Teaching A Text: A Moveable Feast, by Ernest Hemingway Context: 12 th Grade Language Arts at Rocky Mtn. H.S.
I have not given, received, or used any unauthorized information.
A Moveable Feast Teaching a Text Part 1
A) Hwy rst Hwy tr Hwy A Moveable Feast: The Restored Edition. New York, NY: Scribner, 2009. Print.
B) I selected this text for the main purpose of serving as the cornerstone from which to build the students exposure to, and understanding of, early 20 th century American literature. As the book tls th uthors prsol vlopt s wrtr s wll s hs xpr of relationships with many other influential writers of the early 1900s, I feel it will serve well in enriching the students appreciation of the literature of the era by supplying them with an insight into the author and his compatriots on a personal level that would be otherwise absent by merely studying their individual works. Too, through the text I expect students to gain a more first-hand understanding of the historical and cultural elements at play that contributed to the individual styles and themes of Hemingway, Ezra Pound, F. Scott Fitzgerald, James Joyce and other notable writers of the time. lthouh publsh posthuously th wor wll srv s xpl of Hwys rly work to be then compared to later successes that were published in his lifetime as an examination of his development as a writer. Through close and rigorous examination of the text students will identify specific elements of craft and style unique to Hemingway and more broadly to the modernist movement of the 20s. The study of this text, as will be laid out to follow, should meet the goals of the Colorado State Standards for 12 th grade in particular: 2.1.a, 2.1.b, 2.1.c, 2.1.e, 2.1.g, and 2.2.a. This book occupies a curious place in literature as has the potential to be read both as a memoir and as a work of fiction. This unique characteristic allows this work to function both as a history and literature, and will hopefully engage students in the critical questioning of what constitutes a work of fiction and what the true nature and reliability of our memories really is. C) Goals: 1) Enjoy it. 2) G thorouh urst of Hwys rft styl ltr b bl to opr t to those of writers of earlier and later literary periods. 3) B bl to opttly susso of th sf of Hwys wrt the cannon of American Literature with specific focus on cultural, historical, and aesthetic significance.
A Moveable Feast Teaching a Text Part 2 Reading Strategy
A) My strategy for reading the book was fairly simple I read it. Then I read it again, and a third time. All the while, I would continuously go back and re-read chapters or parts here and there as questions came to mind or I felt something needed clarification. But this is really a bit of an oversimplification my love for literature resides in my admiration of th uthors rft so I lwys r throuh th ls of th rt /or spr author. Reading in this way, I focus on all the nuances of their craft I notice sentence structure and syntax, word choice, tone and voice and style. I look for how they order events, and how and when they incorporate dialogue and how it stands in relation to narration in terms of ratios of one to the other. I take notice of how and what the writer focuses on place and setting or events and character descriptions. Another key element I always keep in the back of my mind is the time and place an author is working from and how this corresponds to the time and place in the book itself are the two contemporary, or is one removed from the other? I also always keep the author in my mind and consider the work in light of who they are/were as a person and as an artist. At this point in my life, doing this has become second nature to me and I hardly realize I am doing it at all, but I know it is happening when I reflect on the book later or engage in conversation about it.
B) I have to admit, I did not take notes. It is actually counterproductive for me to take notes while I read. The situation is: either I pay acute attention and retain a great deal with no notes to check later, or I have notes but no idea as to what they mean I get a lot of intricate details about something I was more or less completely absent for and have no frame to put them in. I am fortunate to be able to remember books with a great deal of accuracy. This, combined with the manner in which I read as described above, allows me to focus on my reading rather than note taking. However, since I was reading this book with the intentions of teaching it, after several readings I went back through and wrote down where I found specific elements within the text such as location of the main/major major theme(s), important passages regarding characters, exemplary demonstrations of style, etc. Some of these are as specific as particular sentences (where I would write down the page number and note the line), some are simply page numbers or even whole chapters. I feel that making my notes too specific could potentially force a particular reading on the book or prove confusing later on. I believe exploration is the heart of analyzing a book and I want to leave the door open for that as it is likely that in the years to come I will view this book in an entirely different light and I want to be able to allow for that evolution.
A Moveable Feast Teaching a Text Part 3 Strategies for close reading
For each of the 6 signposts, I have provided an address to the class describing what we will be doing in the form of a mini-lesson, complete with an instructional prompt and/or specific questions I want the students to answer or key elements I want them to try to focus on. Following each of these, I have provided a brief explanation of what the specific exercise is intended to accomplish including specific ideas and elements of the text I expect/hope the students will pick up on and identify. Students will be directed to take notes on their findings and conclusions to use as reference later for their own benefit and as we continue our discussion of the text following allotted activity time. I feel it is important to note that I would not use this text to teach the signposts themselves. I would conduct an independent lesson on the signposts at the beginning of the year using passages and texts that lend themselves more readily to modeling the signposts. Additionally, I am constructing this set of strategies with the intention of going through them with the class having already read the book in its entirety (or at least nearly finished as the lessons pertain to the first of the book). This is for two reasons: 1) The book is relatively short and should, for seniors, pose no serious difficulties in completing it over a weekend; and 2) I believe firmly that a book should be studied, always, within the context of it as a whole as this is the only way to truly understand its component parts.
