Category Archives: English Language Arts

This category contains domain-specific material–reading and writing expository prose, interpreting literature etc.–designed to meet the Common Core standards in English language arts while at the same time being flexible enough to meet the needs of diverse and idiosyncratic learners.

Myopic (adj)

While I’m not sure it’s a word high school students need to know, because it’s Merriam-Webster’s Word of the Day today, and I like a challenge here is a context clues worksheet on the adjective myopic. I found it difficult to create context whose contrast would clearly define the second meaning of this adjective, in the sense of “lacking in foresight or discernment : narrow in perspective and without concern for broader implications.” Maybe that’s because it’s Friday, and my pea brain hurts.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Term of Art: Parable

An illustrative moral or religious story, usually brief and with generalized, simple characters and universal human application; telling or cautionary account.

‘I have never read a story better than Endurance, Alfred Lansing’s account of the Shackleton expedition to Antarctica; but no one considers it literature. If Mailer had written it, might we not read the same text as a parable or something or other.’”

Annie Dillard, Living by Fiction

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

The Weekly Text, January 25, 2019: A Lesson Plan on Migration as the Cause of History

Next Friday marks the beginning of Black History Month 2019. This year’s theme is Black Migrations; that link will take you to a page where you’ll find a printable PDF that would serve nicely as classroom door banner. People of African descent everywhere have been the subjects of voluntary migration and the objects of involuntary migration. In the United States, after Americans of African descent endured the horror and infamy of their forced migration into chattel slavery, they once again migrated from the southern states in what historians have dubbed The Great Migration.

Most Americans, alas, lack understanding of the ways in which The Great Migration changed–for the better, inarguably, in my not at all humble opinion–this country. I’ve always thought the most succinct reference to the changes to this country wrought by The Great Migration was uttered by the old bluesman, played by the great Joe Seneca, in Walter Hill’s 1986 film Crossroads. The Julliard student and aspiring blues guitarist played by Ralph Macchio is fixated on the music of Robert Johnson, and he wants Joe Seneca’s character, Willie Brown–whose name is called out in Johnson’s song “Crossroads,” to teach him a long-lost song of Johnson’s he believes Brown possesses. Macchio’s character, Eugene Martone, is fixated on Delta Blues, which he plays on an acoustic guitar. In exasperation, as the two of them prepare to play live, Brown tells Martone (I paraphrase, but closely, I am confident), “Muddy Waters invented electricity” as he takes the young man to a music shop to trade in his acoustic guitar for an electric.

The comment is freighted with numerous implications, not the least of which is that Muddy Waters and others like him (e.g. Howlin’ Wolf and John Lee Hooker) added numerous genres to the spectrum of American music. If you know anything about the blues, you know that without it there would be no rock and roll. In fact, whole genres of music in the United States would not exist without the influence of Americans of African descent.

Anyway, this week’s Text is a lesson plan on migration as a cause of history. I begin this lesson, when I teach it, with this context clues worksheet on the noun nomad. Finally here is the (very) short reading and comprehension worksheet that I’ve used in this lesson. This lesson, incidentally, is part of a unit I wrote to help students develop their own understanding of some basic concepts in historical study. I named the unit after a introduction to liberal studies course called “Causes of History” I heard students complaining about at Amherst College when I took Russian language classes there. I still remember what the students in my Russian class called it: “Causes of Misery.”

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Power of 100

“A hundred is a ubiquitous element of power and finance. If ancient Greek gods were angered the could be appeased with the bloodbath of hetacomb—the sacrifice of 100 oxen. A hundred was also long considered the largest group able to be governed by the command of one man. So there were 100 soldiers under the command of a Roman centurion; 100 slave-soldiers under the command of a mameluke emir; and, following the Roman model, there were 100 senators (two for each of the fifty states) in the US Senate. More prosaically, 100 units comprise all the major currencies of the world—be the yuan, yen, dollars, euros, rials, rupees, dinars, or pounds.”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

A Learning Support on Latinisms and Latin Abbreviations

Here is a learning support on Latinisms and Latin abbreviations which I was convinced I’d previously posted. However, a search of my media folder locates nothing on this area of usage, so here it debuts, I guess. These are words and phrases that turn up in a variety of settings in expository prose.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

A Lesson Plan on the Crime and Puzzlement Case “Merrill’s Alibi”

OK, on a rainy morning, here is a lesson plan on “Merrill’s Alibi,” the fourth “case” in the first volume of the Crime and Puzzlement series of books.

I begin this lesson with this Cultural Literacy worksheet on “Parting is such sweet sorrow,” the famous line, of course, from Romeo and Juliet. You’ll need this PDF of the illustration and questions from the book itself so students may can investigate whether or not Merrill’s alibi is credible. Finally, here is a typescript of the answer key to close the case of Merrill’s Alibi.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Shakespeare: As You Like It

“A comedy (c. 1600) by William Shakespeare (1564-1616). The story is based on Rosalynde: Euphue’s Golden Legacy (1590), a romance by Thomas Lodge (1557-1625), although the clown touchstone and the gloomy philosopher Jaques are purely Shakespeare’s inventions. Orlando is forced to flee the court of the usurping Duke Frederick. He takes refuge in the forest of Arden, where the usurping Duke and his followers are now living. Rosalind, the daughter of the usurped Duke is also obliged to flee, having previously fallen in love with Orlando (and he with her). Disguised as the youth Ganymede, she befriends Orlando and encourages him to practice his wooing of Rosalind on him (i.e. Ganymede). There are certain complications, involving various other sets of lovers. In the end, all is revealed, four pairs of lovers marry and Frederick the usurper surrenders the dukedom to its rightful owner.

The title indicates the playwright’s desire to please with his offering. At the end, Rosalind addresses the audience directly:

‘I charge you, O woman, for the love you bear to men, to like as much of this play as please you; and I charge you, O men, for the love you bear to women—as I perceive by your simpering none of you hates them—that between you and the women the play may please.’           V. iv, Epilogue

‘What You Will,’ the subtitle of Twelfth Night, has an equivalent implication. Similar epilogues, asking the audience for their approbation and indulgence, were something of a theatrical convention at the time; for example, at the end of The Tempest Prospero speaks the epilogue, ending:

‘As you from crimes would pardon’d be,

Let your indulgence set me free.’        V. i, Epilogue

There is another example in All’s Well that Ends Well.

There have been two film versions of As You Like It. The 1936 version includes Laurence Olivier in the cast, and J.M. Barrie co-wrote the screenplay. The 1992 version turns the Forest of Arden into a London ‘cardboard city’ for the homeless.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Wherewithal (n)

As it is in sufficiently active use in the lexicons of most educated people, I worked up this context clues worksheet on the noun wherewithal for use in the high school classroom. For an abstract noun, it has always struck me as surprisingly sturdy word.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Shakespeare’s 18th Sonnet

In response to a request from a student, I worked up this reading on Shakespeare’s 18th Sonnet and this vocabulary building and comprehension worksheet to accompany it. If you’re not familiar with this, one of the famous poems of all time, it begins with the line “Shall I compare thee to a summer’s day?”

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Rotten Rejections: Affairs of the Heart by Malcolm Muggeridge

“…the author’s writing deteriorates in a peculiarly striking fashion as he lays about him with him with his satirical club… a very mystifying and unsatisfactory product for the American market.”

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.