ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

1

Elements of

Student Workbook

Unit Guiding Question:

How do fictional stories echo

across time and space?

Student Name: _______________________

Class Period: ______

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

2

Table of Contents

Resources…………………………………………3

Stands & Targets……………………..................4

LESSON ONE

Text 1: “I Stand Here Ironing”……………………………………..….…..5

Engaging the Learner

Tone: Wheel of Attitudes (A.5.e)...……………..10

Viewing with a Focus: Tone (A.5.e, RL.10.4.b) ………………………………………..15

Symbols in Everyday Life (A.5.e) …………......16

Dyad Share with excerpt (A.5.c)………………..17

Interacting with the Text

Etch-A-Sketch (RL.10.2.b) ……………………..19

Flexibility of Language (RL.10.4.a………….….21

Symbols of All Shapes and Sizes (A.5.e)……………………………………...22

Tone Analysis Clouds (A.5.e) ……………...…..23

Character Detail Analysis (RL.10.3, A.5.c) ……………………………….…24

Extending Understanding

Characterization Mosaic (A.5.c, RL.10.2.a)…………………………………....…..25

Putting it All Together: Finding Theme (RL.10.2)………………………………………….26

Levels of Questions (RL.10.1, RL.10.2.a)……………..…….………..27

Socratic Seminar Self-Assessment and Peer Observation…………………………..……28

Lesson One Reflection……………..……...……29

LESSON TWO

Text 2: “The Lottery”……………..…………..….30

Engaging the Learner

Device Matrix (A.5.c, A.5.e)………………..…39

Viewing with a Focus: Irony, Foreshadowing, Mood (A.5.e)…………………………….……...40

Photo Carousel Response: Mood Envelope (RL.10.1, RL.10.2.b, A.5.c)………...41

Round Robin Background Reading.………….42

Interacting with the Text

Dyad Reading: Clarifying Bookmarks (RL.10.1)……………………………….…….…..43

Literary Device Matrix (A.5.e)………………….44

Symbols of All Shapes & Sizes (A.5.e)……….45

Irony in Literature: How it Shapes Meaning (A.5.e)………………………….…...…46

How Authors Accomplish their Goals (RL.10.5)………………………………………….47

Extending Understanding

Putting it All Together: Finding Theme (RL.10.2)……………………………………....…48

Mind Mirroring (RL.10.3)……………….…..…..49

Lesson Two Reflection……………….…………50

LESSON THREE

LDC Writing Task

Task Engagement & Analysis……………...….51

Active Reading Annotations……………………52

Identifying Essential Vocabulary……………….52

Note-taking………………………………..….…..53

Drafting………………………………………..…..54

Peer Editing & Revising…………….……….…..54

Appendix.……………..…………………….….…56

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

3

Resources Viewing With a Focus video links:

ASPCA Animal Cruelty Ad: https://www.youtube.com/watch?v=9gspElv1yvc

Motivational Video https://www.youtube.com/watch?v=hUFRoAgOJ5M

Irony Video Links:

Hannah Montana Dramatic Irony https://www.youtube.com/watch?v=wfH4NiXzeWs

Friends Verbal Irony https://www.youtube.com/watch?v=1YISBc8TUrQ

Pitch Perfect Situational Irony https://www.youtube.com/watch?v=CqpHvDNtrJE

Foreshadowing & Mood VIdeo Links:

Harry Potter Foreshadowing https://www.youtube.com/watch?v=xQZFWA2KDbw

The Hunger Games Mood https://www.youtube.com/watch?v=iTyyKROkC3E

Encyclopedia Britannica “The Lottery” Short Film

http://www.britannica.com/EBchecked/media/139949/This-video-dramatizes-Shirley-Jacksons-The-Lottery-a-

frightening-and

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

4

Common Core & Quality Core Standards & Targets

RL.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.

1. I can cite strong and thorough textual evidence to

support analysis of what the text says explicitly.

2. I can cite strong and thorough textual evidence to

support analysis of what the text says through

inferences drawn from the text.

RL.10.2 Determine a theme or central idea of a text,

including how it emerges and is shaped and refined

by specific details; provide an objective summary of

the text.

1. I can determine a theme or central idea of a text.

2. I can determine a theme or central idea and how it

emerges and is shaped and refined by specific

details.

3. I can provide an objective summary of a text.

RL.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.

1. I can analyze how complex characters develop over

the course of the text.

2. I can analyze how complex characters interact with

other characters.

3. I can analyze how complex characters advance the

plot and develop the theme.

RL.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).

1. I can determine the meaning of words and phrases as

they are used in the text.

2. I can determine the meaning of words and phrases

including figurative and connotative meanings.

3. I can analyze the cumulative impact of specific word

choices on meaning and tone.

RL.10.5 Analyze how an author’s choices concerning

how to structure a text, order events within it, and

manipulate time (e.g., pacing, flashbacks) create such

effects as mystery, tension, or surprise.

1. I can analyze how an author’s choices concerning

how to structure a text create effects.

2. I can analyze how an author’s choices concerning

ordering events within the text create effects.

3. I can analyze how an author’s choices concerning

manipulating time create effects.

A.5.c Identify, analyze, and evaluate plot, character

development, setting, theme, mood, and point of view

as they are used together to create meaning in

increasingly challenging texts.A

1. I can identify plot/character

development/setting/theme/mood/point of view as

they are used together to create meaning.

2. I can analyze plot/character

development/setting/theme/mood/point of view as

they are used together to create meaning.

3. I can evaluate plot/character

development/setting/theme/mood/point of view as

they are used together to create meaning.

A.5.e Identify, analyze, and evaluate the ways in

which the devices the author chooses (e.g., irony,

imagery, tone, foreshadowing, symbolism) achieve

specific effects and shape meaning in increasingly

challenging texts.

1. I can identify the ways in which the author uses

irony/imagery/tone/foreshadowing/symbolism.

2. I can analyze the ways in which the author uses

irony/imagery/tone/foreshadowing/symbolism to

achieve specific effects.

3. I can evaluate the ways in which the author uses

irony/imagery/tone/foreshadowing/symbolism to

achieve specific effects and shape meaning.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

5

Lesson One I Stand Here Ironing

by Tillie Olsen (1912-2007)

I stand here ironing, and what you asked me moves

tormented back and forth with the iron.

“I wish you would manage the time to come in and

talk with me about your daughter. I’m sure you can

help me understand her. She’s a youngster who

needs help and whom I’m deeply interested in

helping.”

“Who needs help,”...Even if I came, what good

would it do? You think because I am her mother I

have a key, or that in some way you could use me

as a key? She has lived for nineteen years. There is

all that life that has happened outside of me, beyond

me.

And when is there time to remember, to sift, to

weigh, to estimate, to total? I will start and there

will be an interruption and I will have to gather it all

together again. Or I will become engulfed with all I

did or did not do, with what should have been and

what cannot be helped.

She was a beautiful baby. The first and only one of

our five that was beautiful at birth. You do not

guess how new and uneasy her tenancy in her now-

loveliness. You did not know her all those years she

was thought homely, or see her poring over her

baby pictures, making me tell her over and over

how beautiful she had been – and would be, I would

tell her – and was now, to the seeing eye. But the

seeing eyes were few or nonexistent. Including

mine.

I nursed her. They feel that’s important nowadays. I

nursed all the children, but with her, with all the

fierce rigidity of first motherhood, I did like the

books then said. Though her cries battered me to

trembling and my breasts ached with swollenness. I

waited till the clock decreed.

Why do I put that first? I do not even know if it

matters, or if it explains anything.

She was a beautiful baby. She blew shining bubbles

of sound. She loved motion, loved light, loved color

and music and textures. She would lie on the floor

in her blue overalls patting the surface so hard in

ecstasy her hands and feet would blur. She was a

miracle to me, but when she was eight months old I

had to leave her daytimes with the woman

downstairs to whom she was no miracle at all, for I

worked or looked for work and for Emily’s father,

who “could no longer endure” (he wrote in his

good-bye note) “sharing want with us.”

I was nineteen. It was the pre-relief, pre WPA world

of the depression. I would start running as soon as I

got off the streetcar, running up the stairs, the place

smelling sour, and awake or asleep to startle awake,

when she saw me she would break into a clogged

weeping that could not be comforted, a weeping I

can hear yet.

After a while I found a job hashing at night so I

could be with her days, and it was better. But I

came to where I had to bring her to family and leave

her.

It took a long time to raise the money for her fare

back. Then she got chicken pox and I had to wait

longer. When she finally came, I hardly knew her,

walking quick and nervous like her father, looking

like her father, thin, and dressed a shoddy red that

yellowed her skin and glared at the pockmarks. All

the baby loveliness gone.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

6

She was two. Old enough for nursery school they

said, and I did not know then what I did now – the

fatigue of the long day, and the lacerations of group

life in the kinds of nurseries that are only parking

places for children.

Except that it would have made no difference if I

had known. It was the only place there was. It was

the only way we could be together, the only way I

could hold a job.

And even without knowing, I knew. I knew the

teacher that was evil because all these years it has

curdled into my memory, the little boy hunched in

the corner, her rasp, “why aren’t you outside,

because Alvin hits you? that’s no reason. go out.

coward.” I knew Emily hated it even if she did not

clutch and implore “don’t go Mommy” like the

other children, mornings.

She always had a reason why we should stay home.

Momma, you look sick. Momma, I feel sick.

Momma, the teachers aren’t there today, they’re

sick. Momma, we can’t go, there was a fire there

last night. Momma, it’s a holiday today, no school,

they told me.

