explore the advice Rilke offers following his opening remarks.

Remind students that authors use language to convey their ideas and good readers identify and interpret the choices that authors make.

Do a Read-Aloud the entire passage for this lesson, from “You ask whether your verses are any good” through “must become a sign and witness to this impulse.”


Have students form small, heterogeneous groups for the purpose of discussing the text in more depth and recording insights. Distribute the Text-Dependent Questions (TDQ) Organizer–Rilke Tool to students. Explain that they will use this organizer to focus their group discussion of the next few paragraphs of Rilke’s letter and capture their thinking. Instruct students to read each passage aloud in their groups and discuss the associated questions. After students have had time to discuss, each student should independently record a response on his or her tool.

Remind students that reading closely involves returning to the text to support their thinking and discussion.

Circulate while students are working on these

Groups begin working on the Text-Dependent Questions Organizer—Rilke Tool.

It may be helpful to create these groups ahead of time to ensure they are diverse. Assign, or have students assume, a role within the group, such as Facilitator, Reader, and Recorder. During discussions, allow time for each group to share their collaborative work with the class.

For each of the passages that the text is divided into, there are a series of questions. The purpose is to ensure that the students point to details in the text when they analyze. Paying attention to these details enables the students to deepen their understanding of the complexity of the text.






5

passages and provide support as needed.

25% Quick Write

After students have had time to complete the Rilke tool, pose the following prompt for a Quick Write:

According to Rilke what is the purpose of the artistic life? How does Rilke introduce and develop this idea? Use evidence from the text to support your response.

Students complete a Quick Write. See High Performance Response at the beginning of this lesson for sample student work.

5% Closing

For homework, instruct students to read from “Then come close to Nature” through “the objects that you remember” and briefly respond in writing to the following question: What might Rilke mean by “Nature” in this passage? Use evidence from the text to support your response.

Having students read this text before class will help them move more quickly through this passage in Lesson 3, as well as connect back to their understanding of “Nature” from Lesson 1.

Homework

Read from “Then come close to Nature” through “the objects that you remember” and briefly respond in writing to the following question: What might Rilke mean by “Nature” in this passage? Use evidence from the text to support your response.






6

Text-Dependent Questions Organizer—Rilke Tool Name:

Passage TDQs Response

You ask whether your verses are any good… No one can advise or help you—no one (pp. 5–6).

1. What do you notice about the structure of these sentences? What effect does Rilke create through these structural choices?

2. What does Rilke beg the young poet to give up?

There is only one thing you should do… must I write? (p. 6).

3. How might your understanding of the tone of Rilke’s message change if the word only was removed?

4. How does Rilke embody the “reason” for writing? What image of the inner life of an artist does Rilke create?

5. What questions is Rilke imploring the young poet to ask of himself? According to Rilke, what answer must an artist give?

6. How might your understanding of Rilke’s message change if your was replaced with the word the in the sentence “the most silent hour of your night”?

Dig into yourself…must become a sign and witness to this impulse (p. 6).

7. How can the understanding of “your night” that you developed in question 6 help you to make meaning of Rilke’s reference to the “humblest and most indifferent hour”?

8. What might Rilke’s response to the Young Poet be if he answered no to these questions?






7

Model Text-Dependent Questions Organizer—Rilke Name:

Passage TDQs Response

You ask whether your verses are any good… No one can advise or help you—no one (pp. 5–6).

1. What do you notice about the structure of these sentences? What effect does Rilke create through these structural choices?

2. What does Rilke beg the Young Poet to give up?

1. The paragraph begins with four short sentences. (“You ask whether your verses are any good. You ask me. You have asked others before this. You send them magazines.”) This is different from earlier paragraphs that had longer, more complex sentences. Also, these four sentences all start with the word you. They’re repetitive and have parallel structure. The structure of these sentences emphasizes the importance of Rilke’s message.

2. The poet has sent his work to lots of people, trying to get advice from others, including Rilke, who begs him to “stop doing that kind of thing.”

There is only one thing you should do… must I write? (p. 6).

3. How might your understanding of the tone of Rilke’s message change if the word only was removed?

4. How does Rilke embody the “reason” for writing? What image of the inner life of an artist does Rilke create?

3. The word only emphasizes the urgent and imperative nature of Rilke’s tone. It denies the possibility of any other path; Rilke’s advice is the single correct course of action.

4. Rilke describes the “reason” for writing as a tree that takes root in the “depths” of an artist’s heart. Rilke is creating an image of the inner life of an artist as one that is rooted in the creation of art. The growth and production of art starts within the heart of the artist, so the artist must cultivate their inner sanctum (“go into yourself”).






8

5. What questions is Rilke imploring the Young Poet to ask of himself? According to Rilke, what answer must an artist give?

6. How might your understanding of Rilke’s message change if your was replaced with the word the in the sentence “the most silent hour of your night”?

5. Rilke implores the young poet to ask himself:

• Would I die if I couldn’t write? (“whether you would have to die if you were forbidden to write”)

• Do I have to write? (“must I write?”)

According to Rilke, an artist must answer “I must” to these questions.

6. Rilke is not literally talking about nighttime; he is talking about the dark and difficult times in an individual’s life.

Dig into yourself…must become a sign and witness to this impulse (p. 6).

7. How can the understanding of “your night” that you developed in question 6 help you to make meaning of Rilke’s reference to the “humblest and most indifferent hour”?

8. What might Rilke’s response to the young poet be if he answered no to these questions?

7. “Your night” means the dark times of an individual's life, and “humblest and most indifferent hour” is again a reference to difficult times in the artist’s life.

8. Rilke is implying that if a person can live without creating art, then he or she is not truly called to be an artist. He asks the young artist to “confess to yourself whether you would have to die if you were forbidden to write.” If the young poet doesn’t feel that way, Rilke might advise the young poet to move on to other pursuits.






1

9.1.2 Lesson 3

Introduction

In this lesson, students will consider one of the key ideas in Letter One of Rilke’s Advice to a Young Poet. Students will read and analyze from “Then come close to Nature” to “to whom his whole life is devoted.” In this passage, Rilke develops his central piece of advice to the young poet: “go into yourself.” Students will analyze Rilke’s use of repetition, figurative language, and word choice to determine how these specific details shape and refine the central ideas of this text.

Students will respond to text-dependent questions in groups, connecting important ideas in the latter half of the letter with Rilke’s advice in the first half. Students will synthesize their understanding of the development of the central ideas of this complex passage in a brief written response to this lesson’s Quick Write: What is Rilke asking the young poet to focus on when he advises, “the creator must ... find everything in himself”? What steps does the young poet have to take to become “a world for himself”?

This lesson also prepares students for an assessment of their understanding of Rilke and their progress on Standards RI.9-10.1, RI.9-10.3, and RI.9-10.4. For homework, students will continue to read their Accountable Independent Reading (AIR) texts, this time using a new focus standard to guide their reading.

Standards


RI.9-10.2 Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.










2

Assessment

Assessment(s)

Quick Write: What is Rilke asking the young poet to focus on when he advises “the creator must ...

find everything in himself”? What steps does the young poet have to take to become “a world for

himself”? Draw upon evidence from throughout this lesson’s close reading passage to demonstrate

how Rilke develops this central idea.


A High Performance Response should summarize the key points of this passage, as well as analyze how Rilke unfolds his central piece of advice to the young poet to “go into yourself” over the course of this passage.

When Rilke tells the young poet to “find everything in himself,” he is emphasizing his earlier advice to “go into yourself.” The young poet should focus on himself to find the answer to the question of whether or not he should be an artist.

Student responses may vary for the second half of this question but should have some or all of the following to demonstrate their understanding.

According to Rilke, the steps the young poet must take to become “a world for himself” include the following:

“go into yourself and see how deep the place is from which your life flows”

“build your life in accordance with this necessity; your whole life, even into its humblest and most indifferent hour”

“then, as if no one had ever tried before, try to say what you see and feel and love and lose”

“write about what your everyday life offers you”

“turn your attention” to childhood memories

“when you express yourself, use the Things around you”

“take that destiny upon yourself, and bear it, its burden and its greatness”

Vocabulary


immersion (n.) – the act or state of being dipped or submerged in a liquid


facile ( adj.) – easily achieved, effortless






3



Standards: RI.9-10.1, RI.9-10.2, RI.9-10.3, RI.9-10.4

Text: Letter One from Rainer Maria Rilke’s Letters to a Young Poet

Introduction of Lesson Agenda


Text-Dependent Questions and Activities

Quick Write

Lesson 4 Preview

Closing

5%

5%

60%

20%

5%

5%

Materials

• None.






4

Learning Sequence


Teacher Actions Student Actions Instructional notes (extensions, supports, common misunderstandings)


Begin by reviewing the agenda and sharing the standards for this lesson: RI.9-10.1, RI.9-10.2, RI.9-10.3, RI.9-10.4.

Remind students that they will continue to focus on the central idea of this text, considering word choice and how the author unfolds his ideas.

Inform students that the next lesson will include an assessment of their learning over the past few lessons.

Students look at the agenda. To build student ownership of the standards and understanding of their own learning, it may be helpful to have the standards for this unit posted in the room.


Ask students to volunteer their responses to the focusing question of their reading homework from Lesson 2: What might Rilke mean by “Nature” in this passage?

Lead a brief share out to ensure that the responses are supported by the text and demonstrate understanding of key ideas.

"Nature" could have two meanings in this context. Rilke could be referring to the natural world (e.g., animals, plants), but he could also be referring to human nature.

60% Text-Dependent Questions and Activities

Ask students to take out their Rilke Letter One text and call on a strong student reader


Spending time with this passage for homework will have fostered






5

to read aloud from “Then come close to Nature” to “the objects that you remember.”

the familiarity necessary for a comfortable and productive student Read-Aloud.

Students should continue in the groups established in Lesson 2.

Display the following question for student groups to discuss. Students should record their responses and be ready to share with the class.

1. What words and phrases can help you make meaning of the word facile in this context?

2. Why might Rilke describe traditional forms of poetry as “facile,” and then caution the young poet that these forms are in fact “the hardest to work with”?

3. What is Rilke asking the young poet to embrace when he counsels him to try “as if no one had ever tried before”?

Circulate and monitor students’ progress, ensuring that their responses include specific text evidence.

Lead a brief discussion of student

Students write their responses and discuss them before sharing out with the class. Students responses may include the following:

1. The text includes “ordinary” and “general themes,” so the word facile must mean "something that is regular or easily accessible."

