TWELFTH GRADE AP LITERATURE AND COMPOSITION SUMMER READING ASSIGNMENT - PEEKSKILL HIGH SCHOOL

Welcome to Advanced Placement English Literature and Composition! This packet provides an overview of the summer reading assignment and outlines the supplies you will need for the course. As you have heard before, be sure to pace yourself and work on the assignment during July and August. If you are not willing to put in the time this summer, then the heavy workload of an AP course will be a problem. When you return in the fall, there will be an in class assessment based on your reading.

Course Supplies:

· Three ring binder· Lined paper· Dividers (Your binder will be divided into three sections)· Pens (Blue or black ink only)· Index cards· R e v i e w B o o k - 5 S t e p s t o a 5 E n g l i s h L i t e r a t u r e ( A n y a d d i t i o n f r o m

2 0 1 2 t o t h e p r e s e n t )

The assignment:1. Part I- For the novel of your choice, you are required to complete a set of dialectical journals.

Divide your novel into ten equal sections. For each section, choose a significant quotelmoment and write an entry based on the directions given. Use the sample entries to help guide you. During the first weeks of school, your teacher will give you an AP-style open-ended, timed in-class essay. You will apply your novel to whatever prompt is assigned. You may use your dialectical journals on your essay.

2. Part H- Poetry Annotation and Analysis. (See Summer Reading Part III) There will also be an in-class essay on poetry during the first few weeks of school. This essay will mimic the poetry prompt from the AP test. Preparing for this essay involves having a focused approach for analyzing poetry, and this is what you will be doing in the summer assignment.

3. Part Read the passages about and by William Wordsworth. Answer all applicable questions.

4. Extra Credit- You will read the assigned chapters from How to Read Literature like a Professor by Thomas C. Foster. Complete each assignment after reading the designated chapter. (See attached) You do not need to write volumes; concise, yet thorough responses will suffice. Please use a standard font. You will receive a total of 100 points for this assignment. You can use the points to improve certain test scores or homework assignment tirades throughout the year.

Allende, Isabel Buck, Pearl Is, Dickens, Charles

Dostoyevsky, Fydor Dumas, Alexandre

Eco, Umberto Eliot, George

Esquivel, Laura Forster, E.M.

Guterson, David Hemingway, Ernest

Heller, Joseph

Marquez, Gabriel Garcia Orwell, George Paton, AlanPotok, Chaim

Rand, Ayn

Remarque, Erich Sinclari, Upton Wharton, Edith

Novels of Literary MeritChoose a book from this list for your dialectical journal assignment. Your AP essay during the first week of school will be on this book,

The House of SpiritsThe Good Earthanything except A Tale of Two Cities orA Christmas CarolCrime and PunishmentThe Count of Monte Cristo,The Three MusketeersThe Name of the RoseMiddlemarch, Silas MagnerLike Water for ChocolateA Passage to India,Room With A View,

Howards End

Snow Falling on CedarsA Farewell to Arms, The Sun Also Rises Catch 22

One Hundred Years of Solitude1984Cry Beloved CountryDavita's Harp,The ChosenAtlas Shrugged,The FountainheadAll Quiet on the Western FrontThe JungleEthan Frome,

The Age of Innocence

Part I Summer Assignment

What are dialectical journals and how do I do them?A dialectical journal is a thoughtful interaction between you and the written word. It is NOT a translation of a quotation or plot summary, nor is it supposed to be all about your personal opinion. Each entry will focus on a quotation that you will choose from the text, and you will be writing about/responding to various elements of the author's style. You might want to comment on diction (word choice), syntax, setting, or character development, emerging themes, conflicts, irony, tone, use of language, symbolism, patterns such as motifs, how allusions function, use of foreshadowing, or other stylistic devices. Don't just identify devices; explain the function of them.

A nice rule of thumb: Ask yourself, "What strikes me about this quote? What is theauthor trying to do here?" NOT what is the plot, but what ideas/concepts are being presented and HOW does the author do this? Look at the sample below. Avoid general comments like, "The diction is nice and flows smoothly." Work to make your responses specific and relevant to your chosen quote.

Divide your chosen novel into 10 equal sections. For each section, choose one quote for your written response. You may opt to do more, depending on the length of the novel. Divide your paper in half the long way. On the left, write out the quote from the text to which you are responding, including the page number in MLA format. These should be direct quotes, not paraphrasing. In the right hand column, respond to the author's words. They are not to be novellas, nor are they to be two sentences long. 3-6 sentences is good.