But never a direct protest, never rebellion. I think of

our others in their three-four-year-oldness – the

explosions, the tempers, the denunciations, the

demands – and I feel suddenly ill. I put down the

iron. What in me demanded that goodness in her?

And what was the cost, the cost of her such

goodness?

The old man living in the back once said in his

gentle way: “You should smile more at Emily when

you look at her.” What was in my face when I

looked at her? I loved her. There were all the acts of

love.

It was only with the others I remembered what he

said, and it was the face of joy, and not of care or

tightness or worry I turned to – too late for Emily.

She does not smile easily, let alone almost always

as her brothers and sisters do. Her face is closed and

somber, but when she wants, how fluid. You must

have seen it in her pantomimes, you spoke of her

rare gift for comedy on the stage that rouses

laughter out of the audience so dear they applaud

and applaud and do not want to let her go.

Where does it come from, that comedy? There was

none of it in her when she came back to me that

second time, after I had had to send her away again.

She had a new daddy now to learn to love, and I

think perhaps it was a better time.

Except when we left her alone nights, telling

ourselves she was old enough.

“Can’t you go some other time, Mommy, like

tomorrow?” she would ask, “Will it be just a little

while you’ll be gone? Do you promise?”

The time we came back, the front door open, the

clock on the floor in the hall. She rigid awake. “It

wasn’t just a little while. I didn’t cry. Three times I

called you, just three times, and then I ran

downstairs to open the door so you could come

faster. The clock talked loud. I threw it away, it

scared me what it talked.”

She said the clock talked loud again that night I

went to the hospital to have Susan. She was

delirious with the fever that comes before red

measles, but she was fully conscious all the week I

was gone and the week after we were home when

she could not come near the new baby or me.

She did not get well. She stayed skeleton thin, not

wanting to eat, and night after night she had

nightmares. She would call for me, and I would

rouse from exhaustion to sleepily call back:

“You’re all right, darling, go to sleep, it’s just a

dream,” and if she still called, in a sterner voice,

“now go to sleep, Emily, there’s nothing to hurt

you.” Twice, only twice, when I had to get up for

Susan anyhow, I went in to sit with her.

Now when it is too late (as if she would let me hold

and comfort her like I do the others) I get up and go

to her at once at her moan or restless stirring. "Are

you awake, Emily? Can I get you something?" And

the answer is always the same: "No, I'm all right, go

back to sleep, Mother."

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

7

They persuaded me at the clinic to send her away to

a convalescent home in the country where "she can

have the kind of food and care you can't manage for

her, and you'll be free to concentrate on the new

baby." They still send children to that place. I see

pictures on the society page of sleek young women

planning affairs to raise money for it, or dancing at

the affairs, or decorating Easter eggs or filling

Christmas stockings for the children.

They never have a picture of the children so I do not

know if the girls still wear those gigantic red bows

and the ravaged looks on every other Sunday when

parents can come to visit "unless otherwise

notified" - as we were notified the first six weeks.

Oh it is a handsome place, green lawns and tall trees

and fluted flower beds. High up on the balconies of

each cottage the children stand, the girls in their red

bows and white dresses, the boys in white suits and

giant red ties. The parents stand below shrieking up

to be heard and the children shriek down to be

heard, and between them the invisible wall: "Not to

Be Contaminated by Parental Germs or Physical

Affection."

There was a tiny girl who always stood hand in

hand with Emily. Her parents never came. One visit

she was gone. "They mover her to Rose Cottage,"

Emily shouted in explanation. "They don't like you

to love anybody here."

She wrote once a week, the labored writing of a

seven-year-old. "I am fine. How is the baby. If I

write my letter nicely I will have a star. Love."

There was never a star. We wrote every other day,

letters she could never hold or keep but only hear

read - once. "We simply do not have room for

children to keep any personal possessions," they

patiently explained when we pieced one Sunday's

shrieking together to plead how much it would

mean to Emily, who loved to keep things, to be

allowed to keep her letters and cards.

Each visit she looked frailer. "She isn't eating," they

told us.

(They had runny eggs for breakfast or mush with

lumps, Emily said later, I'd hold it in my mouth and

not swallow. Nothing ever tasted good, just when

they had chicken.)

It took us eight months to get her released home,

and the fact that she gained back so little of her

seven lost pounds convinced the social worker.

I used to try to hold and love her after she came

back, but her body would stay stiff, and after while

she'd push away. She ate little. Food sickened her,

and I think much of life too. Oh she had physical

lightness and brightness, twinkling by on skates,

bouncing like a ball up and down up and down over

the jump rope, skimming over the hill; but these

were momentary.

She fretted about her appearance, thin and dark and

foreign-looking at a time when every little girl was

supposed to look or thought she should look a

chubby blond replica of Shirley Temple. The

doorbell sometimes rang for her, but no one seemed

to come and play in the house or be a best friend.

Maybe because we moved so much.

There was a boy she loved painfully through two

school semesters. Months later she told me how she

had taken pennies from my purse to buy him candy.

"Licorice was his favorite and I bought him some

every day, but he still liked Jennifer better'n me.

Why, Mommy? The kind of question for which

there is no answer.

School was a worry to her. She was not glib or

quick in a world where glibness and quickness were

easily confused with ability to learn. To her

overworked and exasperated teachers she was an

over-conscientious "slow learner" who kept trying

to catch up and was absent entirely too often.

I let her be absent, though sometimes the illness was

imaginary. How different from my now-strictness

about attendance with the others. I wasn't working.

We had a new baby, I was home anyhow.

Sometimes, after Susan grew old enough, I would

keep her home from school, too, to have them all

together.

Mostly Emily had asthma, and her breathing, harsh

and labored, would fill the house with a curiously

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

8

tranquil sound. I would bring the two old dresser

mirrors and her boxes of collections to her bed. She

would select beads and single earrings, bottle tops

and shells, dried flowers and pebbles, old postcards

and scraps, all sorts of oddments; then she and

Susan would play Kingdom, setting up landscapes

and furniture, peopling them with action.

Those were the only times of peaceful

companionship between her and Susan. I have

edged away from it, that poisonous feeling between

them, that terrible balancing of hurts and needs I

had to do between the two, and did so badly, those

earlier years.

Oh there are conflicts between the others too, each

one human, needing, demanding, hurting, taking -

but only between Emily and Susan, no, Emily

toward Susan that was corroding resentment. It

seems so obvious on the surface, yet it was not

obvious. Susan, the second child, Susan, golden and

curly-haired and chubby, quick and articulate and

assured, everything in appearance and manner

Emily was not; Susan, not able to resist Emily's

precious things, losing or sometimes clumsily

breaking them; Susan telling jokes and riddles to

company for applause while Emily sat silent (to say

to me later: that was my riddle, Mother, I told it to

Susan); Susan, who for all the five years' difference

in age was just a year behind Emily in developing

physically.

I am glad for that slow physical development that

widened the difference between her and her

contemporaries, though she suffered over it. She

was too vulnerable for that terrible world of

youthful competition, of preening and parading, of

constant measuring of yourself against every other,

of envy, "If I had that copper hair," "If I had that

skin..." She tormented herself enough about not

looking like the others, there was enough of the

unsureness, the having to be conscious of words

before you speak, the constant caring - what are

they thinking of me? What kind of impression am I

making—there was enough without having it all

magnified unendurably by the merciless physical

drives.

Ronnie is calling. He is wet and I change him. It is

rare there is such a cry now. That time of

motherhood is almost behind me when the ear is not

one's own but must always be racked and listening

for the child cry, the child call. We sit for a while

and I hold him, looking out over the city spread in

charcoal with its soft aisles of light. "Shoogily," he

breathes and curls closer. I carry him back to bed,

asleep. Shoogily. A funny word, a family word,

inherited from Emily, invented by her to say:

comfort.

In this and other ways she leaves her seal, I would

say aloud. And startle at my saying it. What do I

mean? What did I start to gather together, to try and

make coherent? I was at the terrible, growing years.

War years. I do not remember them well. I was

working, there were four smaller ones now, there

was not time for her. She had to help be a mother,

and housekeeper, and shopper. She had to set her

seal. Mornings of crisis and near hysteria trying to

get lunches packed, hair combed, coats and shoes

found, everyone to school or Child Care on time,

the baby ready for transportation. And always the

paper scribbled on by a smaller one, the book

looked at by Susan then mislaid, the homework not

done. Running out to that huge school where she

was one, she was lost, she was a drop; suffering

over the unpreparedness, stammering and unsure in

her classes.

There was so little time left at night after the kids

were bedded down. She would struggle over books,

always eating (it was in those years she developed

her enormous appetite that is legendary

in our family) and I would be ironing, or preparing

food for the next day, or writing V-mail to Bill, or

tending the baby. Sometimes, to make me laugh, or

out of her despair, she would imitate happenings at

school.

I think I said once: "Why don't you do something

like this in the school amateur show?" One

morning she phoned me at work, hardly

understandable through the weeping: "Mother, I did

it. I won, I won; they gave me first prize; they

clapped and clapped and wouldn't let me go."

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

9

Now suddenly she was Somebody, and as

imprisoned in her difference as she had been in

anonymity.

She began to be asked to perform at other high

schools, even colleges, than at city and statewide

affairs. The first one we went to, I only recognized

her that first moment when thin, shy, she almost

drowned herself into the curtains. Then: Was this

Emily? The control, the command, the convulsing

and deadly clowning, the spell, then the roaring, the

stamping audience, unwilling to let this rare and

precious laughter out of their lives.

Afterwards: You ought to do something about her

with a gift like that - but without money or knowing

how, what does one do? We have left it all to her,

and the gift has often eddied inside, clogged and

clotted, as been used and growing.