2. Rilke states that these forms take “a great, fully ripened power” to create something “individual where good, even glorious, traditions exist.” Rilke is saying that these regular kinds of poems are harder to work with because there are already so many good examples of them in the world.

3. Rilke is asking the young poet to focus on the things that he can see and experience for himself, to “say what you see and feel and love and lose.” He tells the young poet to “write about what your everyday life offers you,” rather than the “ordinary” and “general” forms of poetry that are traditional. Rilke is

Have students form small,

heterogeneous groups for the

purpose of discussing the text in

more depth and recording

insights. It may be helpful to

create these groups ahead of time

to ensure they are diverse. Assign,

or have students assume, a role

within the group, such as

Facilitator, Reader, and Recorder.

During discussions allow time for

each group to share their

collaborative work with the class.

Additional Scaffolding TDQs:

What “traditions” does Rilke counsel the young poet to avoid? Why?






6

responses. advising the young poet to approach all experiences like they are brand new, rather than letting other people’s thoughts influence him.

Ask students to read aloud in their groups from “If your everyday life seems poor” to “far in the distance.”

Display the following TDQs for students to discuss in their groups before sharing out with the class:

4. How does Rilke’s assertion that “for the creator there is no poverty and no poor, indifferent place” build upon his earlier reference to “humblest and most indifferent hour[s]”?

5. According to Rilke, what is the artist’s “jewel beyond all price”? How does this kind of reflection develop an artist's inner life? Hint: Focus your analysis on the verbs Rilke uses in this passage.

4. There is a connection between Rilke’s statement that an artist should devote their life to art even in hard times (reviewed in Lesson 2) and his statement that there is no such thing as “indifferent place[s]” for an artist. Even places that seem poor have rich experiences for an artist to work with. An artist must work through difficult times, and in difficult places.

5. The artist’s childhood is the “jewel beyond all price” that is available even in a prison cell. Rilke’s assertion that “your personality will grow stronger, your solitude will expand and become a place where you can live in the twilight” suggests Rilke is saying that this type of remembering will result in a stronger personality, and will turn the aloneness of self-reflection into a safe place, a

While students work, circulate and check student comprehension of the key ideas in this passage.

5. Students may struggle with the phrase “the sunken feelings of this enormous past” which refers to the sunken memories of childhood.

5. If students struggle with this question, it may be necessary to address the meaning of the word solitude in this context.






7

6. Circle all the references to houses and homes in this passage. According to Rilke, where is the artist’s true home? Lead a brief discussion of student responses.

home.

6. “Treasured house” and “where you can live” are examples. Both of these references are contained within Rilke’s reflections on the importance of memories. Therefore, the artist is most at home in “solitude,” a “dwelling” built from his/her imagination and dreams and memories.

Ask students to read aloud in their groups from “And if out of this turning within” to “that is the only way one can judge it.”


7. How does Rilke’s use of the word “natural” in this passage compare to your understanding of his use of “Nature” that you developed for homework?

8. According to Rilke, what makes art “good”?

Lead a brief discussion of student responses.

7. Rilke has capitalized the word Nature in the line “then come close to Nature” but has not when he describes art as “your dear natural possession.” In this context, Rilke is not referring to Nature as an independent being but instead is using the word natural to describe poems that are born from the lived experiences of the author, rather than influenced by outside forces.

8. Art is “good” if it has “arisen out of necessity,” or if it comes from the inner life of an artist who “must” create art. It can only be judged by the inner life of the artist who created it.

8. If students struggle, offer a definition of necessity as "something that must happen."

8. Extension question: How can art’s quality be judged?

Art can be judged only by whether






8

or not is has “arisen out of necessity.” It is the artist’s commitment to the work that determines whether or not the art is good; art can be judged only in relationship to the intention behind its creation.

Ask students to read aloud in their groups from “So, dear Sir,” to “to whom his whole life is devoted."


9. What does Rilke’s use of the words burden and bear it suggest about how he understands the life of an artist?

10. What kind of “reward” is Rilke referring to when he counsels the young poet to accept his destiny “without ever asking what reward might come from outside”? Use evidence from the passage that you explored in Lesson 2 to inform your response.

11. What might Rilke’s choice to capitalize Nature but use the lowercase for creator

9. Rilke describes art as a “destiny” that is both a “burden” that the artist must “bear” as well as a “greatness.” This infers that Rilke understands being an artist as something heavy and difficult, but worthwhile.

10. Rilke’s previous references to “looking outside” for the approval of “certain editors” and “magazines” put this statement into context. This repetition of “outside” is a reminder to the young poet not to seek rewards, or praise, from others, even Rilke himself (“You ask me … stop doing that sort of thing.”)

11. Student responses to this complex question will vary.

11. It may be helpful to inform students that in the Judeo-






9

suggest about how he understands the relationship between artist and inspiration?


Some students may make a connection back to Rilke’s advice to “come close to Nature” and recognize that Nature is an important part of an artist’s work.

Some students may connect the “creator” with the artist and recognize that because “creator” is lowercase it means that the author did not intend to refer to a proper noun or specific person.

Some students may extend this observation to connect to the use of the word Creator to refer to God but only when it is capitalized as a name. In this case, creator refers to the person who creates art (the artist).

Some students may extend this observation further to include that Rilke is placing Nature, or inspiration, in a position of power over the creator, or artist.

Christian tradition, Creator with a capital C is generally used to refer to God. It may also be necessary to remind students that a capital letter indicates a proper noun or name.

20% Quick Write

Display the following prompt and ask students to respond in a Quick Write:

What is Rilke asking the young poet to focus on when he advises that the creator must “find everything in himself”? What steps does the young poet have to take to become “a world for himself”?

Students complete a Quick Write. See High Performance Response at the beginning of this lesson.

Student responses should call upon evidence throughout this lesson’s close reading passage to demonstrate how Rilke develops this central idea.






10

5% Lesson 4 Preview

Inform students that in the next lesson they will write a paragraph in which they will use sentences or phrases from Rilke’s letter to explain how the author uses language to advise the young poet.

Remind students that that use of language means the choices that authors make.

Ask students for examples of Rilke’s specific choices that the class has discussed.


● Repetition of the same word (you, must, nature)

● Use of capital letter for Nature

5% Closing

Introduce standard RI.9-10.2 as a focus standard to guide students’ Accountable Independent Reading (AIR), and model what applying a focus standard looks like. Tell students they should prepare for a brief 3–5 minute discussion that will ask them to apply the language of the standards to their reading.

For example, RI.9-10.2 asks students to “determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.” Students who read “St. Lucy's Home for Girls Raised by Wolves”

Students continue reading their AIR text.

Some students may choose to annotate their AIR texts as they read to practice the new skill of annotation. Even though this reading is meant to stimulate interest and enjoyment in reading, some students may find annotating their texts a beneficial strategy for reading comprehension.






11

might say, “A major theme of St. Lucy’s is the struggle to integrate into human society. This theme emerges early on, for example when Claudette is disoriented by the shoes on her two (instead of four) feet. The theme is developed as Claudette and the other girls begin to acclimate to the ways of St. Lucy’s. It culminates when Claudette goes back to visit her wolf family and they recoil from her because they no longer recognize her.”

For homework, instruct students to continue their Accountable Independent Reading through the lens of their focus standard and prepare for a 3-5 minute discussion of their text based on that standard.

In addition, students should select from 3 to 5 of Rilke’s phrases, sentences, or words from Letter One that are strong examples of powerful language choices in preparation for the Mid-Unit Assessment.

Students continue to read their AIR text for homework.

Homework

Students should continue to read their Accountable Independent Reading through the lens of their focus standard and prepare for a 3-5 minute discussion of their text based on that standard.

Select from 3 to 5 of Rilke’s phrases, sentences, or words from the entire Letter One that are strong examples of powerful language choices in preparation for the Mid-Unit Assessment. (See Closing above.)






1

9.1.2 Lesson 4

Introduction

This is the final lesson in the series of close reading lessons on Rilke’s Letters to a Young Poet. Students will prepare for and complete an assessment of standards RI.9-10.1 and RI.9-10.4 using the Rilke text. For homework, students identified three powerful language choices that Rilke employs to shape the central ideas of his text. In this lesson, they will use their collected evidence to complete a formal writing assignment as their Mid-Unit Assessment. This assignment asks students to describe how Rilke uses language in Letter One to build and express his central advice. This assessment requires students to marshal multiple pieces of evidence to explain an idea, assessing their capacity to use evidence to support analysis, and to trace the development of an idea across an entire text.

This lesson will ask students to recall the writing skills they began developing in Unit 1. This formal writing assignment will ask students to incorporate quotes and pay attention to the organization and clarity of their written response. Students will use the words, sentences, and phrases they collected for homework, as well as class discussions, to help them develop their responses. For homework, students will continue to read their Accountable Independent Reading (AIR) texts.

Standards





W.9-10.2 Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

Assessment

Assessment(s)

Mid-Unit Assessment: Students will choose three sentences or phrases that Rilke uses and describe how they build and express Rilke’s advice through use of language.

Prompt: Use the sentences or phrases that you selected for homework (chosen to represent significant pieces of advice) and explain how Rilke’s use of language (e.g., particular words or use of words) gives each phrase its specific meaning. Then explain how these three sentences or phrases contribute to






2

Rilke’s central advice. In your answer be sure to

Include an introductory sentence.

Write each quote plus a sentence or two that explain the quote and any notable choice of words; you may note a metaphor, a word in italics, or perhaps repetitions.

Write a concluding sentence that explains how the three sentences or phrases you chose contribute to Rilke’s overall message.

Follow conventions of standard English.

Integrate at least two of the vocabulary words we discussed from this text.

Use the NY Regents Text Analysis Rubric to evaluate these paragraphs.


Students’ paragraphs reflect an understanding of Rilke’s central advice to the young poet. They also convey the students’ ability to provide close analysis of the text. Students use at least three examples in their analysis of how Rilke conveys his advice.

Students provide a variety of responses based on the sentences or phrases they choose.

For example:

A student may begin with the following or similar introductory sentence: In his letter, Rilke emphasizes the importance of a writer going inside, rather than outside, for sources of writing.

A student who begins a response with this sentence may choose the following three examples (although there are many others):

“write about what your everyday life offers you; describe your sorrows and desires, the thoughts that pass through your mind”

“And even if you found yourself in some prison, whose walls let in none of the world's sound – wouldn't you still have your childhood, that jewel beyond all price, that treasure house of memories?”