Contrasts and Contradictions Defining/Identifying the Signpost: A sharp contrast between what we would expect and what we observe behavior or events that deviate from well-established patterns that often signal a major shift in a character or the general direction of the story. Generalizable Language: When authors show you a character acting in a way that contrasts with how you would expect someone to act or that contradicts how that character has been acting, you know the author is showing you something important about that chartr Youll wt to pus s yourslf Why woul th hrtr t ths wy? (Brs & robst 85) Anchor Question: Why os Hwy hs frshp wth Mss t so bruptly? What does this incident tell us about her, and more importantly bout Hwy? Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper, and a pen or pencil. Explaining Conceptualizing within the larger curriculum: Ovr th ours of th ovl Hemingway recounts his relationships with other expatriate writers living in Paris. In describing these individuals and his interactions with them we are given very intimate accounts of their characters what they were like as people; but through these passages we also are given a very personal look into Hemingway himself. Of particular importance throughout the book is his rltoshp wth th wrtr Grtru t Lts t loo t how ths rltoshp prorsss throughout the novel and see what it means in the overall context of th boo Applying: I want us to focus on three chapters in particular Miss Stein Instructs, Une Generation Perdue, and A Strange Enough Ending. Using the methods we discussed about contrasts and contradictions, I want you to review these chapters and write down how Miss Stein is depicted in each one. Focus on what she says and does and how Hemingway responds / reacts to her. What kind of person is she shown to be, what is their relationship like? For each chapter, focus your response solely on the text at hand and try not to let previous chapters influence your thoughts on later ones. You will only need a few sentences for each chapter. Once you have this done, I want you to compare them to one another and answer these questions: How are the later depictions of Miss Stein in contrast to the earlier ones? How does Hemingways attitude toward her change over time, and what does this tell us about his character? What is Hemingway trying to tell us by demonstrating this evolution of his relationship with Stein? Reviewing: Students should note her evolution from respected mentor to condescending and critical, and finally to someone who Hemingway views as inferior to himself. Through her decline, students should note that it also demonstrates Hwys ow rs opo of himself both as a writer and as a person. This will help students to develop skills in recognizing and understanding drawn out character development over the course of a text and to be able to identify the subtle way one character can be more completely defined through another character. They should hopefully comment as well that this particular tactic is evidence of advanced skill in an author and immensely adds to the aesthetic value of a piece of writing.
Aha Moments Defining/Identifying the Signpost: hrtrs rlzto of soth tht shfts hs tos or understanding of himself. This can be signified by phrases that express suddenness ll of su I w or Just th I rlz or less directly by a shift in tone or through a shift in a characters behavior. Generalizable Language: When a character realizes or finally understands something, then you want to pause because you know this realization means something. It might be showing you something about character development or a new direction of the plot. You want to ask yourself, How ht ths h ths? (Brs & robst 85) Anchor Question: Wh Hwy s hs frshp wth Mss t wht s t h rlzs about her and himself that causes this to happen; what is the change that this signifies in his character in th ovl? Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper, and a pen or pencil. Explaining Conceptualizing within the larger curriculum: Dspt th sly spl and straight-forwr styl of Hwys writing, much of the meaning in his works is derived fro wht h hooss to lv out of txt Ist of stt outrht tht suh suh th h frqutly lvs ths ts to th rr to fur out o thr ow by supply sufficient details to leave the reader with an impression of what the character would have felt or thought. This is demonstrated very well in the chapter A Strange Enough Ending where he describes the events that led up to the ending of his friendship with Gertrude Stein. The events depicted in this chapter clearly result in an Aha Moment for Hemingway, but we are never told rtly wht thouhts fls rsult fro th vt Lts t loo t ths hptr s how it might be intended to shape our understanding of Hemingway and his growth as a person s wrtr Applying: I roups of bout 4 I wt you to h r-read the chapter and then discuss what you believe we as readers are supposed to think Hemingway felt or thought after overhearing the argument with Miss Stein. I want you to reference specific language in the text that helped you come to your conclusion. Each group member should write down the responses on their own ppr to us ltr for rfr Review: Students should report that the scene depicts a sense of urgency and discomfort; as well tht t pls loss of fsto rspt o Hwys prt wth Mss t It s t ths point that he realizes he has outgrown Miss Stein as both friend and mentor this symbolizes the end of an era of uncertainty and the birth of his self-confidence as a writer. This is intended to vlop stuts slls r btw th ls frs fro txt to t to the deeper and often unstated meaning in a passage.