__________________________________________

She is coming. She runs up the stairs two at a time

with her light graceful step, and I know she is happy

tonight. Whatever it was that occasioned your call

did not happen today.

"Aren't you ever going to finish ironing, Mother?

Whistler painted his mother in a rocker. I'd have to

paint mine standing over an ironing board." This is

one of her communicative nights and she tells me

everything and nothing as she fixes herself a plate

of food out of the icebox.

She is so lovely. Why did you want to come up at

all? Why were you concerned? She will find her

way.

She starts up the stairs to bed. "Don't get me up with

the rest in the morning." "But I thought you were

having midterms." "Oh, those," she comes back in,

kisses me, and says quite lightly, "in a couple of

years when we'll all be atom-dead they won't matter

a bit."

She has said it before. She believes it. But because I

have been dredging the past, and all that compounds

a human being is so heavy and meaningful in me, I

cannot endure it tonight.

I will never total it all. I will never come to say: She

was a child seldom smiled at. Her father left me

before she was a year old. I had to work her first six

years when there was work, or I sent her home and

to his relatives. There were years she had care she

hated. She was dark and thin and foreign- looking in

a world where the prestige went to blondness and

curly hair and dimples, she was slow where glibness

was prized. She was a child of anxious, not proud,

love. We were poor and could not afford for her the

soil of easy growth. I was a young mother, I was a

distracted mother. There were other children

pushing up, demanding. Her younger sister seemed

all that she was not. There were years she did not

want me to touch her. She kept too much in herself,

her life was such she had to keep too much in

herself. My wisdom came too late. She has much to

her and probably little will come of it. She is a child

of her age, of depression, of war, of fear.

Let her be. So all that is in her will not bloom - but

in how many does it? There is still enough left to

live by. Only help her to know - help make it so

there is cause for her to know - that she is more than

this dress on the ironing board, helpless before the

iron.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

10

Tone: Wheel of Attitudes RL.10.4.a Directions: As a group, discuss, group, classify the following words into one of the graphic

organizers or create your own organizer. Use a minimum of 60 words and put your final product on a

poster.

upset

accusing

authoritative

agitated

zealous

arrogant

shocking

apathetic

sentimental

audacious

urgent

consoling

unemotional

dreamy

questioning

content

judgmental

belligerent

loud

bitter

persuasive

boring

pleading

ecstatic

informative

humble

earnest

amused

factual

childish

formal

aggravated

didactic

candid

coarse

detached

cold

condescending

contradictory

encouraging

critical

appreciative

desperate

disappointed

disgusted

energetic

disinterested

encouraging

furious

harsh

apologetic

hateful

excited

hurtful

insulting

exuberant

obnoxious

outraged

angry

passive

friendly

comical

happy

cynical

hopeful

giddy

benevolent

humorous

ironic

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

11

joking

impassioned

malicious

jovial

mocking

quizzical

joyful

ridiculing

sad

sarcastic

brave

satiric

scornful

lighthearted

silly

taunting

jubilant

loving

wry

optimistic

anxious

depressed

disturbed

embarrassed

passionate

fearful

foreboding

gloomy

peaceful

playful

hollow

grave

horrific

pleasant

hopeless

calm

proud

relaxed

melancholy

romantic

miserable

reverent

soothing

morose

mournful

cheerful

surprised

numb

sweet

pessimistic

compassionate

pitiful

sympathetic

paranoid

vibrant

ominous

regretful

whimsical

complimentary

serious

confident

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

12

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

13

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

14

Viewing with a Focus: Imagery, language, tone

RL.10.4.b, A.5.e

Directions: Fill in the chart as we watch video clips.

Image 1st Viewing: Imagery 2nd Viewing: Language

3rd viewing: Tone

#1

#2

From this lesson, I learned. . .

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

15

Symbols in Everyday Life A.5.e

Symbols are used to represent other things, ideas, feelings, etc. Explain the meaning associated with

the symbols below and come up with one additional symbol for each category.

Logos Weather

Nike swoosh : Rain:

Olympic rings: Rainbow:

Starbucks siren: Flood:

My example: My example:

Color Other

White: Skull/crossbones:

Black: Black cat:

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

16

Red: Light bulb:

My example: My example:

Dyad Share: Characterization A.5.c Directions: Work with a partner use the following below to discuss and determine how characters are

developed in the following excerpt.

“I Stand Here Ironing” excerpt (Read with two voices.)

I stand here ironing, and what you asked me moves tormented back and forth with the iron.

“I wish you would manage the time to come in and talk with me about your daughter. I’m sure you can help me understand her. She’s a youngster who needs help and whom I’m

deeply interested in helping.”

“Who needs help,”.Even if I came, what good would it do? You think because I am her

mother I have a key, or that in some way you could use me as a key? She has lived for

nineteen years. There is all that life that has happened outside of me, beyond me.

And when is there time to remember, to sift, to weigh, to estimate, to total? I will start

and there will be an interruption and I will have to gather it all together again. Or I will

become engulfed with all I did or did not do, with what should have been and what

cannot be helped.

She was a beautiful baby. The first and only one of our five that was beautiful at birth. You

do not guess how new and uneasy her tenancy in her now-loveliness. You did not know her

all those years she was thought homely, or see her pouring over her baby pictures, making

me tell her over and over how beautiful she had been – and would be, I would tell her – and

was now, to the seeing eye. But the seeing eyes were few or nonexistent. Including mine.

Student 1: I will read quote one: Based on what I know about characterization, this statement characterizes the

daughter by showing. . . . I know this because. . . .

Student 2: I agree/disagree with you. The reason for my agreement/disagreement is that I know that . . .Now I

will read quote two. Based on what I know about characterization, this statement characterizes the daughter by

showing. . . I know this because. . .

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

17

Student 1: I agree/disagree with you. The reason for my agreement/disagreement is that I know that. . . . Now I

will read quote three. Based on what I know about characterization, this statement characterizes the mother by

showing . . . I know this because. . .

Student 2: I agree/disagree with you. The reason for my agreement/disagreement is that I know that. . . . Now I

will read quote four. Based on what I know about characterization, this statement characterizes the mother by

showing. . . I know this because. . .

Student 1: I agree/disagree with you. The reason for my agreement/disagreement is that I know that. . . .

Quotes

Quote One: “She’s a youngster who needs help and whom I’m deeply interested in helping.”

Quote Two: “You did not know her all those years she was thought homely, or see her pouring over her

baby pictures, making me tell her over and over how beautiful she had been – and would be, I would tell

her – and was now, to the seeing eye.”

Quote Three: “You think because I am her mother I have a key, or that in some way you could use me

as a key?”

Quote Four: “Or I will become engulfed with all I did or did not do, with what should have been and

what cannot be helped.”

My partner and I came up with this

definition of characterization:

We characterized the daughter with the following traits:

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

18

We characterized the mother with

the following traits:

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

19

Etch-A-Sketch RL.10.2.b Fill in the chart below as your group reads “I Stand Here Ironing.” One person will read each section

as the others listen to identify main ideas/details and sketch a picture for that section. You are

encouraged to work together to identify main ideas/details but sketch your own interpretation of those

ideas.

Section Reader

The main points in this section are. . .

Sketch

Section 1 Reader:

Section 2 Reader:

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

20

Section 3 Reader:

Section 4 Reader:

Section 5 Reader:

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

21

Section 6 Reader:

The text as a

whole

My overall impression of this story is. . .

One question I have about the story is. . .

Flexibility of Language RL.10.4.a Directions: Explore the meaning of words denotatively, connotatively, and figuratively and determine

how they are used in context of “I Stand Here Ironing.” Then choose your own uniquely used word

from the text and repeat the process.

Word lacerations (paragraph 12)

war (paragraphs

44, 55)

seal (paragraph 44)

somebody (paragraph

47)

Denotative Meaning

Connotative Meaning

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

22

Figurative Meaning

Meaning as used in context

From this lesson, I learned. . .

Symbols of All Shapes and Sizes A.5.e

Discover how the author used symbols to create meaning in this story. List symbols for each category

as well as what each symbol represents to the characters, plot, or overall story.

Colors

Weather

Objects and their descriptions

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

23

Character names

Repeated objects/words

Tone

Analysis

Clouds A.5.c, A.5.e

Directions: An author

develops tone throughout

a text using many subtle clues. Find these

clues throughout the text and determine the mother’s tone toward her

daughter and toward the person volunteering to help her daughter.

Tone toward daughter:

Tone toward volunteer:

What can you infer about each relationship based on the tones you identified?

Language Clues:

Mother/daughter:

Mother/volunteer:

Image Clues:

Detail Clues:

Image Clues:

Language Clues:

Detail Clues:

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

24

Character Detail Analysis RL.10.3, A.5.c

Character Detail: Select specific words or phrases that are the most important in

understanding motivations of the characters. Minimum of four details for each character.

Analysis: How/why are these details important? What do they reveal about an emerging central

idea?

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

25

Mother’s motivation:

Daughter’s motivation:

Connect Details/Explain the connection between the two characters and the theme.

Characterization Mosaic A.5.c Directions: Choose either the mother or the daughter from “I Stand Here Ironing.” Create a mosaic

(digital or paper) that depicts the character based on how the author characterizes her. You may use

magazine cutouts or digital images. Your mosaic should be accompanied by an explanation of

the pieces and how they relate to the text/theme.

Rubric

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

26

Category 4 3 2 1

Attention to Theme

The student gives a reasonable explanation of

how every item in the collage is related to the

assigned theme. For most items,

the relationship is clear without explanation.