Keep in mind: Your entries should be in order. Please, please, please proofread. You will be graded on content, completion, entry length, grammar, and punctuation, To get an A, your responses must demonstrate understanding, insight, thoughtfulness, thoroughness, and stylistic maturity. That means it looks like you took your time with each entry and have demonstrated higher order thinking skills. Please use a standard font; single spacing is fine.

Samples: (from Lord of the Flies)"Piggy moved among the crowd, asking names Piggy demonstrates a preoccupation withfrowning to remember them." names numerous times. He systematically goes

about asking Ralph and the smaller children their names. Names seem to be a symbol for both ordered society and individual identity. Though Ralph does not put the same emphasis on names that Piggy does, Piggy's own concern with names is an example of his concern with order. The significance he finds in names as a representation of one's identity and as a tool of communication spurs on his hatred of his own nickname

Summer Reading Part II — Poetry Annotation and Analysis

Select one poem from each of the following literary eras and annotate. This means you will be annotating six poems total. This is not about annotating blindly, (i.e. paraphrasing the poem or listing all the literary poetic devices you can find). It's about having a focused approach to uncovering a poem's meaning(s) by letting the details and devices guide you. It's about deductive, not inductive logic. A poem isn't going to magically give up its secrets after you've done one quick read through. Hence the attached handout: TPS-FASTT. Read it and let it guide your annotations and help you figure out how to approach poetry.

STEP I: Read through the Approaching Poetry/TPSFASTT handoutSTEP 2: Read through several of the options before selecting one poem from each literary era.STEP 3: Annotate. What does this mean? It is not simply underlining! Generally speaking, annotation involves having an active dialogue with whatever it is you are reading. Fill the margins around the poem with your words that comment on and clarify the text. What does that mean? Not in any hierarchal order, annotating a poem involves the following:

· Knowing the vocabulary of the poem. Look up words you don't know. How and why might the poet have used such diction?

· Cataloguing questions. Do not be afraid to ask questions of the language. Remember it, the poem, is speaking to you.

· Cataloguing your insights. What are you thinking as you read? What associations are you making? Why? What led you there?

· Considering what poetic devices seem significant or speak to you. Why is the poet using them? What effect and function do these devices have? In other words, how does the poet construct meaning through his/her poetic devices? Is the poem dominated by a very specific metrical rhythm? Is that even important? What devices are dominant? Look for sound devices (alliteration, onomatopoeia, assonance, consonance). Analyze figures of speech: simile, metaphor, personification, apostrophe, allusion, symbol, allegory, paradox.

STEP 4: Below is a list of some of the most frequently anthologized poems and authors. They are also most likely to show up in a college survey course. Choose one poem from each era to annotate. Don't forget, you are doing six annotations.

The English RenaissanceChristopher Marlowe "The Passionate Shepherd to His Love" Sir Walter Raleigh "The Nymph's Reply to the Shepherd" Shakespeare's or Edmund Spencer's sonnets

17th century Metaphysical/Cavalier PoetsBen Johnson "To the Mistress of My Beloved Master, William Shakespeare"

"Song: to Celia""On My First Son"

Robert Herrick "To the Virgins to Make Much of Time"Richard Lovelace "To Lucasta, on Going to the Wars""To Althea, from Prison"

John Milton "When I Consider How My Light is Spent"

Pre-Romantics and RomanticsWilliam Blake "Holy Thursday"

"The Lamb" and "The Tiger"William Wordsworth "The World is Too Much With Us"

"It is a Beauteous Evening, Calm and Free"Samuel Taylor Coleridge "Kubla Khan"Lord George Gordon Byron "She Walks in Beauty"Percy Bysshe Shelley "To a Skylark"

"Ode to the West Wind"John Keats "Ode on a Grecian Urn"

"Ode to a Nightingale""To Autumn"

The VictoriansTennyson "Tears, Idle Tears"Mathew Arnold "Dover Beach"Gerard Manley Hopkins "Pied Beauty"Dante Gabriel Rossetti "Body's Beauty" "Soul's Beauty"

20th CenturyThe Modernists: W.B. Yeats, Arthur Rimbaud, William Carlos Williams, Wallace Stevens.Marianne Moore, Langston Hughes. Robert Frost

The Post-Modernist: Elizabeth Bishop, Philip Larkin, James Dickey, Jimm y Santiago, RobertLowell, Maya Angelou, Eavan Boland, Howard Nemerov,See attached for samples of an annotated poem and the TPS-FASSTT Approach to Poetry handout.