Tough Questions Define/Identify the Signpost: When a character asks his or her self or is confronted by a very difficult question meant to reveal something about their character, their conflict, or the theme of the book. Generalizable Language: You know that when a character pauses to ask himself or a friend so rlly touh qustos th you r tt lps of whts bothr h th ost those questions often show you what the character will struggle with throughout the story. When you s ths touh qustos stop s yourslf Wht os ths qusto wor bout? (Brs & robst 85) Anchor Question: I th b of hptr 5 A False Spring Hwy wrts: Wh spring came, even the false spr thr wr o probls xpt whr to b hppst If w look at this as a question he is posing to himself, what does it say about the character and orovr th th of th boo? Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper, and a pen or pencil. Explaining Conceptualizing within the larger curriculum: Throuhout th ovl w r given the sense that aside from money issues, Hemingway (and his family) had few problems in their lives they have their love and their friends and all the possibilities of Paris and, in winter, the mountains. At the beginning of chapter 5, A False Spring h wrts: Wh spr v th fls spr thr wr o probls xpt whr to b hppst I point this out due to how innocent and assertive it seems, but the simplicity and confidence of this line is what makes me suspicious, and think that perhaps this is really a Tough Question in disguise as we have discussed, Hemingway often hides much deeper meaning in seemingly straight-forward and simple lines. I want you to consider this line in the greater context of the book. Although it ss spl I th t sys uh or th t tlly lts o Th bout th wor hppst notice he dost sy hppy he poses the problem as a search for an absolute, not an option of many possibilities h ost sply wt to b hppy h wts to b th hppst h b Tht sou l rl hll to Applying: In small groups, I want you to discuss this passage explore the concept of what it means to be happiest as opposed to just happy. Do you feel that such a thing is possible, or will there always be something more, some other aspect that is potentially missing? What does this say about the character Hemingway is trying to present to us in the book? Each group br shoul wrt ow th roup rsposs o thr ow ppr to p for rfr ltr Reviewing: Students should comment on the complexity of the task of trying to be happiest, framing their concept of this idea around their own experiences and what they believe this s th otxt of th boo wht thy urst bout Hwys hrtr They should also note that although brief, this speaks volumes about the Hemingway being portrayed in the book he is hopeful, optimistic, and undaunted by what seems to be an impossible challenge he hardly seems to recognize it as such.
Words of the Wiser Defining/Identifying the Signpost: When an older or more experienced character gives advice or offers insight to the main character. This often times reveals aspects of the theme, a conflict, or the relationship of the character to the plot of the book. Generalizable Language: When a wise character who is often older than the main character shares his or her understanding, insight, or advice on an issue or topic, stop and think about that. These insights or this advice often reveals something important about the theme. Ask yourself, Whts th lf lsso how ht t fft th hrtr? (Brs & robst 85) Anchor Question: Wht o you blv Mss t t wh sh ll Hwy hs ssots lost rto how o you th h trprt t? Wht fft if any, does ths hv o hs hrtr th boo how o you fl ths rlts to th ovrll th? Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper, and a pen or pencil. Explaining Conceptualizing within the larger curriculum: Grtru t s jor figure in the book and her friendship with Hemingway clearly had a significant impact on both him and his writing. Over the course of the text, we see an obvious transformation in the nature of this relationship as she goes from mentor to eventually just an associate and contemporary. In the chapter Une Generation Perdue (spflly o p 61) sh stts: Thts wht you r Thts wht you ll rll of you youg people who served in the war. You are a lost rto I th ths outs s Wors of th Wsr because although it sounds very judgmental, this insight from Miss Stein appears as though it should give Hemingway something to seriously think about. Applying: I want us to take a few minutes to think about this statement and answer the following questions: What is it about Hemingway and his friends that prompts Miss Stein to say this? What affect, if any, does it seem to have on Hemingways character? What insights can we gain about the nature of their relationship from this? What does this phrase mean in the greater context of the novel? Take your time to consider these questions and write down your rsposs our otboos for rfr ltr Reviewing: Students should identify how we get a sense of self-righteousness from Miss Stein at this point, and that it also denotes an air of frustration forming this is the first sign if the book that her position of superiority is beginning to slip wy Thy shoul pot out Hwys responses and how the language and tone suggests that he no longer feels he needs to be defined y Mss ts opos he is becoming his own person as a writer and an individual and their relationship is evolving to a point where he is beginning to see himself more as her equal. In regards to how this fits into the greater context of the novel, the students should be allowed to explore this idea freely but must be able to support their claims with concrete examples from the text. However, they should all point toward the general idea that the novel is a story about the search and initial discovery of Self for Hemingway, both as a writer of fiction and as a man.