The student gives a reasonable explanation of

how most items in the collage are related to the

assigned theme. For many of the

items, the relationship is clear without explanation.

The student gives a fairly reasonable

explanation of how most items in

the collage are related to the

assigned theme.

The student's explanations are

weak and illustrate difficulty

understanding how to relate items to the

assigned theme.

Design

Graphics are trimmed to an

appropriate size and interesting shape and are arranged well.

Graphics are trimmed to an

appropriate size and interesting shape and are arranged in a

basic way.

Graphics have been trimmed to an appropriate size and shape,

but the arrangement of items is not very

attractive. It appears there was

not a lot of planning of the item placement.

Graphics are untrimmed OR of inappropriate size and/or shape. It

appears little attention was

given to designing the collage.

Creativity

Several of the graphics or

objects used in the collage reflect

an exceptional degree of student creativity in their creation and/or

display.

One or two of the graphics or

objects used in the collage reflect student creativity in their creation and/or display.

One or two graphics or

objects were made or

customized by the student, but the

ideas were typical rather than creative.

The student did not make or

customize any of the items on the

collage.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

27

Putting it All Together: Finding Theme RL.10.2 Theme is the heart of a story. It is the lesson to be learned from the conflict the characters endure. Fill

in each arrow and discover how the theme(s) emerges.

Levels of Questions RL.10.1, RL.10.2.a

Focus: Author’s choices, tone, characterization (motivation & relationships), language,

symbols, & theme. QAR Strategy. In the

Text (right there/search & locate) In my Head (author &

me/on my own)

What happens in the story?

List major plot points including the most

important point in the story.

Main Conflict:

What is the subject? In one sentence,

tell what this story is about.

How does the protagonist change? Does the

protagonist affect other characters? What

does he/she learn throughout the story?

How does he/she relate to other characters?

List 2-3

potential

themes

for the

story

based on

the

informati

on above.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

28

QAR The Question-Answer Relationships

In the Text In My Head

Right There Search and

Locate Author and Me On My Own

The answer is usually

located in one

sentence and is EASY

TO FIND. The reader

will find some of the

same words in the

answer that are in the

question. The

information is

EXPLICITELY stated.

The answer is located in more than one sentence or paragraph. The reader must PUT different parts of the text TOGETHER to find the answer. The information is stated in the text and the reader answers the question by PUTTING it TOGETHER.

The answer is IMPLIED and is not stated in the text. The reader must access PRIOR KNOWLEDGE OF INFORMATION provided by the author and make an inference. The answer to the question is IMPLICITELY STATED.

The answer is not located in the text. The reader can even answer the question WITHOUT reading the text. You need to use your OWN EXPERIENCES to answer the questions.

Literal Literal Inferential Evaluative

On the Line On Several

Lines Between the Lines

Beyond the

Lines

Question and Prompt Stems Who is… What is… When did… What does… Where is… Define… Name… List…

Give reasons why… How do you make… How did… Why does… Explain… Compare… Provide support for…

What do you think…

Why…

I wonder…

What if….

Predict and substantiate…

What do you do when… What can be exciting about… What do you already know about… What would you do if…

Level One Level Two Level Three

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

29

Explain the meaning of the

word __________________

as

it is used in the text.

Give alternate words the author could have used instead of

________________. Why did the author choose _____________

instead of the words you came up with?

Which word(s) help create

a tone of

__________________?

Why did the author choice to . . .

Socratic Seminar

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

30

Peer Observation Checklist Partner’s Name:____________________________ Directions: Each time your partner does one of the following put a check in the box.

Speaks in the discussion

Refers to the text

Asks a new or follow-up question

Responds to another speaker

Paraphrases and adds to another speaker’s

ideas

Encourages another participant to speak

Interrupts another speaker

Engages in side conversation

Dominates the conversation

AFTER the discussion: What is the most interesting thing your partner said?

Self-Reflection Directions: Score your performance in today’s seminar using the following criteria:

4 = Excellent 3 = Good 2 = Showing Progress 1 = Needs Improvement

_____ I read the text closely, marked the text, and

took notes in advance.

_____ I came prepared with higher level questions

related to the text.

_____ I contributed several relevant comments.

_____ I cited specific evidence from the text to

support an idea.

_____ I asked at least one thoughtful, probing

question.

_____ I questioned or asked someone to clarify

their comment.

_____ I built on another person’s idea by restating,

paraphrasing, or synthesizing.

_____ I encouraged other participants to enter the

conversation. _____ I treated all other participants

with dignity and respect.

Overall Score (circle one): 1 1.5 2 2.5 3 3.5 4

Two goals I have for our next seminar are:

1.

2.

An area where I would like help:

Lesson One Reflection

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

31

Directions: Write down your ideas to the following question. Try to fill the space provided.

Unit Guiding Question: How do fictional stories echo across time and space?

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

32

Lesson Two "The Lottery" by Shirley Jackson

The morning of June 27th was

clear and sunny, with the fresh warmth

of a full-summer day; the flowers were

blossoming profusely and the grass

was richly green. The people of the

village began to gather in the square,

between the post office and the bank,

around ten o'clock; in some towns

there were so many people that the

lottery took two days and had to be

started on June 2th. but in this village,

where there were only about three

hundred people, the whole lottery took

less than two hours, so it could begin

at ten o'clock in the morning and still

be through in time to allow the

villagers to get home for noon dinner.

The children assembled first, of

course. School was recently over for

the summer, and the feeling of liberty

sat uneasily on most of them; they

tended to gather together quietly for a

while before they broke into boisterous

play. and their talk was still of the

classroom and the teacher, of books

and reprimands. Bobby Martin had

already stuffed his pockets full of

stones, and the other boys soon

followed his example, selecting the

smoothest and roundest stones; Bobby

and Harry Jones and Dickie Delacroix-

- the villagers pronounced this name

"Dellacroy"--eventually made a great

pile of stones in one corner of the

square and guarded it against the raids

of the other boys. The girls stood

aside, talking among themselves,

looking over their shoulders at rolled

in the dust or clung to the hands of

their older brothers or sisters.

Soon the men began to gather.

surveying their own children, speaking

of planting and rain, tractors and taxes.

They stood together, away from the

pile of stones in the corner, and their

jokes were quiet and they smiled rather

than laughed. The women, wearing

faded house dresses and sweaters,

came shortly after their menfolk. They

greeted one another and exchanged

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

33

bits of gossip as they went to join their

husbands. Soon the women, standing

by their husbands, began to call to

their children, and the children came

reluctantly, having to be called four or

five times. Bobby Martin ducked

under his mother's grasping hand and

ran, laughing, back to the pile of

stones. His father spoke up sharply,

and Bobby came quickly and took his

place between his father and his oldest

brother.

The lottery was conducted--as

were the square dances, the teen club,

the Halloween program--by Mr.

Summers. who had time and energy to

devote to civic activities. He was a

round-faced, jovial man and he ran the

coal business, and people were sorry

for him. because he had no children

and his wife was a scold. When he

arrived in the square, carrying the

black wooden box, there was a

murmur of conversation among the

villagers, and he waved and called.

"Little late today, folks." The

postmaster, Mr. Graves, followed him,

carrying a three- legged stool, and the

stool was put in the center of the

square and Mr. Summers set the black

box down on it. The villagers kept

their distance, leaving a space between

themselves and the stool. and when

Mr. Summers said, "Some of you

fellows want to give me a hand?" there

was a hesitation before two men. Mr.

Martin and his oldest son, Baxter.

came forward to hold the box steady

on the stool while Mr. Summers stirred

up the papers inside it.

The original paraphernalia for the

lottery had been lost long ago, and the

black box now resting on the stool had

been put into use even before Old Man

Warner, the oldest man in town, was

born. Mr. Summers spoke frequently

to the villagers about making a new

box, but no one liked to upset even as

much tradition as was represented by

the black box. There was a story that

the present box had been made with

some pieces of the box that had

preceded it, the one that had been

constructed when the first people

settled down to make a village here.

Every year, after the lottery, Mr.

Summers began talking again about a

new box, but every year the subject

was allowed to fade off without

anything's being done.

The black box grew shabbier

each year: by now it was no longer

completely black but splintered badly

along one side to show the original

wood color, and in some places faded

or stained.

Mr. Martin and his oldest son,

Baxter, held the black box securely on

the stool until Mr. Summers had stirred

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

34

the papers thoroughly with his hand.

Because so much of the ritual had been

forgotten or discarded, Mr. Summers

had been successful in having slips of

paper substituted for the chips of wood

that had been used for generations.

Chips of wood, Mr. Summers had

argued. had been all very well when

the village was tiny, but now that the

population was more than three

hundred and likely to keep on growing,

it was necessary to use something that

would fit more easily into he black

box. The night before the lottery, Mr.

Summers and Mr. Graves made up the

slips of paper and put them in the box,

and it was then taken to the safe of Mr.

Summers' coal company and locked up

until Mr. Summers was ready to take it

to the square next morning. The rest of

the year, the box was put way,

sometimes one place, sometimes

another; it had spent one year in Mr.

Graves's barn and another year

underfoot in the post office. and

sometimes it was set on a shelf in the

Martin grocery and left there.

There was a great deal of fussing

to be done before Mr. Summers

declared the lottery open. There were

the lists to make up--of heads of

families. heads of households in each

family. members of each household in

each family. There was the proper

swearing-in of Mr. Summers by the

postmaster, as the official of the

lottery; at one time, some people

remembered, there had been a recital

of some sort, performed by the official

of the lottery, a perfunctory. tuneless

chant that had been rattled off duly

each year; some people believed that

the official of the lottery used to stand

just so when he said or sang it, others

believed that he was supposed to walk

among the people, but years and years

ago this p3rt of the ritual had been

allowed to lapse. There had been, also,

a ritual salute, which the official of the

lottery had had to use in addressing

each person who came up to draw

from the box, but this also had

changed with time, until now it was

felt necessary only for the official to

speak to each person approaching. Mr.