“out of this immersion in your own world, poems come”

After each example, the student will explain what the example means, and any special use of language they note.

A student might write something similar to the following: Rilke uses the words jewel beyond all price and treasure house as metaphors for childhood memories to emphasize that any person has memories and that they are like precious jewels or a treasure chest. There is never a reason for the creative person to feel poor in experiences that he or she can draw upon for writing.

In conclusion, the student might explain that Rilke urges the poet to use his own life experiences, even if they don’t appear special and unusual. He says these things to emphasize that writing is personal and that you can’t look for public approval of its value.

Students are expected to demonstrate command of the conventions of standard English.






3

Vocabulary


None.


None.



Standards: RI.9-10.1, RI.9-10.4, W.9-10.2

Text: Letter One from Rainer Maria Rilke’s Letters to a Young Poet

Introduction of Lesson Agenda


Quotation Integration Mini Lesson

Mid-Unit Assessment Tool

Closing

5%

20%

20%

50%

5%

Materials

Assessment Prompt (for display)

Tips for Integrating Quotations Handout







4

Learning Sequence




Begin by reviewing the agenda and sharing the standards for this lesson: RI.9-10.1, RI.9-10.4, W.9-10.2. Remind students that they have seen these standards in earlier lessons.

Briefly review the agenda for today’s lesson. Explain that the assessment they complete today assesses their ability to use evidence in their analysis and gives them a chance to begin practicing writing skills they will use for the rest of the year.

Distribute or display a copy of the assessment prompt. Ask a student to read the prompt aloud.


Student volunteer reads the prompt as other students follow along.


Transition to Mid-Unit Assessment prep. Ask students to take out the sentences or phrases that they selected for homework. Students should also have their copy of Rilke’s letter in front of them.

Tell students that, before they complete their assessment, they have an opportunity to talk about some of the ideas they will be incorporating by

Students discuss their homework assignments and add to their notes.

Confirm that students’ selections demonstrate their knowledge of the text and represent pieces of advice that Rilke gives the young poet. Students should be able to explain how the author’s use of language (the choices that he makes) gives each word or phrase its meaning. e.g., use of question marks, repetition of key phrases (“go into yourself”), and






5

discussing their homework assignment.

Place students in groups of four. Write or project the following discussion instructions:

In your groups, discuss the words and phrases you selected. Go around the group and share the selection of words and phrases.

Identify the way that Rilke uses the word or the phrase.

Examine how that word or phrase helps develop a specific piece of advice that Rilke offers.

Remember to do these three things in your discussion:

1. Ask questions and build upon one another’s ideas.

2. Return to the text.

3. Add good thinking by your group members to your notes.

When students have finished their discussions, lead a short debriefing session to ensure that students understand the connection between their evidence and Rilke’s use of language.

nature metaphors.

20% Quotation Integration Mini Lesson

Explain to students that an important component of textual analysis is integrating quotations in a way that strengthens the point they wish to make.

Students follow along as teacher demonstrates integration of quotes.

This is an important component of good writing. Allow time for students to ask questions and to demonstrate their understanding of the practice.






6

Write or project these steps (see Tips for Integrating Quotations Handout) and explain each one:

Step I

Select a quote you’d like to integrate into your piece: “go into yourself and see how deep the place is from which your life flows”

Step II

Select a word, or several words, from that quote that carry significant ideas: “go into yourself,” “how deep the place is,” and perhaps “your life flows.”

Step III

Compose a sentence that includes those words and includes the point you want to make: Rilke tells the poet to go inside to “go into [himself].” He says that this is where he will see “how deep the place is” where his “life flows” from.

This is also a good opportunity to draw students’ attention to the use of simple present tense in text analysis. Consider underlining the words tells and says in the sample sentence and explain that any time a reader analyzes a text, it is a new reading and therefore in the present tense. Students should not be penalized if they do not incorporate this into their writing. This is simply information for them that they will be able to return to later.

Provide time for questions and ask for student volunteers to demonstrate the integration of quotations.

Consider asking students to write their sample sentences on the board so others have additional examples to look at when they write their paragraph.

50% Mid-Unit Assessment Tool

Distribute the Mid-Unit Assessment Tool. Tell students they may use the text and any notes they have taken to write their paragraph.

Students independently write their paragraphs.

For students who need additional support, consider providing a frame for the topic sentence such as “In Rilke’s first letter to the young poet, a central theme of his advice includes ______.” Point out






7

that this statement comes directly from the details they selected and will discuss.

5% Closing

Collect students’ work and inform students that in the next lesson they will read a different text, but they will return to Rilke later in the unit.



If students have not had time to complete the Mid-Unit Assessment Tool in class, consider assigning it as homework.

Homework





Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License 8

Tips for Integrating Quotations Student Handout

Step I

Select a quotation you would like to integrate into your piece.

Sample: “go into yourself and see how deep the place is from which your life flows”

Step II

Select a word, or several words, from that quotation that carry significant ideas.

Sample: “go into yourself,” “how deep the place is,” and perhaps “your life flows.”

Step III

Compose a sentence that includes those words and includes the point you want to make.

Sample: Rilke tells the poet to go inside to “go into [himself].” Rilke says that this is where he will see “how deep the place is” from which his “life flows.”






Prompt and Instructions

Write a paragraph that discusses Rilke choice of language affected his message.

Use the three sentences or phrases that you chose for homework. Explain how these represent significant pieces of advice and explain how Rilke’s use of language (e.g., particular words or use of words) gives each phrase its specific meaning. Then explain how the three sentences or phrases contribute to Rilke’s overall advice. In your answer be sure to

Include an introductory sentence.

Write each quote plus a sentence or two that explain the quote and any notable choice of words; you may note a metaphor, a word in italics, or perhaps repetitions.

Write a concluding sentence that explains how the three sentences or phrases you chose contribute to Rilke’s overall message.

Follow conventions of standard English.

Integrate at least two of the vocabulary words we discussed from this text.

Things to Remember

Compose a topic sentence that tells the reader what piece of advice you are discussing; it will keep your paragraph focused.

Select only short phrases or single words.

Work to integrate quotations into your sentences.

Include discussion of language.

Arrange the sequencing of ideas in your paragraph logically (the topic sentence will help).






1

9.1.2 Lesson 5

Introduction

In the next two lessons, students will read closely and discuss an excerpt from Chapter 2,“Hangman,” from the novel Black Swan Green. Students will read from “So anyway, Mum dropped me at Malvern” to “I was taken to see Mrs. de Roo, the speech therapist at Malvern Link Clinic. That was five years ago” (pp. 24–26). This reading will introduce students to the narrator and main character, Jason, and will familiarize them with his style and voice. Close reading in this section will prepare students for reading a second, longer section from later in the novel that will offer them rich content for comparison to Rilke’s “Letter One.”

After a brief introduction and teacher Read-Aloud, students will close read the first four paragraphs of the selection, using text-dependent questions to drive them back into the text and deepen their understanding. Students will carefully consider the character, his feelings, and his motivations. They will also consider the relationship between language and meaning in this rich novel. In a homework assignment, students have an opportunity to deepen their understanding of the character and his situation by choosing a precise word to describe Jason and supporting their choice with evidence from the text.

Standards


RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.



RL.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).






2

Assessment

Assessment(s)

The assessment in this lesson is in two parts. The first part consists of student responses to text-dependent questions that occur during the lesson sequence. The second part is the homework.

Homework: Reread the section of the text from today’s lesson. Then choose a precise word from or implied by the text to describe Jason as the author presents him in this chapter. Write a well-developed paragraph that uses details from the paragraphs to support your choice. Be sure to use a word we discussed today in your response.


Teaching points related to the text-dependent questions are embedded in the Learning Sequence below.

A proficient response to the reflective writing prompt will offer a specific descriptive word stated in or inferred from the text, such as insecure, worried, or embarrassed. These responses will use details from the present action of the text as well as the flashback to support the claim. Look for evidence of students choosing smaller pieces of text and embedding them with appropriate quotation marks in sentences.

o A word that could be used to describe Jason is insecure. He is insecure about his speech, so much so that he envies those who do not need to test what they want to say for “stammer words.” This self-consciousness has been with him since his very first stammering episode, which took place five years before the story begins. He was unable to say the word nightingale in class and was humiliated by this. His insecurity extends to other aspects of his life, including a wish to avoid the “Dyson Perrins” kids so he would not have to worry about getting beaten up.

Vocabulary


scrap (n.) – a fight

skive off (v.) – skip

flid (n.) – slang for someone with physical or mental challenges

noose (n.) – a loop with a running knot that tightens as the rope is pulled


stammer (v.) – to speak with involuntary breaks and pauses






3



Standards: RL.9-10.1, RL.9-10.3, RL.9-10.4

Text: “Hangman” from Black Swan Green (pp. 24–26)



• Read-Aloud

• Close Reading and Partner Discussion

• Closing

5%

5%

15%

70%

5%

Materials

• None.






4

Learning Sequence




Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.9-10.3, RL.9-10.4. Remind students that these are the same standards they worked with in Unit 1. Return assessments from Lesson 4 and lead a quick debrief with students.



Instruct students to talk in pairs about how they can apply their focus standard to their text. Lead a brief share out on the previous lesson’s AIR homework assignment. Select several students (or student pairs) to explain how they applied their focus standard to their AIR text.

Students (or student pairs) discuss and share how they applied their focus standard to their AIR text from the previous lesson’s homework.

15% Read-Aloud

Distribute the “Hangman” excerpts and point out where students will begin reading.

Though there is a coherent narrative to the novel, the chapters of Black Swan Green also hold up as individual vignettes. This lesson begins at the second paragraph of the chapter to






5

avoid some unnecessary confusion and offensive language.

Read the excerpt aloud, reminding students to read along silently.


If students are able to read this complex text on their own, consider having them do so. Reading aloud to students supports fluency, especially with this complex text.

70% Close Reading and Partner Discussion

Ask students to read the first paragraph again, from “So, anyway, Mum dropped me off” to “too hard for the Dyson Perrins kids to bother with me.”

This time ask students to annotate the text using the codes they have learned.

Students read and annotate the excerpt.

It may be useful to remind students of the annotation codes:

Put a box around unfamiliar words.

Put a question mark by areas of confusion.

Write connections or reactions in the margins.

Star important ideas.

This can be done either on the text itself or with self-stick notes.

In pairs, have students share their annotations.

Pose the following questions for students to discuss in their pairs. After giving pairs time to review and discuss the text and their annotations, ask pairs to share their responses.