B A L L A

A p p r o a c h i n g P o e t r y : T h e T P S - F A S T T o r " T y p e s F a s t " M e t h o d

When faced with the sometimes daunting task of analyzing a poem, you will need to keep all of the following points in mind or risk a significant misreading.

T i t l eExamine the title before reading the poem. Sometimes the title will give you a clue about thecontent of the poem. In some cases the title will give you crucial information that will help you understand a major idea within the poem. For example, in Anne Bradstreet's poem "An Author to Her Book," the title helps you understand the controlling metaphor.

ParaphraseParaphrase the literal action within the poem. At this point, resist the urge to jump to interpretation. A failure to understand what happens literally inevitably leads to an interpretive misunderstanding. For example, John Donne's poem: "A Valediction: Forbidding Mourning" is about a man who is leaving for a long trip, but if it is read as poem about a man dying, then amisreading of the poem as a whole is inevitable.

SpeakerWho is the speaker in this poem? Remember to always distinguish speaker from the poet. Insome cases the speaker and poet might be the same, as in an autobiographical poem, but oftenthe speaker and the poet are entirely different. For example, in "Not My Best Side" by Fanthorpe, the speaker changes from a dragon, to a damsel, to a knight — none of these obviously areFanthorpe.

Figurative LanguageExamine the poem for language that is not used literally. This would include, but certainly notlimited to, literary devices such as imagery, symbolism, metaphor, litotes, allusion, the effect of sound devices (alliteration, onomatopoeia, assonance, consonance, rhyme), and any other devices used in a non-literal manner.

Attitude (TONE)Tone, meaning the speakers ATTITUDE towards the SUBJECT of the poem. Of course, this meansthat you must discern the subject of the poem. In some cases it will be narrow, and in others it will broad. Also keep in the mind the speaker's attitude toward self, other characters, and thesubject, as well as the attitudes of characters other than the speaker.

S h i f t sNote shifts in speaker and attitude. Shifts can be indicated in a number of ways including theoccasion of poem (time and place), key turn words (but, yet), punctuation (dashes, periods,colons, etc), stanza divisions, changes in line or stanza length, and anything else that indicates that something has changed or a question is being answered.

T i t l eExamine the title again, this time on an interpretive level.

Theme

First list what the poem is about (subject), then determine what the poet is saying about each ofthose subjects (theme). Remember, theme must be expressed as a complete sentence.

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Wordsworth—The Spirit of the AgeRead the following passages by and about William Wordsworth carefully.

The principal object, then, which I proposed to myself in these poems was to choose Incidents and situations from common life, and to relate or describe them throughout, as far as was.possible, a selection of-language really used- by- men; and at-the•same time to throw over them a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual way; and further, and above all, to make these incidents and situations interesting by tracing in them. truly though not ostentatiously, the primary laws of our nature: chiefly as far as regards the manner in which we associate ideas in a state of excitement. Low and rustic life was generally chosen, because in that condition the es; sential passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings co-exist in a state of greater simplicity, and consequently may be more accurately contemplated and more forcibly communicated; because the manners of rural life germinate from those elementary feelings, and from the necessary character of rural occupations are more easily comprehended, and are more durable: and lastly, because in that condition the passions of men are incorporated with the beautiful and permanent forms ofnature. The language, too, of these men is adopted (purifiedindeed from what appear to be its real defects, from all lasting and rational causes of dislike or disgust) because such men hourly communicate with the best objects from which the best part of language is originally derived; and because, from their rank in society and the sameness and nan•ow circle of their intercourse being less under the influence of social vanity, they convey their feelings and notions in simple and unelaborated expressions. Accordingly such a language, arising out of repeated experience and regular feelings, is a more permanent and a far more philo sophical language than that which is frequently substituted for it by poets, who think that they are conferring honour upon themselves and their art in proportion as they separate themselves from the sympathies of men, and indulge in arbitrary and capricious habits of expression in order to furnish food for fickle tastes and fickle appetites of their own creation.

Taking up the subject, then, upon general grounds, I ask what is meant by the word poet? What is a poet? To whom does he address himself ?And what language is to be expected from him? He is a man speaking to men: a man, it is true. endued with more lively sensibility. more enthusiasm and tenderness, who has a greater knowledge of human nature, and a more comprehensive soul, than are supposed to be common among mankind; a man pleased with his own passions and volitions, and who rejoices more than other men in the spirit of life that is in him; delighting to contemplate similar volitions and passions as manifested in the goings-on of the universe, and habitually impelled to create them where he does not find theta. lb these qualities he has added a disposition to be affected more than other men by absent things as if they were present: an ability of conjuring up in himself passions which are indeed far from being the same as those produced by real events, yet (especially in those parts of the general sympathy which are pleasing and delightful) do more nearly resemble the passions produced by real events than anything which, from the motions of their own minds merely. other men are accustomed to fee) in themselves: whence. and from practice. he has acquired a greater readiness and power in expressing what he thinks and feels, and especially those thoughts and feelings which by his own choice, or from the structure of his own mind, arise in him without immediate external excitement.'

