“Who knows but that, on the lower frequencies, I speak for you?”
Invisible Man epilogue (1952)
Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.
“Who knows but that, on the lower frequencies, I speak for you?”
Invisible Man epilogue (1952)
Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.
I Know Why the Caged Bird Sings: A volume of memoirs (1970) by the African-American writer, singer, and actress Maya Angelou (1928-2014). Angelou borrowed her title—a metaphor for the African-American experience—from the US writer Paul Lawrence Dunbar (1872-1906):
I know why the caged bird sings, ah me,
When his wing is bruised and his bosom sore—
When he beats his bars and he would be free;
It is not a carol of joy or glee,
But a prayer that he sends from his heart’s deep core,
But a plea, that upward to Heaven he flings—
I know why the caged bird sings!
Paul Lawrence Dunbar: ‘Sympathy,’ in The Complete Poems (1895)
Dunbar may have been inspired by an earlier line:
When caged birds sing, when indeed they cry.
John Webster: The White Devil (1612), V.iv
Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.
“Shakespeare’s name, you may depend on it, stands absurdly too high and will go down. He had no invention as to stories, none whatever. He took all his plots from old novels, and threw their stories into a dramatic shape, at as little expense or thought as you or I could turn his plays back again into prose tales.”
Lord Byron, letter to James Hogg 1814
Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.
On January 6, I published 56 documents for teaching Chinua Achebe’s masterpiece Things Fall Apart. In last week’s Text, I published a similar set of documents for teaching Elie Wiesel’s Night.
This week’s Text is a batch of documents for teaching William Golding’s Lord of the Flies. I wrote these materials, but never marshalled them into a coherent unit plan, over a two-year period beginning a little over 12 years ago; after that, I never used them again, so it has been about ten years since I laid eyes on this stuff. In any case, let’s get these documents uploaded into this post.
Because I was working in global studies and United States history classrooms at the the same time that I was co-teaching the English class dealing with this novel, I perceived instantly that Golding’s novel was Thomas Hobbes’s “state of nature” nightmare, where life is “solitary, poor, nasty, brutish, and short.” For that reason, I asked the English teacher with whom I was teaching to make an explicit connection between Hobbes and Lord of the Flies. To that end, here is a reading on Hobbes and its (extended, you’ll notice, if you’ve previously picked up these things from Mark’s Text Terminal) accompanying vocabulary-building and comprehension worksheet. I also wrote, to follow up on students’ understanding of the Hobbesian dystopia depicted in Lord of the Flies, this independent practice worksheet that I suspect I would have assigned at about the middle of the novel. The reading and worksheet above began the unit, I’m quite sure.
Next, here are 12 context clues worksheets–one for each chapter. I’m not sure why I compiled this complete vocabulary list for the novel, let alone kept it around. Perhaps I intended them as a learning support? I just don’t remember. I have learned the hard way not to throw away work, no matter how pointless or useless it appears at second glance, so that explains that document’s presence here.
These 12 comprehension worksheets drive a basic understanding of Lord of the Flies and its allegory.
Finally, here are three quizzes on the novel. You will note that these are numbered 2, 3, and 4. If there was ever a number 1, it is lost to time. Also, these aren’t exactly some of my best work, and may well reflect my contempt for my co-teacher’s (and the administrator under whom we served) insistence on quizzes as an assessment tool. I vastly prefer expository writing–i.e. papers–as a means of assessing understanding.
And that’s it. Every document in this post is in Microsoft Word, so these are documents you can manipulate for your own–and your students’–needs.
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.
“Is Poe’s The Narrative of Arthur Gordon Pym (1838) based upon actual events? Yes, the adventures of J.N. Reynolds, a stowaway who survived a mutiny, cannibalism, and other adventures.”
Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.
Posted in English Language Arts, Quotes, Reference
Tagged fiction/literature, readings/research, united states history
“Stheno (the mighty), Euryale (the far-springer) and Medusa (the queen) were, again, ancient aspects of the triple goddess in her destructive, vengeful form, though they were later demoted in scale to malevolent creatures. Perseus’s murder of Medusa can be read as a mythic explanation of the toppling of the old female-ruled universe by a new breed of priest-warriors. However, the power of the old beliefs doesn’t wane easily: Medusa’s blood turned into serpents when it penetrated the ground, and gave birth to the winged horse Pegasus when it met the sea.”
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.
“Somewhere, Mr. Warren loses his grip on his backwoods opportunities and becomes so absorbed in a number of other characters that what might have been a useful study of an irresponsible politician whose prototype whe have had melancholy occasion to observe in the flesh turns out to be a disappointment.”
The New Yorker
“The language of both men and women is coarse, blasphemous, and revolting—their actions would shame a pagan hottentot.”
Catholic World
Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.
“Pastiche (noun): A literary work that draws on styles, formats, etch., of other sources and thus is eclectic and derivative, and often whimsical or irreverent (but not with humor as a primary intent); book or story made up of borrowings from other writers; hodgepodge; stylistic imitation of a writer at work; parody. Noun: pasticheur.
‘His novels were pastiches of work of the best people of his time, a feat not to be disparaged, and in addition he possessed a gift for softening and debasing what he borrowed, so that many readers were charmed by the ease with which they could follow him.’
F. Scott Fitzgerald, Tender is the Night”
Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.
Posted in English Language Arts, Essays/Readings, Quotes, Reference
Tagged fiction/literature, term of art
“Heart of Darkness: A tale or short novel by Joseph Conrad (1857-1924), published in 1902. The story is told by Marlow, who captains a river boat in the Congo and slowly sails upriver into the ‘heart of darkness,’ which is both Africa, the ‘dark continent,’ and the heart of evil. Marlow’s mission is to reach Kurtz, the most successful of the company’s agents. He finds that the charismatic Kurtz, once a man of culture and civilization, has turned himself into an omnipotent ruler by the use of unimaginable cruelty, hinted at by the row of heads impaled beside his compound. Kurtz’s dying words are ‘The horror! The horror!’ The story ends:
The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed somber under an overcast sky—seemed to lead into the heart of an immense darkness.
When he was a child in Poland, Conrad had jabbed his finger at the centre of a map of Africa and declared that one day he would go there. In 1890 he did, when he took command of a river boat in the Congo Free State. The Congo was then the private fiefdom of the Belgian king, Leopold II, and was exploited with the utmost barbarity. Eventually, in 1908, international outrage led the Belgian government to take over the colony.
Heart of Darkness inspired Francis Ford Coppola’s film Apocalypse Now, and the words ‘Mistah Kurtz—he dead’ follow the title of T.S. Eliot’s ‘The Hollow Men.’”
Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.
“Woollcott enjoyed a close relationship with Eleanor and Franklin D. Roosevelt, and occasionally visited them at the White House. In a letter to Mrs. Roosevelt, the purpose of which was to solicit the First Lady’s hospitality for an approaching vacation, he wrote: ‘I would like to come for a week or so. If you haven’t room for me, there are plenty of other places for me to go. I prefer yours.’”
Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.
You must be logged in to post a comment.