Student pairs will share their annotations and discuss text-dependent questions.

1. What seems to be true about Jason 1. Student responses may include the 1. It may be helpful to ask additional






6

and his peers? following:

There is violence among rival schools (“Pluto Noak’d hit their hardest kid so hard”) and strict social rules (“If you chicken out” or “if you tell a teacher”). Students should hit upon the social pressure and possible violence that is ongoing in Jason’s life.

questions to make sure students understand that the narrator isn’t referring just to past violence at school. To help students get there, direct students to the word lucky and ask, “Why does Jason feel lucky that the Dyson Perrin kids don’t notice him?”

Sample student responses include the following:

The Dyson Perrin kids are still inclined to get into conflict with students from Jason’s school. He mentions that “every year” students from each school meet for a “mass scrap.”

2. What can you infer about the definition of scrap in this context?


A scrap is a fight, based on the explanation that follows about Pluto Noak.

2. If students are unable to provide a definition, supply it and ask students to verify how this definition fits with the preceding question about the nature of Jason’s peer culture.

Ask students to read and annotate the next paragraph, from “Today was my second appointment this year ” to “taught chimpanzees to speak in sign language.

Students read and annotate.

3. How does the narrator feel as he enters and sits in the waiting room?


Jason is uncomfortable with the

3. For groups or students who would benefit from additional challenge, ask them to consider the effect of revealing






7

others in the room such as “old biddy,” the “hobbit man with watery eyes,” and the woman “with coat hangers instead of bones.”

He feels good that the receptionist doesn’t try to embarrass him, or “show him up.”

He is envious of the receptionist’s ability to say what she wants when she thinks it. The narrator also hears in the clock’s tick a reminder of his upcoming execution, described more explicitly in the parenthetical that follows.

the narrator’s reason for being at the clinic so indirectly. 3. In their responses to the previous question, students may have already noted that Jason envies the receptionist, but they may also see that this envy is the revelation of his stammer, the “thing he wants to talk about least.” To help students connect the indirect revelation to a feeling of suspense, ask them to consider how the paragraph might be different if it began with an explanation that he is at the clinic for his stammering problem.

Ask students to read and annotate the next two paragraphs, from “Most people think stammering and stuttering are the same ” to “What’s wrong with Jason Taylor?” before engaging them in the next set of discussion questions:


4. Ask students to complete a Turn-and-Talk about the difference between a stammer and a stutter.

Lead a quick debrief to make sure students understand this distinction.


A stutter is when a speaker repeats the first sound of a word.

A stammer is when a speaker gets stuck on the first sound.

5. When does the game of Hangman narrated here take place?







8

The text tells us directly that this event occurred five years ago (from the present of the novel). We were alerted to the shift in time by the narrator’s mention of “I started going that summer when it never rained….”

6. How does the narrator feel during the game of Hangman?

6. Student responses may include:

Jason is embarrassed.

He is frightened and self-conscious.

7. Follow up the discussion by challenging the student pairs to look for interesting language that gives a deeper sense of what Jason is feeling.


“kaboom”

the reference to “noose”

images of “eyes popping out” as it tightens

repetition and exaggeration of “Every”

7. Offer additional modeling and guidance as needed, but begin by encouraging students to draw on their know-how from work with the Rilke letter before introducing a new scaffold. Consider providing language frames to help students link specific word choices with their effects: “The word ___ gives a sense of ____” or “Comparing ___ to ___ lets me know ___.”

This section is particularly rich. Consider projecting it for full-class reference as you discuss it.

Conclude the close reading section of the lesson by reading aloud the last paragraph for today, from “But no matter how shocked, scared, breathless and ashamed” to “That was five years ago.”







9

8. What do you notice about the language of the first sentence of the paragraph?


“No matter how” repeats three times.

Multiple adjectives in a row, “shocked, scared, breathless, ashamed.”

Shifts abruptly to “I couldn’t say ‘nightingale.’” It’s a very long lead-in to a short, stark statement.

8. Although students may notice the repetition, they may not be able to discuss its contrast to “I couldn’t.” If not, prompt students by sharing that one way to analyze the effect of repetition is to look at the point where the repetition breaks.

Ask students to do a Turn-and-Talk about their reactions to this paragraph and this section of Black Swan Green. Invite them to make a note of things they found puzzling.

Lead a short discussion of student reactions and responses to the text.

The personal and embarrassing nature of this narrative will very likely resonate with students. They have now spent considerable time during this lesson analyzing the text. Discussing their reactions gives an opportunity to process and connect to what they have read.

5% Closing

For homework, instruct students to reread the section of the text from today’s lesson. Choose a precise word from or implied by the text to describe Jason, as the author presents him in this chapter. Write a well-developed paragraph that uses details from the text to support your response.

Explain that students will use their

Remind students to integrate shorter quotes—words and phrases—to explain their choice.

Depending on students’ experiences and sensitivity to this selection, you may wish to add an opportunity to write about their personal response toward Jason and his situation after they have completed the close reading and






10

paragraphs in the next lesson.

Tell students that a way to start thinking about this question is to ask, “What is a word that describes Jason, and how do I know it describes him?”

reflective writing components.

Homework

Reread the section of the text from today’s lesson. Choose a precise word from or implied by the text to describe Jason as the author presents him in this chapter. Write a well-developed paragraph that uses details from the text to support your choice. Be sure to use a word we discussed today in your response.






1

9.1.2 Lesson 6

Introduction

In this lesson, students will conclude their study of the excerpt from “Hangman” that they began in the previous lesson. Students will read from “It must have been around then (maybe that same afternoon)” to "I’d rather kill Hangman that way than let him kill me tomorrow morning. I mean that” (pp. 26–28). Students will continue to analyze Jason’s character using details from the text to support their understanding, but in this lesson they will move to a more central idea or theme about Jason. By analyzing the way Jason gives human characteristics to his stammer through Hangman, students will deepen their understanding of how the author establishes Jason’s fear of being humiliated in front of his peers.

Students begin by returning to the homework assignment from the previous lesson. Students then continue reading, annotating, and discussing the text. The lesson concludes with an opportunity for students to connect their understandings from both lessons in this arc, reflecting specifically upon the relationship between Jason and Hangman in a Quick Write. For homework, students will continue to read their Accountable Independent Reading (AIR) texts.

Standards





RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop theme.






2

Assessment

Assessment(s)

Quick Write: What is the relationship between Jason and Hangman? What central idea does this relationship illuminate in the text? What evidence did you use to identify this central idea?


Hangman is a symbol, or representation, of Jason’s fear of stammering, a central idea in this story. Hangman is violent and is a way for Jason to describe some of the physical symptoms that he experiences. Jason says that the Hangman will “crush” his throat and “mangle” his tongue. The idea of a hangman is scary and reinforces Jason’s fear of people mocking him for his stammer, something Jason says will make his life not “worth living.”

Vocabulary


Upton-on-Severn Comprehensive (n.) – Jason’s high school

Sitting for A-levels (v.) – taking top-level university entrance exams


substitute ( v.) – to replace with something similar



• Standards: RL.9-10.1, RL.9-10.2, RL.9-10.3

• Text: “Hangman” from Black Swan Green (pp. 26–28)



• Close Reading and Evidence-Based Discussion

• Quick Write

• Closing

5%

5%

75%

10%

5%

Materials

• Standard RL.9-10.2 (for display)

• Sentence for display:

Quarter past four. Sixteen hours and fifty minutes to live.






3

Learning Sequence




Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.9-10.2, RL.9-10.3. Tell students they will continue to work with standards RL.9-10.1 and RL.9-10.3 and that they are beginning to work with a new standard: RL.9-10.2.


Display the language of standard RL.9-10.2: Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. Ask students to put the standard in their own words.


We are looking at central ideas or themes in a text.

We are looking at how the text details create and develop the big ideas or themes.

We should be able to recall the major events in the story as a summary.

To build student ownership of the standards and understanding of their own learning, it may be helpful to have the standards for this unit posted in the room.


Ask students to take out their homework paragraphs from the previous lesson and discuss them with a partner.


Students discuss their paragraphs in pairs.

Circulate as students share their paragraphs. Encourage them to discuss the choices of details to explain the descriptive word.






4

75% Close Reading and Evidence-Based Discussion

Explain to students that today they will read the next four paragraphs of the text, from “It must have been around then (maybe that same afternoon)” to "I’d rather kill Hangman that way than let him kill me tomorrow morning. I mean that.”

Read aloud the excerpt, instructing students to follow along in their texts.


Ask students to reread and annotate the first paragraph of this section, either independently or in pairs, from “It must have been around then” to “but Dad’d never let me.”

Students reread and annotate the first paragraph.

Students who need fluency support may benefit from pairing with a more fluent reader.

At this point, students should know the current annotation codes, but it may be helpful to have them displayed in the classroom for reference.



Write connections or reactions in the margins.


This can be done either in the text itself or with self-stick notes.

Transition to a whole-class discussion of the following text-dependent questions.

1. What human characteristics does 1. Student responses may include the 1. These images are vivid. Allow






5

Jason give to his stammer, and to what effect?

following:

He refers to his stammer as a hangman, not the word game that prompted the stammer but an actual executioner.

Jason describes Hangman’s facial features and imagines him putting his fingers in Jason’s mouth.

The Hangman looks for the kinds of words that will cause Jason to stammer.

The effects of these images include showing how scared Jason is of his stammer (he explains that he “dreaded” people asking his age) and demonstrating how out of control Jason feels.

students plenty of time to consider them and their effects.

Ask students to reread and annotate the next paragraph of this section, either independently or in pairs, from, “The only way to outfox Hangman” to “getting labeled ‘School Stutterboy.’”


2. How has Jason dealt with his stammer?


Jason has adapted to his stammer by becoming extremely aware of what he is saying and is about to say.

He reads the dictionary to have plenty of words he can use to avoid stammer words. Doing so helps avoid

Share with students that Upton-on-Severn Comprehensive is the name of Jason's school.

Remind students of the reference to the strict social rules at his school that they learned about in Lesson 5.

Depending on students’ experiences and






6

the embarrassment of the stammer but also causes him to fear using a word that might get him in trouble with his friends.

He buys time by saying “er.”

He pretends he does not know the answer to questions when the answer is “a stammer word.”

sensitivity to this selection, you may wish to add an opportunity for students to talk or write about their personal response toward Jason and his situation after they have completed the close reading and reflective writing components.

Ask students to reread and annotate the next paragraph of this section, either independently or in pairs, from “That’s something I’ve always just about avoided” to “I mean that.”