William Wordsworth (1770-1850)

'William Wordsworth and Samuel Taylor Coleridge. Lyrical Ballads 1805. ed. Derek Roper (London: Macdonald & Evans. 19761. 20. 21. 22. 30. 31.

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Mr. Wordsworth

(The Spirit of the Age, 1825)

Mr. Wordsworth's genius is a pure emanation of the Spirit of the Age. Had he lived in any other period of the world, he would never have been heard of . . . His style is vernacular: he delivers household truths. He sees nothing loftier than human hopes, nothing deeper than the human heart. This he probes, this he tampers with, this he poises, with all Its incalculable weight of thought and feeling, in his hands, and at the same time calms the • throbbing pulses of his own heart by keeping his eye ever fixed on the face of nature. If he can make the life-blood flow from the wounded breast, this is the living colouring with which he paints his verse: if he can assuage the pain or dose up the wound with the balm of solitary musing, or the healing power of plants and herbs and "skyey influences," this is the sole triumph of his art. He takes the simplest elements of nature and of the human mind, the mere abstract conditions inseparable from our being, and tries to compound a new system of poetry from them: and has perhaps succeeded as well as any one could . . . In a word, his poetry is founded on setting up an opposition (and pushing it to the utmost length) between the natural and the artificial, between the spirit of humanity and the spirit of fashion and of the world!

It is one of the innovations of the time. It partakes of, and is carried along with, the revolutionary movement of our age: the political changes of the day were the model on which he formed and conducted his poetical experiments. His Muse (it cannot be denied, and without this we cannot explain its character at all) is a levelling one. It proceeds on a principle of equality, and strives to reduce all things to the same standard.

His popular, inartificial style gets rid (at a blow) of all the trappings of verse, of all the high places of poetry: "the cloud-capt towers, the solemn temples, the gorgeous palaces," are swept to the ground, and "like the baseless fabric of a vision, leave not a rack behind." All the traditions of learning, all the superstitions of age. are obliterated and effaced. We begin de novo on a tabula rasa of poetry. The purple pall, the nodding plume of tragedy are exploded as mere pantomime and trick, to return to the simplicity of truth and nature. Kings. queens, priests, nobles, the altar and the throne, the distinctions of rank, birth. wealth, power, "the judge's robe, the marshal's truncheon, the ceremony that to great ones longs." are not to be found here. The author tramples on the pride of art with greater pride. The Jewels in the crisped hair, the diadem on the polished brow. are thought meretricious, theatrical, vulgar; and nothing contents his fastidious taste beyond a simple garland of flowers.

· • •No one has shown the same imagination in raising trifles into importance: no one has

displayed the same pathos in treating of the simplest feelings of the heart Reserved, yethaughty, having no unruly or violent passions (or those passions having been early suppressed). Mr. Wordsworth has passed his life in solitary musing or in daily converse with the face of nature. He exemplifies in an eminent degree the power of association; for his poetry has no other source or character. He has dwelt among pastoral scenes, till each object has become connected with a thousand feelings, a link in the chain of thought, a fibre of his own heart. Every one is by habit and familiarity strongly attached to the place of his birth, or to objects that recall the most pleasing and eventful circumstances of his life. But to the author of the Lyrical Ballads nature is a kind of home: and he may be said to take a personal interest in the universe. . . .

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Advanced Placement Writing Name_________________________________________

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The daisy looks up to him with sparkling eye as an old acquaintance: the cuckoo haunts him with sounds of early youth not to be expressed: a linnet's nest startles him with boyish delight: an old withered thorn is weighed down with a heap of recollections . . . He has described all these objects in a way and with an intensity of feeling that no one else had done before him, and has given a new view or aspect of nature. He is in this sense the most original poet now living, and the one whose writings could the least be spared: for they have no substitute elsewhere. The vulgar do not read them; the learned, who.See all things through books, do not understand them, the great despise, the fashionable may ridicule them: but the author has created himself an interest in the heart of the retired and lonely student of nature, which can never die. . . . Remote from the passions and events of the great world, he has communicated interest and dignity to the primal movements of the heart of man, and ingrafted his own conscious reflections on the casual thoughts of hinds and shepherds.'

