Tag Archives: fiction/literature

A Lexicon of Igbo Words to Accompany a Reading of Chimamanda Ngozi Adichie’s Novel Purple Hibiscus

I don’t know why, but for some reason, when I published this blog post several years ago, with a trove of materials I developed to accompany a reading of Chimamanda Ngozi Adichie’s novel Purple Hibiscus, I didn’t include this lexicon of Igbo words, names, and phrases. So here it is now.

This is where I usually ask for feedback on a document, especially for alerts on typos. But since I know nothing of Igbo orthography, I must ask you to trust, as I do, the unnamed author or authors of this document.

Three Documents to Support Written Analyses of Like Water for Chocolate

Continuing with a mishmash of documents I developed to support students, here are, again from the senior English Language Arts class I co-taught with Jason Zanitsch, some documents to support student work for a reading of Laura Esquivel’s novel Like Water for Chocolate. Jason’s goals for this unit were twofold and well focused: to introduce students to the genre of magical realism, and to use the story to induce students to write in a lively way about food–with a goal, of course, to arouse their thinking about lively descriptive writing in general. Over the years, I enjoyed watching Jason elicit some excellent prose from students using this unit.

So, here is a graphic organizer to track chapters, a brainstorming worksheet (consisting of ten modified cloze exercises) for using lively words to describe food with a lexicon of food-related words attached. Finally, here is the lexicon of lively words to describe food as a freestanding document.

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.

Evelyn Waugh on Youth

“What is youth except a man or a woman before it is ready or fit to be seen?”

Evelyn Waugh

Excerpted from: Winokur, Jon, ed. The Portable Curmudgeon. New York: Plume, 1992.

Anatole France on Dying for Abstractions

“To die for an idea is to set a rather high price on conjecture.”

Anatole France

Excerpted from: Winokur, Jon, ed. The Portable Curmudgeon. New York: Plume, 1992.

Book of Answers: Daisy Miller

What is Daisy Miller’s real name? Annie Miller. She appears in Henry James’s short novel Daisy Miller (1878).

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Sample Annotations for a Reading of Horatio Alger’s Short Story “Henry Trafton’s Independence”

Moving right along with differentiated material I developed for the 11th-grade English class I co-taught over the past two years, here is a sample annotations for “Henry Trafton’s Independence,” a short story by Horatio Alger. My father, who taught Alger at the University of Wisconsin, taught me, alas, to ridicule Alger’s contrived and even precious rags-to-riches stories. Nonetheless, this story showed up in this English class.

Incidentally, in researching this post, I learned that Horatio Alger, in his role as a Unitarian clergyman in Brewster, Massachusetts was found to have engaged in “the abominable and revolting crime of gross familiarity with boys.” I think, in this post-Catholic-clergy-scandal era, you know what that means. My father had a great deal to say about Richard “Dick” Hunter, the protagonist of Alger’s “Ragged Dick” stories. Dick’s name, my father told me, suggested a great deal about Horatio Alger himself.

I myself am agnostic on all of this.

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.

 

Refugee Intellectuals

“Refugee Intellectuals: (1930-1940) During the 1930s, a galaxy of European intellectuals–authors, artists, scholars, scientists–fled European totalitarianism and found refuge, permanent or temporary, in the United States. Their contributions to the nation’s cultural life–and later to its war effort–were incalculable. The hundreds of refugee intellectuals included:

  • George Balanchine, Russian dancer and choreographer, to U.S. 1933
  • Hans Bethe, German physicist, to U.S. 1935.
  • Bertolt Brecht, German playwright and poet, in U.S. 1941-49
  • Marcel Breuer, Hungarian architect, to U.S. 1937
  • Rudolf Carnap, German philosopher, to U.S. 1936
  • Albert Einstein, German physicist, to U.S. 1933
  • Erik Erikson, German psychoanalyst, to U.S. 1933
  • Max Ernst, German painter, in U.S. 1939-49
  • Enrico Fermi, Italian physicist, to U.S. 1938
  • Erich Fromm, German psychoanalyst, to U.S. 1934
  • Walter Gropius, German architect, to U.S. 1937
  • George Grosz, German painter, to U.S. 1933
  • Paul Hindemith, German composer, in U.S. 1940-52
  • Hans Hofmann, German painter, to U.S. 1930
  • Karen Horney, German psychoanalyst, to U.S. 1932
  • Wolfgang Kohler, German psychologist, to U.S. 1934
  • Fritz Lang, German film director, to U.S. 1934
  • Thomas Mann, German author, in U.S. 1938-53
  • Herbert Marcuse, German political philosopher, to U.S. 1934
  • Ludwig Mies van der Rohe, German architect, to U.S. 1937
  • Lazlo Moholy-Nagy, Hungarian painter, to U.S. 1937
  • Hans Morgenthau, German political scientist, to U.S. 1937
  • Erwin Panovsky, German art historian, to U.S.
  • Erwin Piscator, German theatrical director, in U.S. 1939-1951
  • Arnold Schoenberg, Austrian composer, to U.S. 1931
  • Joseph Schumpeter, Austrian economist, to U.S. 1932
  • Isaac Bashevis Singer, Polish-Yiddish novelist, to U.S. 1935
  • Igor Stravinsky, Russian composer, to U.S. 1937
  • George Szell, Hungarian conductor, to U.S. 1937
  • Leo Szilard, Hungarian physicist, to U.S. 1938
  • Edward Teller, Hungarian physicist, to U.S. 1935
  • Paul Tillich, German theologian, to U.S. 1933
  • Arturo Toscanini, Italian conductor, to U.S. 1930
  • John Von Neumann, Hungarian mathematician, to U.S. 1930
  • Bruno Walter, German conductor, to U.S. 1938
  • Kurt Weill, German composer, to U.S. 1935
  • Max Wertheimer, German psychologist, to U.S. 1933
  • Eugene Wigner, Hungarian physicist, to U.S. 1930

Excerpted from: Rosenbaum, Robert A. The Penguin Encyclopedia of American History. New York: Penguin, 2003.

Word Origins: Diamond

“diamond: [ME] The name of the gem derives from a medieval Latin alteration of Latin adamans ADAMANT. Adamant was a legendary rock or mineral of many supposed properties. One of these was hardness, which was a reason why people sometimes identified it with diamond. A diamond is forever was used as an advertising slogan for De Beers Consolidated Mines from the late 1940s onwards, and in 1956 Ian Fleming used Diamonds are Forever as the title of his latest James Bond thriller, but the idea was first expressed by the American writer Anita Loos, in Gentlemen Prefer Blondes (1925). ‘Diamonds are a Girl’s Best Friend‘ was a song written by Leo Robin and Jule Styne for the 1949 stage musical of Gentlemen Prefer Blondes.”

Excerpted from: Creswell, Julia. Oxford Dictionary of Word Origins. New York: Oxford University Press, 2010.

The Devil’s Dictionary: Auctioneer

“Auctioneer, n. The man who proclaims with a hammer that he has picked a pocket with his tongue.”

Ambrose Bierce

Excerpted from: Bierce, Ambrose. David E. Schultz and S.J. Joshi, eds. The Unabridged Devil’s Dictionary. Athens: The University of Georgia Press, 2000. 

Cultural Literacy: Tahiti

Here is a Cultural Literacy worksheet on Tahiti. This is a half-page worksheet with a reading of two sentences, the second of them a bit long, but not so long that students–even emerging and struggling readers–can’t make sense of it.

Even in two sentences, the reading mentions Tahiti’s allure to Paul Gauguin and Robert Louis Stevenson, summoning both of them to the Island to create art extolling the its beauty.

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.