Project this text from the previous lesson for students to see:

“Quarter past four. Sixteen hours and fifty minutes to live.”

Pose the following questions for class discussion:

3. Thinking back to this sentence, what does Jason mean when he says he has so little time left to live?


This refers to his upcoming read-aloud—the assembly we now know Jason is dreading.

Hangman is going to “kill” him by embarrassing him.

4. What is Jason really afraid of? 4. Student responses may include the following:

Jason is afraid of feeling embarrassed in front of so many people and the teasing and torment he will have to endure.

Extension: Ask students to discuss the connections between Jason’s imagery of Hangman and his use of the term execution.

Explain that “sitting for A levels” is taking a high-stakes college entrance






7

exam.

10% Quick Write

Transition students to the Quick Write:

What do details from the text tell you about the relationship between Jason and Hangman?

Tell students they may use their notes and text to respond to this question.

Collect students’ responses.

Students use their notes and annotations to offer a brief response to the prompt. See High Performance Response at the beginning of this lesson.

5% Closing



Homework







1

9.1.2 Lesson 7

Introduction

In this lesson, students begin their study of “Solarium,” a chapter from the novel Black Swan Green with thematic connections to Letter One of Rilke’s Letters to a Young Poet. Over the next several lessons, students will prepare to apply the skills they have developed over the past few weeks to a new task: cross-textual analysis. In this lesson, students will read, summarize, and discuss the first four pages of the chapter, from “OPEN UP! OPEN UP! holler door” to “To business” (pp. 142–145). This solid foundation will prepare them for the richness of the conversations with Madame Crommelynck in the lessons to come.

Students will use a familiar annotation symbol (!) to indicate a connection to another text or excerpt within the text (in addition to indicating something surprising or striking). Encourage students to connect what they already know from “Hangman” to this reading selection. This strategy will also prime students to find points of comparison with Rilke without the teacher’s direct suggestion in upcoming lessons. Students will read along during a Read-Aloud of the text before annotating and discussing a section in small groups. These groups will prepare a summary to share with the class. Students will then participate in a discussion around focused text-dependent questions. For homework, students will reread today’s text selection and write a response using a guiding prompt.

Standards




RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop theme.







2

Assessment

Assessment(s)

• Summary statements

• Text-dependent questions

• Homework: Informal writing prompt: Think back to your impressions from Jason in “Hangman.” What do you know about Jason now that you didn’t know before?


• Sample responses for summary statements and text-dependent questions are embedded in the learning sequence below.

• Homework responses include Jason’s activity as a poet and his interest in talking with someone about his work. Students may note that his stammer does not significantly impede his communication in this section.

Vocabulary


• vicarage (n.) – the house of a vicar, who is a member of the clergy serving a particular community

• punt (n.) – a flat-bottomed boat (perhaps already familiar to students as a verb meaning to kick)

• trainers (n.) – British term for tennis shoes

• propagate (v.) – reproduce, create more of

• timidity (n.) – fearfulness, hesitance

• incontinence (n.) – (used here figuratively) a failure or inability to restrain something (usually a bodily function; students may know the term in this literal sense)


gratis (adj.) – free, provided at no charge

apprehended (v.) – caught; taken into custody






3




• Text: “Solarium” from Black Swan Green (pp. 142–145)



• Review of Annotation

• Read-Aloud with Discussion in Pairs

• Group Summaries and Reporting

• Full-Class Discussion of Text-Dependent Questions

• Closing

5%

5%

5%

10%

40%

30%

5%

Materials

• None.






4

Learning Sequence




Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.9-10.3, RL.9-10.4.



Lead a brief (3–5 minute) share out on the Accountable Independent Reading (AIR) homework assignment from Lesson 6. Select several students (or student pairs) to explain how they applied their focus standard to their AIR text.

Students (or student pairs) share out on how they applied their focus standard to their AIR text from the previous lesson’s homework.

5% Review of Annotation

Remind students of the types of annotations they have been doing in recent lessons: for unfamiliar vocabulary, for questions, for important ideas, and more. Explain that for the next few days they will be learning an additional annotation strategy: using an exclamation point (!) to indicate an idea that stands out. You may wish to clarify the distinction between this new symbol and the symbol, which allows students to indicate connections within a single text.

Students listen to directions and review annotation chart.

As students begin today’s reading, they will need to apply what they know about Jason, the narrator of Black Swan Green, as they see him in a new situation. Point out that any questions and confusions they had earlier in this chapter will be addressed as they persevere and read closely.






5

10% Read-Aloud with Discussion in Pairs

Tell students that you will be reading aloud the text for today’s lesson before they do summary and analysis work. Ask them to read along with you and be prepared to complete an occasional Turn-and-Talk with a classmate about what they think is happening.

Read aloud from the beginning of the chapter to “He’d stopped, and spoke around a narrow door. ‘A visitor.’”

Pause briefly and provide a synonym for each of the following words when you encounter them in the text.

vicarage (n.) – the house of a vicar (a clergy person)

punt (n.) – a flat-bottomed boat

trainers (n.) – tennis shoes (British)

Ask students to discuss the following question with a partner:

1. What do you know about where Jason is and why he is there?



He is at a vicarage.

He was invited there to discuss his poetry; he’s writing under a pseudonym.

Continue reading from “This solarium didn’t have any scientific apparatus” to “her bony fingers swept ash off the page.”

Pause briefly and provide a synonym for or definition of each of the following words


Students discuss in pairs the questions they have about what is happening in this section.






6

when you encounter them in the text.

timidity (n.) – fearfulness, hesitance

incontinence (n.) – (used here figuratively) a failure or inability to restrain something (usually a bodily function)

Ask students to pair up for a Turn-and-Talk and discuss what questions they have about what’s happening in this section.

Continue reading from “My name is Eva van Outryve de Crommelynck” to “Black Swan Green Parish Magazines by her side. ‘To business.’”

Pause briefly and provide a synonym for the following word when you encounter it in the text.

propagate (v.) – reproduce, create more of

Ask students work in pairs for a Turn-and-Talk again. This time they should discuss their thinking about what is happening and what questions they have.


Students discuss in pairs their thinking about what is happening in this section, and what questions they have.

Students will likely wonder or be confused about the reference to Eliot Bolivar. Some students may be able to infer that Jason is Eliot Bolivar because Jason considers the note as being an invitation to him, but it is fine for students to remain tentative on this point for now.

Students may need additional background knowledge to make sense of this section. If students ask, it may be helpful to explain that some religions advocate having large families (define propagate). The Anglican church, however, does not hold such a belief, hence, Madame Crommelynck’s theory about why she is able to rent the vicarage.






7

40% Group Summaries and Reporting

Explain that in the following activity students will be split into small groups of three or four and assigned a short section of the reading to reread, annotate, discuss, and summarize.

Model your expectations by giving everyone time to reread and annotate the first section, from “OPEN UP! OPEN UP! Holler door knockers.” to “I kicked a pebble down the drive.”

Then project this model summary and read it aloud. Ask students to follow along.

Jason is knocking nervously at the door of the vicarage. He had been there last week during the night and found a note inviting Eliot Bolivar back at this time to discuss his poetry.

Answer any questions about expectations.

Students reread and annotate this section.

Students follow along with the model summary, reading silently.

Have students form small heterogeneous groups, and assign each group one of the following four passages to work with:

Passage 1: “A bolt slid like a rifle” to “He’d stopped, and spoke around a narrow door. ‘A visitor.’”

Passage 2: “The solarium didn’t have any“ to “her bony fingers swept ash off the page.”

Students join their groups, reread, annotate, and discuss to prepare their brief summary.

More than one group may cover each passage. These summaries may be written in notebooks, on chart paper, or in a collaborative document such as a Google doc.

Circulate while students are working, making sure groups are identifying the important points in






8

Passage 3: “’My name is Eva van Outryve de Crommelynck’” to “’It says so on your gatepost. On the main road.’”

Passage 4: “’Ah.’ Madame Crommelynck nodded.” to “’To business.’”

Instruct students to read and annotate their passage independently before discussing in their groups. Group members will develop their summaries together, but each student should write the summary to each section independently.

their passage.

Facilitate a conversation around the summaries, calling on students from different groups covering the same passage to add to or clarify responses.


Passage 1:

Jason assumes the man who answers the door is the vicar but later wonders if he is the butler. He notices some unusual smells and sights as he moves from the door to the room he’s being led to.

Passage 2:

Jason is led to a smoky room where an “old but grand” woman is waiting for him. He is uncomfortable introducing himself and instead waits for her to address him.

Passage 3:

Madame Crommelynck introduces herself






9

and refers to Jason as “Eliot Bolivar the poet.” He is pleased at being referred to as such. She is surprised at his age, and he continues to ask where the vicar is.

Passage 4:

Madame clarifies Jason’s confusion by explaining that the vicar no longer lives there. He explains that he has been sending his poems there, and they have been appearing in the parish magazine. She explains that she has been delivering the poems for him.

30% Full-Class Discussion of Text-Dependent Questions

Facilitate a full-class discussion of the following text-dependent questions:

1. What does Madame Crommelynck think about her name? What does this suggest about her personality more generally?


Despite her English friends’ suggestion, Madame Crommelynck refuses to be called “Mrs.” instead of “Madame.”

She seems to take pride in her name and who she is (“What is wrong with onions-and-beret?”) and insists she be called what she is used to being called.

2. What does Madame’s use of the term emotional incontinence suggest about her worldview? Consider the phrase in the context of her complete comment.


Madame seems to look down on the young, but not humorlessly and not without understanding.

She seems to feel it is “wonderful” to






10

be so young as to be openly emotional, but “miserable” to be incontinent—unable to control the expression of those emotions.

3. How do the definitions of gratis and apprehended help clarify Madame’s relationship with Jason?


Gratis means “free of charge.” Apprehended means “caught.” Madame is delivering his poems for free although she is afraid of being caught by the vicar’s wife. She is doing him a favor that in some ways puts her at risk.

She is taking on the role of a mentor for him.

3. It may be difficult to know whether “Is gratis” links back to the previous sentence or propels forward to the next. Help students go inside the word by prompting them to think of other words with gratis as their root. Some examples are gratitude or gratuity. These examples may help students see the connection.

5% Closing

For homework, instruct students to reread the sections from “Hangman” and today’s work from “Solarium.” Tell them to write an informal paragraph in response to the prompt listed under Homework.