Again and Again Define/Identify the Signpost: This regards events, images, or particular words or phrases that appear repeatedly throughout a novel. This tactic is used by authors to stress important aspects of the plot, theme, motifs, character traits/development, etc. Generalizable Language: Whe you s rptto ovl you bt tht ts portt but you might not know, right away, what it means. Repetition might give insight into the setting or hrtr or prhps sybol of so sort You hv to s yourslf Why os ths keep hpp ? (Beers & Probst, 85) Anchor Question: Why os Hwy rptly o to suh tl srb foo r s wll s th vry tl s of ll th strts fs h wls vsts? Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper, and a pen or pencil. Explaining Conceptualizing within the larger curriculum: s w hv suss previously, authors often use repetition in their writing to drive home a particular point that is usually a major theme of the novel. This can be a word or phrase, an event or even stylistic choices they make. In the text, Hemingway repeatedly, almost obnoxiously, goes into great detail about food and drink; similarly, he frequently and with great detail describes and names the streets and various cafes and other elements of the setting. What could these repeated images srv to rprst/sfy bout Hwy th ovrll th of th boo? Applying: I roups I wt you to note specific examples of this and discuss what this is intended to do for us as readers. Clearly the food and drink are significant and hold a deeper meaning, but what is it? What is this designed to symbolize in the greater context of the story? We cant possibly know the actual streets and places he names they most likely arent even the same today, so what is the purpose of giving them so much time, over and over, in the novel? How do the two function together to give us insight into the greater purpose of the book? Review: Students should cue in on that in addition to providing us with a great deal of sensory input and thus making the text more real and accessible, this also gives us a more complete urst of Hwys hrtr his priorities at the time. It also functions to give us a sense of social and cultural qualities that help define the era that despite being poor, they ate and drank well and this was of chief concern. Also, they will hopefully recognize that despite appearing as though they should help us form a mental picture in our head of the layout of the ty th rptto of so y strt s tht w t possbly ow lso srv to hv th opposite effect and disorient us, leaving the reader metaphorlly ru o th ty tslf These elements of the text help to paint the city and the time in a light of romantic nostalgia a jor th of th boo Thy lso hhlht Hwys ss of tl whh rfors hs strict discipline in his work habits an essential part of his character.
Memory Moment Define/Identify the Signpost: When a character has a memory or flashback of an earlier event (that may or may not have already been included in the text) that is substantial and causes a break in the normal progress of the narrative. These moments supply essential background information and are often revealing of character elements, plot, or theme. Generalizable Language: Wh you shr ory wth soo ts usully bus tht mory hs soth to o wth whts hpp t tht ot; th ory of th pst helps explain the present moment. So, when an author has a character pause to think about a memory or share a memory with someone, I know that memory can tell me something about whts hpp rht ow Tht ory ht v sht to wht bothrs or otvts a character; or it might help me understand something happening in the plot; it might even give me information about the theme. When you notice a Memory Moment, stop and ask yourself, Why ht ths ory b portt? Anchor Question: B or th whol boo b s s Mory Mot Wth ths wht o you th ths spt of th boo s suppos to to us s rrs? Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper, and a pen or pencil. Explaining Conceptualizing within the larger curriculum: s w suss o ovr the signposts, memory moments are important elements in a story as they can tell us a great deal about a character in a short amount of time and help us understand major themes in the book. I want us to do something a little different today today we are going to apply this strategy to the book as a whole. Written some 30 years after the fact, and based off of old notes and writing fragments Hemingway made at the time, in a very real sense the entire book is a memory moment. Applying: With this in mind I want us to analyze how this affects our reading and interpretation of the book. Think about the nature of memories, especially old memories how reliable are they? Some of the passages are likely very accurate and true, but much of it seems like it has to be purely fiction how are we intended to interpret this? Written, but unfinished, just before the authors death, who do you think this book is for? is it self-indulgence or does it serve a greater purpose for the reader? Write down your thoughts to keep for rfr ltr Review: In response to this, I expect no particular response from students I want this to be an exercise in critical thinking and original analysis. The intention is to help students see how open to trprtto ovl rlly b tht thr rlly st orrt swr only good and bad answers. My hope is, through allowing total freedom in analysis, foster genuine and complete engagement with the text as a whole and to give them practice in tying together all the various elements to make a complete picture and to demonstrate how sometimes this will result in something entirely different than the individual parts.