William Hazlitt (1778-1830)The two excerpts present views of Wordworth's experiment with language first presented inhis publication, with Coleridge, of Lyrical Ballads in 1798. In Lyrical Ballads, Wordsworth develops enlarged conceptions of poetry, its nature, scope, function, and language, from his own experiences as reader and creative artist.Excerpt from the Preface to Lyrical Ballads

1. What does Wordsworth define as his objective in publishing Lyrical Ballads?

2. What reasons does he give for choosing low and rustic life?

3. What reasons does he give for using the language of people in rural occupations?

4. What is Wordsworth's answer to the question, "What is a poet?"

*WEB= Hazlitt. Selected Essays of William Bastin. ed. Geoffrey Keynes. (New York: Random House. 1942). 739-4.

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Advanced Placement Writing - - Nam e

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Excerpt from "Mr. Wordsworth"5. Hazlitt's essay evaluates Wordsworth's experiment twenty-seven years after the first

publication of Lyrical Ballads and twenty years after the writing of the Preface. How does he evaluate the collection of poetry?

6. Hazlitt says: "The political changes of the day were the model on which he (Wordsworth) formed and conducted his poetical experiments." Explain this statement.

7. In paragraph 3, Hailitt says. "His popular, inartificial style gets rid of all the trappings of verse, of all the high places of poetry." Cite some of the examples he uses to illustrate this statement.

8. In paragraph 4, Hazlitt credits Wordsworth as being "in this sense, the most original poet now living." On what basis does he make this statement?

t COPYRIGHT. The Center for Learning Used 7.-tch permIsslon. Not for sae.

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Extra Credit-Summer Assignment

In Arthur Conan Doyle's The Red-Headed League, Sherlock Holmes and Dr. Watson both observe Jabez Wilson carefully, yet their differing interpretations of the same details reveal the difference between a "good reader" and a "bad reader." Watson can only describe what he sees; Holmes has the knowledge to interpret what he sees, to draw conclusions, and to solve the mystery.

How to Read Literature Like a Professor, can be your guide to learning how to solve literarymysteries. It will help transform you from a naïve, sometimes confused Watson to an insightful, literary Holmes. Informed readers see symbols, archetypes, and patterns in literature because they are there, in the literature, and you too will see the devices writers use when you have learned to recognize them. As Foster says, you learn to recognize the literary conventions the 'same way you get to Carnegie Hall. Practice." (xiv).

Introduction: How'd He Do That?How do memory, symbol, and pattern affect the reading of literature? How does the recognition of patterns make it easier to read complicated literature? Discuss a time when your appreciation of a literary work was enhanced by understanding symbol or pattern.Chapter 1— Every Trip Is a Quest (Except When It's Not)List the five aspects of the QUEST and then apply them to something you have read or viewed.Chapter 2 — Nice to Eat with You: Acts of CommunionChoose a meal from a literary work and apply the ideas of Chapter 2 to this literary depiction. Chapter 3: — Nice to Eat You: Acts of VampiresWhat are the essentials of the Vampire story? Apply this to a literary work you have read or viewed.

Chapter 5 —Now, Where Have I Seen Her Before?Define intertextuality. Discuss three examples that have helped you in reading specific works. Chapter 6 —When in Doubt, It's from Shakespeare...Discuss a work that you are familiar with that alludes to or reflects Shakespeare. Show how the author uses this connection thematically. Read pages 44-46 carefully. In these pages. Foster shows how Fugard reflects Shakespeare through both plot and theme. In your discussion, focus on theme.Chapter 10 — It's More Than Just Rain or SnowDiscuss the importance of weather in a specific literary work, not in terms of plot.Chapter 21 — Marked for GreatnessFigure out Harry Potter's scar. If you aren't familiar with Harry Potter, select another characterwith a physical imperfection and analyze its implications for characterization.Chapter 25 — Don't Read with Your EyesAfter reading Chapter 25, choose a scene or episode from a novel, play, or short story written before the twentieth century. Contrast how it could be viewed by a reader from the twenty-first century with how it might be viewed by a contemporary reader. Focus on specific assumptions that the author makes, assumptions that would not make it in this century.Chapter 27 — A Test CaseRead "The Garden Party" by Katherine Mansfield, the short story starting on page 245. Complete the exercise on pages 265-266, following the directions exactly. Then compare your writing with the three examples. How did you do? What does the essay that follows comparing Laura with Persephone add to your appreciation of Mansfield's story?