Summers was very good at all this; in

his clean white shirt and blue jeans.

with one hand resting carelessly on the

black box. he seemed very proper and

important as he talked interminably to

Mr. Graves and the Martins.

Just as Mr. Summers finally left

off talking and turned to the assembled

villagers, Mrs. Hutchinson came

hurriedly along the path to the square,

her sweater thrown over her shoulders,

and slid into place in the back of the

crowd. "Clean forgot what day it was,"

she said to Mrs. Delacroix, who stood

next to her, and they both laughed

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

35

softly. "Thought my old man was out

back stacking wood," Mrs. Hutchinson

went on. "and then I looked out the

window and the kids was gone, and

then I remembered it was the twenty-

seventh and came a-running." She

dried her hands on her apron, and Mrs.

Delacroix said, "You're in time,

though. They're still talking away up

there."

Mrs. Hutchinson craned her neck

to see through the crowd and found her

husband and children standing near the

front. She tapped Mrs. Delacroix on

the arm as a farewell and began to

make her way through the crowd. The

people separated good-humoredly to

let her through: two or three people

said. in voices just loud enough to be

heard across the crowd, "Here comes

your, Missus, Hutchinson," and "Bill,

she made it after all." Mrs. Hutchinson

reached her husband, and Mr.

Summers, who had been waiting, said

cheerfully. "Thought we were going to

have to get on without you, Tessie."

Mrs. Hutchinson said. grinning,

"Wouldn't have me leave m'dishes in

the sink, now, would you. Joe?," and

soft laughter ran through the crowd as

the people stirred back into position

after Mrs. Hutchinson's arrival.

"Well, now." Mr. Summers said

soberly, "guess we better get started,

get this over with, so's we can go back

to work. Anybody ain't here?"

"Dunbar." several people said.

"Dunbar. Dunbar."

Mr. Summers consulted his list.

"Clyde Dunbar." he said. "That's right.

He's broke his leg, hasn't he? Who's

drawing for him?"

"Me. I guess," a woman said. and

Mr. Summers turned to look at her.

"Wife draws for her husband." Mr.

Summers said. "Don't you have a

grown boy to do it for you, Janey?"

Although Mr. Summers and everyone

else in the village knew the answer

perfectly well, it was the business of

the official of the lottery to ask such

questions formally. Mr. Summers

waited with an expression of polite

interest while Mrs. Dunbar answered.

"Horace's not but sixteen vet."

Mrs. Dunbar said regretfully. "Guess I

gotta fill in for the old man this year."

"Right." Sr. Summers said. He

made a note on the list he was holding.

Then he asked, "Watson boy drawing

this year?"

A tall boy in the crowd raised his

hand. "Here," he said. "I'm drawing for

my mother and me." He blinked his

eyes nervously and ducked his head as

several voices in the crowd said thin#s

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

36

like "Good fellow, lack." and "Glad to

see your mother's got a man to do it."

"Well," Mr. Summers said,

"guess that's everyone. Old Man

Warner make it?"

"Here," a voice said. and Mr.

Summers nodded.

A sudden hush fell on the crowd

as Mr. Summers cleared his throat and

looked at the list. "All ready?" he

called. "Now, I'll read the names--

heads of families first--and the men

come up and take a paper out of the

box. Keep the paper folded in your

hand without looking at it until

everyone has had a turn. Everything

clear?"

The people had done it so many

times that they only half listened to the

directions: most of them were quiet.

wetting their lips. not looking around.

Then Mr. Summers raised one hand

high and said, "Adams." A man

disengaged himself from the crowd

and came forward. "Hi. Steve." Mr.

Summers said. and Mr. Adams said.

"Hi. Joe." They grinned at one another

humorlessly and nervously. Then Mr.

Adams reached into the black box and

took out a folded paper. He held it

firmly by one corner as he turned and

went hastily back to his place in the

crowd. where he stood a little apart

from his family. not looking down at

his hand.

"Allen." Mr. Summers said.

"Anderson.... Bentham."

"Seems like there's no time at all

between lotteries any more." Mrs.

Delacroix said to Mrs. Graves in the

back row.

"Seems like we got through with

the last one only last week."

"Time sure goes fast.-- Mrs.

Graves said.

"Clark.... Delacroix"

"There goes my old man." Mrs.

Delacroix said. She held her breath

while her husband went forward.

"Dunbar," Mr. Summers said,

and Mrs. Dunbar went steadily to the

box while one of the women said. "Go

on. Janey," and another said, "There

she goes."

"We're next." Mrs. Graves said.

She watched while Mr. Graves came

around from the side of the box,

greeted Mr. Summers gravely and

selected a slip of paper from the box.

By now, all through the crowd there

were men holding the small folded

papers in their large hand. turning

them over and over nervously Mrs.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

37

Dunbar and her two sons stood

together, Mrs. Dunbar holding the slip

of paper.

"Harburt.... Hutchinson."

"Get up there, Bill," Mrs.

Hutchinson said. and the people near

her laughed.

"Jones."

"They do say," Mr. Adams said

to Old Man Warner, who stood next to

him, "that over in the north village

they're talking of giving up the

lottery."

Old Man Warner snorted. "Pack

of crazy fools," he said. "Listening to

the young folks, nothing's good

enough for them. Next thing you

know, they'll be wanting to go back to

living in caves, nobody work any

more, live hat way for a while. Used to

be a saying about 'Lottery in June, corn

be heavy soon.' First thing you know,

we'd all be eating stewed chickweed

and acorns. There's always been a

lottery," he added petulantly. "Bad

enough to see young Joe Summers up

there joking with everybody."

"Some places have already quit

lotteries." Mrs. Adams said.

"Nothing but trouble in that," Old

Man Warner said stoutly. "Pack of

young fools."

"Martin." And Bobby Martin

watched his father go forward.

"Overdyke.... Percy."

"I wish they'd hurry," Mrs.

Dunbar said to her older son. "I wish

they'd hurry."

"They're almost through," her

son said.

"You get ready to run tell Dad,"

Mrs. Dunbar said.

Mr. Summers called his own

name and then stepped forward

precisely and selected a slip from the

box. Then he called, "Warner."

"Seventy-seventh year I been in

the lottery," Old Man Warner said as

he went through the crowd. "Seventy-

seventh time."

"Watson" The tall boy came

awkwardly through the crowd.

Someone said, "Don't be nervous,

Jack," and Mr. Summers said, "Take

your time, son."

"Zanini."

After that, there was a long

pause, a breathless pause, until Mr.

Summers. holding his slip of paper in

the air, said, "All right, fellows." For a

minute, no one moved, and then all the

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

38

slips of paper were opened. Suddenly,

all the women began to speak at once,

saving. "Who is it?," "Who's got it?,"

"Is it the Dunbars?," "Is it the

Watsons?" Then the voices began to

say, "It's Hutchinson. It's Bill," "Bill

Hutchinson's got it."

"Go tell your father," Mrs.

Dunbar said to her older son.

People began to look around to

see the Hutchinsons. Bill Hutchinson

was standing quiet, staring down at the

paper in his hand. Suddenly. Tessie

Hutchinson shouted to Mr. Summers.

"You didn't give him time enough to

take any paper he wanted. I saw you. It

wasn't fair!"

"Be a good sport, Tessie." Mrs.

Delacroix called, and Mrs. Graves

said, "All of us took the same chance."

"Shut up, Tessie," Bill

Hutchinson said.

"Well, everyone," Mr. Summers

said, "that was done pretty fast, and

now we've got to be hurrying a little

more to get done in time." He

consulted his next list. "Bill," he said,

"you draw for the Hutchinson family.

You got any other households in the

Hutchinsons?"

"There's Don and Eva," Mrs.

Hutchinson yelled. "Make them take

their chance!"

"Daughters draw with their

husbands' families, Tessie," Mr.

Summers said gently. "You know that

as well as anyone else."

"It wasn't fair," Tessie said.

"I guess not, Joe." Bill

Hutchinson said regretfully. "My

daughter draws with her husband's

family; that's only fair. And I've got no

other family except the kids."

"Then, as far as drawing for

families is concerned, it's you," Mr.

Summers said in explanation, "and as

far as drawing for households is

concerned, that's you, too. Right?"

"Right," Bill Hutchinson said.

"How many kids, Bill?" Mr.

Summers asked formally.

"Three," Bill Hutchinson said.

"There's Bill, Jr., and Nancy, and

little Dave. And Tessie and me."

"All right, then," Mr. Summers

said. "Harry, you got their tickets

back?"

Mr. Graves nodded and held up

the slips of paper. "Put them in the

box, then," Mr. Summers directed.

"Take Bill's and put it in."

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

39

"I think we ought to start over,"

Mrs. Hutchinson said, as quietly as she

could. "I tell you it wasn't fair. You

didn't give him time enough to choose.

Everybody saw that."

Mr. Graves had selected the five

slips and put them in the box. and he

dropped all the papers but those onto

the ground. where the breeze caught

them and lifted them off.

"Listen, everybody," Mrs.

Hutchinson was saying to the people

around her.

"Ready, Bill?" Mr. Summers

asked. and Bill Hutchinson, with one

quick glance around at his wife and

children. nodded.

"Remember," Mr. Summers said.