A Moveable Feast Teaching a Text Part 4 Strategies for developing depth, stamina, and passion
Note Due to the short length of this book, combined with the terse style and straight-forward language of Hwys wrt I hv t for th stuts to r ths book over a weekend and feel that this should pose no serious problems. The only areas of concern I feel are the numerous names of streets and places in French (and a few in Austrian). This book was chosen with the intent of it serving as the introductory text for our study of modernist writing of the early to mid-1900s. It is not intended to serve as the initial reading for the year, as I intend to order my class readings chronologically. That said, by the time my class will be reading this book, I will have already evaluated their reading pace and individual ltry lvls (bs o th quto prov y Kttls Book Love, pgs. 27-28). However, based on these qualities of length and simplicity of language and structure, if you choose, this book could futo wll to u stuts r slls t th b of th yr A) Developing Stamina and Fluency: One of the wonderful aspects of this book is that it is not necessary to read it in its entirety it is essentially a collection of vignettes, and each chapter has the ability to function as its own independent story. Additionally, they are not presented in the order in which the events depicted actually occurred, so nothing will be lost as far as maintaining continuity of the story. I believe that the straight-forward language (aside from the instances of French and some ustr) ob wth th spl strutur of Hwys sts wll prov ths book to be a fairly easy read for most students reading at or at least near grade-level. This, along with the short lengths of the chapters ranging from 4 to 10 pages at most will help students develop their confidence as readers as it will give them the feeling of covering a good amount of material in a relatively short time. To accomplish this I would recommend assigning the readings in terms of chapters to cover rather than page numbers. O th you y osr suss wth stuts s Hwys lt us of punctuation within sentences he rarely uses commas or other pause indicators, instead opting to eliminate them entirely or replacing them with and which forces the reader onward at an unnatural pace. This could prove problematic at first but presents an excellent opportunity to develop stamina and retention skills as it deviates drastically from contemporary and standard writing. After completing a Text Complexity Analysis for the book, I have determined that it should be comfortably handled by students reading at the 9 th grade level and above. Unfortunately, it does not offer much in terms of developing fluency in English. However, it does contain a good deal of French, mostly in the form of street and place names. Working with these words offers the opportunity for students to develop their skills in figuring out new words by sounding them out and making inferences based on the context.
B) Providing a book-talk:
To introduce the book I would begin by providing some background biographical information on the author and describing the general atmosphere of post-WWI Paris in the 1920s. The exact content of this discussion should be determined based on what is relevant and appropriate for a particular set of students as some facts about Hemingway, based on the age and maturity of the students, may not be considered appropriate. I would also point out how it functions both as a memoir and as a work of fiction and how this is going to be a major characteristic we will be exploring. As well I will give a general overview of the main theme[s] in regards to these two different ways in which we can approach the book. What I like about this book and why we are reading it: I l ths boo for thr rsos: Frst I hu f of Hwys wrt I enjoy his honesty and that, despite the fact that his language and sentences are fairly simple, his writing is remarkably beautiful and has a rhythm and tone that is entirely unique to him. And since this is a memoir of sorts, it offers both a wonderful example of his writing and an intimate look at Hemingway himself during a pivotal time in his life. Secondly, it deals with a place and time that I find to be particularly fascinating and romantic 1920s Paris. And third, I think it will serve as a very good foundation as we go on to read other authors of the same pro t ths pot I y lso hoos to r th frst thr prrphs of th introduction as well, time and student attention permitting. Read a Passage: I ro r xrpt b o p 16 wth: ll of the sadnss of th ty wth th frst ol rs of wtr o p 18 wth: You blo to ll rs blos to I blo to ths otboo ths pl Or f t prts I woul otu o to th of th hptr o pe 19. I choose this passage as I feel that it introduces the novel nicely and very much sets the pace and mood for the entire book. Also, I find it to be exceptionally beautiful in its imagery and voice. C) Using Conferences with the text: Each class period I intend to allot the first 20 minutes or so to silent reading. This will allow students time to review any reading they need to for the day or to catch up and finish what has been assigned or to simply work on their outside reading. As well, it will give me the opportunity to conduct independent reading conferences with a few students each day or address any other items that require my attention. For each conference I will allot 10 minutes, allowing me to meet with at least 2 students a day perhaps more if the full time is not required. My main goal with these conferences will be to determine: 1) How are they liking the book what is good about it, and what is not. 2) That the students are reading the book and are doing so at the assigned pace. 3) If they are not reading or are having trouble keeping up, what what is the cause? 4) How they feel they comprehend the book both at a superficial level language, style, story, etc., as well as on a deeper level the theme[s], the intent and purpose of the author, etc. 5) Finally, I will talk with them about their outside reading with regards to how it is going and what they have lined up next to ensure they are pushing themselves in terms of complexity and that they are reading a diverse range of genres. During these conferences I will take notes regarding student responses and their progress and record this in their individual reading progress folders. D) Responding to the reading: Students will keep a reading log/journal in which they will make regular entries regarding the reading. This can be as simple as noting questions they have or certain parts they find confusing; or it could be more detailed reflections on the readings. These will be collected weekly for review where I will make comments and record my own notes regarding individual and whole-class issues that require attention in class. The students will receive grades on these based on a check system for completeness and evidence of effort and thoughtfulness. As well, students will be required to participate in daily discussion of the texts we read. Random in-class quick-wrts wll b ploy to otor stuts ott to th readings. As a last resort I will implement regular reading quizzes to assure that reading is being done.