Homework

Students reread the section from “Hangman” and today’s work from “Solarium” and write an informal paragraph in response to this prompt:

Think back to your impressions from Jason in “Hangman.” What do you know about Jason now that you didn’t know before?






1

9.1.2 Lesson 8

Introduction

In this lesson, students will continue reading a section of “Solarium” from Black Swan Green, from “’A young man needs“ to “The last drops were the thickest” (pp. 145–148). Students will consider the advice Madame Crommelynck gives to Jason as a young poet as they practice collecting and organizing details from the text to support analysis.

Students will begin by listening to a Read-Aloud of this section of the text. Following the Read-Aloud, students will close read the text and answer text-dependent questions that analyze Madame Crommelynck’s advice and Jason’s response to it. Students will process the reading by completing a three-column chart that allows them to trace and record Madame’s praise of Jason’s poetry, her criticisms of it, and his responses to her commentary, building their ability to identify and connect details from text. For homework, students will be asked to reread this lesson’s excerpt, adding details to their chart.

Standards






Assessment

Assessment(s)

Quick Write:

Based on the reading for today, what is an idea Madame Crommelynck has about art and artists? Include one piece of evidence from the text to support your thinking.






2


Madame Crommelynck believes that artists should not try to make things beautiful. She advises that, in art, “Beauty is a distraction. Beauty is cosmetics” and that too much of it ruins art.

Vocabulary


qualification (n.) – a restriction or limitation put on a response or idea

blank verse (n.) – poetry written without rhyme

sentimentality (n.) – the quality of being overly emotional

maladroit (adj.) – clumsy, insensitive

loubard and vandale (n.) – hooligan, vandal


exotic (adj.) – strikingly unusual; from or as from a foreign land

misconception (n.) – a mistaken understanding

disintegrate (v.) – to break apart, fall to pieces

atrocious (adj.) -- shockingly bad

immune to (adj.) – not receptive to







• Teacher Read-Aloud

• Close Reading of “Solarium”

• Quick Write

• Closing

5%

5%

10%

65%

10%

5%

Materials

Three-Column Note-Taking Tool






3

Learning Sequence




Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.2, RL.9-10.1, RL.9-10.4.



Briefly review the homework from Lesson 7. Select several students to share their responses from the Lesson 7 homework prompt: Think back to your impressions of Jason in “Hangman.” What do you know about Jason now that you didn’t know before?

Students briefly share responses to the Lesson 7 homework assignment.

Explain to students that they will continue to examine the chapter “Solarium” and consider the relationship between Jason and Madame Crommelynck.

10% Teacher Read-Aloud

Ask students to take out their texts. Prepare them for independent reading by reading aloud the section for today. (From “A young man needs …“ to “The last drops were the thickest.”) Remind







4

students to read along silently.

65% Close Reading of “Solarium”

Ask students to reread and annotate from “A young man needs” to “lie down in your coffin and say, ‘When you’re ready,’” either independently or in pairs.

Students read and annotate. At this point, students should know the current annotation codes, but it may be helpful to have them displayed in the classroom for reference.



Use an exclamation point to indicate ideas that stand out.

Write connections or reactions the margins.


This can be done either on the text itself or with self-stick notes.

Facilitate a whole-class discussion with the following text-dependent questions. Allow time for rereading and consulting the text.

Throughout the discussion, students respond to text-dependent questions and improve their annotations.

Encourage students to improve upon their annotations as the discussion unfolds.

1. Think back to what you know about Madame C. from the previous lesson’s reading. In what ways is she exotic?


She has a French accent.

She insists on being called “Madame.”

She wears interesting and unusual clothing and jewelry.

2. How does Jason feel about having 2. Student responses may include the 2. Students may notice the similarity






5

someone pay attention to his poetry? following:

Jason displays mixed emotions, as he is both “giddy with importance” and “fearful.”

He uses the image of a stake being driven into one’s heart by the reader of one’s poetry to reinforce the fear.

between this image and the image of the boy who jammed pencils in his eyes to avoid his A-levels. In both cases, Jason uses the image to express his fear of someone’s response to him or his work.

Ask students to reread and annotate, from “Madame Crommelynck did a tiny growl” to “’Once a poem’s left home it doesn’t care about you’” either independently or in pairs.


Ask students to share some of their annotations for this section. Focus on things they found confusing.

Provide definitions for the following words:

blank verse (n.) –poetry written without rhyme

sentimentality (n.) –the quality of being overly emotional

Students may be confused about the historical references here. If so, it may be useful to provide some historical context about the Falkland War (the novel is set during a war between Argentina and Britain; the countries are fighting over several islands off the coast of Argentina; at the time of this war, General Galtieri and Margaret Thatcher were the leaders of the respective countries) Alternatively, consider inviting students to investigate the topic for homework.

3. What aspects of Jason’s poetry does Madame discuss in this section? What does she mean when she says his poems won’t “disintegrate”?


She notes that he loves words.

She praises the images of his poems, adding that they are at least written

3. This basic question serves as a brief check for understanding. It helps ensure students are able to dig into the more analytical questions that follow.

Extension Question: What does Jason






6

strongly enough to receive criticism.

She talks about the origin of his poetry, “the heart.”

His poems are “robust” and won’t “disintegrate” at “just one touch.” This suggests that disintegrate means “to fall apart.”

She contends, however, that he lets his love of words get the best of him, even master him.

mean when says “X-rays make me queasy”?


Jason feels Madame has realized he uses poems to reveal very personal feelings (in this instance, about his parents). Her insights into his emotional world make him feel uncomfortable.

Explain to students that you are going to provide a note-taking tool at this point in the lesson to help them keep track of important information. The tool will not only help them understand what they are reading today, but it will help prepare them for the End-of Unit Assessment in the future.

Project and distribute copies of the Three-Column Note-Taking Tool and explain its layout to students. The left-hand column is for quotes relating to praise Madame offers Jason. The center column is for recording negative remarks she makes about his poetry. The right-hand column is where students should record Jason’s reactions to Madame’s comments.

Explain that in addition to responding to text-dependent questions, they will take notes using the chart for the rest of the

Students listen to instructions and ask questions as they arise.






7

lesson.

Ask for volunteers to share what might be appropriate notes for the section of the reading they just completed.


For the first column: His poetry is substantial enough to criticize.

For the second column: He lets his love of words overpower the direct expression of emotion.

For the third column: He is feeling sick at the thought of his expression of emotions being subject to such scrutiny.

Give students time to take additional notes from the reading, sharing in pairs as time permits.

Students review the reading and take additional notes on the tool, organized in the column format.

Have students close read and annotate the text (independently or in pairs) from “’Back Gardens’” to “’Attach plastic parrots? No. You do not.’”


4. What does Madame mean when she calls the title of his poem “atrocious”?


She does not like the title. She does not believe the title is a

good one.

4. While students may not know the precise meaning of atrocious, the fact that she also refers to the title as “inferior” cues students to understand that atrocious is an insult.

5. What does Madame’s criticism of the title “Back Gardens” cause Jason to reveal?


Madame prompts Jason to explain that he has had to choose an alternate title to hide the real-life






8

experience that is the subject of his poem.

He believes that beauty is necessary in poetry.

6. What point about poetry is Madame trying to make when she asks the question, “If you have a magnolia in a moonlight courtyard, do you paint its flowers?”


She is trying to get Jason to understand that an idea should not be dressed up with fancy words.

Too much beauty ruins art.

She tells him to avoid embellishing his writing.

Students will likely understand that loubard and vandale are insults, but provide the English translations: hooligan and vandal.

Extension Question: How does Madame deepen this idea with the distinction between amateurs and masters?

Student responses may include:

She explains that an amateur thinks it is his words that make something beautiful, but an expert knows his words merely convey the beauty of the topic.

Ask students to turn back to their note-taking tool and, with a partner, review what they just read and take notes.

Students record details on the tool. Circulate as students work, offering guidance as necessary. Although students should be thorough, explain that they will have a chance to reread this section and take additional notes.

Have students read and annotate the text (independently or in pairs), “You think—Madame Crommelynck snorted smoke” to “The last drops were the thickest.”







9

7. What does it mean for beauty to be “immune to definition”? What does Madame hope Jason understands about beauty through their conversation?


Beauty can’t be defined. It can’t be captured. It is only discernible when it is seen or experienced.

He should not work too hard to make something seem beautiful through the words he chooses to describe it.

7. Define inarticulate and maladroit as necessary.

If students struggle here, point them toward the awkwardness of the characters’ back and forth, and the immediately preceding words of difficult and impossible. This should help students extend their existing understanding of immune as a health term to a broader idea of “not being receptive to an action; it cannot be done.”

Draw attention to the word misconception. Guide students to understand its meaning through Madame’s negation of the popular mistaken understandings about beauty.

Ask students to turn back to their note-taking tool and, with a partner, review what they just read and take notes.

Students record details on the tool.

10% Quick Write

Close the lesson by giving students a brief summary of the section from “’Are you a poet?’ to “’By the geraniums’”

Students listen to summary. Share with students Madame’s story of relationships with several famous artists in her past, from film actors to composers to poets. She explains that her father was a composer and that her family is Belgian.

Quick Write: Students do the Quick Write.






10

Instruct students to complete the following Quick Write: Based on the reading for today, what is an idea Madame Crommelynck has about art and artists? Include one piece of evidence from the text to support your thinking.

5% Closing

For homework, instruct students to reread the section of “Solarium” discussed in this lesson and add more details to the note-taking tool organized around key ideas about Madame’s praise of Jason’s poetry, her criticisms of it, and his responses to her comments.

Homework

Reread the section of “Solarium” discussed in this lesson and add more detail to the Three-Column Note-Taking Tool, organizing key ideas around Madame’s praise of Jason’s poetry, her criticisms of it, and his responses to her comments.





Three-Column Note-Taking Tool

Praise from Madame Criticism from Madame Jason’s Thoughts/Reactions






1

9.1.2 Lesson 9

Introduction

This lesson concludes the first close reading of “Solarium” in Black Swan Green by David Mitchell, from “One moment we were watching the twitch” to “I might as well hang myself.” (pp. 149–156). Students will continue their examination of Jason’s predicament and will analyze Madame Crommelynck’s advice to him. They will closely analyze Madame’s view of truth through close reading in groups. This lesson serves as a bridge to the next three-lesson arc, in which students prepare for the End-of-Unit Assessment.

Students will begin by reviewing the previous lesson’s homework. They will close read a new section of text, work in groups to create summaries, and continue to investigate vocabulary in context. Finally, students will read in groups, annotating and answering text-dependent questions. For homework, students will complete a vocabulary activity and continue to read their Accountable Independent Reading (AIR) texts.