"take the slips and keep them folded

until each person has taken one. Harry,

you help little Dave." Mr. Graves took

the hand of the little boy, who came

willingly with him up to the box.

"Take a paper out of the box, Davy."

Mr. Summers said. Davy put his hand

into the box and laughed. "Take just

one paper." Mr. Summers said. "Harry,

you hold it for him." Mr. Graves took

the child's hand and removed the

folded paper from the tight fist and

held it while little Dave stood next to

him and looked up at him

wonderingly.

"Nancy next," Mr. Summers

said. Nancy was twelve, and her

school friends breathed heavily as she

went forward switching her skirt, and

took a slip daintily from the box "Bill,

Jr.," Mr. Summers said, and Billy, his

face red and his feet overlarge, near

knocked the box over as he got a paper

out. "Tessie," Mr. Summers said. She

hesitated for a minute, looking around

defiantly. and then set her lips and

went up to the box. She snatched a

paper out and held it behind her.

"Bill," Mr. Summers said, and

Bill Hutchinson reached into the box

and felt around, bringing his hand out

at last with the slip of paper in it.

The crowd was quiet. A girl

whispered, "I hope it's not Nancy," and

the sound of the whisper reached the

edges of the crowd.

"It's not the way it used to be."

Old Man Warner said clearly. "People

ain't the way they used to be."

"All right," Mr. Summers said.

"Open the papers. Harry, you open

little Dave's."

Mr. Graves opened the slip of

paper and there was a general sigh

through the crowd as he held it up and

everyone could see that it was blank.

Nancy and Bill. Jr.. opened theirs at

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

40

the same time. and both beamed and

laughed. turning around to the crowd

and holding their slips of paper above

their heads.

"Tessie," Mr. Summers said.

There was a pause, and then Mr.

Summers looked at Bill Hutchinson,

and Bill unfolded his paper and

showed it. It was blank.

"It's Tessie," Mr. Summers said,

and his voice was hushed. "Show us

her paper. Bill."

Bill Hutchinson went over to his

wife and forced the slip of paper out of

her hand. It had a black spot on it, the

black spot Mr. Summers had made the

night before with the heavy pencil in

the coal company office. Bill

Hutchinson held it up, and there was a

stir in the crowd.

"All right, folks." Mr. Summers

said. "Let's finish quickly."

Although the villagers had

forgotten the ritual and lost the original

black box, they still remembered to use

stones. The pile of stones the boys had

made earlier was ready; there were

stones on the ground with the blowing

scraps of paper that had come out of

the box Delacroix selected a stone so

large she had to pick it up with both

hands and turned to Mrs. Dunbar.

"Come on," she said. "Hurry up."

Mr. Dunbar had small stones in

both hands, and she said. gasping for

breath. "I can't run at all. You'll have

to go ahead and I'll catch up with you."

The children had stones already.

And someone gave little Davy

Hutchinson few pebbles.

Tessie Hutchinson was in the

center of a cleared space by now, and

she held her hands out desperately as

the villagers moved in on her. "It isn't

fair," she said. A stone hit her on the

side of the head. Old Man Warner was

saying, "Come on, come on,

everyone." Steve Adams was in the

front of the crowd of villagers, with

Mrs. Graves beside him.

"It isn't fair, it isn't right," Mrs.

Hutchinson screamed, and then they

were upon her.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

41

Device Matrix A.5.c, A.5.e

Directions: With a partner, fill in each of the cells.

What is the literary definition of this device

(in our own words)?

Draw a visual to help remember the device’s

meaning

Think of a book, story, TV show, or movie that utilizes

this type of device. What is it and how is it an example of

this device?

Plot

Setting

Foreshadowing

Irony

Symbolism

Mood

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

42

Viewing with a Focus: Irony, foreshadowing, & mood A.5.e

Device Definition Details & Explanation

Dramatic Irony:

Situational Irony:

Verbal Irony:

Foreshadowing:

Mood:

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

43

Photo Carousel Response: Mood & Setting

Directions: Select one photograph that stands out to your group to analyze further. Describe the photograph,

completing the following information. After you have described the photographs, write a caption that

captures the mood of the photo and post the picture with your group’s caption below on the wall.

PHOTOGRAPH:

General description. This is a picture of_________________________________________________________

Number of people: ___________ Number of men/boys: ___________ Number of women/girls: ___________

Describe what is happening in the photo: _______________________________________________________

_________________________________________________________________________________________

Describe the objects in the photo: _____________________________________________________________

_________________________________________________________________________________________

MOOD:

Describe the weather: _______________________________________________________________________

Describe facial expressions: ___________________________________________________________________

Describe the actions of the people in the photo: __________________________________________________

Describe the emotions you feel while viewing the photo:____________________________________________

__________________________________________________________________________________________

SETTING:

Describe as many details as you can identify about the place where the picture was taken: _______________

_________________________________________________________________________________________

_________________________________________________________________________________________

PHOTO CAPTION:

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

44

_________________________________________________________________________________________

_________________________________________________________________________________________

Round Robin Background Reading

RL.10.1 Directions: Meet with your expert group and come back prepared to share out orally to help your group fill in the chart below. #1 1940’s & Lotteries Which two wars spanned the 1940’s? What is a lottery? Explain why lotteries were legalized after World War II.

#2 The New Yorker What might you find in The New Yorker? What did the creator intend for his magazine? How did the magazine’s intention shift years later? Which story drew more mail than any other in the magazine’s history?

#3 Shirley Jackson Characterize the letters Jackson received from readers concerning “The Lottery”: Why did Jackson refuse to speak publicly about her work? Explain why Jackson was proud that her story was banned by the Union of South Africa.

#4 “The Lottery” Summarize the reaction of the readers of The New Yorker to “The Lottery”:

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

45

Summarize Jackson’s intent for this story: Write one interesting fact from this article:

Dyad Reading: Clarifying Bookmarks Directions: For this activity, you will read “The Lottery” with your group. Use the clarifying bookmarks below

to help you discuss the text as you alternate reading.

What I can do What I can say

I am going to think about what the selected text may mean.

I’m not sure what this is about, but I think it may mean…

This part is tricky, but I think it means…

After rereading this part, I think it may mean…

I am going to summarize my understanding so far.

What I understand about this reading so far is…

I can summarize this part by saying…

The main points of this section are…

I am going to use my prior knowledge to help me understand.

I know something about this from… I have read or heard about this when…

I don’t understand the section, but I do recognize…

I am going to apply related concepts and/or readings.

One reading/idea I have encountered before that relates to this is..

We learned about this idea/concept when we studied…

This concept/idea is related to…

I am going to ask Two questions I have about this section are…

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

46

questions about ideas and phrases I don’t understand.

I understand this part, but I have a question about…

I have a question about…

Literary Device Matrix: Mood & Tone Directions: This story is referred to as “A chilling tale of conformity gone mad.” Jackson built this mood by

using particular tones and providing subtle details throughout the text. Find examples to support Jackson’s

tone and the mood she sets for readers.

Tone: Detached Tone: Calm Mood: Chilling

Finally, explain how Jackson’s detached and calm tone lead to the chilling tone.

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

47

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

Symbols of All Shapes and Sizes A.5.e

Discover how the author used symbols to create meaning in this story. List symbols for each category

as well as what each symbol represents to the characters, plot, or overall story.

Colors

Weather

Objects and their descriptions

Character names

Repeated objects/words

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

48

Irony in Literature: How it Shapes Meaning A.5.e

Directions: Choose four examples of irony to explore. Provide the irony from the text, tell what type of irony it is, explain what the reader expected vs. what actually happened in the story (what makes it ironic) and

conclude by stating what effect this had on the reader.

Irony example

Type of irony

Expected

Unexpected (what makes this situation

ironic)

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

49

Effect on reader

How Authors Accomplish their Goals:

Foreshadowing and Suspense Directions: Note all clues that foreshadow the surprise ending to “The Lottery” in the text and film versions.

Note all textual evidence that builds suspense before

the final lottery drawing in both text & film versions.

Many readers demanded an explanation of the situation in the story, and a month after the initial publication,

Shirley Jackson responded in the San Francisco Chronicle (July 22, 1948):

“Explaining just what I had hoped the story to say is very difficult. I suppose, I hoped, by setting a particularly

brutal ancient rite in the present and in my own village to shock the story's readers with a graphic dramatization

of the pointless violence and general inhumanity in their own lives.”

To what extent did Jackson reach her intended goal? How did she use foreshadowing and/or suspense to

reach her goal? Did the story or short film do a better job of reaching Jackson’s goal? Explain.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

50

What happens in the story?

List major plot points including the most

important point in the story.

Main Conflict:

What is the subject? In one sentence,

tell what this story is about.

How does the protagonist change? Does

the protagonist affect other characters?

What does he/she learn throughout the

story? How does he/she relate to other

characters?

List 2-3

potential

themes

for the

story

based on

the

informati

on above.

