Thursday, December 12, 2013

Semester Exam Study Guide


AP Lit & Comp
1st Semester Study Guide

Literary Terms
Matching—these terms will pull from the poetry and short stories sections of the Bedford.

Critical Lenses
Matching—know the different lenses discussed in your textbook.

Good Readers & Good Writers
This section will test your understanding of the key points of Nabokov, Frost, and Perrine.  You’ll want to go back and review your annotations, notes, and reading journals. 

Short Stories
I’ll pull key passages from a variety of stories we’ve read this semester.  You’ll need to match them to the correct title and author.

AP Multiple Choice
I’ll give you one section of an AP exam (one poem and the questions following).  Answer all of the questions even if you don’t have a clue. =)

AP Free-Response Essay--Annie John
I’ll give you one essay question for which you should allow yourself 40 minutes.  Free response essay questions ask an open question/make a statement about literature in general.  You would then answer the question by writing an essay on the topic as it directly relates to a piece of literature (one from a provided list or, if you choose, another novel or play “of similar literary quality.”)  You should answer the prompt on your final exam using Annie John.

End of the Semester Reflection


The goal of the course is that you are making progress, seeing improvement, feeling more confident in your critical reading skills.  We've had lots of practice:  homework readings and class discussion, new terminology and perspectives that give you additional details to look for, one-pagers that put you on the spot for the day and make you show off your skills for the class, reading journal questions that help guide and deepen your thinking, and--oh yeah--tests where you have to actually critically read and answer crazy-detailed, written-to-screw-you-up AP questions. =)

So here's your latest way to show me where you are in these all-important skills:  your journal and reflection.

Last quarter I looked at your reading journal for a few things:

  1. Were you using it to keep all of your Lit stuff in one spot?
  2. Were you using it to record the in-brain processes of a critical reader of the varied assignments in AP Lit (details you noticed, interpretations of readings, etc.)
  3. Were you adding to those notes with class discussion notes that help you see what you understand on your own and how that understanding changes with others' thoughts and interpretations?


This quarter, I'm looking for the same PLUS something else...and THAT is your journal reflection assignment.

In your journal, date an entry and title it "1st Semester Journal Reflection."  Complete a thorough, thoughtful, and detailed reflection of your reading skills thus far.  You should consider and include the following in your entry:

  • What are your strengths as a critical reader?
  • What are your weaknesses?
  • What growth have you seen in your critical reading since the beginning of AP Lang last year?
  • Since the beginning of AP Lit this year?
  • How do you know this growth is occurring?  What evidence do you have?
  • How effectively do you feel you are using your journal?
  • Could you use it differently to make a bigger difference in your critical reading skill growth?
  • How well do you feel you've been able to express your critical reading in the writing assignments this semester (in-class essays, poetry write-up, and lit analysis)?  What strengths and weaknesses in your writing impact that ability?
  • What goals (related to reading AND the class at large) do you have for the rest of the year?

Spend some time and thought on this.  It's not HARD, but it will require some honest reflection to do it well. And guess what?  Even though it's an assignment I'm giving you and will grade you on, YOU will actually get the most benefit out of the activity--so do a good job for YOURSELF rather than your grade. =)

Thursday, December 5, 2013

7th hour

Check your email--whichever one you've shared or emailed my Google account with because that's where I found all of your emails.  I've sent you a message with important info, especially if you're going to miss class tomorrow!

Annie John Journal Questions


AP LitAnnie John


1. As you read, keep in mind the aspects of post-colonialism we discussed in class.  Make note of important details, questions, or literary devices that connect to those ideas.

2. How is the parent-child struggle between power and lack of power extended to other conflicts in the novel?  Make note of the different places you see struggle for power, the ways it is achieved, lost, etc.  Who has the power and who does not?

3. How does identity work in this novel?  When does Annie discover she has an identity separate from her mother?  How does she assert it?  What implications does Kincaid’s choice to use a bildungsroman have on the novel as a whole?

4. As Kincaid tells the story, she relates it as an expulsion from Paradise.  What was the original expulsion from Paradise?  Who was expelled and why?  What do the references to Lucifer and Paradise Lost indicate to you?