Standards





SL.9-10.1c Propel conversations by posing and responding to questions that relate the current discussion to broader themes or larger ideas; actively incorporate others into the discussion; and clarify, verify, or challenge ideas and conclusions.

Assessment

Assessment(s)

Quick Write: What is Madame’s view of truth?


Anyone can be truthful about “superficialities, but it is difficult to be truthful about pain.” Artists must be truthful or their “art will stink of falseness.” People appreciate truth. Madame says the girl will appreciate the poem if it is “beauty and truth.” Truth is not popular, and therefore “poetry is not.”






2

Vocabulary


stratagem (n.) – trick designed to gain advantage

hi-fi (n.) – record player

L.P. (n.) – a record

Liverpool F.C. (n.) – a football (soccer) club

stylus (n.) – instrument used for writing

quotidian (adj.) – usual or customary

prat (n.) – an incompetent person (slang)

a priori (adj.) – existing in the mind prior to and independent of experience


pseudonym (n.) – a fictitious name used by an author

quintessentially (adv.) – of the pure and essential essence of something

versifier (n) – a writer who composes rhymes; one who writes poor verse

derivative (adj.) – not original; secondary



• Standards: RL.9-10.1, RL.9-10.2, SL.9-10.1c




• Read Aloud

• Group Work TDQs

• Evidence-Based Discussion

• Closing

5%

5%

10%

50%

25%

5%

Materials

• TDQ Strips

http://dictionary.reference.com/browse/independent






3

Learning Sequence




Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.2, RL.9-10.1, SL.9-10.1c.



Lead a short debriefing discussion on the Three-Column Note-Taking Tool assigned for homework to ensure students have a solid understanding of Madame and Jason. Tell students to keep the tool with them to use in the next few lessons.

Students participate in the debriefing.

10% Read Aloud

Ask students to take out their texts. Prepare them for their group reading and summary activity by reading aloud the section for today (from “One moment we were watching the twitch” to “the English have an irresistible urge to self-mutilation. But today you are late.”) Remind students to read along silently in their own texts.


50% Group Work TDQs






4

Transition students to group work. Have students form heterogeneous groups of 3 or 4.

Display the following quote from Madame:

“So. Do I learn today your true name, or do I still give hospitality to a stranger who hides behind a ridiculous pseudonym?”

Pose the following questions for students to discuss with their groups before sharing out with the class:

1. What does Madame Crommelynck say in this sentence? What is Jason’s pseudonym?

2. How do her words point to what you already know about her and about Jason?


1. Madame says that she wants to know Jason’s name and that he hides behind a pseudonym. These words suggest the meaning of the word. She knows that Eliot Bolivar is a fake name.

2. Madame is blunt here as she is earlier when she tells Jason, for example, that “[b]eautiful words ruin his poetry.”

In the same way that she criticizes his poetry, she is critical of his use of a fake name. His use of a fake name is the same as hiding.

2. This idea is significant, and some students may grasp how much hiding Jason really does. To push students to think further, consider discussing this idea in greater depth.

Distribute a TDQ Strip to each group. Students respond to TDQs in their Check students’ understanding of the






5

Tell students that their job is to reread the passage on the strip and discuss the TDQ.

Instruct each group to:

read the passage together

read the group’s TDQ

discuss possible responses

record the responses in their notes

groups.

way the author uses the exchanges between the two characters to develop his ideas.

25% Evidence-Based Discussion

Transition students from small-group work to a whole-class discussion. Invite each group to report the key idea they discussed. Tell students to take notes on each question.

Groups report the key idea they have discussed and take notes on each question.

Although this activity is structured as a whole-class discussion, it could easily be done as a Jigsaw or using another protocol that gets students talking to one another. Keep students seated with their group for this activity.

3. Why does Jason mention “Hangman” in this passage?


In “Hangman,” Jason describes his stammer as a potential social problem. Therefore, it is something that he carefully conceals.

He also tells her that he chose the pseudonym because it sounds “more … poetic.” Jason hides his stammer and he hides his real name—he is insecure about both his speech and his poetry.

Extension: In a previous lesson, students discussed Madame’s resistance to changing her name; this passage provides an opportunity to revisit her reasons.






6

4. How does the author use Jason’s explanation about his name to further develop his character and illustrate the relationship between the old woman and the boy?


Madame forces Jason to admit that his “poetry is a shameful secret.” Jason says that she is correct and then attempts to explain why he does it. His reasoning further complicates his relationship not only with his environment but also with himself.

5. Why does Madame exclaim “Aha! Truth!”?


Jason tells Madame that if a person’s parents are “famous,” he can write poetry. Because his father works in a supermarket, he cannot.

She realizes that he is afraid. She states, “You are afraid the barbarians will not accept you in the tribe if you write poetry.”

6. How does Madame bring the conversation back to the truth?


Madame asks more questions and pushes Jason to explain himself. He says that since he is 13 and he does not “fit in,” his life is “a misery.” Madame says, “Now you are talking like a real poet.”

Madame explains that he is “entirely of his words” and that he is “being

6. The definition of the word essential will help students establish the meaning of quintessential. Consider revisiting the word later in the discussion when its meaning becomes clearer.






7

quintessentially truthful.”

Transition students to small-group discussion.

Read aloud the next passage from “’Anyone can be truthful’” to “‘I should just hang myself.’” Tell students to follow along in the text.

Provide the definition of the following word when you read it in the text:

a priori (adj.) – existing in the mind prior to and independent of experience


Instruct students to reread the passage and annotate.

Students annotate the text.

Transition students to complete a Quick Write.

Ask students to use their annotations to respond to the following question:

What is Madame’s view of truth?

Instruct students to discuss their answers in their groups and add to their response if they choose.

Collect their responses at the end of class.


Anyone can be truthful about “superficialities, but it is difficult to be truthful about pain.”

Artists must be truthful or their “art will stink of falseness.”

People appreciate truth. Madame says the girl will appreciate the poem if it is “beauty and truth.”

Truth is not popular.

Truth is beauty. “If an art is true, if an art is free of falseness, it is, a priori,

Extension: Discuss what Jason means when he says, “Only in my poems, I realized, do I get to say exactly what I want.” Student responses may include the following:

Jason’s stammer prevents him from saying many words easily. He often will “substitute” words for “stammer words.” It is only in his poetry that he does not need to do this. Here he can indeed say “exactly” what he wants.

http://dictionary.reference.com/browse/independent






8

beautiful.”

Jason’s best poem is “Hangman” because he is truthful about his stammer. It is here that Jason actually understands the greater point that Madame makes.

5% Closing

For homework, instruct students to select one of this lesson’s vocabulary words and explain how that word connects to a key idea in the text.

Students select one of this lesson’s vocabulary words and explain how that word connects to a key in the text.

In addition, students should continue their Accountable Independent Reading through the lens of their focus standard and prepare for a 3-5 minute discussion of their text based on that standard.

Students continue to read their Accountable Independent Reading text for homework.

Homework

Select a vocabulary word from today’s lesson that you think is important to expressing a key idea in the text. Write a short paragraph in which you explain the word you selected and how it connects to an important idea in the text.

pseudonym

quintessentially

versifier

derivative

a priori

In addition, students should continue to read their Accountable Independent Reading through the lens of their focus standard and prepare for a






9

3-5 minute discussion of their text based on that standard.





Text-Dependent Question (TDQ) Strips

Reread the following passage:

From “Hangman was even stopping me from saying, ‘Sorry.’” to “’just sounded more … poetic.’” (p. 153.)

TDQ: Why does Jason mention “Hangman” in this passage?


From “What is more poetic than ‘Jason,’” to “your logic is eluding me.” (pp. 153–154).

TDQ: How does the author use Jason’s explanation about his name to further develop his character and illustrate the relationship between the old woman and the boy?


From “If your dad’s a famous composer” to “(She’s a pain sometimes.) ‘That’s it. Exactly.’” (p. 154).

TDQ: Why does Madame exclaim, “Aha! Truth!”?


From “And you wish to become a hairy” to “you are being quintessentially truthful.” (p. 154).

TDQ: How does Madame bring the conversation back to the truth?






1

9.1.2 Lesson 10

Introduction

In this lesson, students will be introduced to the End-of-Unit Assessment prompts, one of which they will respond to in the next lesson: “How might Rilke’s counsel also apply to Jason? Or How might Madame Crommelynck’s counsel also apply to the young poet? In your essay, discuss how the author's word choice and phrasing impact the effectiveness of their counsel.”

This assessment gauges students’ ability to use textual evidence by asking them to engage in analysis across two texts. The thematic and topical similarities between the texts provide rich opportunities for exploration, and students will find robust evidence to support their thinking about this prompt.

To prepare for this assessment, students will gather and discuss connections among textual details that might be used in the next lesson. Working together, they will analyze these details to identify those that allow them to determine the predicament of each mentee in Rilke’s Letter One and Mitchell’s Black Swan Green. They will then select either Madame or Rilke’s advice and consider how it might apply to the protégé in the other story. Making connections across texts is a key component of literacy learning in the CCSS, and students bring their understanding of both texts to bear on this task.

Standards



Assessment

Assessment(s)

This lesson is preparation for the End-of-Unit Summative Assessment, so there is no formal assessment in this lesson. Rather, take opportunities to ensure and clarify student understanding during group work and class discussion. Written evidence of understanding can come through the two End-of-Unit Assessment tools: the Predicament Analysis tool and the Assessment Preparation tool.


The following indicate solid preparation using the two assessment preparation tools:

A selection of details from both texts that work together to create a clear analytic idea

Details that are a mix of more and less obvious selections, with less obvious selections potentially indicating deeper, more original thinking

Commentary on how the details relate, and how language in the details helps the reader understand the connections






2

Vocabulary

Vocabulary to Provide Directly (will not include extended instruction)

predicament (n.) – an unpleasantly difficult, perplexing, or dangerous situation

Vocabulary to Teach (may include direct word work and/or text-dependent questions)

None.



• Standards: RL.9-10.1

• Texts: Letter One from Rainer Maria Rilke’s Letters to a Young Poet (pp. 3-12); excerpts from Black Swan Green (pp. 142–156)



• Analysis of Predicaments Tool

• Assessment Preparation Tool

• Closing

5%

5%

40%

45%

5%

Materials

• Predicament Analysis Tool

• Unit 9.1.2 Final Assessment

• Assessment Preparation: Connecting the Texts






3

Learning Sequence




Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1. Explain to students that the upcoming assessment will ask them to practice using evidence by looking across two texts.