E) Reflecting on the Reading: In addition to their regular reading journals, upon completing our study of this book (and for each book we read) students will be required to submit a short 3-4 page essay addressing the following criteria: Discuss the overriding theme/meaning of the text and how it fits into the larger picture of the current unit of study. Discuss the craft and stylistic elements of this text/the author that distinguish it/them as unique what are the defining characteristics of the book? Discuss your own experience of this book with regards to ease or difficulty and how you feel it has impacted you as a reader. Discuss why you believe this book is considered significant in the history and study of literature. The responses students provide in these essays in conjunction with their regular reading reflection journal entries will provide critical feedback on how the students are responding to the direction and pace of the class as well as the material we are studying. This will allow me to make adjustments as necessary and where possible to the texts we are reading and the manner and pace in which we go through them. My primary concern is that the students enjoy the texts as enjoyment leads to engagement which leads to a fuller and richer experience of the texts.
A Moveable Feast Teaching a Text Part 5 Strategies for teaching a poem related to the novel: (adapted from Reading Poetry in the Middle Grades, by Paul B. Janeczko)
Poem: Th y by zra Pound The Seeing Eye The small dogs look at the big dogs; They observe unwieldy dimensions And curious imperfections of odor. Here is the formal male group: The young men look upon their seniors, They consider the elderly mind And observe its inexplicable correlations.
Said Tsin-Tsu: It is only in small dogs and the young That we find minute observation Before Reading Introduction: Why I admire/chose this poem: s fro th obvous oto Ezra Pound as an important character in A Moveable Feast, I feel this poem reproduces a very important aspect of the book that of Hemingway as a student of writing. As Hemingway looked up to and observed the likes of Miss Stein and Scott Fitzgerald, here we see the same relationship as the small dogs and the young closely observe and scrutinize the larger dogs and the more senior as an example of what they themselves could and maybe even should become. Too, I appreciate the simplicity of language here. Although the poem presents a rather complex idea and perspective on the relationship of the young to the old, the small to the big, it is delivered in language that is very accessible and easy to understand. One more thing this poem does for me it connects with me on a personal level and makes me reflect on my relationship with my own father and grandfather. First reading introduction to the poem: You can ask the students to think about the older or br popl thr lvs who thy r or loo to s tors Hv th th bout nd discuss or write about what things they notice about the adults in their lives and how it shapes their ideas of who they are and who they will become.
Companion Poem: Wht Ffty by Robrt Frost srvs s xllt opo p to this po s t otrts th l of ous p tht oly th you sll r truly observant, and instead suggests that later, as our lives come towards their close and we realize youth is truly gone we again become observant but this time it is not of what we expect to become, but in trying to regain that which we have lost. What Fifty Said When I was young my teachers were the old. I gave up fire for form till I was cold. I suffered like a metal being cast. I went to school to age to learn the past.
Now when I am old my teachers are the young. What can't be molded must be cracked and sprung. I strain at lessons fit to start a suture. I got to school to youth to learn the future. Special words to work through: For the most part the language of the poem is clear and straight-forward, but there are some words or phrases students may require help decoding in the context of the poem. Specifically: curious imperfections of odor, and inexplicable correlations. Students may need to have this usage of curious defined as well as inexplicable and correlations. Close Reading: Read the poem out loud to the class to model the appropriate tone and pace. Before beginning to unpack the poem, ask the students what they notice this will force them to think both critically and originally about the poem. Hopefully they will pick up on several key elements that are significant in relating this poem to the novel: 1) How Pound makes a connection between being young and being small while this is often the case naturally, here it serves to express the idea that when we are young or inexperienced it can make us feel small in a way that equates to less capable or effective or insufficient. 2) He writes: curious imperfections of odor whh t frst y b r s slls b but ths st wht s tully ovy Th oor st b but strly ffrt he is careful to leave this intentionally vague. Why? 3) Notice the shifts that occur in the second stanza initially, it is Pound speaking with an tone of authority that suggests this is something he knows for himself, but in the second stanza he seems to step back and quotes Tsin-Tsu and relinquishes claim to his earlier statements. 4) At first glance, this poem seems to be addressing a relationship of respect and admiration that the young or small have towards the old or big, but it never expressly states that this is the case, it only speaks of close observation. Ask the students if and how thy fl ths s rfltv of or rlts Hwys hrtr th ovel. After Reading Conclusion: Have the students think about the point Ezra Pound is trying to wth ths po Wth ths hv th lso th bout Hwys hrtr A Moveable Feast. From the perspective of Hemingway, have them write up a response to this poem as if Pound had spoken it directly to Hemingway. They could draft their writing in the form of a letter, a face to face exchange, or even better they could try to write it as though it were an additional passage in the novel ttpt to tt Hwys styl to Ths should be started in class and finished for homework. Book Bridge: A Moveable Feast, Ernest Hemingway Mrrors th po s t pts Hwys development as a writer of fiction through his interaction with and observations of older and established writers of the time. Alices Adventures in Wonderland, Lewis Carroll Emphasizes the focus and consideration with which a child observes the world. Hobo, Eddy Joe Cotton A young man begins a life on the road where he carefully observes the ways of older and experienced hobos and learns how to and how not to survive.