5. Make note of the many references to sexuality.  How do these details contribute to Kincaid’s point?

6. By the end of the book, Annie has rejected every aspect of her home and childhood:  “As I was lying there my heart could have burst open with joy at the thought of never having to see any of it again.”  Is this sort of rejection an inevitable part of growing up?  Is Annie’s hostility and rejection unusually extreme?  If so, why?


COME TO CLASS HAVING PUT THOUGHT INTO ALL OF THE QUESTIONS.  COME WITH SPECIFIC QUESTIONS OR PARTS OF YOUR JOURNAL TO DISCUSS.  KNOW WHAT YOU NEED TO GET FROM CLASS DISCUSSION IN ORDER TO UNDERSTAND THIS NOVEL.

Friday, November 22, 2013

Lit Analysis Rewrites

Before you do anything, go back to your textbook.  Look at the sample lit analyses your author gives you.  They are not awesome, but they are better in analysis and evidence than what many of you have written.  Also look at the two I wrote for A Tidewater Morning.  Neither is finished BUT you will see that I have well-developed paragraphs focused on analysis and backed up with plenty of textual evidence.  Were they finished, they would be longer than five paragraphs.

3rd hour Tidewater Morning essay

7th hour Tidewater Morning essay


When you rewrite, consider these most common problems:

Structure:  You need a 2-part thesis.  You must state theme in your thesis.  Not a motif or topic, not a vague statement about what the author is doing.  Clearly go out on a limb and state what you think the author's point is.  Also make sure you've identified which element of the book you plan to analyze in order to prove that theme.  This should all happen in ONE clear sentence that appears at then end of your introduction.  Each body paragraph, then, should begin with a topic sentence that clearly supports that thesis AND is focused on the point the author is making with some aspect of that element.

Development:  This should NOT be a 5-paragraph essay.  You should have well-developed paragraphs (half to three-quarters of a page) and more than 5 of them.  Five paragraphs should be too restrictive.  You're arguing the point of a novel and you're not doing it in only 40 minutes.  You've spent time reading, taking notes, studying this novel.  Your analysis should reflect that in both depth and development of your ideas and argumentation.  Your intro and conclusion should also be well-developed.  All paragraphs (including your intro and conclusion) should be roughly the same size.  If they are not, you need to split very long paragraphs into two or further develop the short ones.

Evidence:  Almost all of you need WAY MORE.  Literally, you need evidence for every single claim you make BUT you also need to introduce that evidence and EXPLAIN it! The best evidence is the author's own words.  You are arguing that your interpretation of the novel is correct. Therefore, you can't rely on your interpretation of the author's words (what you're doing with paraphrasing) to be the only--or even majority--evidence.  It's not believable.  There are times when it's not efficient to show aspects of the book and you have to "talk about it"; however, that should not be the main way you support your claims.

The Quotes You Use and How You Include Them:  Obviously, use MLA.  And if you're doing anything weird, look up how to do it on Purdue OWL.  Long quotes have different rules.  Quoting multiple paragraphs (as in dialogue or a play) has different rules.  Quoting poetry has different rules (including Shakespeare).  Also, do NOT use ellipses.  If you're not going to use the whole passage, then do multiple short quotes that point out the parts you want--don't simply skip over the stuff you don't want. It makes your reader question what you're leaving out.  Probably you're doing it for space sake--to make your paper more concise. But it opens up your ethos to questions.  Also, multiple short quotes is ALWAYS preferable to long quotes.  Only use long quotes when you absolutely must.  I'm pretty positive that I have not shown you a single example of lit analysis that uses long quotes. They are simply not efficiently effective--and that's what you need.