Putting it All Together: Finding Theme RL.10.2 Theme is the heart of a story. It is the lesson to be learned from the conflict the characters endure. Fill in each arrow and discover how the theme(s) emerges.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

51

Mind Mirroring Indicators 4 3 2

Content

Includes two or more relevant quotations from the text

Includes two or more phrases that synthesize important ideas from the text

Includes two or more symbols that communicate relevant ideas

As a whole, the mind mirror successfully communicates relevant ideas about the character’s situation and state of mind

Includes two quotations from the text

Includes two phrases based on the text

Includes two symbols

Includes two drawings

As a whole, the mind mirror successfully communicates relevant ideas about the character’s situation and state of mind

Lacks two or more of the following: Quotations Phrases Symbols Drawings

The words and pictures are unrelated to the project idea

The mind mirror does not communicate the character’s situation and state of mind

Presentation

Each member of the group contributes to the mind mirror and any verbal presentation

Mind mirror uses a creative design and creative wording to portray the character’s situation and state of mind

Mind mirror effectively uses color and shading

Product is neat

Each member of the group contributes to the mind mirror and any verbal presentation

Mind mirror uses color and shading

Product is neat

One or more members of the group do not contribute to the mind mirror or the presentation

Mind mirror does not use color or shading

Product is sloppy

Lesson Two Reflection Directions: Write down your ideas to the following question. Fill the space below.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

52

Unit Guiding Question: How do fictional stories echo across time and space?

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

Lesson Three W.10.1

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

53

Informational Writing Task I. Task Engagement & Analysis

Directions: Write a text message to a friend that is absent today that paraphrases the following

writing assignment:

Do fictional stories echo across time and space? After reading "I Stand Here Ironing" and "The

Lottery" write a blog post to fellow literature readers that discusses timeless and universal elements of

fiction and evaluates their relevance across time and space . Be sure to support your position with

evidence from the texts.

Text to absent friend:

Writing scoring rubric:

Brainstorm a list of important essay writing elements below. In other words, what should you be sure

to include so that you communicate effectively with your blog followers.

II. Active Reading Annotations

Directions: Using “I Stand Here Ironing” and “The Lottery” annotate each story for the following

information using the symbols below.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

54

Universal themes

Universal character traits

Universal conflicts

Universal feelings/reactions

Universal settings

III. Identifying Essential Vocabulary

Directions: In the space below, generate a list of words that are essential in answering this

writing prompt. In other words, what words/phrases will you use in a successful response.

Do fictional stories echo across time and space? After reading "I Stand Here Ironing" and "The

Lottery" write a blog post to fellow literature readers that discusses timeless and universal elements of

fiction and evaluates their relevance across time and space . Be sure to support your position with

evidence from the texts.

IV. Note-taking

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

55

Directions: Decide which universal elements you’ll focus on and come up with examples for

your topic sentences and supporting evidence (body paragraphs).

Universal Element Example 1 Example 2 Example 3

How to incorporate literary examples and quotes:

1. Introduce both author and title early. (Quotations around short story titles)

2. Reference author by his/her last name only.

3. Quote anything that comes directly from the text and include a paragraph number Example:

“Here’s the quote” (p.8).

4. Use both quotes and paraphrasing.

5. Use the following stems to model from. . .

a. Jackson wrote. . .

b. Olsen stated. . .

c. “The Lottery” created. . .

d. “I Stand Here Ironing” details. . .

V. Drafting

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

56

Directions: Draft a thesis statement below that response directly to the prompt and previews

what you’ll discuss in your body paragraphs.

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

__________________________________________________

Once your thesis has been checked, begin drafting your essay using the information

you’ve put into sections II, III, IV, and V.

VI. Peer Revising & Editing

Directions: Find a partner to complete peer revising and editing with. Read each other’s essays and fill in this

handout about your partner’s essay.

My partner’s name: _____________________________The title of their essay: ________________________

INTRODUCTION Copy down your partner’s hook:

What background info did they provide so that the reader understands this essay?

Their thesis statement shows that they’ll discuss which three elements?

1.

2.

3.

BODY PARAGRAPHS Write down the transition they used to get to their first point.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

57

What topic is introduced in body paragraph #1?

What three examples are used to support this topic?

1.

2.

3.

Write down the transition they used to get to the next paragraph.

What topic is introduced in body paragraph #2?

What three examples are used to support this topic?

1.

2.

3.

Write down the transition they used to get to the next paragraph.

What topic is introduced in body paragraph #3?

What three examples are used to support this topic?

1.

2.

3.

CONCLUSION

What words/phrases signify that this is the conclusion?

Write down the sentence in which he/she restated the thesis.

How did the author tie back to the hook?

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

58

Appendix

Photo Carousel Photos

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

59

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

60

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

61

Round Robin Articles The Lottery

"The Lottery" is a short story by Shirley Jackson, first published in the June 26, 1948 issue of The New Yorker.[1] Written the same

month it was published, it is ranked today as "one of the most famous short stories in the history of American literature".[2] It has been

described as "a chilling tale of conformity gone mad."[3]

Response to the story was negative, surprising Jackson and The New Yorker. Readers canceled subscriptions and sent hate mail

throughout the summer.[4] The story was banned in the Union of South Africa.[5] Since then, it has been accepted as a classic American

short story, subject to critical interpretations and media adaptations, and it has been taught in middle schools and high schools for

decades since its publication.

Readers

Many readers demanded an explanation of the situation in the story, and a month after the initial publication, Shirley Jackson

responded in the San Francisco Chronicle (July 22, 1948):

Explaining just what I had hoped the story to say is very difficult. I suppose, I hoped, by setting a particularly brutal ancient rite in the

present and in my own village to shock the story's readers with a graphic dramatization of the pointless violence and general

inhumanity in their own lives.

Jackson lived in North Bennington, Vermont, and her comment reveals that she had Bennington in mind when she wrote "The

Lottery." In a 1960 lecture (printed in her 1968 collection, Come Along with Me), Jackson recalled the hate mail she received in 1948:

One of the most terrifying aspects of publishing stories and books is the realization that they are going to be read, and read by

strangers. I had never fully realized this before, although I had of course in my imagination dwelt lovingly upon the thought of the

millions and millions of people who were going to be uplifted and enriched and delighted by the stories I wrote. It had simply never

occurred to me that these millions and millions of people might be so far from being uplifted that they would sit down and write me

letters I was downright scared to open; of the three-hundred-odd letters that I received that summer I can count only thirteen that spoke

kindly to me, and they were mostly from friends. Even my mother scolded me: "Dad and I did not care at all for your story in The New

Yorker," she wrote sternly; "it does seem, dear, that this gloomy kind of story is what all you young people think about these days.

Why don't you write something to cheer people up?"[4]

The New Yorker kept no records of the phone calls, but letters addressed to Jackson were forwarded to her. That summer she regularly

took home 10 to 12 forwarded letters each day. She also received weekly packages from The New Yorker containing letters and

questions addressed to the magazine or editor Harold Ross, plus carbon copies of the magazine's responses mailed to letter writers.

Curiously, there are three main themes which dominate the letters of that first summer—three themes which might be identified as

bewilderment, speculation and plain old-fashioned abuse. In the years since then, during which the story has been anthologized,

dramatized, televised, and even—in one completely mystifying transformation—made into a ballet, the tenor of letters I receive has

changed. I am addressed more politely, as a rule, and the letters largely confine themselves to questions like what does this story

mean? The general tone of the early letters, however, was a kind of wide-eyed, shocked innocence. People at first were not so much

concerned with what the story meant; what they wanted to know was where these lotteries were held, and whether they could go there

and watch.[4]

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

62

Shirley Jackson

Shirley Hardie Jackson (December 14, 1916 – August 8, 1965) was an American author. She was a popular writer in her time, and

her work has received increased attention from literary critics in recent years. She influenced Neil Gaiman, Stephen King, Nigel

Kneale, and Richard Matheson.[1]

She is best known for the short story The Lottery (1948), which suggests a secret, sinister underside to bucolic small-town America. In

her critical biography of Jackson, Lenemaja Friedman notes that when "The Lottery" was published in the June 26, 1948, issue of The

New Yorker, it received a response that "no New Yorker story had ever received". Hundreds of letters poured in that were characterized

by, as Jackson put it, "bewilderment, speculation, and old-fashioned abuse". In the July 22, 1948, issue of the San Francisco

Chronicle, Jackson offered the following in response to persistent queries from her readers about her intentions:

Explaining just what I had hoped the story to say is very difficult. I suppose, I hoped, by setting a particularly brutal ancient rite in the

present and in my own village to shock the story's readers with a graphic dramatization of the pointless violence and general

inhumanity in their own lives.

Jackson's husband, the literary critic Stanley Edgar Hyman, wrote in his preface to a posthumous anthology of her work that "she

consistently refused to be interviewed, to explain or promote her work in any fashion, or to take public stands and be the pundit of the

Sunday supplements. She believed that her books would speak for her clearly enough over the years." Hyman insisted the darker

aspects of Jackson's works were not, as some critics claimed, the product of "personal, even neurotic, fantasies", but that Jackson

intended, as "a sensitive and faithful anatomy of our times, fitting symbols for our distressing world of the concentration camp and the

Bomb", to mirror humanity's Cold War-era fears. Jackson may even have taken pleasure in the subversive impact of her work, as

evidenced by Hyman's statement that she "was always proud that the Union of South Africa banned 'The Lottery', and she felt that

they at least understood the story".[2]

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

63

The New Yorker

The New Yorker is an American magazine of reportage, commentary, criticism, essays, fiction, satire, cartoons, and poetry. It is

published by Condé Nast. Started as a weekly in 1925, the magazine is now published 47 times annually, with five of these issues

covering two-week spans.

Although its reviews and events listings often focus on the cultural life of New York City, The New Yorker has a wide audience

outside of New York. It is well known for its illustrated and often topical covers, its commentaries on popular culture and eccentric

Americana, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and

copyediting, its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue.

History

The New Yorker debuted on February 21, 1925. It was founded by Harold Ross and his wife, Jane Grant, a New York Times reporter.

Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as

Judge, where he had worked, or Life. Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking

Company[2]) to establish the F-R Publishing Company and established the magazine's first offices at 25 West 45th Street in Manhattan.

Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided

itself on its cosmopolitan sophistication. Ross famously declared in a 1925 prospectus for the magazine: "It has announced that it is

not edited for the old lady in Dubuque."[3]

Although the magazine never lost its touches of humor, it soon established itself as a pre-eminent forum for serious fiction literature

and journalism. Shortly after the end of World War II, John Hersey's essay Hiroshima filled an entire issue. In subsequent decades the

magazine published short stories by many of the most respected writers of the 20th and 21st centuries, including Ann Beattie, Mavis

Gallant, John Cheever, Roald Dahl, Geoffrey Hellman, John McNulty, Alice Munro, Haruki Murakami, Vladimir Nabokov, John

O'Hara, Philip Roth, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, E. B. White and Truman Capote.

Publication of Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

64

The 1940’s & Lotteries

The 1940s was a decade that began on January 1, 1940 and ended on December 31, 1949.

Most of the Second World War took place in the first half of the decade, which had a profound effect on most countries and people in

Europe, Asia, and elsewhere. The consequences of the war lingered well into the second half of the decade, with a war-weary Europe

divided between the jostling spheres of influence of the West and the Soviet Union, leading to the beginning of the Cold War. To

some degree internal and external tensions in the post-war era were managed by new institutions, including the United Nations, the

welfare state and the Bretton Woods system, facilitating the post–World War II boom, which lasted well into the 1970s. However the

conditions of the post-war world encouraged decolonialization and emergence of new states and governments, with India, Pakistan,

Israel, Vietnam and others declaring independence, although rarely without bloodshed. The decade also witnessed the early

beginnings of new technologies (including computers, nuclear power and jet propulsion), often first developed in tandem with the war

effort, and later adapted and improved upon in the post-war era.

A lottery is a form of gambling which involves the drawing of lots for a prize.

Lotteries are outlawed by some governments, while others endorse it to the extent of organizing a national or state lottery. It is

common to find some degree of regulation of lottery by governments. Though lotteries were common in the United States and some

other countries during the 19th century, by the beginning of the 20th century, most forms of gambling, including lotteries and

sweepstakes, were illegal in the U.S. and most of Europe as well as many other countries. This remained so until well after World War

II. In the 1960s casinos and lotteries began to re-appear throughout the world as a means for governments to raise revenue without

raising taxes.

Lotteries come in many formats. For example, the prize can be a fixed amount of cash or goods. In this format there is risk to the

organizer if insufficient tickets are sold. More commonly the prize fund will be a fixed percentage of the receipts. A popular form of

this is the "50–50" draw where the organizers promise that the prize will be 50% of the revenue.[citation needed] Many recent lotteries

allow purchasers to select the numbers on the lottery ticket, resulting in the possibility of multiple winners.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

65

Also, here is a link to a 1969 film version of "The Lottery."

http://vimeo.com/65266252

THE LOTTERY - 1969

"Larry Yust's short film, The Lottery

(1969), produced as part of

Encyclopædia Britannica's 'Short Story

Showcase' series, was ranked…

Watch now...

THE LOTTERY - 1969 on Vimeo

"Larry Yust's short film, The Lottery (1969), produced as part

of Encyclopædia Britannica's 'Short Story Showcase' series,

was ranked by the Academic Film Archive…

Read more...

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

66

Unit II – Short Fiction, Close Reading, and Informational Writing With LDC Writing Task Projected Timeline 5 weeks Common Core and Quality Core Standards and Targets RL.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.

1. I will cite strong and thorough textual evidence to support analysis of what the text says explicitly.

2. I will cite strong and thorough textual evidence to support analysis of what the text says through

inferences drawn from the text.

RL.10.2 Determine a theme or central idea of a text, including how it emerges and is shaped and refined

by specific details; provide an objective summary of the text.

1. I will determine a theme or central idea of a text.

2. I will determine a theme or central idea and how it emerges and is shaped and refined by specific

details.

3. I will provide an objective summary of a text.

4. I will analyze and identify plot of a text.

RL.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.

1. I will analyze how complex characters develop over the course of the text.

2. I will analyze how complex characters interact with other characters.

3. I will analyze how complex characters advance the plot and develop the theme.

RL.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).

1. I will determine the meaning of words and phrases as they are used in the text.

2. I will determine the meaning of words and phrases including figurative and connotative meanings.

3. I will analyze the cumulative impact of specific word choices on meaning and tone.

RL.10.5 Analyze how an author’s choices concerning how to structure a text, order events within it, and

manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

1. I will analyze how an author’s choices concerning how to structure a text create effects.

2. I will analyze how an author’s choices concerning ordering events within the text create effects.

3. I will analyze how an author’s choices concerning manipulating time create effects.

L.10.6 Acquire and use accurately general academic and domain-specific words and phrases sufficient

for reading, writing, speaking, and listening at the college and career readiness level; demonstrate

independence in gathering vocabulary knowledge when considering a word or phrase important to

comprehension or expression.

1. I will identify how an author's word choice creates meaning in a text.

2. I will analyze an author's word choice to determine the meaning of a word or phrase in a text using

context clues.

SL.10.1 Initiate and participate in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 0-10 topics, texts, and issues, building others' ideas and expressing their own clearly and persuasively. 1. I will respond thoughtfully to diverse perspectives, summarize points of agreement and

disagreements to express understanding.

2. I will qualify or justify my own view and understanding and make new connections in light of the

evidence and reasoning presented.

3. I will synthesize evidence from a text to stimulate thoughtful, well-reasoned exchange of ideas.

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

67

L.10.4 Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on

grade 9-10 reading and content, choosing flexibly from a range of strategies.

1. I will determine meaning in a text by utilizing context clues to the meaning of a word or phrase.

2. I will identify and correctly use patterns of word changes that indicate different meanings or parts of

speech.

3. I will consult general and specialized reference materials both print and digital to find the

pronunciation of a word.

4. I will consult general/specialized reference materials to clarify/verify meaning of a word or phrase.

W.10.1 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. 1. I will analyze text to determine a conflict and support the assertion with evidence from a text.

2. I will write an argument/claim while using evidence from the text for support.

W.10.2 Write informative/explanatory texts to examine and convey complex ideas, concepts, and

information clearly and accurately through effective selection, organization and analysis of content.

1. I will introduce claims to analyze and develop them with textual evidence. 2. I will support a claim with evidence from the text and introduce a counterclaim. 3. I will anticipate the audience’s knowledge level and concerns. A.5.c Identify, analyze, and evaluate plot, character development, setting, theme, mood, and point of view

as they are used together to create meaning in increasingly challenging texts.

1. I will identify plot/character development/setting/theme/mood/point of view as they are used

together to create meaning.

3. I will analyze plot/character development/setting/theme/mood/point of view as they are used

together to create meaning.

4. I will evaluate plot/character development/setting/theme/mood/point of view as they are used

together to create meaning.

5. 1. I will analyze and identify how characterization is developed through

words/actions/descriptions.

A.5.e Identify, analyze, and evaluate the ways in which the devices the author chooses (e.g., irony,

imagery, tone, foreshadowing, symbolism) achieve specific effects and shape meaning in increasingly

challenging texts.

1. I will identify the ways in which the author uses irony/imagery/tone/foreshadowing/symbolism.

2. I will analyze the ways in which the author uses irony/imagery/tone/foreshadowing/symbolism to

achieve specific effects.

3. I will evaluate the ways in which the author uses irony/imagery/tone/foreshadowing/symbolism to

achieve specific effects and shape meaning.

Pre-Assessment Diagnostic EOC test given at beginning of year Discovery Ed scores for literary texts On-Demand Learning Check Instructional Activities See Student Workbook and LTF excerts Common Formative Assessment Pre-assessment Checkpoint Quiz Common Assessment

ENG II Unit 2 UNIT 2 Cook, Mark, T. Jones

68

LDC Writing Task Projected Timeline 1-2 week Common Core and Quality Core Standards and Targets W.10.1 Write arguments to support claims in an

analysis of substantive topics or texts, using valid

reasoning and relevant and sufficient evidence.

a. Introduce precise claim(s), distinguish the

claim(s) from alternate or opposing claims, and

create and organization that establishes clear

relationships among claim(s), counterclaims,

reasons, and

evidence.

b. Develop claim(s) and counterclaims fairly,

supplying evidence for each while pointing out

the

strengths and limitations of both in a manner

that anticipates the audience’s knowledge level

and

concerns.

c. Use words, phrases, and clauses to link the

major sections of the text, create cohesion, and

clarify the relationships among claim(s) and

reasons, between reasons and evidence, and

between claim(s)

and counterclaims.

d. Establish and maintain a formal style and

objective tone while attending to the norms and

conventions of the discipline in which they are

writing.

e. Provide a concluding statement or section that

follows from and supports the argument

presented.

1. I will introduce precise claims and develop them with evidence. 2. I will introduce counterclaims. 3. I will anticipate the audience’s knowledge level and concerns. 4. I will use words, phrases and clauses to link major sections of the text and create cohesion among claims, reasons, evidence, and counterclaims. 5. I will establish and maintain a formal style and objective tone.

6. I will provide a concluding section that supports the argument presented. W.10.9 Draw evidence from literary or informational texts to support analysis, reflection, and research. 1. I will synthesize text to support analysis and reflection of evidence. 2. I will analyze implicit and explicit evidence to support a claim. Pre-Assessment Common Formative Assessment Writing from beginning of the year Thesis & intro paragraph check Draft check Instructional Activities Task Engagement Task Analysis Common Assessment Active Reading Annotations LDC Writing Task final draft Identifying Essential Vocabulary Note-taking Drafting Peer Editing & Revising