Tell students that, in this lesson, they will begin preparing for the assessment by thinking about connections between the details in the two texts they have read in this unit: Rilke’s Letter One and the two excerpts from Mitchell’s Black Swan Green.



Lead a brief (3–5 minute) share out on the previous lesson’s AIR homework assignment. Select several students (or student pairs) to explain how they applied their focus standard to their AIR text.

Students (or student pairs) share out on how they applied their focus standard to their AIR text from the previous lesson’s homework.

40% Analysis of Predicaments Tool

Ask students to take out their notes and all annotated texts. Tell them they will use these in their work today to analyze the predicaments of both the young poet and

This understanding will be important for the upcoming End-of-Unit Assessment.






4

Jason.

Project and distribute a copy of the Predicament Analysis tool. Share with students the examples provided on the handout.

To ensure comprehension, discuss the meaning of predicament with the students.

predicament (n.) – an unpleasantly difficult, perplexing, or dangerous situation

Instruct students to break into groups of 3 or 4. Explain that they will use this tool to look for details that help them understand the predicament of the young poet (column 1) and Jason (column 2). Instruct students to work collaboratively, using their notes, to find textual evidence explaining the two characters’ predicaments.

Students work in groups. If students struggle to begin, it may be helpful to direct students to these sentences on the tool: “Why is the Young Poet getting advice from Rilke?” and “Why is Jason getting advice from Madame?” Tell students that thinking about these questions is a good way to approach this.

Ask students to take a moment to write a summary (independently) of each character’s predicament in their own words. Students may write the summary in their notes or on the Predicament Analysis tool.

Lead a brief whole-class discussion to check for understanding.


Young poet is seeking advice because he is unsure of the quality of his verse.

The young poet’s predicament is primarily personal; he is wondering about his poems and talks to a single outside source.

Jason is receiving advice because Madame feels he is not being true to his heart.

Check that students are synthesizing the textual evidence in group discussion, and in their independently written statements.






5

Jason’s predicament has a more distinctly social element, as he is concerned about the consequences of writing truthfully.

45% Assessment Preparation Tool

Introduce the End-of-Unit Assessment.

Display the assessment prompts, and ask students to read the prompts silently. Then, help students focus on the key elements of the prompts by reading aloud.

Students will read prompt silently and then ask questions.

Pass out and project the Assessment Preparation tool and tell students that the next step is to select the mentor/mentee pair they would like to focus on (Rilke and Jason or Madame and the young poet).

Explain that students should examine their notes, texts, annotations, and other materials to look for advice their chosen mentor gives (Column 1) and explain how that advice would apply to their chosen mentee (Column 2).

Share and discuss the example provided and allow time for students to ask questions.

Students listen and ask questions. If students are confused, it may be helpful to point out that the left-hand column is where they record details from the text. In the right-hand column, they will explain how this detail (advice) would apply to the figure from the other text.

It may be helpful to ensure that students know the terms mentor and mentee.

Remind students that they already have many details in their notes, annotations, and other handouts. Encourage them to access those materials.

Instruct students to work independently to select a mentor/mentee pair and begin gathering details.

Students work independently on the tool, gathering evidence and thinking about how it applies to the figure from the other text.

Check that students are gathering relevant examples that connect to the other text. Caution students not to be satisfied with the most






6

Possible student responses include:

Rilke tells the young poet to write about his “own everyday life” and to “describe [it] with loving, quiet, humble sincerity” This advice connects to Madame’s praise of the sincerity displayed in the poem about Jason’s mother and father’s arguing, a scene from his everyday life.

Madame’s warning not to “compose derivative verses of cupids and cliché,” but rather to remain true to his unique, original perspective on his own life, is a good piece of advice to the young poet, who Rilke has said has yet to find his own voice.

obvious connections, though they may be an appropriate place to start. Instead, look for multiple connections and select those that offer the richest details for support.

After students have had time to gather details independently, break them into small groups of 3 or 4, based on their choice of mentor/mentee pairs.

Instruct students to discuss their examples and add insights from their discussion to their notes.

Students discuss their examples in their groups.

This discussion is an important opportunity both for synthesis and for learning from peers.

5% Closing

Tell students that they will continue to shape their details into a written response to the essay in the next lesson.

For homework, instruct students to continue to look for details using the tool to help prepare them for the End-of-Unit






7

Assessment.

Homework

Students continue to look for details and examples from the texts in preparation for the assessment.





Predicament Analysis Tool

The Young Poet’s Predicament: Why is the young poet getting advice from Rilke?

Jason’s Predicament: Why is Jason getting advice from Madame?

p. 15: Rilke reads the poems of the young poet. Rilke tells him that he lacks “individual style.”

p. 146. Madame “jabs” Jason’s heart and tells him that in his poetry he has to express what is there.

Summary of Jason’s predicament: Summary of the young poet’s predicament:





Unit 9.1.2 Final Assessment

You have read excerpts from Letters to a Young Poet by Rainer Maria Rilke (an informational text) and Black Swan Green by David Mitchell (a work of fiction). In both texts, a young, aspiring poet receives the counsel of an older mentor. Compose a well-developed essay in response to one of the following prompts:

How might Rilke’s counsel also apply to Jason? OR How might Madame Crommelynck’s counsel also apply to the young poet?

High Performance responses should include the following components:

An introductory paragraph that o identifies the texts and author. o identifies the mentor (Rilke or Madame). o identifies the mentee (the young poet or Jason). o connects details to explain how the mentor’s counsel to his/her original mentee also

applies to the mentee in the other text.

An evidence-based description of the young poet’s or Jason’s predicament. For example, if you are applying advice to the young poet, describe the situation for which the young poet seeks counsel.

An explanation of how Rilke’s advice applies to Jason or how Madame’s advice applies to the young poet, including a discussion of the author’s word choice and phrasing.

An explanation of how the author’s word choice and phrasing influence the effectiveness of the advice.





Assessment Preparation: Connecting the Texts

How would Rilke’s advice apply to Jason or Madame Crommelynck’s advice apply to the young poet?

Rilke’s/Madame’s Advice Example Student’s Choice: Madame

Application of Advice to Jason/Young Poet Advice to Young Poet

p. 146: Madame tells Jason to express what is in his heart.

Madame: "The young poet must, in order to write well, reach deep into his heart."

Rilke’s/Madame’s Advice Your Choice: ___________________________

Application of Advice to Jason/Young Poet Advice to _______________________________






1

9.1.2 Lesson 11

Introduction

In the final lesson of this unit, students will do the End-of-Unit Assessment, demonstrating their ability to describe complex characters and analyze across texts. Using their notes, worksheets, and rubrics from previous lessons, students will independently compose an essay in response to one of the prompts listed under Assessment Description.

Student writing responses should discuss how the author's word choice and phrasing influence the effectiveness of the character’s counsel. For homework, students will continue to read their Accountable Independent Reading (AIR) texts.

These assessments should be evaluated using the New York Regents Text Analysis Rubric.

Standards

Assessed Standards


RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide and objective summary of the text.

W.9-10.9 Draw evidence from literary or informational texts to support analysis, reflection, and research.

Assessment

Assessment(s) Description

You have read excerpts from Letters to a Young Poet by Rainer Maria Rilke (an informational text) and Black Swan Green by David Mitchell (a work of fiction). In both texts, a young, aspiring poet receives the counsel of an older mentor.

Compose a well-developed essay in response to one of the following prompts: How might Rilke’s counsel also apply to Jason? OR How might Madame Crommelynck’s counsel also apply to the young poet?

In your essay, discuss how the author's word choice and phrasing influence the effectiveness of the character’s counsel. Use at least three of the vocabulary words from this unit. This essay will be evaluated using the New York Regents Text Analysis Rubric.






2


High Performance Responses should include the following components:

An introductory paragraph that o identifies the text and the author. o identifies the mentor (Rilke or Madame). o identifies the mentee (the young poet or Jason). o connects details to explain how the mentor’s counsel to his/her original mentee also

applies to the mentee in the other text.

A detailed description of the young poet’s or Jason’s predicament. For example: If you are applying advice to the young poet, describe the situation for which the poet seeks counsel.

An explanation of how Rilke’s advice applies to Jason or how Madame’s advice applies to the young poet, including a discussion of the author’s word choice and phrasing.

An explanation of how the author’s word choice and phrasing affect the value of the advice.

In each essay, look for the following elements:

Three or four paragraphs that show the student’s ability to develop an idea using well-chosen details from both texts.

The discussion and connection of details should demonstrate the student’s ability to work across texts. Students should apply the wisdom from one text to a character from another.

The essay also needs to convey the choices the authors make. For example, Mitchell uses italics repeatedly. When Madame says, “True poetry is truth," she tells the young poet that quality rests in his ability to write truthfully. Mitchell’s use of italics emphasizes this point.

The essay should reflect some of the academic vocabulary introduced throughout this unit.

Vocabulary

Vocabulary to Provide Directly (will not include extended instruction)

None.

Vocabulary to Teach (may include direct word work and/or text-dependent questions)

None.



• Standards: RL.9-10.1, RL.9-10.2, W.9-10.9

• Texts: Letter One from Rainer Maria Rilke’s Letters to a Young Poet (pp. 3-12); excerpts from Black Swan Green (pp. 142–156)



• End-of-Unit Assessment

• Closing

5%

5%

85%

5%






3

Materials

None.






4

Learning Sequence




Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.9-10.2, W.9-10.9.



Lead a brief discussion about the homework assignment. Explain to students that they will use the preparation they did yesterday for today’s assessment.

Students listen.

85% End-of-Unit Assessment

Before the students begin to write, ask them if there are any questions about the assessment.

Give them the class period to write. Remind them to refer to the notes, tools, and texts from the previous lessons as they write.

Students take out necessary materials from previous lessons and both texts (Rilke and Mitchell).

Instruct students to begin writing their essays.

Monitor students’ work; note whether they are using their charts and making connections between earlier activities this essay. Consider reminding students that they should use textual details as evidence in their essays. Because this is a summative assessment, it is important to






5

not provide students with content-related support or guidance.

5% Closing

Collect the finished essays, as well as the handouts, drafts, and tools that students used for reference.

The tools can help assess whether class activities prior to this assessment provided a constructive scaffold. Look for continuity from the tools to this assessment activity.



Homework


Documents

9.1.3 Unit Overview_7.19.doc.docx