A Moveable Feast Teaching a Text Part 6 Incorporating Media Literacy:
A) Relevant Common Core Standards: Content Area: Reading, Writing, and Communicating Standard: 2. Reading for All Purposes Prepared Graduates: Engage in a wide range of nonfiction and real-life reading experiences to solve problems, judge the quality of ideas, or complete daily tasks Grade Level Expectation: Twelfth Grade Concepts and skills students master: 2. Interpreting and evaluating complex informational texts require the understanding of rhetoric, critical reading, and analysis skills. Evidence Outcomes: Students can: b. Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem. (CCSS:RI.11-12.7) Content Area: Reading, Writing, and Communicating Standard: 2. Reading for All Purposes Prepared Graduates: Evaluate how an author uses words to create mental imagery, suggest mood, and set tone. Grade Level Expectation: Twelfth Grade Concepts and skills students master: 1. Literary criticism of complex texts requires the use of analysis, interpretative, and evaluative strategies. Evidence Outcomes: tuts : lyz how uthors hos or how to structure specific parts of a text (e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution) contribute to its overall structure and meaning as well as aesthetic impact. (CCSS: RL.11-12.5) B) Rationale: A critical element in conducting a thorough critical analysis of A Moveable Feast is understanding Hemingway himself. While it is true that the text itself provides an intimate and nuanced portrait of the author, one cannot overlook the fact that the book was written nearly forty years after the point in time when the novel is set. Being the case, it is entirely fair to assume that Hemingway may well have portrayed himself less than accurately in the idealized light of nostalgia a scenario that only increases in likelihood when we take into consideration his failing health and mental state at the time of writing the book (he committed suicide before finishing it). It is for this reason that I feel an outside source of reference on Hemingway the man is not only beneficial, but indeed necessary. For this portion of the study of the text, I have chosen to incorporate the use of a video clip of a 1974 interview with Orson Welles where he discusses his first meeting with Hemingway and their subsequent friendship that lasted until his death. In the video we get a very candid and personal description of Hemingway that I feel will greatly enhance students understanding of him as a person and allow for a deeper and more informed reading of the text. My objective is to use this video clip in conjunction with the text itself to have the students then draft a critical analysis paper discussing the reliability of a piece considered to be both a memoir and a work of fiction. The video will be presented in class where students will be required to analyze it both visually and audibly tht s thy wll b s to t to out ot oly Wlls wors to but to take a critical look at his body language and gestures as he speaks. I believe that by having students view and analyze the video they will be meeting the Colorado State Standard listed above regarding competency in media literacy. C) Below is the link to the video clip of an interview with Orson Welles where he discusses his initial meeting with and long-term friendship with Ernest Hemingway. https://www.youtube.com/watch?v=NyTi9v9QPxE
D) Assignment Sheet: A Moveable Feast Critical Analysis
Assignment: Based on your reading and interpretation of the text, our in-class discussions, and the video of Orson Welles interview, I would like for you to conduct a critical analysis of Hwys hrcter as portrayed in the novel in comparison to the portrayal provided in the video. In particular, I want for you to address the following question: Is this a factual memoir, or a fictionalized account of a pivotal time in the authors life?