Use Your Own Analysis:  Don't be looking to outside resources to help you figure out your book.  We have come a long way in your critical reading skills and this is where you use them.  You're all smarter than Sparknotes or Novelguide or any other website for stupid people who don't read their assigned novels.  Those cheater sites are NOT analyzing the novel at the level I am expecting you to.  Therefore, don't look to them for answers to what you should think or see in your novel.  Daisy represents the upperclass? Duh.  Why would you need a site to tell you that?  The green light represents Daisy?  Welcome to Gatsby 101.  You don't need those sites and they will NOT help you get a good grade.  You have to be able to explain and support your interpretation.  Those sites will not do that for you so you might as well spend your time interpreting the book on your own and writing something interesting and fresh because it actually came from your head--which will make it far easier for you to explain and support!  If for no other reason, keep this in mind: This process is where you figure out how to write an analysis--how to take your critical reading skills, interpret a work, and explain and argue it for others.  If you don't do that here and now while you have time to practice, work through it, and get feedback, how will you EVER be able to do in on the test in a timed situation?  Don't take the "easy way out" and end up shooting yourself in the foot.

Polishing:  Yeek!  I wrote a whole post on this and I feel like only 10-15% of you even looked at it!  Don't EVER turn in something you haven't polished!  Don't do it now in high school and definitely don't do it next year in college.  It is the WORST thing for your ethos.  It makes you look like either you don't know any better or you don't care about the quality of your work.  Why would you spend hours on your content and then give your teacher/professor a horrible first impression???  You may not be any good at mechanics, but it is time to deal with that.  Either figure out what you don't know and learn it (there is no grammar or mechanics rules you cannot teach yourself from free resources like Purdue) or learn who likes you enough and is good enough at this skill to read your papers and edit them for you.  If no one that likes you enough is any good at this stuff either, be prepared to use other resources or pay for editors.  In college that means going to the writing center for editing (which means getting your paper done early so you have time for that) or paying anywhere from $15-25/hour for editing.  It's cheaper and easier to just learn yourself.

Do some major revision to your essays.  Take the time to do a good job, clean up the problems, end up with a good paper that is all yours.  I expect FAR better work.  I expect it to take me a fraction of the time to grade because they are all good.  If that puts pressure on you, then good.  It should.  You all are capable of far better than you handed in.

Tuesday, November 19, 2013

SS Exam Prep


Thursday is the in-class essay portion of the short story exam.  You will read a very short story and analyze how the elements of fiction contribute to the overall meaning/effect.  This is strictly a skill-based portion of the test.  If you've been studying, reading, practicing your critical reading skills and interpretation, you'll just show what you can do.  No real preparation necessary...or possible.

Friday is the multiple choice section. This is the portion that you can and should prepare for.
  • First section:  multiple-choice questions written over the stories we read and discussed.  Look through your reading journal at the notes you made while reading the stories for the unit as well as the notes you took during class discussions.
  • Second section:  multiple-choice questions over "How to Tell a True War Story."  Reread the story, look at your RJ, reflect on your class discussion and make notes while it's still fresh.
  • Third section:  really short story to read and multiple-choice questions over it.  Like the essay, this is strictly skill-based.  There is no real preparation for this section; the course so far has been your prep.
Bring your textbook and your reading journal to class with you on Friday!

Monday, November 18, 2013

Combining the Elements: "How to Tell a True War Story"


Here are some formal reading journal questions you should answer in your journal before our discussion tomorrow...which is why I'm giving you class time to read today. =)


1.  How does O'Brien's plot structure work and why does he do it this way?  How does this structure contribute to the story's overall meaning/effect?

2.  As you read, note the diction, imagery, tone, and style the author uses.  Once you've finished the story, go back and look at what these elements add to the story.

3.  What kind of narrator does O'Brien use?  Neutral?  Reliable?  How do you know?  Where do you think O'Brien stands in relation to the narrator?

4.  Track places where setting is highlighted.  Why does O'Brien do that?

5.  What symbolism do you see in the story?  Try to come up with clearly defined and supported analysis of its meaning.

6.  Make note of particular details, phrases, or vignettes that strike you as interesting, important, or intriguing.  Once you've finished the story, go back and consider those items.  What do they mean?  Why does O'Brien include them?

7.  What critical lenses could you use to look at this story for further depth?  Pick two and use them to help you tie all of these aspects of the story together to come to O'Brien's theme.  What is his point?