Link to video: https://www.youtube.com/watch?v=NyTi9v9QPxE
Requirements/Objectives: Your paper need only be as long as is necessary to thoroughly present your position/argument and analysis. However, I anticipate this will be a minimum of 4-5 pages, 12pt. Times New Roman with 1.5 spacing. Include evidence from the text and the video to support your claims. The text should be properly cited and references to the video should be explicitly noted time markers are encouraged, but detailed accounts of the particular points in the video will suffice. Present a clearly organized and thoughtful analysis there is no right or wrong answer as long as you are able to logically support your claims Outside sources are not required, but if you choose to use any they must be cited in proper MLA format. The main goal is to demonstrate that you have been critically engaged in the text and related discussion. As always, adherence to the Standards of Conventional English is expected.
Due Date: (one week from date of assignment)
E) Assessment tool: Scoring Rubric CATEGORY 5 Advanced 4 Proficient 3 Near Proficient 2 Emerging 1 Beginner Intro/Thesis Unique intro; clearly stated, original thesis (subject + opinion or interpretation) on theme or on literary technique. Good intro; workable thesis which is not as original (subject + opinion or interp.) on an issue of theme or lit. technique. Ordinary intro OR thesis not entirely clear or is too obvious to merit writing a paper. Does still state subject & opinion on literary issue. Ordinary intro OR "thesis" states a fact (does not require support) or proposes a topic irrelevant to literary analysis. Introduction contains no discernible thesis at all. Support Each paragraph clearly supports thesis with strong evidence and commentary that go beyond the obvious. No irrelevant material Each paragraph supports thesis with evidence and commentary but does not always rise above the obvious. Focus strays from supporting the thesis in places OR inadequate evidence OR inadequate commentary. Paper does not support thesis with analysis; consists mostly of summary that contains some inherent analysis. Writer failed to understand or prepare for the writing task. Format Well-developed paper meets expected page length, is typed in correct font, w/ correct size and spacing. Includes student info. and original title. Paper is well- developed and meets expected length but falters in one or two other respects. Paper is well- developed but falls slightly short and falters in one or more other aspects. Does not meet length requirement or paper is not typed. No attention to format and length instructions at all. Conventions Paper contains no more than three or four minor mechanics, usage, grammar, spelling, or paragraphing errors total. Paper has a couple of errors per page that do not prevent the reader from reading easily. Paper contains three or more errors per page or contains errors that cause the reader to stumble in places. Errors are frequent and distracting and/or paragraphing is not present at all. Essay is barely readable because there are so many errors. Conclusion The conclusion skillfully provides closure. Avoids gimmicks and summary. Avoids preachy advice, rhetorical questions addressed to the reader, or Conclusion merely summarizes or relies on gimmicks. Paper conclusion strays from the original topic with no logic. Paper merely ends; little or no attempt at a conclusion was made. other gimmicks but is still less skillful. Comp. Skills Paper is written with confidence and sincerity. The writer's opinions come through clearly. It is a pleasure to read. The writing is pleasant to read but some hesitation or lack of commitment to ideas is present. There is a lack of engagement with the topic and/or the writing itself is formulaic. The writing "tells" more than it "shows." Paper makes little attempt to engage the reader's interest or emotions. Paper does not attempt to engage the reader at all. MLA/Technical Paper includes text citations for paraphrase & quotes; quotes are embedded grammatically with correct punctuation. Citations for paraphrase & quotes not always included; minor embedding or punctuation errors are present, but few. Paper includes both direct quote and paraphrase, but these are not cited or there are frequent embedding & punctuation errors. Quotes are present but are not embedded. Paraphrase may or may not be cited. No direct quotation is present at all; no citations are present.
References: Hwy rst Hwy tr Hwy A Moveable Feast: The Restored Edition. New York, NY: Scribner, 2009. Print. Beers, G K. Notice & Note: Strategies for Close Reading. N.p., 2012. Print. Kittle, Penny. Book Love: Developing Depth, Stamina, and Passion in Adolescent Readers. Portsmouth, NH: Heinemann, 2013. Print. Janeczko, Paul B. Reading Poetry in the Middle Grades: 20 Poems and Activities That Meet the Common Core Standards and Cultivate a Passion for Poetry. Portsmouth, NH: Heinemann, 2011. Print. "Orson Welles on Hemingway." YouTube. N.p., n.d. Web. 13 May 2014. "The Seeing Eye - Ezra Pound." PoemHunter.Com - Thousands of poems and poets. Poetry Search Engine. N.p., n.d. Web. 13 May 2014. "What Fifty Said.. by Robert Frost." PoemHunter.Com - Thousands of poems and poets. Poetry Search Engine. N.p., n.d. Web. 13 May 2014. Cotton, Eddy J. Hobo: A Young Man's Thoughts on Trains and Tramping in America. New York: Harmony Books, 2002. Print. Carroll, Lewis, John Tenniel, Hugh Haughton, and Lewis Carroll. Alice's Adventures in Wonderland: And, Through the Looking-Glass, and What Alice Found There. London: Penguin Books, 1998. Print.